The Genius of Japanese Carpentry Kindle, PDF


The Genius of Japanese Carpentry Brown Azby


From the 1989 edition:
I wish to express my deep gratitude to Tsunekazu Nishioka for his patience, good humor, advice, and support at all stages of this study and to the Reverend Kōin Takada, abbot of Yakushiji temple, without whose permission this publication would have been impossible. Special thanks go also to the Reverend Joukei Fuchigami, formerly of Yakushiji, for providing information concerning the history of the temple, its sect and founder, as well as Buddhism in general. amazon kindle I am also grateful to Professor Hirotarō Ōta of the University of Tokyo for his advice and criticism of my manuscript and drawings. I am especially indebted to the many carpenters, both at Yakushiji and elsewhere, who have patiently answered innumerable questions concerning terminology and procedures and have treated me so warmly.
My sincerest gratitude goes also to the many people who have made my long stay in Japan not only possible but enjoyable, particularly Professor Hisao Koyama of the University of Tokyo, who generously gave me permission to pursue this study as part of my graduate work, and without whose encouragement and assistance any extended stay in Japan would have been impossible. Thanks are due also to the many organizations upon whose assistance I have relied, particularly the Japanese Ministry of Education, the Japan Foundation, and the Ikeda Construction Company, and to those who made my first trip to Japan possible, especially Atsushi Moriyasu, who shares a deep interest in this subject and who, five years ago, Epub surely could not have foreseen this tangible end result of a good word placed with the right people at the right time.


The Genius of Japanese Carpentry Brown Azby Amazon Kindle, PDF, EPUB


Finally, to Lynne E. Riggs and to everyone at Kodansha International, particularly editors Michael Brase and Shigeyoshi Suzuki and designer Shigeo Katakura, whose selflessness and unflagging energy have buoyed me up through the seas of exhaustion.


For this revised edition:


To the above I would like to add my gratitude to Director Yuji Yamazaki and the staff of Uzumasa Films for involving me, even in a small way, in their fantastic film about Nishioka, Oni ni kike [An Artisan’s Legacy: Tsunekazu Nishioka], and for providing the photograph on page 12. Thanks to my colleagues at Kanazawa Institute of Technology for accepting the amount of time I have devoted to this edition, and particularly to Miyako Takeshita, curator at my lab in Tokyo, Kindle the KIT Future Design Institute, who assisted in many aspects of research and production. Finally, to Eric Oey, June Chong, Alphone Tea, and the many others at Tuttle for their efforts in seeing this challenging book completed in a form we all can be proud of.




Working on a new edition of a book that meant so much to me after an interval of more than two decades has been a rare opportunity for revisiting an extremely formative period of my adult life, for reevaluating my earlier ideas and ideals in light of what I have learned and experienced since that time, for reconnecting with people, with Nara and Yakushiji, and for correcting a (thankfully small) handful of mistakes. It has meant reliving the years I was in contact with Master Nishioka and the countless hours I spent in his workshops and on his building sites, as well as the months taken up with producing the first edition of this book, my first book ever, pdf and reconsidering the many decisions I made about how to best tell the story. More than anything, however, it has meant reflecting on the many changes that have occurred at Yakushiji, in the world of Japanese temple carpentry, in Japanese society, and in myself.
The biggest single change is that Tsunekazu Nishioka died in 1992, just a few years after this book was first published. The buildings in the Sanzō-in subcompound of Yakushiji were almost fully complete by then, and one of Nishioka’s last official acts as master carpenter of the Yakushiji complex was to officiate at the ceremony commemorating the placement of the first column of the reconstructed surrounding corridor of the main temple complex. He was already in his mid-eighties when we first met, and was planning work which he expected would require two or three decades more to complete. On his desk was a familiar pad of gridded paper on which he was calculating dimensions for the reconstruction of the Great Lecture Hall (Daikodo), a very large building whose commencement still lay years in the future. Nishioka expected it would take nearly a decade alone to find suitable timber. Whereupon he grinned and said simply, “Of course.”
And it has been. Under the guidance of Nishioka’s chief apprentice, Mitsuo Ogawa, the Great Lecture Hall, the largest building at Yakushiji, was completed in 2003. It is spectacular and overwhelming in its size, grace, and beauty, and I truly regret not having been present during its construction. And there the project has basically stopped. Half of the surrounding corridor has been completed, Amazon and there are no immediate plans to complete the rest. nor for the remaining monks’ living quarters. So, in fact, those who visit Yakushiji today will probably see all that will ever be built there. The reconstruction project seems to have ended a decade or so sooner than Master Nishioka had intended.


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