Buddhist altars evolved from zushi (small shrines), but they were primarily used by the samurai class.
This practice became widespread from the early Edo period, and it is believed that the production of Buddhist altars for general households began in earnest when the number of people needing a Buddhist altar in their homes increased due to the religious census conducted by the Tokugawa shogunate.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The wooden structure is assembled using mortise and tenon joints.

  2. Palace construction shall be carried out using mortise and tenon joints and square joints.

  3. After preparing the base coat, the painting process involves hand-applying refined lacquer and then applying a "roiro finish."

  4. Applying gold leaf by "double pressing".

  5. If decoration is to be applied, it shall be done by maki-e (gold lacquer) or coloring.

   

  raw materials

  1. The wood used shall be pine, cypress, cedar, or zelkova, or timber of equivalent quality.

  2. The metal fittings shall be made of copper, a copper alloy, or a metal of equivalent material.

  ３ 漆は、天然漆とすること。

• Work scene

  Work scene

  The production process for KYO Butsudan (Household Buddhist Altars) involves a highly specialized division of labor, with over 40 different trades. The skills of craftsmen specializing in each department are integrated to create the finished product. Kyoto KYO Butsudan (Household Buddhist Altars) are the culmination of the advanced techniques of 95 (as of April 1, 2001) traditional craftspeople and other specialized artisans.

  Process 1: Wood preparation process

  The main body of the Buddhist altar is made from carefully selected wood. The main materials for KYO Butsudan (Household Buddhist Altars) are cypress, pine, and maple, and they are made in the shape prescribed by each Buddhist sect. The interior of the altar is also designed to resemble the magnificent inner sanctuary of each sect's temple.

  

  Process 2: Roofing Process

  We will be making the roof section inside the Buddhist altar. Each small part will be handcrafted, and the roof will be assembled using a modular system.

  

  Step 3: Wood carving process

  After selecting a design, the artist hand-carves it into wood such as cypress or pine using chisels and knives. While adhering to the style of the main temple, the key is to express vitality and dynamism within the limited space of the palace, altar, and table. Furthermore, it is necessary to hone the skills so that the carving brings a sense of peace to the viewer.

  

  Process 4: Lacquer coating process

  After preparing the base of the shaped wooden piece, it is hand-painted with refined natural lacquer. Starting with preparing the wood, kokuso (a type of wood filler) is applied to important areas, cloth or Japanese paper is attached, and a base coat of rust is applied multiple times, then it is polished with a whetstone to finish the base. Then, high-quality natural lacquer is filtered through filter paper, and the undercoat and intermediate coats are applied. After drying, the surface is polished with ink to smooth it, and then the topcoat is applied.

  

  Process 5: Wax color process

  The lacquered surface is sanded and polished to a smooth, glossy finish. This process involves applying a black lacquer and further polishing to create a smooth, rich, jet-black luster. Charcoal sanding, body rubbing, lacquer application, and horn powder polishing are all necessary steps. Charcoal sanding, using Suruga charcoal or black charcoal, involves meticulously polishing the surface to a smooth finish and is a crucial step that significantly impacts the final result. After body rubbing, the lacquer application and polishing are repeated three times. The third application of lacquer, in particular, should be thin and allowed to dry completely before polishing to achieve an even deeper luster.

  

  Step 6: Makie (lacquerware) process

  Makie is a technique where patterns are drawn with lacquer, and then gold powder, silver powder, or shell powder is sprinkled on top, followed by further detailing or polishing. There are various techniques for makie, including keshi-ko makie (flattened powder makie), migi-ko makie (polished powder makie), and togi-ko makie (polished powder makie). Keshi-ko makie, which uses fine gold powder, is a simple process of sprinkling and drying, and uses a relatively small amount of powder. Togi-ko makie, which uses coarse gold powder, requires coating the sprinkled powder with lacquer and then polishing it with charcoal, using more than 100 times the amount of gold powder, and taking tens of times longer in terms of both the process and the time. Many other processes are also involved, making the expressive possibilities of Kyoto makie virtually limitless.

  

  Process 7: Coloring process

  Gold powder, pigments, and paints are used to color the gold leaf, or to apply color directly to the base coat. There are three types of coloring: vibrant colors achieved by layering paints multiple times, wood-grain coloring that brings out the natural texture of the wood with light paints, and foil coloring that uses light colors to paint over gold leaf. Mineral pigments and watercolors are fixed to the sculpture or other surface with animal glue. The mixing of the pigments is also a very important element, and it is often the case that the work is made in Kyoto.

  

  Process 8: Pure gold foil stamping process

  On items that have been coated with lacquer, pure gold leaf is applied using lacquer as an adhesive, or gold powder is applied on top of it. Using traditional tools, gold leaf application lacquer is applied to the area where the gold leaf will be applied, and the entire surface is wiped evenly with cotton. The type of lacquer, the degree of wiping, and the amount of lacquer left are determined by sensing the drying state of the base lacquer, as well as the temperature and humidity of the day. The subtle viscosity of the lacquer is everything when it comes to gold leaf application, and it is finished with a rich, heavy shine with a subdued luster unique to Kyoto, known as "omooshi" (heavy pressing).

  

  Process 9: Decorative Metal Fittings Process

  After hand-engraving copper or other metals, decorative metal fittings are created by finishing and applying pure gold plating. There are three main techniques for creating decorative metal fittings: "flat metal fittings" (hair engraving), where patterns are incised into copper plates; "openwork carving," where openwork patterns are cut out; and "ground carving," which creates a three-dimensional, thin-relief finish. Refined sensibilities and delicate skills are required, and care is taken to ensure that the decorative metal fittings harmonize with the main body of the object.

  In this way, all the completed parts from each stage are gathered in one place and assembled together, and only then is KYO Butsudan (Household Buddhist Altars) completed.

  

   

• Close-up

  Close-up

  Traditional techniques for passing on to the future: KYO Butsudan (Household Buddhist Altars)

  KYO Butsudan (Household Buddhist Altars) are highly regarded as works of art. Their majestic beauty is created by the skills of specialized craftsmen, each responsible for a specific, detailed process. The lustrous golden hues unique to Kyoto are a testament to the dedication and passion of these artisans.

   

  A diverse division of labor system that supports high quality

  Kyoto, home to over 100 head temples of various Buddhist sects, over 3,000 temples, and numerous national treasures and cultural properties, is also a major producer of Buddhist altars. Its delicate and magnificent craftsmanship is highly regarded as a work of art both domestically and internationally. This high quality is underpinned by a diverse division of labor. Each specialized craftsman is responsible for a specific, subdivided process, ensuring that every single part is crafted with meticulous skill. Furthermore, the craftsmen not only dedicate themselves to their own work but also constantly consider the overall process. From the initial woodworking stage, they factor in the thickness of the lacquer that will be applied later, leaving a margin for error. To meet the client's deadline, they finish each piece early to avoid inconveniencing subsequent stages. This meticulous calculation and thoughtful consideration brings out the best in each craftsman's skills, resulting in the creation of the finest Buddhist altars.

  

  The craftsman's movements show no wasted effort.

  After a long and rigorous training period, one finally becomes a full-fledged adult.

  Even for a specialist craftsman, the process they handle involves many more steps. Therefore, all those considered skilled craftsmen today have gone through rigorous apprenticeships to become fully proficient. Wakuta, a pure gold leaf apprentice, recalls, "It was incredibly tough in our time." He was thoroughly trained in the basic techniques while doing all the household chores—cleaning, laundry, and cooking—at his master's house. Gold leaf application involves attaching gold leaf to an object using lacquer as an adhesive. Gold leaf application lacquer is applied to the area where the gold leaf will be applied, and then wiped evenly with cotton. The type of lacquer, the amount of wiping, and the amount left are all determined by sensing the drying state of the base lacquer, the temperature, and the humidity of the day. The subtle viscosity of the lacquer is everything in gold leaf application. Wakuta also says that at first, he simply applied lacquer. "Even though I was supposed to be working with gold leaf, it wasn't until my fourth year that I was finally allowed to touch the gold leaf itself."

  

  The meticulous workmanship results in a beautiful shine down to the smallest detail.

  The craftsmanship shines through in the seemingly ordinary details.

  Compared to then, the training has changed considerably. "We are probably the last generation to be apprentices. Nowadays, it's only the first year that you only do lacquer painting," says Wakuta. However, the difficulty of the required skills has not decreased. Shin, the son who started training at his father's workshop after graduating from high school, says, "I've been allowed to apply gold leaf since my second year, but it's still difficult to apply and wipe the lacquer." "Before I started this job, I used to watch my father doing it and think it was easy. But when I tried it myself, I realized how difficult it is. I have a lot of respect for my father for doing it." The movements of a craftsman may seem effortless at first glance, but in reality, it is a skill that has been thoroughly mastered through repeated practice. The essence of the skill shines through in the casualness. That is something that can only be achieved through repeated training.

  

  A parent intently applying gold leaf.

  "You don't stick gold leaf on, you press it in." A job done with heart and soul.

  Mr. Wakuta told me, "You don't have to be particularly skillful to be a craftsman. Intuition is what's important." "There's not much that others can teach you; you have to figure things out and do them yourself." His father also said, "My father and I are different in physique and strength, so if I wipe things the same way my father does, the finished product will be different." It seems that you need a good intuition to check each of your movements and make subtle adjustments. However, the most important thing for a Buddhist altar craftsman is that mindset. Because Buddhist altars are objects of faith, they are handled with the utmost care. "They are important things, so I think I have to put my heart into every single job that comes my way." Because he puts his heart into it, the word "solid" perfectly describes his gold leaf work. "In Kyoto, gold leaf isn't applied, it's pressed." Amateurs tend to think that a shiny, glittering finish is good, but Mr. Wakuta says that "it looks cheap." "Gold leaf that's simply stuck on looks like it's dancing." "Kyoto's 'Omooshi' (heavy pressing) has a calm color and a soft sheen. Compared to something shiny, it has a solid feel, and I think you'll understand the difference." The quality of the gold leaf application is greatly influenced by the quality of the underlying lacquer coating, but Kyoto Buddhist altars are made by specialized craftsmen who do a thorough job from the base coat onwards, so it seems that they are of high quality. Why not take some time to appreciate the quality of KYO Butsudan (Household Buddhist Altars) and the beauty of "Omooshi" for yourself?

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    Apply foil little by little to match the shape.

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    Both the teacher and the student are serious.

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    Traditions are passed down from father to son.

  Craftsman Profile

  ​Minoru Wakuta

  Born in 1938 (Showa 13).
  After graduating from junior high school, he began training in gold leaf application and became independent in 1973. He was also in charge of the restoration of Kinkaku-ji Temple. He is a certified traditional craftsman.

  Anecdotes

  A story about Buddhist altars

  ■ The importance of Buddhist altars
  Buddhist altars and ritual objects are inseparable from our lives, customs, and culture as solemn objects for worshipping Buddha. A Buddhist altar is not merely a place to honor ancestors and the deceased; it is a place to represent and worship the invisible Pure Land and Amida Buddha. From a young age, by visiting the Buddhist altar, we naturally develop a sense of gratitude and learn the importance of living each day without regret. From the perspective of children's emotional development, a Buddhist altar is essential in every home.

  ■When to purchase a Buddhist altar
  A Buddhist altar is a source of spiritual solace. Therefore, you can purchase one whenever you feel the desire to pray at one.

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