This NPO, in collaborating with A Society of KODAIJI MAKIE TEQUNIQUES Preservation and Transmission, will start the project of studying "KODAIJI MAKIE"(Kodaiji-temple lacquer works)-important cultural asset at Kodaiji-temple in Kyoto at once the greatest masterpiece of MAKIE(lacquer works) as interior decor-and their presentation to the world. This project, requiring several years to achieve the goal, is searching for partners who can cooperate with or sponsor it. For those who are interested in this project, please contact us at contact@kyo-koei.net.

What is KODAIJI MAKIE?

KODAIJI MAKIE =“Kodaiji-temple lacquer works”

Kodaiji-temple was built in Kyoto by Kodai-in or Kitano-Mandokoro, a wife of Shogun as well as the chief adviser to the Emperor, named Toyotomi Hideyoshi, to pray for the repose of his soul in 1606. (Keicho 11). Despite frequent fires, there still remain several of original wooden architectures, which is one of the very precious cultural assets in Japan. One of the precious architecture called Otama-ya- an important cultural asset- houses lacquered works being developed within the inner temple, which are called Kodaiji-temple lacquered works. Lacquering art, originally developed in Japan, is the technique to draw gold or silver pictures on lacquered works. It is well known that, during this time of the period, European missionaries and East Indian companies brought a large number of lacquered works to many European cities. Since then, lacquered works have been symbolically called japan, starting with small capital. At the Otama-ya in Kodaiji-temple are the very lacquered works which took Europeans by surprise back then and have been historically and globally unparalleled pieces of art works as interior decor.

“The study of KODAIJI MAKIE and its restorative work plan”

The plan focuses on the investigation based upon restorative viewpoints as to a series of lacquered works dubbed Kodaiji Makie, important cultural assets, at Otama-ya in Kodaiji-temple, Kyoto to shed light on the artistic techniques and their characteristics in skills including designing, drawing, selecting gold powders, and etc. In addition, by analyzing materials, lacquering process, patterns, gold powders or other materials as well as their composition and techniques, the immortality and the view of nature the works produce and lacquering techniques unfolding panorama will be revealed, thus bringing back the spirit of the everlasting design and skills to the contemporary works.

The plan will go through as follows:

Step1: Study MAKIE at Otama-ya in Kodaiji-temple.
Step2: Analyze lacquering techniques involving MAKIE at Otama-ya in Kodaiji-temple.
Step3: Restorative work for MAKIE screen and etc. at Otama-ya in Kodaiji-temple.
Step4: Restorative MAKIE of Otama-ya in Kodaiji-temple go on display.

Step1: Study MAKIE at Otama-ya in Kodaiji-temple.
Period: 2/1 year~1 year
Target: Overall MAKIE at Otama-ya in Kodaiji-temple
Classification: Design, techniques, materials, drawing skills, and selection of gold powders, etc. Materials, lacquering process, patterns, gold powders (materials), composition, and skills of MAKIE at Otama-ya in Kodaiji-temple.

Step2: Analyze lacquering techniques involving MAKIE at Otama-ya in Kodaiji-temple.
Period: 1/2 year~1 year
Target: Overall MAKIE at Otama-ya in Kodaiji-temple
Classification: Design, techniques, materials, drawing skills, and selection of gold powders, etc. Materials, lacquering process, patterns, gold powders (materials), composition, and skills of MAKIE at Otama-ya in Kodaiji-temple.

Step3: Restorative work for MAKIE screen and etc. at Otama-ya in Kodaiji-temple.
Outline : Lacquered screens 20 pieces
Period : 2~3 years
Details : Lacquered screens 20 pieces
No.1: Hideyoshi’s miniature shrine doors
(Japanese pampas grass and 5&7 paulownias)

Step4 : Restorative MAKIE of Otama-ya in Kodaiji-temple go on display.
Outline : TBD
Period : TBD
Items : Restored works of MAKIE at Otama-ya in Kodaiji-temple lacquered screen 20 pieces


Newspaper article- 1
As this project has been drawing a public attention, Kyoto newspaper ran the article on January 5, 2003 as follows:

Restorative surveys & works of “KODAIJI-MAKIE”- blossoms of Momoyama era

In order to bring back the lacquering technique in making “KODAIJI-MAKIE” (owned by Kodaiji temple, Higashiyama-ku, Kyoto-city) representing Momoyama era to life, Shimoide Yutaro , a MAKIE specialist, has launched the survey.
He intends to analyze patterns and design in details based on digitally-recorded picture data of Makie, estimate the materials for lacquer, the process, gold powders in use, and specify the techniques which generated rich artistic characteristics.
KODAIJI-MAKIE were applied to platform and miniature shrines, on which wooden images of Hideyoshi and Kitano Mandokoro are placed, at Otama-ya in Kodaiji-temple. They are the works of Ko-ami Matazaemon in 1596 (Bunroku 5), characterized in gorgeous and minute design representing such motif as autumn leaves and effective techniques.
Mr. Shimoide, a member of Nitten art society, first encountered the real MAKIE and so impressed by their panoramic decor overflowing with life that he appealed to Kyoto city, saying “I want to bring its overwhelming techniques and expression to life”, which eventually agreed to support his effort as a part of digital archive business.
At the end of 2002, two sides of doors for Hideyoshi and Kitano Mandokoro’s miniature shrine ( about 150 cm x about 130 cm ) were digitally recorded in such a manner that first Mr. Shimoide made a close observation of chrysanthemum or pine patterns and then the specialist took the pictures of them while spotting them with light so that the roughness of golden powders or lacquer stood out.
Next, Mr.Shimoide is up to examine lacquer materials, drawing, or lacquering process based on recorded dozens of picture data, along with pointing out which golden powders were used to which patterns from a hundred and a dozen varieties; then, he will specify the techniques used for HIRA-MAKIE,TAKA-MAKIE from basic to advanced, while involving in restoring works to reveal what’s in the beauty of about four hundred years ago with the eyes of a current artisan.
Mr. Shimoide says, “I would like to specify the techniques then used, which is full of vitality, and to try to develop everlasting design as well as techniques. Also, by preserving the techniques of Momoyama era and taking over it, I want to activate traditional industry in Kyoto.”

picture=Mr. Shimoide digitally recording the KODAIJI-MAKIE and examining them ( at Kodaiji-temple, Higashiyama-ku, Kyoto-city )