In the end of the Edo period (1603-1868), lower-class samurai used to work in crafts on the side. The techniques they developed from these jobs were used to create Buddhist altar equipment.
During the Meiji period (1868-1912), the high quality of Buddhist altar articles made in Nagoya using kiso-hinoki wood had made them so popular that they began selling them all around Japan. Even the region of Kobe, known for their Buddhist altar articles, started to order more from Nagoya.
Nagoya became a major production area for Buddhist altars and their equipment at the beginning of the Showa period (1926-1989). The export of products started with Taiwan, Korea and a few of the then Empire of Japan's territories. There were now over 630 ateliers in the Owari suburbs and more than 1700 employees.
A lot of shrines and Buddhist altars were destroyed by the air raids during WWII. However, thanks to a great effort of reconstruction right after the end of the war, Buddhist altar equipment construction was back on its track by 1950 and soon spread all over the country.
In 2014, the association to preserve Owari Buddhist altar equipment was inaugurated.
In 2017 Owari Buddhist altar equipment was designed as a Traditional craft by the Minister of Economy, Trade and Industry.

1. 1. Creating the wooden base Different dry wood such as pine, cypress, zelkova or camphor tree are used to prepare the wooden base.
   Each step and every part of the equipment requires special tools.
   
2. 2. Carving Several types of chisels and knives are used during this step.
   High-skilled artisans use their many years of experience to finely carve the traditional designs.
   
3. 3. Making of the base The base is made from the powder of the whetstone or a traditional powder made from calcium carbonate called gofun mixed with nikawa glue or raw lacquer. It is applied to the wooden base and dried.
   This base serves several important purposes. It will help fixing and bringing out the colors as well as assuring a smooth ans soft finish to the lacquer.
   
4. 4. Applying the lacquer Different special instruments are used such as brushes and spatulas. It is then dried out in a type of drying room where the humidity is controlled.
   There are many techniques to apply the lacquer and each have a different finish.
   
5. 5. Applying the color Colors are applied using painting tools.
   Gofun (see step 3) is sometimes used to give more dimension to the design.
   
6. 6. Creating the metal ornaments Arabesques or Buddhist flower designs are carved in copper or brass metal sheets. In the spaces left uncarved, little round spots called nanako are pushed into the metal.
   
7. 7. Adding the gold leaves A coat of lacquer is first given to places where gold leaves are going to be applied. The lacquer is uniformed using a cloth, then the gold leaves are applied. After some time, they are pushed to fix them using silk. The gloss can be adjusted by the number of times the leaves are wiped.
   
8. 8. Finalizing with the gold lacquer The base is drawn on Japanese traditional paper (washi ), traced with red iron oxide lacquer and reproduced on the right spot.
   Lacquer is then applied to this spot and different sorts of gold powder are sprinkled on top of it.
   Ater letting it dry in a drying room, the finished gold lacquer is sometimes wet sanded with charcoal, rubbed with lacquer and polished again.