http://darumamuseum.blogspot.jp/2008/05/butsudan.html
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Three regions are especially famous for its Butsudan:
Kagoshima, Tokyo and Yamagata.
.......................................................................
. Kagoshima Folk Art - 鹿児島県 .
Kawanabe Butsudan 川辺仏壇
In the middle of the Kamakura period, family Buddhist altars became popular. They are called 仏壇 (butsudan) in Japanese. Early in the nineteenth century, these Buddhist altars the industry of making these altars started and became popular later. Today, it has become the base of Kawanabe Buddhist altar industry. Now there are many shops which sell Kawanabe Buddhist altars in Kawanabe.
- source : wikipedia -
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. Tokyo and Edo Folk Art 東京 江戸 .
- quote -
Traditional Technologies and Techniques
01 -- The basic wooden construction of Tokyo Butsudan (Buddhist Altars) is assembled free of nails. Woodworking techniques such as mitered shoulder joints, dovetail keyed miter joints, and mortise and tenon joints are all used.
02 -- Engraving involves standard woodworking techniques, as well as the working of reliefs and inlays, etc.
03 -- Using lacquer that has undergone a refining process, the finish that is applied is polished to a gloss.
Traditionally Used Raw Materials
Timber species used in the construction of Butsudan include Ebony, Rosewood, Bombay Blackwood, Chinese Quince, Zelkova, Mulberry, Cherry, Cypress, Cedar and other timbers with similar qualities.
Additionally, a natural lacquer is used for lacquering.
History and Characteristics
In modern times, when Butsudan (Buddhist Altars) are imagined by people, they tend to think of immobile box-type structures that are placed somewhere. However, when originally conceptualized, Butsudan were seen as a stand on which statues of Buddha could be safely placed within the precincts of Buddhist temples. As the meaning of "Butsudan" when written in kanji characters implies (literally "a platform on which a statue of Buddha maybe safely placed"), at one stage such altars were also created from earth and stone in addition to wood. Concerning the use of stone structures, it seems that their origins lay in cave altars constructed in India and China.
It is said
Buddhism reached Japan in 538 (552 in some sources) during the Asuka Period. This was due to King Seong of the Kingdom of Baekje offering a Buddhist statue and sutra scrolls as a gift. The Emperor Tenmu stated in 685, "Iurge that within the country, each household be encouraged to build an altar with a dais where an image of Buddha and a sutra may be placed; and that each does hereby engage in acts of worship." This rescript is said to have resulted in the construction of Buddhist monasteries and nunneries in each province of the country during the Nara Period that followed.
While
until the Heian Period (794 - 1185) Buddhism remained a preserve of the aristocracy, during the Kamakura Period (1185-1333) it underwent a transformation as the aristocracy conveyed it to the warrior classes. Furthermore, through the work of missionaries such as Honen, Shinran and Nichiren, Buddhism spread further among the masses.
With
the arrival of the Tokugawa Shogunate (1603 - 1868), because a system of government with the Shogunate at its apex was established, an attitude that promoted both the protection and strengthening of Buddhism was instituted. Such policies saw numerous temples being built in Edo as the power of Buddhism increased due to the organization of death registers.
Tokyo Butsudan
started to be manufactured at the beginning of the Genroku Era (1688 - 1704). Using their own techniques and materials such as hardwood timbers including Mulberry and Zelkova, during their work breaks the cabinetmakers of Edo made rather simple cabinets without much decoration. Furthermore, it is also said that Shokei Yasuda, a third-generation Edo sculptor of Buddhist statues, was the first person to use imported timbers such as Ebony and Rosewood (in around 1840).
These days,
the Tokyo Butsudan craft continues to incorporate the skills passed down by generations of craftsmen. The altars themselves also offer a marvelous sense of splendor that induces those who witness them to bow in reverence.
Tokyo Karaki Butsudan Manufacturing Cooperative Association
- source : sangyo-rodo.metro.tokyo.jp -
.......................................................................
. Yamagata Folk Art - 山形県 .
- quote -
By the middle of the Edo period (1600-1868), the number of people travelling to and from Kyoto had increased because of the trade in such crops as safflower from Yamagata. As a result, Buddhist altar culture found its way into the area. Some craftsmen went to distant Edo (Tokyo) to learn carving skills and began working on such things as transoms and other articles related to Buddhism. Subsequently, workers of metal, lacquerers and maki-e decorators began to make household Buddhist altars.
Facings are of zelkova (Zelkova serrata) or sen (Kalopanax septemlobus) which are lacquered to bring out their grain and to give them a warmth. The kuden or inner sanctuary with its bracket assemblies has a heart-warming beauty. The fittings, which are inlaid with arabesque patterns on black, are grand within a composed setting, and the carvings of dragons and heavenly beings have a glittering splendor.
There are now 115 firms employing 262 staff, among which there are 22 government recognized Master Craftsmen.
Yamagata Household Buddhist Altars commerce and industry cooperative association
- source : kougeihin.jp -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Three regions are especially famous for its Butsudan:
Kagoshima, Tokyo and Yamagata.
.......................................................................
. Kagoshima Folk Art - 鹿児島県 .
Kawanabe Butsudan 川辺仏壇
In the middle of the Kamakura period, family Buddhist altars became popular. They are called 仏壇 (butsudan) in Japanese. Early in the nineteenth century, these Buddhist altars the industry of making these altars started and became popular later. Today, it has become the base of Kawanabe Buddhist altar industry. Now there are many shops which sell Kawanabe Buddhist altars in Kawanabe.
- source : wikipedia -
.......................................................................
. Tokyo and Edo Folk Art 東京 江戸 .
- quote -
Traditional Technologies and Techniques
01 -- The basic wooden construction of Tokyo Butsudan (Buddhist Altars) is assembled free of nails. Woodworking techniques such as mitered shoulder joints, dovetail keyed miter joints, and mortise and tenon joints are all used.
02 -- Engraving involves standard woodworking techniques, as well as the working of reliefs and inlays, etc.
03 -- Using lacquer that has undergone a refining process, the finish that is applied is polished to a gloss.
Traditionally Used Raw Materials
Timber species used in the construction of Butsudan include Ebony, Rosewood, Bombay Blackwood, Chinese Quince, Zelkova, Mulberry, Cherry, Cypress, Cedar and other timbers with similar qualities.
Additionally, a natural lacquer is used for lacquering.
History and Characteristics
In modern times, when Butsudan (Buddhist Altars) are imagined by people, they tend to think of immobile box-type structures that are placed somewhere. However, when originally conceptualized, Butsudan were seen as a stand on which statues of Buddha could be safely placed within the precincts of Buddhist temples. As the meaning of "Butsudan" when written in kanji characters implies (literally "a platform on which a statue of Buddha maybe safely placed"), at one stage such altars were also created from earth and stone in addition to wood. Concerning the use of stone structures, it seems that their origins lay in cave altars constructed in India and China.
It is said
Buddhism reached Japan in 538 (552 in some sources) during the Asuka Period. This was due to King Seong of the Kingdom of Baekje offering a Buddhist statue and sutra scrolls as a gift. The Emperor Tenmu stated in 685, "Iurge that within the country, each household be encouraged to build an altar with a dais where an image of Buddha and a sutra may be placed; and that each does hereby engage in acts of worship." This rescript is said to have resulted in the construction of Buddhist monasteries and nunneries in each province of the country during the Nara Period that followed.
While
until the Heian Period (794 - 1185) Buddhism remained a preserve of the aristocracy, during the Kamakura Period (1185-1333) it underwent a transformation as the aristocracy conveyed it to the warrior classes. Furthermore, through the work of missionaries such as Honen, Shinran and Nichiren, Buddhism spread further among the masses.
With
the arrival of the Tokugawa Shogunate (1603 - 1868), because a system of government with the Shogunate at its apex was established, an attitude that promoted both the protection and strengthening of Buddhism was instituted. Such policies saw numerous temples being built in Edo as the power of Buddhism increased due to the organization of death registers.
Tokyo Butsudan
started to be manufactured at the beginning of the Genroku Era (1688 - 1704). Using their own techniques and materials such as hardwood timbers including Mulberry and Zelkova, during their work breaks the cabinetmakers of Edo made rather simple cabinets without much decoration. Furthermore, it is also said that Shokei Yasuda, a third-generation Edo sculptor of Buddhist statues, was the first person to use imported timbers such as Ebony and Rosewood (in around 1840).
These days,
the Tokyo Butsudan craft continues to incorporate the skills passed down by generations of craftsmen. The altars themselves also offer a marvelous sense of splendor that induces those who witness them to bow in reverence.
Tokyo Karaki Butsudan Manufacturing Cooperative Association
- source : sangyo-rodo.metro.tokyo.jp -
.......................................................................
. Yamagata Folk Art - 山形県 .
- quote -
By the middle of the Edo period (1600-1868), the number of people travelling to and from Kyoto had increased because of the trade in such crops as safflower from Yamagata. As a result, Buddhist altar culture found its way into the area. Some craftsmen went to distant Edo (Tokyo) to learn carving skills and began working on such things as transoms and other articles related to Buddhism. Subsequently, workers of metal, lacquerers and maki-e decorators began to make household Buddhist altars.
Facings are of zelkova (Zelkova serrata) or sen (Kalopanax septemlobus) which are lacquered to bring out their grain and to give them a warmth. The kuden or inner sanctuary with its bracket assemblies has a heart-warming beauty. The fittings, which are inlaid with arabesque patterns on black, are grand within a composed setting, and the carvings of dragons and heavenly beings have a glittering splendor.
There are now 115 firms employing 262 staff, among which there are 22 government recognized Master Craftsmen.
Yamagata Household Buddhist Altars commerce and industry cooperative association
- source : kougeihin.jp -
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