JP2008183282A

JP2008183282A - Family buddhist altar and sutra table

Info

Publication number: JP2008183282A
Application number: JP2007020692A
Authority: JP
Inventors: Takaichi Ono; 隆市小野; Norio Miroku; 典男彌勒; Shuichi Suzuki; 修一鈴木
Original assignee: ONOYA SHITSUKITEN KK
Current assignee: ONOYA SHITSUKITEN KK
Priority date: 2007-01-31
Filing date: 2007-01-31
Publication date: 2008-08-14

Abstract

<P>PROBLEM TO BE SOLVED: To provide a new family Buddhist altar and a sutra table which maintain religious formality of the family Buddhist altar and the sutra table and further create decorative added value. <P>SOLUTION: The family Buddhist altar comprises three plates, an outer plate, a middle plate, and an inner plate. Transparent lacquer panels in which the outer plate disposes sprinkled lacquerware here and there on the surface, the middle panel disposes sprinkled lacquerware here and there over a glass plate surface, the inner plate applies transparent lacquer all over the glass plate surface, and sprinkled lacquerware is drawn here and there on the surface of a transparent plate are engaged in a transom 32 and side panels of Shumi altar 34 with specified intervals; moreover, the transparent lacquer plates comprising the outer plate and inner plate are engaged in a frame body part of a Shumi altar 33 with specified intervals. <P>COPYRIGHT: (C)2008,JPO&INPIT

Description

本発明は、新規な仏壇及び経机に関するものであり、仏壇の欄間、須弥壇、猫戸、障子腰等の枠体部及び経机の引出し枠体部に、花鳥風月等の蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込むことにより、畳重された蒔絵模様に深遠な奥行感を醸生することで美的付加価値を付与した仏壇及び経机に関するものである。 The present invention relates to a novel Buddhist altar and warrior, and framed parts such as Hanatori Kazuki are applied to the frame of the Buddhist altar, the frame of Sudadan, the cat door, the shoji waist, and the drawer frame of the warp. It relates to Buddhist altars and pedestrians that have added aesthetic value by creating a deep sense of depth in the tatami mat pattern by separating and fitting a plurality of transparent maki boards such as glass plates and acrylic plates at predetermined intervals. Is.

仏壇は、仏を祀る厨子であり、内部は仏堂を模した荘厳な造作となっており、仏像や先祖の位牌が収納され、家庭内における日々の信仰の対象となっている。また、仏壇はその系譜から金仏壇、唐木仏壇、家具調仏壇に大別されるといわれている。先ず、金仏壇は、全体に黒の漆塗りが施され、内部に金箔が貼られているものであり、塗り仏壇とも呼ばれている。また、この金仏壇の製造には、木地師、宮殿師、彫刻師、塗り師、呂色師、金箔押師、蒔絵師、彩色師、飾金具師、仕立師など多くの職人の手を要すものであると共に産地の職人が伝統的材料と技法で製作する伝統工芸品であることから高級仏壇としての評価が高い。更に、唐木仏壇は、黒檀や紫檀などの銘木と呼ばれる木材の木目模様を表出したことを特徴とするものであり、その代表的な木質は、黒檀、紫檀の他に、桑、欅等も挙げられる。そもそも唐木とは、中国の唐の時代に、唐から輸入された東南アジア産の銘木のことを指しており、日本では産出されない黒檀や紫檀を材料として使用していたことにその名の由来がある。更にまた、住宅環境の洋風化を受け、近年需要の増加を見せている家具調仏壇は、種々の形態から成るものであり、一見高級家具の面持ちを有し、洋間に合わせた新しいデザインの仏壇と言える。また、宗教的な彫刻や宮殿を排除して、インテリア性を重視したデザインとなっている。更に、その材質は、ナラ、ウォールナット、ニレ、チーク、クルミ等の家具材が使用され、明るい色調を特徴としている。また、経机は仏壇の前に配置して読経のために経本を置いたり、写経をしたりしたので経机と呼ばれたものと考えられるが、一般家庭における使用方法は、経机の上に香炉や火立、線香立、リン、念珠、花瓶、供物などを置くのが普通となっている。また、引出しのある経机は、その引出しの中に経本、念珠、線香、ロウソク等を収納するという利便性がある。更に、経机は仏壇に付帯する仏具として考えられることから、仏壇が金仏壇である場合には経机も全体に黒の漆塗りが施され、外観に金箔があしらわれた塗り経机が適し、仏壇が唐木仏壇の場合には黒檀、紫檀等の銘木の木目模様を現出した唐木経机が相応しいとされている。 The Buddhist altar is a lion that enshrines the Buddha, and the interior is a majestic creation that mimics a Buddhist temple. It houses Buddha statues and ancestors' ancestors, and is the object of daily faith in the home. In addition, Buddhist altars are said to be broadly divided into gold Buddhist altars, Karagi Buddhist altars, and furniture-like Buddhist altars. First, the golden Buddhist altar is black lacquered throughout and gold leaf is affixed inside, and is also called a painted Buddhist altar. In addition, for the production of this golden Buddhist altar, the hands of many craftsmen, such as wood masters, palace masters, sculptors, painters, rosy masters, gold leaf stampers, lacquer painters, painters, ornaments, tailors, etc. It is a traditional handicraft that is produced by craftsmen in the production area using traditional materials and techniques, and is highly regarded as a luxury Buddhist altar. Furthermore, Karagi Buddhist altars are characterized by the appearance of wood grain patterns called ebony and mushrooms, and their typical wood quality includes mulberry and mushrooms as well as ebony and mushrooms. Can be mentioned. In the first place, Karaki refers to the name of Southeast Asian imported wood imported from Tang during the Tang Dynasty of China, and its name derives from the fact that it used ebony and rosewood that were not produced in Japan. . Furthermore, furniture-style Buddhist altars, which have been increasing in demand in recent years due to the westernization of the residential environment, are composed of various forms, seemingly have high-quality furniture, and have a newly designed Buddhist altar that matches the western style. I can say that. In addition, it is designed with an emphasis on interior characteristics, excluding religious sculptures and palaces. Furthermore, the material is made of furniture such as oak, walnut, elm, teak, walnut, etc. and is characterized by a bright color tone. In addition, it is considered that it was called a kei because it was placed in front of the Buddhist altar and placed a manuscript for reading and copying. It is common to place fires, incense sticks, phosphorus, pearls, vases and offerings. A drawer with a drawer has the convenience that a drawer, a pearl, an incense stick, a candle, etc. are stored in the drawer. Furthermore, since the warp is considered to be a Buddhist accessory attached to the Buddhist altar, if the Buddhist altar is a gold Buddhist altar, a black lacquer is applied to the entire warp, and a plaster with a gold leaf on the exterior is suitable. In the case of Karagi Buddhist altars, it is said that Karaki Kyoki, which displayed the grain pattern of famous woods such as ebony and purple sand, is suitable.

一方、近年、伝統的な仏壇産地における職人の高齢化と技術を伝承する若手職人が不足している問題や、貴重材の品薄に伴う材料の高騰に加え、中国等の人件費が廉価な諸外国において生産された低価格な仏壇の台頭によって、国内産地における仏壇の需要は益々衰退の一途を辿っているといわれている。しかしながら、このような状況に至る要因の一つには、いずれの仏壇も可もなく不可もない、というように差別化が図られてこなかったことにも原因があると考えられる。例えば、唐木仏壇においては、すべて黒檀の無垢材からなる総無垢の仏壇は、一般的な需要者の購入可能価格を遥かに超えた高価なものであるが故に僅かな生産に止まり、現在の多くの仏壇は、朴の木、セピター、ジョンコン、合板、ＭＤＦボード等の合成木材を芯材にし、当該芯材に黒檀や紫檀等の銘木を張った張合わせ材を用いたものとなっている。ここで、以上の総無垢の仏壇と張合わせ材から成る仏壇の差異は、基本的には使用材料の違いという点に尽き、仏壇自体の様式性、即ち外観形状や内部の造作においては、大きな相違点はないと考えられる。更に、言うまでもなく仏壇の付帯仏具と考えられる経机についても同様の事情が存在する。 On the other hand, in recent years, in addition to the problem of the lack of young craftsmen who pass on techniques and aging of craftsmen in traditional Buddhist altar production areas, as well as soaring materials due to the shortage of valuable materials, labor costs in China and other countries are low. With the rise of low-cost Buddhist altars produced in foreign countries, it is said that the demand for Buddhist altars in domestic production areas is steadily declining. However, one of the factors leading to this situation is thought to be the fact that none of the Buddhist altars were neither good nor impossible, and no differentiation was made. For example, in Karagi Buddhist altars, the total solid Buddhist altars, which are all made of solid ebony wood, are expensive, far exceeding the purchase price of general consumers. The Buddhist altar is made of synthetic wood such as magnolia, septer, john kong, plywood, MDF board, etc., and a laminated material in which the core material is covered with a precious wood such as ebony or rosewood. Here, the difference between the innocent Buddhist altar and the Buddhist altar made of laminated material is basically the difference in the materials used, and the style of the Buddhist altar itself, that is, the external shape and the construction of the interior is large. There seems to be no difference. Needless to say, the same situation exists for the sutra, which is considered to be an accessory of Buddhist altars.

更にまた、それらの事情は宗教的な彫刻や宮殿を排除してインテリア性を重視した上記家具調仏壇は別として、伝統的な仏壇とされる金仏壇や唐木仏壇並びに経机においては、宗教用具としての様式性が堅持されていることに本来の価値観があると解釈されるため、これらの仏壇及び経机の外観形状や内部の造作には、さほど大きな相違点を創出し難いという問題があった。 Furthermore, apart from the above-mentioned furniture-style Buddhist altars, which emphasized interior qualities, excluding religious sculptures and palaces, the Buddhist altars and Karaki Buddhist altars, which are traditional Buddhist altars, and the pedestrians, are used as religious tools. Since it is interpreted that there is an original value in maintaining the style, there is a problem that it is difficult to create a great difference in the external shape and internal structure of these Buddhist altars and pedestals.

一方、宗教的な雰囲気を出しながら新しいイメージの仏壇を提供しようとするものに、特開２００１−２７５８２３号がある。当該発明は、近代的なデザインの仏壇にマッチした内戸又は外戸又は欄間の意匠を提供することを目的とするものであり、その第一の要旨は、仏壇の正面に取り付けられた戸の窓の部分にステンドグラスを嵌め込んだ仏壇であること。第二の要旨は、仏壇の欄間にステンドグラスを嵌め込んだ仏壇であること。そして、第三の要旨は、第一又は第二の要旨のステンドグラスが、エッチングされたもの又は模様として描かれたものの双方を含むものであること。更に、第四の要旨は、第一の要旨又は第三の要旨のステンドグラスの嵌め込む戸が、内戸又は外戸又はこの双方が対象であること。更にまた、第五の要旨は、第一の要旨乃至第四の要旨のステンドグラスの素材が、ガラス又はプラスチックを含むものであることであった。＜BR＞
特開２００１−２７５８２３号 On the other hand, JP 2001-275823 A discloses a Buddhist altar with a new image while giving a religious atmosphere. The present invention aims to provide a design of an interior or exterior door or balustrade that matches a modern-designed Buddhist altar. It is a Buddhist altar with stained glass in the window. The second point is that it is a Buddhist altar with stained glass inserted between the columns. And a 3rd summary shall contain both the thing by which the stained glass of the 1st or 2nd summary was etched or drawn as a pattern. Further, the fourth gist is that the door into which the stained glass of the first gist or the third gist is fitted is an inner door, an outer door, or both. Furthermore, the fifth gist is that the stained glass material according to the first gist to the fourth gist contains glass or plastic. <BR>
JP 2001-275823 A

上記背景技術の項に記載のように、伝統的な仏壇とされる金仏壇や唐木仏壇においては、宗教用具としての仏壇の様式性が堅持されていることに本来の価値観があると解釈されるため、これらの仏壇の外観形状や内部の造作には、さほど大きな相違点を創出し難いという問題があった。また、特開２００１−２７５８２３号に開示された仏壇は、宗教的な雰囲気を出しながら新しいイメージの仏壇を提供しようとするものであり、仏壇の内戸又は外戸の窓あるいは仏壇の欄間にステンドグラスを嵌め込んだものが開示されており、作用の項に、ステンドグラスが持つイメージは一部において教会、つまり宗教的なものをイメージし、然もサイケ調のカットや色彩は装飾的に質感、豪華さを高め、集合住宅や洋間にマッチするものであるとの記載があるが、現実的には、宗教用具としての仏壇の様式性は仏教の基づくものであり、方やキリスト教教会の窓に嵌め込まれているステンドグラスは西洋建築の要素を醸し出すものであるがゆえ、和洋混交なものとして違和感が感受されるという課題があった。そこで、本発明者は上記背景技術等の課題に着目して種々の意匠的検討と研究の末に、本発明に到達したものであり、家庭内における日々の信仰の対象となっている宗教用具としての仏壇及び経机の宗教的形式性を維持すると共に、更に装飾的な付加価値を醸成した新規な仏壇及び経机を提供することを目的とする。 As described in the background section above, the traditional Buddhist altars and the Kinki Buddhist altars are interpreted as having the original values that the style of the Buddhist altars as religious tools is maintained. Therefore, there is a problem that it is difficult to make a great difference in the external shape and internal structure of these Buddhist altars. In addition, the Buddhist altar disclosed in Japanese Patent Application Laid-Open No. 2001-275823 is intended to provide a new image of the Buddhist altar with a religious atmosphere, and it is stained between the windows of the inner and outer doors of the Buddhist altar or the columns of the Buddhist altars. Glasses are disclosed, and in the section of action, the stained glass image partly reflects the church, that is, the religious object, but the psychedelic cuts and colors are decoratively textured However, in reality, the style of the Buddhist altar as a religious tool is based on Buddhism, and it is based on Buddhism. The stained glass fitted in the window brings out elements of Western architecture, so there was a problem that a sense of incongruity was perceived as a mixture of Japanese and Western. Therefore, the inventor has arrived at the present invention after various design studies and researches focusing on the above-mentioned background art and the like, and is a religious tool that is the object of daily faith in the home. The purpose is to provide a new Buddhist altar and ceremonial craft that maintain the religious formality of the Buddhist altar and meditation as well as foster additional decorative value.

上記目的を達成するため、本発明に係る仏壇は、欄間、須弥壇、猫戸、障子腰等の枠体部の一つ以上に、蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込んだものであることを第一の要旨とする。 In order to achieve the above-mentioned object, the Buddhist altar according to the present invention is made of a glass plate / acrylic plate or the like having a lacquered picture on one or more of the frame parts such as bamma, sudadan, cat door, shoji waist. The first gist is that a plurality of lacquer boards are inserted at predetermined intervals.

更に、本発明に係る経机は、経机の引出しの枠体部に、蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込んだものであることを第二の要旨とする。 Furthermore, the warp according to the present invention has a frame body portion of a warp drawer in which a plurality of transparent screen boards such as glass boards and acrylic boards with a picture drawn are spaced and fitted at predetermined intervals. Is the second gist.

また、本発明に係る仏壇及び経机に係る透過性蒔絵板は、外側板、中板、内板の三枚で構成され、上記外側板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、次に上記中板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、続いて上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものとすることができる。 In addition, the transparent stencil board according to the Buddhist altar and warp according to the present invention is composed of three sheets of an outer plate, an intermediate plate, and an inner plate, and the outer plate is a transparent plate such as a glass plate / acrylic plate and the surface or A maple is placed in places on the back side, and then the inner plate is a transparent plate such as a glass plate or an acrylic plate, and a maple is placed in places on the front or back side. It is a transparent plate such as a glass plate or an acrylic plate, and a transparent lacquer is applied to the entire surface of the transparent plate or the back surface, and lacquer is applied to the surface or the back surface of the transparent plate. can do.

更に、本発明に係る仏壇及び経机に係る透過性蒔絵板は、外側板、中板、内板の三枚で構成され、上記外側板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、次に上記中板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、続いて上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものとすることができる。 Further, the transparent stencil board according to the Buddhist altar and warp according to the present invention is composed of three sheets of an outer plate, an inner plate, and an inner plate, and the outer plate is a transparent plate such as a glass plate and an acrylic plate, and the transparent plate A transparent lacquer is applied to the entire surface of the plate or the back surface, and lacquer is placed on the surface or the back surface of the transparent plate. Next, the intermediate plate is transparent such as a glass plate or an acrylic plate. A transparent lacquer is applied to the entire front or back surface of the transparent plate and lacquer is placed on the front or back surface of the transparent plate, and the inner plate is a glass plate. -It is a transparent plate such as an acrylic plate, and transparent lacquer is applied to the entire front or back surface of the transparent plate, and lacquer is applied to the front or back of the transparent plate. Can do.

更にまた、本発明に係る仏壇及び経机に係る透過性蒔絵板は、外側板、内板の二枚で構成され、上記外側板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、次に上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものとすることができる。 Furthermore, the transparent stencil board according to the Buddhist altar and warp according to the present invention is composed of two plates, an outer plate and an inner plate, and the outer plate is a transparent plate such as a glass plate / acrylic plate and has a front or back surface. There are lacquered pictures in some places. Next, the inner plate is a transparent plate such as a glass plate or an acrylic plate, and transparent transparent lacquer is applied to the entire surface of the transparent plate or the back surface of the transparent plate. It is possible to have lacquered areas on the front or back side of the board.

続いてまた、本発明に係る仏壇及び経机に係る透過性蒔絵板は、外側板、内板の二枚で構成され、上記外側板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、次に上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであるとすることができる。

Subsequently, the transparent stencil board according to the Buddhist altar and warp according to the present invention is composed of two plates, an outer plate and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and the transparent plate A transparent lacquer is applied to the entire surface of the front or back surface of the transparent plate, and lacquer is placed on the front or back surface of the transparent plate. Next, the inner plate is a transparent plate such as a glass plate or an acrylic plate. And it can be assumed that transparent lacquer is applied to the entire surface of the transparent plate or the back surface, and lacquer is applied to the surface or the back surface of the transparent plate.

そしてまた、本発明に係る仏壇及び経机に係る透過性蒔絵板を所定の枠体部に複数枚所定間隔で離間し嵌め込み構成する場合、畳重された蒔絵模様がより深遠な奥行感を醸生するために、外側板には近景に係る蒔絵を配し、中板には中景に係る蒔絵を配し、そして内側板には遠景に係る蒔絵を施すようにすることが好ましい。 In addition, in the case where a plurality of translucent lacquer boards relating to the Buddhist altar and warp according to the present invention are inserted into a predetermined frame body at a predetermined interval, the lacquered lacquer pattern creates a deeper sense of depth. For this reason, it is preferable that the outer plate is provided with a background picture, the middle plate is provided with a background picture, and the inner plate is provided with a far background picture.

続いてまた、本発明に係る仏壇及び経机に係る透過性蒔絵板を所定の枠体部に複数枚所定間隔で離間し嵌め込み構成する場合、畳重された蒔絵模様がより深遠な奥行感を醸生するために、外側板には近景に係る蒔絵を配し、内側板には遠景に係る蒔絵を施すようにすることが好ましい。 Subsequently, in the case where a plurality of translucent lacquer boards related to the Buddhist altar and pedestal according to the present invention are configured to be spaced and fitted into a predetermined frame body at a predetermined interval, the tatami mat pattern has a deeper sense of depth. In order to achieve this, it is preferable that the outer plate is provided with a background picture, and the inner plate is provided with a background picture.

本発明に係る仏壇及び経机は、以上のような構成により成ることから、下記のような効果を奏す。 Since the Buddhist altar and the machine according to the present invention are configured as described above, the following effects can be obtained.

先ず、本発明に係る仏壇及び経机は、仏壇の欄間、須弥壇、猫戸、障子腰等の枠体部の一つ以上及び経机の引出し枠体部に、花鳥風月等の蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込むことにより、畳重された蒔絵模様によって深遠な奥行感を醸生することができるので、仏壇及び経机に美的付加価値を付与することができるという効果がある。 First, in the Buddhist altar and the warrior according to the present invention, one or more of the frame parts such as the altar of the Buddhist altar, Sudadan, Nekodo, shoji waist, etc. By attaching a plurality of transparent stencil boards such as glass plates / acrylic plates spaced apart at predetermined intervals, a deep sense of depth can be created by the tatami mat pattern, so it is aesthetically pleasing to Buddhist altars and tables There is an effect that value can be given.

続いて、本発明に係る仏壇及び経机は、従来の伝統的仏壇や経机とされる、金仏壇や唐木仏壇、塗り経机や唐木経机に比べ、仏壇の欄間、須弥壇、猫戸、障子腰等の枠体部及び経机の引出し枠体部に、複数枚所定間隔で透過性蒔絵板を所定間隔で離間し嵌め込んだものであるから、仏壇及び経机に色彩的変化を与えることで、従来の金仏壇や唐木仏壇、塗り経机や唐木経机との差別化を図ることができるという効果もある。 Subsequently, the Buddhist altars and ceremonial machines according to the present invention are traditional traditional Buddhist altars and ceremonial machines. In this case, a plurality of transparent translucent boards are inserted at predetermined intervals into the frame body portion and the drawer frame body portion of the warp desk. There is also an effect that it is possible to differentiate from the gold Buddhist altar, Karaki Buddhist altar, the painting machine and the Karaki machine.

更に、本発明に係る仏壇及び経机は、仏壇の欄間、須弥壇、猫戸、障子腰等の枠体部の一つ以上及び経机の引出し枠体部に、花鳥風月等の蒔絵が施こされた透過性蒔絵板を嵌め込んだものであるから、日々の信仰の対象となっている宗教用具として宗教的違和感がないという効果もある。 Furthermore, in the Buddhist altar and the warrior according to the present invention, one or more of the frame parts of the Buddhist altar, Sumidan, Nekodo, shoji waist, etc. Since it is fitted with a transparent lacquer board, there is also an effect that there is no sense of incongruity as a religious tool that is the object of daily faith.

本発明に係る仏壇及び経机は、仏壇及び経机の宗教的形式性を維持すると共に、更に装飾的な付加価値を醸成するという目的を、仏壇の欄間、須弥壇、猫戸、障子腰等の枠体部の一つ以上及び経机の引出し枠体部に、花鳥風月等の蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込むことにより実現した。 The Buddhist altars and ceremonies according to the present invention are designed to maintain the religious formality of the Buddhist altars and ceremonies and to cultivate more decorative added value. Realized by inserting a plurality of transparent board such as glass board / acrylic board, etc., which are decorated with a picture such as Katori Kazuki in one or more of the body parts and the drawer frame body part of the machine. .

以下、図面を参照しながら、更に本発明の実施例に基き本発明を詳説するものとする。 Hereinafter, the present invention will be described in detail with reference to the drawings and based on examples of the present invention.

先ず、図１は標準的な仏壇の正面図である。仏壇１は伝統的な宗教用具であり、各部に固有の名称が付されている。図１により、各部について説明すると、一般的に仏壇１は本体１３と下台１２から構成されている。なお、下台１２がなく比較的小型の上置タイプのものも存在する。更に、図示の符号の順にその名称を述べると、符号２は欄間２、符号３は戸張３、符号４は大戸４、符号５は障子５、符号６は須弥壇６、符号７は須弥脇７、符号８は中段８、符号９は障子腰９、符号１０は太鼓脇１０、そして符号１１は猫戸１１である。ここで、上記欄間２、戸張３、大戸４、障子５、須弥壇６、須弥脇７、中段８、障子腰９、太鼓脇１０、そして猫戸１１は、従来唐木仏壇であれば微細な彫刻が施された板体であり、金仏壇であれば更に彫刻の上に金箔の貼られた板体が、いずれも枠体部に嵌め込まれたもので構成されている。 First, FIG. 1 is a front view of a standard Buddhist altar. The Buddhist altar 1 is a traditional religious tool, and each part has a unique name. Each part will be described with reference to FIG. 1. Generally, the Buddhist altar 1 is composed of a main body 13 and a lower base 12. In addition, there is a relatively small top type without the base 12. Furthermore, the names are described in the order of the reference numerals. Reference numeral 2 is a space 2; reference numeral 3 is a door 3; reference numeral 4 is a large door 4; reference numeral 5 is a shoji 5; , 8 is the middle stage 8, 9 is the shoji waist 9, 10 is the drum side 10, and 11 is the cat door 11. Here, the above-mentioned bamma 2, Topar 3, Odo 4, Shoji 5, Sudadan 6, Soyawaki 7, Middle 8, Shoji Koshi 9, Taikowaki 10, and Nekodo 11 are fine sculptures if they are traditional Karagi Buddhist altars. In the case of a gold Buddhist altar, a plate on which a gold leaf is further affixed on a sculpture is configured by being fitted into a frame portion.

次に、図２は標準的な経机の正面図である。経机１４は通常上記仏壇１の手前に配置される宗教用具であり、仏壇１が金仏壇である場合には経机１４も全体に黒の漆塗りが施され、外観に金箔があしらわれた塗り経机１４が適し、仏壇１が唐木仏壇の場合には黒檀、紫檀等の銘木の木目模様を現出した唐木経机１４が相応しいとされている。また、図中の符号１５は枠体部に嵌め込まれている鏡板１５である。 Next, FIG. 2 is a front view of a standard warp. The warp 14 is a religious tool that is usually placed in front of the Buddhist altar 1, and when the Buddhist altar 1 is a gold Buddhist altar, the warp 14 is also entirely painted with black lacquer and has a gold leaf on the exterior. 14 is suitable, and when the Buddhist altar 1 is the Karagi Buddhist altar, it is considered that the Karaki Kyoko 14 which displays the grain pattern of famous woods such as ebony and purple sand is suitable. Moreover, the code | symbol 15 in a figure is the end plate 15 currently fitted by the frame part.

更に、図３は本発明に係る透過性蒔絵板を外側板、中板、内板の三枚で構成した際の平面図である。図３において、内板１６は透明なガラス板であり、その表面全面には透過性の朱系の透漆が塗布されるていると共に表面に漆で文様を描き、この漆を接着剤として金属粉・貝粉などを蒔いて加飾する蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれている。次に、中板１７は透明なガラス板であり、蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配されている。続いて、外板１８は透明なガラス板であり、蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配されている。ここで、上記内板１６、中板１７、外板１８に描かれた蒔絵模様は一部の模様が重なる程度に配慮して配置されている。更に、遠近感を醸成するため内板１６には遠景を、中板１７には中景を、そして外板１８には近景を描くようにする。 Further, FIG. 3 is a plan view when the transmissive stencil board according to the present invention is constituted by three sheets of an outer plate, an intermediate plate, and an inner plate. In FIG. 3, the inner plate 16 is a transparent glass plate, and a transparent vermilion transparent lacquer is applied to the entire surface, and a pattern is drawn on the surface using a lacquer as an adhesive. Cherry blossom branches and petals extending from the left and right are drawn by the technique of lacquer that decorates with powder and shell powder. Next, the middle board 17 is a transparent glass board, and the petals and leaves of the cherry blossoms dancing in the wind drawn by the painting technique are arranged in various places. Subsequently, the outer plate 18 is a transparent glass plate, and cherry blossom petals and leaves that dance in the wind drawn by the lacquer technique are arranged in various places. Here, the lacquer pattern drawn on the inner plate 16, the intermediate plate 17, and the outer plate 18 is arranged in consideration of the extent that some patterns overlap. Further, in order to foster a sense of perspective, a far view is drawn on the inner plate 16, a middle view is drawn on the middle plate 17, and a near view is drawn on the outer plate 18.

続いて、図４は本発明に係る透過性蒔絵板を外側板、中板、内板の三枚で構成した際のもう一つの平面図である。図４において、内板１９は透明なアクリル板であり、その裏面全面には透過性の黄系の透漆が塗布されるていると共に表面に漆で文様を描き、この漆を接着剤として金属粉・貝粉などを蒔いて加飾する蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれている。次に、中板２０は透明なアクリル板であり、内板１９同様その裏面全面には透過性の黄系の透漆が塗布されるていると共に表面に漆で文様を描き、この漆を接着剤として金属粉・貝粉などを蒔いて加飾する蒔絵の技法によって、風に舞う桜の花びらや葉が所々に描かれている。続いて、外板２１は透明なアクリル板であり、裏面全面には透過性の黄系の透漆が塗布されるていると共に表面には蒔絵の技法によって、風に舞う桜の花びらや葉が所々に描かれている。 Next, FIG. 4 is another plan view when the permeable stencil board according to the present invention is composed of an outer plate, an intermediate plate, and an inner plate. In FIG. 4, the inner plate 19 is a transparent acrylic plate, and a transparent yellow translucent lacquer is applied to the entire back surface, and a pattern is drawn on the surface, and this lacquer is used as an adhesive to form a metal. Cherry blossom branches and petals extending from the left and right are drawn by the technique of lacquer that decorates with powder and shell powder. Next, the middle plate 20 is a transparent acrylic plate, and like the inner plate 19, a transparent yellow-based transparent lacquer is applied to the entire back surface, and a pattern is drawn on the surface and the lacquer is bonded. Cherry blossom petals and leaves dancing in the wind are drawn in various places by the technique of lacquering with metal powder and shell powder as an agent. Subsequently, the outer plate 21 is a transparent acrylic plate, and a transparent yellow translucent lacquer is applied to the entire back surface, and cherry blossom petals and leaves that flutter in the wind by the technique of lacquer painting on the surface. It is drawn in.

続いてまた、図５は本発明に係る透過性蒔絵板を外側板、内板の二枚で構成した際の平面図である。図５において、内板２２は透明なアクリル板であり、その表面全面には透過性の朱系の透漆が塗布されるていると共に表面に漆で文様を描き、この漆を接着剤として金属粉・貝粉などを蒔いて加飾する蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれている。次に、外板２３は透明なアクリル板であり、蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配されている。 Next, FIG. 5 is a plan view of the transparent glazed board according to the present invention, which is composed of an outer plate and an inner plate. In FIG. 5, the inner plate 22 is a transparent acrylic plate, and a transparent vermilion transparent lacquer is applied to the entire surface, and a pattern is drawn on the surface using a lacquer as an adhesive. Cherry blossom branches and petals extending from the left and right are drawn by the technique of lacquer that decorates with powder and shell powder. Next, the outer plate 23 is a transparent acrylic plate, on which cherry blossom petals and leaves that dance in the wind drawn by the lacquer painting technique are arranged.

そしてまた、図６は本発明に係る透過性蒔絵板を外側板、内板の二枚で構成した際のもう一つの平面図である。図６において、内板２４は透明なガラス板であり、その裏面全面には透過性の黄系の透漆が塗布されるていると共に表面に漆で文様を描き、この漆を接着剤として金属粉・貝粉などを蒔いて加飾する蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれている。次に、外板２５は透明なガラス板であり、蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配されている。 FIG. 6 is another plan view of the permeable picture board according to the present invention which is composed of an outer plate and an inner plate. In FIG. 6, the inner plate 24 is a transparent glass plate, and transparent yellow translucent lacquer is applied to the entire back surface, and a pattern is drawn on the surface, and this lacquer is used as an adhesive to form a metal. Cherry blossom branches and petals extending from the left and right are drawn by the technique of lacquer that decorates with powder and shell powder. Next, the outer plate 25 is a transparent glass plate, and the petals and leaves of the cherry blossoms dancing in the wind drawn by the lacquer technique are arranged in various places.

一方、図７は三枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際の概要図である。図示において、上側が仏壇の内部側であり、下側が仏壇の表面側となる。また、図中のハッチングは朱系の透漆が塗布されたガラス板であることを示している。そこで、図示のように、当該透過性蒔絵板は枠体部２６に対して、所定間隔に離間し嵌め込まれている。詳しくは、表面全面に透過性の朱系の透漆が塗布されるていると共に表面に蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれた内板１６が仏壇の内側に嵌め込まれ、次に蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配された中板１７が内板１６と外板１８の間に嵌め込まれている。続いて、蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配された外板１８が仏壇の表面側に嵌め込まれている。これらを仏壇の表面側から観察すると、畳重された桜の枝や花びら等の蒔絵模様は、落ち着きのある朱系の背景色をバックに風に舞う花びらと桜の枝間に段階的な奥行感と深遠な美観が感得されるものであった。 On the other hand, FIG. 7 is a schematic view when a permeable stencil board composed of three sheets is fitted into the frame body. In the drawing, the upper side is the inner side of the Buddhist altar, and the lower side is the surface side of the Buddhist altar. Moreover, the hatching in a figure has shown that it is a glass plate to which vermilion type transparent lacquer was applied. Therefore, as shown in the drawing, the transparent squeezed picture board is fitted into the frame body part 26 at a predetermined interval. In detail, a transparent vermilion transparent lacquer is applied to the entire surface, and the inner plate 16 with cherry blossom branches and petals drawn from the left and right is fitted inside the Buddhist altar by the technique of lacquer painting. Next, an intermediate plate 17 is placed between the inner plate 16 and the outer plate 18 on which cherry blossom petals and leaves that dance in the wind drawn by the lacquer technique are placed in various places. Subsequently, the outer plate 18 on which cherry blossom petals and leaves that flutter in the wind drawn by the lacquer technique is placed in place on the surface side of the Buddhist altar. Observing these from the front side of the Buddhist altar, the lacquered patterns of cherry blossom branches and petals, etc., have a stepped depth between the petals and the cherry blossom branches that dance in the wind against the backdrop of a calm vermilion background. A profound beauty was felt.

次に、図８は三枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際のもう一つの概要図である。図示において、上側が仏壇の内部側であり、下側が仏壇の表面側となる。また、図中のハッチングは黄系の透漆が塗布されたアクリル板であることを示している。ここで、図示のように、当該透過性蒔絵板は枠体部２６に対して、所定間隔に離間し嵌め込まれている。詳しくは、裏面全面に透過性の黄系の透漆が塗布されるていると共に表面に蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれた内板１９が仏壇の内側に嵌め込まれ、次に上記内板１９同様に裏面全面に透過性の黄系の透漆が塗布されるていると共に表面に蒔絵の技法によって描かれた風に舞う桜の花びらや葉が所々に配された中板２０が内板１９と外板２１の間に嵌め込まれている。続いて、中板２０と同様に裏面全面に透過性の黄系の透漆が塗布されるていると共に表面に蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配された外板２１が仏壇の表面側に嵌め込まれている。これらを仏壇の表面側から観察すると、畳重された桜の枝や花びら等の蒔絵模様は、シックな黄系の背景色をバックに風に舞う花びらと桜の枝間に段階的な奥行感と深遠な美観が感得されるものであった。 Next, FIG. 8 is another schematic diagram when a transparent stencil board composed of three sheets is fitted into the frame body. In the drawing, the upper side is the inner side of the Buddhist altar, and the lower side is the surface side of the Buddhist altar. Moreover, the hatching in a figure has shown that it is an acrylic board with which the yellow type transparent lacquer was apply | coated. Here, as shown in the drawing, the transparent squeezed picture board is fitted into the frame body part 26 at a predetermined interval. Specifically, a transparent yellow-based transparent lacquer is applied to the entire back surface, and an inner plate 19 with cherry blossom branches and petals drawn from the left and right sides is fitted inside the Buddhist altar by the technique of lacquer painting. Next, like the inner plate 19, transparent yellow-based transparent lacquer is applied to the entire back surface, and cherry blossom petals and leaves that are danced in the wind drawn by the technique of lacquer painting are placed on the surface. A plate 20 is fitted between the inner plate 19 and the outer plate 21. Next, as with the middle plate 20, a transparent yellow-based transparent lacquer is applied to the entire back surface, and on the surface, cherry blossom petals and leaves that are danced in the wind drawn by the painting technique are placed in various places. 21 is fitted on the front side of the Buddhist altar. Observing these from the front side of the Buddhist altar, the lacquered patterns of cherry blossom branches and petals, etc., have a stepped depth and profoundness between the petals and the cherry blossom branches that dance in the wind against a chic yellow background. A beautiful aesthetic was felt.

更に、図９は二枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際の概要図である。図示において、上側が仏壇の内部側であり、下側が仏壇の表面側となる。また、図中のハッチングは朱系の透漆が塗布されたアクリル板であることを示している。ここで、図示のように、当該透過性蒔絵板は枠体部２６に対して、所定間隔に離間し嵌め込まれている。詳しくは、表面全面に透過性の朱系の透漆が塗布されるていると共に表面に蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれた内板２２が仏壇の内側に嵌め込まれ、次に表面に蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配された外板２３が仏壇の表面側に嵌め込まれている。これらを仏壇の表面側から観察すると、畳重された桜の枝や花びら等の蒔絵模様は、落ち着きのある朱系の背景色をバックに風に舞う花びらと桜の枝間に奥行感と深遠な美観が感得されるものであった。 Further, FIG. 9 is a schematic view when a transparent slab board made of two sheets is fitted into the frame body portion. In the drawing, the upper side is the inner side of the Buddhist altar, and the lower side is the surface side of the Buddhist altar. Moreover, the hatching in the figure shows that it is an acrylic board to which vermilion transparent lacquer is applied. Here, as shown in the drawing, the transparent squeezed picture board is fitted into the frame body part 26 at a predetermined interval. Specifically, transparent vermilion transparent lacquer is applied to the entire surface, and the inner plate 22 with cherry blossom branches and petals drawn from the left and right is fitted inside the Buddhist altar by the technique of lacquer painting. Next, the outer plate 23 on which the cherry blossom petals and leaves that flutter in the wind drawn on the surface by the lacquer technique is placed in the surface side of the Buddhist altar. Observing these from the front side of the Buddhist altar, the lacquered pattern of cherry blossom branches and petals, etc. shows a deep sense of depth and profound beauty between the petals and cherry blossom branches that dance in the wind against a calm vermilion background. Was felt.

続いて更に、図１０は二枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際のもう一つの概要図である。図示において、上側が仏壇の内部側であり、下側が仏壇の表面側となる。また、図中のハッチングは黄系の透漆が塗布されたガラス板であることを示している。ここで、図示のように、当該透過性蒔絵板は枠体部２６に対して、所定間隔に離間し嵌め込まれている。詳しくは、、裏面全面に透過性の黄系の透漆が塗布されるていると共に表面に蒔絵の技法によって、左右から延びた桜の枝と花びらが描かれた内板２４が仏壇の内側に嵌め込まれ、次に裏面全面に透過性の黄系の透漆が塗布されるていると共に表面に蒔絵技法によって描かれた風に舞う桜の花びらや葉が所々に配された外板２５が仏壇の表面側に嵌め込まれている。これらを仏壇の表面側から観察すると、畳重された桜の枝や花びら等の蒔絵模様は、シックな黄系の背景色をバックに風に舞う花びらと桜の枝間に奥行感と深遠な美観が感得されるものであった。 Subsequently, FIG. 10 is another schematic diagram when a transparent glazed picture board composed of two sheets is fitted into the frame part. In the drawing, the upper side is the inner side of the Buddhist altar, and the lower side is the surface side of the Buddhist altar. Moreover, the hatching in a figure has shown that it is a glass plate with which the yellow type transparent lacquer was apply | coated. Here, as shown in the drawing, the transparent squeezed picture board is fitted into the frame body part 26 at a predetermined interval. Specifically, a transparent yellow translucent lacquer is applied to the entire back surface, and the inner plate 24 on which the cherry blossom branches and petals are drawn from the left and right sides is fitted inside the Buddhist altar by the technique of lacquer painting. Next, the outer plate 25 is coated with transparent yellow-colored translucent lacquer on the entire back surface, and cherry blossom petals and leaves are placed on the surface. It is fitted on the side. Observing these from the front side of the Buddhist altar, the lacquered patterns of cherry blossom branches and petals, etc. have a sense of depth and profound beauty between the petals and cherry blossom branches that dance in the wind against a chic yellow background. It was something that was felt.

続いて、図１１は三枚構成から成る透過性蒔絵板を重畳した際の正面図である。ここで、当該透過性蒔絵板２７の絵柄は左右へ延びる蔓植物の枝と連続する花弁が蒔絵模様として描かれているが、図中の符号２８は、上記透過性蒔絵板２７の内で内板に描かれた蒔絵２８であり、符号２９は透過性蒔絵板２７の内で中板に描かれた蒔絵２９、更に符号３０は透過性蒔絵板２７の内で外板に描かれた蒔絵３０を示している。ここで、内板の表面全面には透過性の朱系の透漆が塗布されるていることから、シックな朱系の背景色をバックに風に揺れる連続的な花弁と枝葉間に奥行感と深遠な美観が感得されるものであった。 Next, FIG. 11 is a front view when a transparent glazed picture board composed of three sheets is superimposed. Here, the pattern of the transparent stencil board 27 has a petal continuous with a branch of a vine plant extending left and right as a stencil pattern. Reference numeral 28 in FIG. The reference numeral 29 is a picture 28 drawn on the board, the reference numeral 29 is a picture 29 drawn on the middle board in the transparent picture board 27, and the reference numeral 30 is a picture 30 drawn on the outer board in the transparent picture board 27. Is shown. Here, a transparent vermilion transparent lacquer is applied to the entire surface of the inner plate, so the depth between the continuous petals and the branches and leaves swaying in the wind against the background of the chic vermilion background color. A profound aesthetic was felt.

そして、図１２は本発明に係る仏壇の概要正面図である。本発明に係る仏壇３１においては、本発明に係る三枚構成から成る透過性蒔絵板を欄間３２と須弥脇３４に、更に、本発明に係る二枚構成から成る透過性蒔絵板を須弥壇３３に嵌め込んだものである。ここで、本発明に係る仏壇３１は、従来の仏壇同様に宗教的形式性を維持していると共に、更に装飾的な付加価値を醸成したものである。一方、言及するまでもなく、本発明に係る透過性蒔絵板の嵌め込み箇所は、図１２に限定されるものではなく、図１に説明のように、欄間、戸張、大戸、障子、須弥壇、須弥脇、中段、障子腰、太鼓脇、猫戸のいずれか一箇所以上で採用することができる。 FIG. 12 is a schematic front view of the Buddhist altar according to the present invention. In the Buddhist altar 31 according to the present invention, the translucent stencil board composed of three sheets according to the present invention is provided in the column 32 and Sayawaki 34, and further, the transmissive scoon board composed of two sheets according to the present invention is provided in the Syudan 33. It is inserted in. Here, the Buddhist altar 31 according to the present invention maintains a religious formality as in the conventional Buddhist altar and further fosters decorative added value. On the other hand, it is needless to say that the fitting position of the transparent lacquer board according to the present invention is not limited to FIG. 12, but as illustrated in FIG. It can be used at any one or more of Sayawaki, Middle, Shoji waist, Taikowaki, and Nekodo.

そしてまた、図１３は本発明に係る経机の概要正面図である。本発明に係る経机３５においては、本発明に係る二枚構成から成る透過性蒔絵板を鏡板３６に嵌め込んだものである。ここで、本発明に係る経机３５は、従来の経机同様に宗教的形式性を維持していると共に、更に装飾的な付加価値を醸成したものであると共に、上記仏壇３１に前面に配置した場合、全く違和感がなく極めて新鮮な趣が感じられた。
FIG. 13 is a schematic front view of a warp according to the present invention. In the warp 35 according to the present invention, a transmissive picture board having a two-piece structure according to the present invention is fitted into the end plate 36. Here, the warp 35 according to the present invention maintains the religious formality as in the case of the conventional warp, further fosters decorative added value, and is placed on the front of the Buddhist altar 31. There was no sense of incongruity, and I felt a very fresh taste.

本発明は、上記に詳述したよう構成されていることから、以下に記載されるような利用可能性が考えられる。 Since the present invention is configured as described in detail above, it can be used as described below.

本発明に係る複数枚構成から成る透過性蒔絵板の嵌め込みによる仏壇及び経机は、従来技法の細密な彫刻による一辺倒な遠近感の付け方に対して、新規な技法を開示するものであり、花鳥風月等を題材とした遠近感がある蒔絵模様が、これら宗教用具に優美さをも付与するものであり、その利用可能性は計り知れない。 The Buddhist altar and the pedestal by the insertion of the transparent stencil board composed of a plurality of sheets according to the present invention disclose a novel technique for the method of creating a messy perspective by the fine sculpture of the conventional technique. Perspectives on the theme of the sculptures, etc., also give elegance to these religious tools, and their applicability is immeasurable.

また、上記複数枚構成から成る透過性蒔絵板の嵌め込みによる技法は、言及するまでもなく仏壇及び経机のみに限定されるものではなく、その他の宗教用具にも採用される可能性があり、極めてその利用の可能性は高い。 In addition, the above-mentioned technique by fitting a transparent lacquer board composed of a plurality of sheets is not limited to the Buddhist altars and pedestrians, and need not be mentioned, and may be used for other religious tools. The possibility of its use is high.

標準的な仏壇の正面図。Front view of a standard Buddhist altar. 標準的な経机の正面図。Front view of a standard warp. 本発明に係る透過性蒔絵板を外側板、中板、内板の三枚で構成した際の平面図。The top view at the time of comprising the transparent stencil board which concerns on this invention with three sheets, an outer side board, an inner board, and an inner board. 本発明に係る透過性蒔絵板を外側板、中板、内板の三枚で構成した際のもう一つの平面図。The other top view at the time of comprising the translucent picture board which concerns on this invention with three sheets, an outer side board, an inner board, and an inner board. 本発明に係る透過性蒔絵板を外側板、内板の二枚で構成した際の平面図。The top view at the time of comprising the transparent board | plate drawing board which concerns on this invention with two sheets, an outer side board and an inner board. 本発明に係る透過性蒔絵板を外側板、内板の二枚で構成した際のもう一つの平面図。The other top view at the time of comprising the transparent stencil board which concerns on this invention with two sheets of an outer side board and an inner board. 三枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際の概要図。The schematic diagram at the time of inserting the transparent stencil board which consists of 3 sheets in a frame part. 三枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際のもう一つの概要図。FIG. 5 is another schematic diagram when a transparent lacquer board made of three sheets is fitted into a frame body part. 二枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際の概要図。The schematic diagram at the time of inserting the transparent glazing board which consists of 2 sheets structure in a frame part. 二枚構成から成る透過性蒔絵板を枠体部に嵌め込んだ際のもう一つの概要図。FIG. 6 is another schematic diagram when a transparent glazed picture board composed of two sheets is fitted into a frame body part. 三枚構成から成る透過性蒔絵板を重畳した際の正面図。The front view at the time of superimposing the permeation board which consists of three sheets. 本発明に係る仏壇の概要正面図。The outline front view of the Buddhist altar which concerns on this invention. 本発明に係る経机の概要正面図。1 is a schematic front view of a warp according to the present invention.

符号の説明Explanation of symbols

１・・・・・・・・・・・・・仏壇
２、３２・・・・・・・・・・欄間
３・・・・・・・・・・・・・戸張
４・・・・・・・・・・・・・大戸
５・・・・・・・・・・・・・障子
６、３３・・・・・・・・・・須弥壇
７、３４・・・・・・・・・・須弥脇
８・・・・・・・・・・・・・中段
９・・・・・・・・・・・・・障子腰
１０・・・・・・・・・・・・太鼓脇
１１・・・・・・・・・・・・猫戸
１２・・・・・・・・・・・・下台
１３・・・・・・・・・・・・本体
１４・・・・・・・・・・・・経机
１５、３６・・・・・・・・・鏡板
１６、１９、２２、２４・・・内板
１７、２０・・・・・・・・・中板
１８、２１、２３、２５・・・外板
２６・・・・・・・・・・・・枠体部
２７・・・・・・・・・・・・透過性蒔絵板
２８、２９、３０・・・・・・蒔絵
３１・・・・・・・・・・・・本発明に係る仏壇
３５・・・・・・・・・・・・本発明に係る経机 1 ... Buddhist altar 2,32 ... Tenma 3 ... Tatori 4 ...・・・・・・・・ Oto 5 ・・・・・・・・・・・・・ Shoji 6, 33 ・・・・・・・・・・ Sudadan 7,34 ・・・・・・・・··· Sayawaki 8 ········· Middle 9 ·································· 11 ······· Nekodo 12 ···················································································· ···································· 15 23, 25 ... Outer plate 26 ······································································· Painting board 28, 29, 30 ......... Maki-e 31 ......... Buddhist altar according to the present invention 35 ...

Claims

欄間、須弥壇、猫戸、障子腰等の枠体部の一つ以上に、蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込んだことを特徴とする、仏壇。 A plurality of transparent lacquer boards such as glass boards and acrylic boards with lacquered paintings fitted into one or more of the frame parts such as bamma, sudadan, cat door, shoji waist etc. It features a Buddhist altar.

引出しの枠体部に、蒔絵が施こされたガラス板・アクリル板等の透過性蒔絵板を複数枚所定間隔で離間し嵌め込んだことを特徴とする、経机。 A translucent desk characterized in that a plurality of transparent glazed picture plates such as glass plates and acrylic plates provided with a lacquered picture are spaced and fitted at predetermined intervals in the drawer frame.

透過性蒔絵板が外側板、中板、内板の三枚で構成され、上記外側板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、次に上記中板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、続いて上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項１記載の仏壇。 The transparent lacquer board is composed of three plates, an outer plate, an intermediate plate, and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and a lacquer is placed on the surface or the back side, Next, the intermediate plate is a transparent plate such as a glass plate or an acrylic plate, and is provided with maple paintings on the front or back, and the inner plate is a transparent plate such as a glass plate or an acrylic plate. The translucent lacquer is applied to the entire surface of the front or back surface of the transparent plate, and lacquer is applied to places on the front or back surface of the transparent plate. Buddhist altar.

透過性蒔絵板が外側板、中板、内板の三枚で構成され、上記外側板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、次に上記中板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、続いて上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項２記載の経机。 The transparent lacquer board is composed of three plates, an outer plate, an intermediate plate, and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and a lacquer is placed on the surface or the back side, Next, the intermediate plate is a transparent plate such as a glass plate or an acrylic plate, and is provided with maple paintings on the front or back, and the inner plate is a transparent plate such as a glass plate or an acrylic plate. The translucent lacquer is applied to the entire surface of the front or back surface of the transparent plate, and lacquer is applied to places on the front or back surface of the transparent plate. The machine.

透過性蒔絵板が外側板、中板、内板の三枚で構成され、上記外側板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、次に上記中板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、続いて上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項１記載の仏壇。 The transparent board is composed of an outer plate, an intermediate plate, and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and the transparent plate is transparent on the entire surface of the transparent plate. Lacquer is applied and lacquer is placed on the surface or the back of the transparent plate. Next, the intermediate plate is a transparent plate such as a glass plate or an acrylic plate. Translucent lacquer is applied to the entire surface and maple paintings are placed on the front or back side of the transparent plate. Subsequently, the inner plate is a transparent plate such as a glass plate or an acrylic plate. 2. The Buddhist altar according to claim 1, wherein transparent lacquer is applied to the entire surface of the surface or the back surface of the plate, and lacquer is applied to the surface or the back surface of the transparent plate.

透過性蒔絵板が外側板、中板、内板の三枚で構成され、上記外側板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、次に上記中板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、続いて上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項２記載の経机。 The transparent board is composed of an outer plate, an intermediate plate, and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and the transparent plate is transparent on the entire surface of the transparent plate. Lacquer is applied and lacquer is placed on the surface or the back of the transparent plate. Next, the intermediate plate is a transparent plate such as a glass plate or an acrylic plate. Translucent lacquer is applied to the entire surface and maple paintings are placed on the front or back side of the transparent plate. Subsequently, the inner plate is a transparent plate such as a glass plate or an acrylic plate. The warp according to claim 2, wherein a transparent lacquer is applied to the entire surface of the surface or the back surface of the plate and lacquer is applied to the surface or the back surface of the transparent plate.

透過性蒔絵板が外側板、内板の二枚で構成され、上記外側板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、次に上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項１記載の仏壇。 The transparent lacquer board is composed of two plates, an outer plate and an inner plate, and the outer plate is a transparent plate such as a glass plate and an acrylic plate, and a lacquer is placed on the front or back side, The inner plate is a transparent plate such as a glass plate or an acrylic plate, and a transparent lacquer is applied to the entire surface of the transparent plate or the back surface, and lacquer is applied to the surface or the back surface of the transparent plate. The Buddhist altar according to claim 1, wherein

透過性蒔絵板が外側板、内板の二枚で構成され、上記外側板がガラス板・アクリル板等の透明板であると共に表面又は裏面の所々に蒔絵を配したものであり、次に上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項２記載の経机。 The transparent lacquer board is composed of two plates, an outer plate and an inner plate, and the outer plate is a transparent plate such as a glass plate and an acrylic plate, and a lacquer is placed on the front or back side, The inner plate is a transparent plate such as a glass plate or an acrylic plate, and a transparent lacquer is applied to the entire surface of the transparent plate or the back surface, and lacquer is applied to the surface or the back surface of the transparent plate. The machine according to claim 2, wherein:

透過性蒔絵板が外側板、内板の二枚で構成され、上記外側板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、次に上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項１記載の仏壇。 The transparent lacquer board is composed of an outer plate and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and transparent transparent lacquer is applied to the entire surface of the transparent plate. In addition, lacquered pictures are placed on the surface or the back of the transparent plate, and the inner plate is a transparent plate such as a glass plate or an acrylic plate, and is transmitted through the entire surface of the transparent plate. The Buddhist altar according to claim 1, wherein a transparent lacquer is applied and lacquer is applied to the surface or the back of the transparent plate.

透過性蒔絵板が外側板、内板の二枚で構成され、上記外側板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵を配したものであり、次に上記内板がガラス板・アクリル板等の透明板であって当該透明板の表面又は裏面の全面に透過性の透漆が塗布されると共に当該透明板の表面又は裏面の所々に蒔絵が施されているものであることを特徴とする、請求項２記載の経机。
The transparent lacquer board is composed of an outer plate and an inner plate, and the outer plate is a transparent plate such as a glass plate or an acrylic plate, and transparent transparent lacquer is applied to the entire surface of the transparent plate. In addition, lacquered pictures are placed on the surface or the back of the transparent plate, and the inner plate is a transparent plate such as a glass plate or an acrylic plate, and is transmitted through the entire surface of the transparent plate. The translucent machine according to claim 2, wherein a transparent lacquer is applied, and lacquer is applied to the surface or the back of the transparent plate.

透過性蒔絵板の外側板には近景に係る蒔絵を配し、中板には中景に係る蒔絵を配し、そして内側板には遠景に係る蒔絵を施こしたものであることを特徴とする、請求項３又は請求項５記載の仏壇。
A translucent maple board is provided with a close-up maple painting on the outer plate, an intermediate plate with a maple print on the middle view, and an inner plate with a maple print on the far side. The Buddhist altar according to claim 3 or 5.

透過性蒔絵板の外側板には近景に係る蒔絵を配し、中板には中景に係る蒔絵を配し、そして内側板には遠景に係る蒔絵を施こしたものであることを特徴とする、請求項４又は請求項６記載の経机。 A translucent maple board is provided with a close-up maple painting on the outer plate, an intermediate plate with a maple print on the middle view, and an inner plate with a maple print on the far side. The warp according to claim 4 or 6.

透過性蒔絵板の外側板には近景に係る蒔絵を配し、内側板には遠景に係る蒔絵を施こしたものであることを特徴とする、請求項７又は請求項９記載の仏壇。
10. The Buddhist altar according to claim 7 or 9, wherein a maple according to a near view is arranged on an outer plate of a transparent maple board, and a maple according to a distant view is applied to an inner plate.

透過性蒔絵板の外側板には近景に係る蒔絵を配し、内側板には遠景に係る蒔絵を施こしたものであることを特徴とする、請求項８又は請求項１０記載の経机。
11. The warp according to claim 8, wherein a maple according to a near view is arranged on an outer plate of the transparent maple board, and a maple according to a distant view is applied to an inner plate.