神棚をデザインしました。神道についてもずいぶん勉強しました。あっけにとられるような事実もたくさんありましたが、それはさておき、神棚に神さまが住まわれることは無いということが分かったので(あくまでも神札を祀る場所です)神社そのままの「宮形」は取り入れませんでした。
現代の暮らしに合わせるため、神社建築の様式の一部をクローズアップして再構築する手法をとりました。
一社造は本棚に置け、二社造は壁にかけることもできます。
少しだけ便利になるよう、祭器具は一度に取り換えられるようデザインされています。
形はすこし変わりましたが、大切な部分は何一つ変えていません。
一社造から三社造まで、昔からの神棚と同じお祀りの作法で使えます。
素材は木曽檜と神代桂。組子細工の第一人者、横田栄一氏の工房で製作しています。
2015年11月にロンドンのヴィクトリア&アルバート博物館に収蔵、常設展示となりました。
I’ve designed a kamidana, a small Shinto altar for use in the home or business.
The traditional altar was inspired by the shape of Shinto shrines. It was an opportunity for me to do some research about Shinto beliefs in general and there were quite a few facts about Shinto that were an astonishment to me. First of all, I came to understand that gods never live in such an altar (they are the place for offering prayers) so I didn’t design the kamidana in exactly the shape of a shrine.
In order to have it fit with modern lifestyles, I rebuilt the kamidana by focusing on certain aspects in the details of shrine architecture.
There are various sizes of these little altars. The single-unit type, which is a single altar for one god, can be placed on a bookshelf. The “two-god” type can be hung on the wall. In order to make them more convenient to use, I designed the kamidana so that the daily offerings can be easily removed and replaced all together rather than each offering individually.
While I changed the shape slightly from those you may see traditionally, the important parts of the altar are entirely unchanged. The single-, two- and three-god types can all be used for offering prayers in the same way as the traditional kamidana.
The altars are made of the same kind of cypress used in building actual shrines as well as another type of wood called jindai-katsura, which comes from trees buried in the earth for over 1,000 years. The altars’ joinery is produced by joinery master Eiichi Yokota.
This piece has been added to the collection of Victoria and Albert Museum in London and is now part of is permanent exhibition in November 2015.
这次是设计神坛。为此,我特别投注心力钻研神道,发现许多令我目瞪口呆的事实。不过,总之,我了解神坛没有神明居住(只是奉祀神符之处),所以,设计并未采用神社的「宫庙外型」。
为了配合现代的生活形式,我放大部分的神社建筑样式,解构重组。
奉祀一神的神坛,可置于书架上;奉祀二神的则能够悬挂于墙上。
采用祭祀器具能够全面替换的便利设计。
外型上虽然有些改变,重要的部分丝毫未有任何更动。
无论是奉祀一神、二神或三神,都能够使用和以往神坛相同的祭祀方法。
素材是木曾桧木(产于日本木曾河上游)和神代连香木(长期埋于火山灰地层中)。由组合工匠第一把交椅的横田荣一氏工房负责
2015年11月成为伦敦的维多利亚与艾伯特博馆的馆藏,并常设展示。
In production | Hinoko cypress | W95 D141 H290 | 46,500JPY | jinguji-kamidanasha.net
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