The story of the origins of YAMEFUKUSHIMA Butsudan (Household Buddhist Altars) goes like this: In the mid-Edo period, a cabinetmaker had a dream one night of a magnificent and ornate Buddhist temple, and was inspired to start manufacturing Buddhist altars, seeking the cooperation of his fellow craftsmen.
The actual manufacturing techniques were established a little later, around the mid-19th century, and this is the origin of Buddhist altar manufacturing in Kyushu. By the end of the Edo period, the industry had grown to the point where there were 18 finishers, 14 metalworkers, 7 sculptors, 7 Buddhist altar sculptors, and 10 woodworkers.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The structure of the "wooden base" is assembled using "mortise and tenon joints" and "broom joints."

  2. Palace construction is done using the "jointing" method.

  3. The painting shall be done by hand using refined lacquer.

  4. Apply maki-e (lacquerware with gold or silver powder) and gold leaf.

   

  raw materials

  1. The wood used shall be cedar, cypress, Japanese cypress, red pine, or magnolia, 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

  With the exception of some woodworking sections for the base, palace, and carving, everything is made by hand by skilled craftsmen. The process involves over 80 steps, each requiring more than 10 years of training. Here's a brief overview of the main steps.

  Process 1: Wood preparation

  The main body of the Buddhist altar is made from carefully selected woods such as cedar, cypress, hinoki cypress, red pine, and magnolia. First, the dimensions are determined and the basic shape is created. The base structure comes in three types: the "Fukushima type" with a three-tiered base, the "Yame type" with a cupboard-like base, and the "Yahime type" with a two-tiered base and drawers. The part above the base is processed to be assembled and disassembled.

  

  Step 2: Palace Construction

  The term "palace" refers to the roof and surrounding area inside the Buddhist altar. It is modeled after the architecture of temples of each Buddhist sect, and is made to resemble the roofs of the Higashi Honganji and Nishi Honganji temples. The intricate parts are made by hand and assembled. The blueprint is "just a ruler," and everything is created in the mind.

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  工程3： 彫刻

  There are two main methods of carving: "round carving," where the design prescribed by each sect is drawn on the cut wood with a pencil or other tool; and "applied carving" and "layered carving," which begin with rough carving considering the design. "Layered carving" involves combining three carvings to create a three-dimensional effect. The wood used includes cypress and red pine, and the carving is done with various types of knives and chisels.

  

  Step 4: Metal fittings

  Each piece of metal fittings for Buddhist altars is handcrafted. Copper, copper alloys, and other metals are engraved, and then finished with pure gold plating. Two methods are used: "hair engraving," which emphasizes the lines, and "ground engraving," which creates a three-dimensional effect. The chisels used in the process are original creations made by the metalworkers themselves. The design is determined by the part of the altar where the fitting will be used.

  

  Process 5: Lacquer coating

  After applying a base coat to the molded wooden base, natural refined lacquer is applied. For the animal glue base coat, polishing powder and animal glue are used to prevent the wood from shrinking and the lacquer from being absorbed. After thorough charcoal polishing, the top coat is applied. For hard-coat lacquers, polishing powder or coarse-ground powder is used, and the finish is achieved by polishing with a whetstone. After the base coat dries, it is polished with magnolia charcoal or Shizuoka charcoal. Finally, it is finished using a technique of applying horn powder to the fingers and palms and polishing. For detailed painting such as carvings, a brown lacquer, which makes it easier to spot unevenness in the coating, is applied in the initial stages. To prevent dust from settling on the lacquer during drying, a "lacquer room" is used, where the humidity and temperature are controlled.

  

  Step 6: Gold leaf application

  After the painting is complete, a gold leaf lacquer is applied to the finished product and wiped clean with cotton. Gold leaf is then applied to the painted surface one sheet at a time using gold leaf scissors, or gold powder is applied. The metal fittings are similarly gold leafed and then burned over charcoal for decoration and protection. Even in this stage, "dust can be fatal," so the work continues with meticulous care.

  

  工程7： 蒔絵

  This process is used to create delicate designs that cannot be expressed with metal fittings or carvings. The base is drawn with lacquer and left to dry for 3 to 5 hours. After that, gold powder, silver powder, and shell are sprinkled on to add details. The timing for sprinkling the gold powder is only 2 or 3 minutes, making it a truly "high-stakes" process.

  画像をクリックすると動画が再生されます

  Step 8: Final Assembly

  All the parts are gathered in one place. From the woodworking of the enclosure, palace, and carvings, to the lacquering, gold leafing, and maki-e processes, each part is assembled with the necessary metal fittings. The exterior and interior foundations of the Buddhist altar are assembled using mortise and tenon joints, while other internal components are finished by fitting them together. The final finishing touches require particularly long experience.

  

   

• Close-up

  Close-up

  YAMEFUKUSHIMA Butsudan (Household Buddhist Altars): The origin of Buddhist altar manufacturing in Kyushu

  The Yame region is home to numerous traditional crafts, including Buddhist altars, paper lanterns, stone lanterns, and handmade Japanese paper. Among them, YAMEFUKUSHIMA Butsudan (Household Buddhist Altars) boast their craftsmanship as the "originator in Kyushu." We spoke to the artisans who have honed their skills for generations about the history and dedication to making Buddhist altars.

   

  A dream of a magnificent and splendid Buddhist temple

  The technique of making Buddhist altars in the Yame region was established during the Kaei era (around 1850), and is considered the beginning of Buddhist altar manufacturing in Kyushu. By the end of the Edo period, there were 18 finishers, 14 metalworkers, 7 sculptors, 7 Buddhist sculptors, and 10 woodworkers, and the industry developed even further after the Meiji Restoration.
  However, there is an anecdote that goes back even further in time. In 1821, during the Bunsei era, Sansaku Towatari, a cabinetmaker, had a dream one night of a magnificent and splendid Buddhist temple. Upon waking, Sansaku decided to ask two fellow carpenters, Toshihira Inoue and Sansaku Hirai, for their cooperation and began making Buddhist altars. The three are considered the founders of YAMEFUKUSHIMA Butsudan (Household Buddhist Altars), and their names are clearly inscribed on a stone monument in Yame City.

  

  Yame YAMEFUKUSHIMA Butsudan (Household Buddhist Altars) lined up at the Yame Traditional Crafts Center

  A region with deep religious faith

  The Yame region, located almost in the center of the Chikugo Plain, has long been known as a place of deep religious faith. There are many temples, including Daienji Temple, which was built during the Nara period, and Komyoji Temple, which is associated with the monk Gyoki, and Buddhism was deeply rooted among the common people. Furthermore, during the Edo period, farmers, suffering from natural disasters and heavy taxes, sought solace in faith. It is believed that the making of Buddhist altars began against this backdrop.
  Hisahiko Matsuda, head of the Yame branch of the Japan Folk Crafts Association, who is enthusiastic about introducing traditional crafts, says, "Many temples and followers of the Shinshu Higashi Honganji sect place importance on performing memorial services within the home, and having a magnificent Buddhist altar to enshrine ancestors also contributed to the family's reputation. The prosperous lives of farmers were also one of the foundations that supported the Buddhist altar industry."

  The mainstream is for home use, and its long lifespan is a major selling point.

  Medium-sized household altars are the mainstream, and there are three types: the "Fukushima type" with a three-tiered base, the "Yame type" with a cabinet-like base, and the "Yahime type" with drawers. The manufacturing process for the altars involves more than 80 steps and is completed using an assembly method. "If you remove a few bamboo nails, it will come apart," says Ryusuke Ogata. Its features include being easy to disassemble, clean, and repair, and being long-lasting. Keizo Inoguchi also proudly states, "Our commitment is to make them with the customer in mind. If you take care of them, they will last for 100 years."
  The parts are made by veteran craftsmen with over 10 years of experience. Each handmade part has its own unique character, and Kazuo Higuchi of YAMEFUKUSHIMA Butsudan (Household Buddhist Altars) and Buddhist Goods Cooperative Association Secretariat says, "If fellow craftsmen look at it, they can tell whose work it is just by looking at a single part."

  

  In carving, various types of knives and chisels are used.

  Research into Buddhist altars that are suited to modern life

  There are also new types of Buddhist altars, conceived by professors and students of Kyushu Institute of Design and prototyped by successors of YAMEFUKUSHIMA Butsudan (Household Buddhist Altars). These feature Western-style designs, inspired by pyramids, stars, outer space, and oases in the desert. They are compact and designed to "blend seamlessly into a room."
  Young customers visiting Buddhist altar shops in Yame sometimes request simplified ways of worshipping at the altar. As these opinions stem from modern lifestyles, shop owners have mixed feelings, wondering, "We want to accommodate their wishes as much as possible, but is it right to make suggestions that completely disregard religious customs?" On the other hand, with the rise of nuclear families, the architectural style of ordinary homes is increasingly Westernized. There is also a feeling that "it will be necessary to consider the needs of the times from now on."

  

  A new Buddhist altar design inspired by stars and space.

  "Japan's No. 1 Buddhist Altar"

  In 1992, YAMEFUKUSHIMA Butsudan (Household Buddhist Altars) Altarware Cooperative created the largest Buddhist altar in Japan. It is on display at the Yame Traditional Crafts Center. It is 6.5 meters high, 3.8 meters wide, 2.5 meters deep, and weighs 2 tons. It is large enough to fit a life-sized Buddha statue inside. 72 member companies of the cooperative each contributed their craftsmen, and it took six months to complete. During that time, more than 1,300 people showcased their skills. Under an outdoor tent, they worked on creating large parts that they don't normally handle.
  The cooperative, which had been struggling due to competition among production areas and a lack of successors, attempted to improve its image by creating a mascot car. The carcot car cost 35 million yen, with subsidies from the government and other sources. It has now become a symbol of Yame City.

  

  The symbol of a town known for making Buddhist altars: Japan's largest Buddhist altar.

  Anecdotes

  The art of making Buddhist altars on the stage of mechanical puppets

  Every September, the Fukushima Hachimangu Shrine in Yame City hosts a performance of the "Yame Fukushima Lantern Puppets," a nationally designated Important Intangible Folk Cultural Property. Mechanical puppets dance and move from side to side on a red bridge that spans the stage. The stage is a three-tiered, prefabricated float; the first tier is controlled by strings from below the stage, the second tier by push rods from dressing rooms on either side, and the third tier is controlled by musicians who work in sync with the puppets. Hidden within this float are techniques used in Buddhist altar making, such as lacquering and assembly methods that do not use nails.
  Originally, this event began as a ceremony to dedicate lanterns shaped like dolls, and eventually, the techniques used for making lanterns were adapted for stage lighting. It is said that the skills of this folk art gave rise to the traditional industries of Buddhist altars and lanterns.

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    The Yame Fukushima Lantern Dolls, hidden within the stalls, also incorporate techniques used in making Buddhist altars.