The fusion of craftsmanship and decoration: traditional crafts and modern decoration that adorn Aizen-do

There are very few examples of the Tenkyū-Aizen-Myō-ō Buddhist statue in Japan, and this one was made using the Kanshitsu-gihou (乾漆技法) technique. This is the first time a Kanshitsu Aizen-Myō-ō has been made in Japan. When it came to making the altars and other fittings to enshrine this statue, we were asked to make a special type of altar, a canopy, and a roof.

The shumidan is placed at the center of the octagonal hall, so it was decided that it should be octagonal in shape. Usually, shumidan are almost always square in shape, and they must be placed on a keyaki dais in the center surrounded by eight pillars, so it was impossible to paint or deliver them using normal construction methods. Therefore, we decided to deliver the shumidan dismantled, and drew up a production plan with the work of assembling them inside the enclosed pillars in mind.

The shumidan is placed at the center of the octagonal hall, so it was decided that it should be octagonal in shape. Usually, shumidan are almost always square in shape, and they must be placed on a keyaki dais in the center surrounded by eight pillars, so it was impossible to paint or deliver them using normal construction methods. Therefore, we decided to deliver the shumidan dismantled, and drew up a production plan with the work of assembling them inside the enclosed pillars in mind.

Since the painting process could be carried out by dismantling each component, we were able to paint and polish more carefully than usual. Since the surface is polished to a mirror finish, if the base coat is not good, there will be unevenness even after polishing. By carefully polishing the base coat many times, the subsequent middle and top coats could be applied smoothly, increasing the thickness of the paint and polishing the surface to a mirror finish.After the on-site assembly work, the metal fittings are hammered into the corners of the frames and the pillars. As this was an octagonal hall reminiscent of the Yumedono at Hōryū-ji, we decided on a design that was an arrangement of the “Nindou-Karakusa” arabesque pattern used on the Tamamushi no zushi at Hōryū-ji, among the various arabesque patterns available.The design is expressed using a technique called “keri-bori”, in which a copper base plate is pierced with a chisel and hammer to create a pattern of wedges. The octagonal hall's rafters and beams are also decorated with metal fittings in this design.

Since the painting process could be carried out by dismantling each component, we were able to paint and polish more carefully than usual. Since the surface is polished to a mirror finish, if the base coat is not good, there will be unevenness even after polishing. By carefully polishing the base coat many times, the subsequent middle and top coats could be applied smoothly, increasing the thickness of the paint and polishing the surface to a mirror finish.After the on-site assembly work, the metal fittings are hammered into the corners of the frames and the pillars. As this was an octagonal hall reminiscent of the Yumedono at Hōryū-ji, we decided on a design that was an arrangement of the “Nindou-Karakusa” arabesque pattern used on the Tamamushi no zushi at Hōryū-ji, among the various arabesque patterns available.The design is expressed using a technique called “keri-bori”, in which a copper base plate is pierced with a chisel and hammer to create a pattern of wedges. The octagonal hall's rafters and beams are also decorated with metal fittings in this design.

The canopy and roof were given a Raden-nuri coating to bring to life the passage in the sutra that says “The arrows that are released become countless stars that twinkle in the darkness”. In a normal Raden-nuri coating, finely crushed shell fragments are layered with black urushi and polished, but in this case, indigo-colored urushi was used to express a more beautiful starry sky. The aiurushi is applied seven times until the shell fragments are completely covered, but as the urushi dries, it dries darker than the original color. Therefore, when polished, the layers of urushi gradually become visible, and the subtle changes in color and depth give the work a texture similar to that of a real nebula.

The canopy was made with the image of shooting stars flying in all directions like meteors. There were no previous examples of canopies like this, so we started from design. We got the idea from the radial halo used in the aureola of Buddhist statues, and tried out different shapes and thicknesses for the individual components to create a modern image reminiscent of shooting stars. We produced full-scale drawings and models many times, and the prototype was completed through collaboration between the Buddhist sculptor, woodworker and carver. After urushi lacquering and gold leaf application, we completed a canopy for Tenkyū-Aizen-Myō-ō unlike anything seen before.

These magnificent Buddhist altar fittings, which enshrine Tenkyū-Aizen-Myō-ō, cannot be made by just one person or one type of craftsman. Many craftsmen, such as woodworkers, lacquerers, sculptors, hakuoki-shi, and kazari-shi, pass on their skills and passion to the next craftsman, and the magnificent Buddhist altar fittings are made.Thanks to the production of the Aizen-do Buddhist altar fittings, I think that the craftsmen involved were able to refine their new sensibilities and further improve their skills. I am proud to have been involved in this commemorative project, and I hope to use it as encouragement for the future. I would like to express my deep gratitude once again to the chief priest of Hattasan for giving me this wonderful opportunity.