1.Things to be careful of when handling (storing) mokugyo Wooden mokugyo are vulnerable to drying. In a humid place, the sound resonates less, but the material is less likely to crack. In a place with low humidity, the sound resonates easily, but the material is more likely to crack. Most wooden mokugyo are hollowed out from a single piece of wood without any joints, so they are easily affected by temperature and humidity, and are prone to cracking when they dry out. When storing mokugyo, pay particular attention to humidity. The humidity at the production site is one guide to the humidity at which they will be stored. If the mokugyo was made in Aichi Prefecture, Japan, the humidity at that location is a good guide to the humidity for storage. When handling wooden products, be careful of humidity, as it can cause cracks.
2.Storing a mokugyo Regarding the normal storage of a mokugyo, a mokugyo made of wood will shrink and expand when there are sudden changes in humidity and temperature, which can easily cause cracks. Therefore, care must be taken to prevent cracks. When not in use, cover it with a cloth or store it in a place where the humidity does not change much. As mokugyo are hollow, they are vulnerable to strong impacts, so it is necessary to store them in a way that does not put extra weight on them.
3.Mokugyo will break if dropped Mokugyo may look sturdy, but they are vulnerable to strong impacts. In particular, modern mokugyo are made thinner, which makes them more likely to break. The sides of the mokugyo in the direction in which it is struck, and the sides with the slits are more likely to break when hit, 1 so if it is dropped it may break.
4.How to care for a mokugyo Normally, it is enough to just dust it off and polish it lightly with a dry cloth. If you feel that the shine of your mokugyo has dulled, wear clothes that you don't mind getting dust on them, place it in a place and clothes that you can put away and that are okay for dust to fly around, and use a duster or vacuum cleaner to carefully remove the dust from the mokugyo, and use a brush to carefully remove the dust from the carved areas, and then lightly wipe it with a cloth, take an appropriate amount of wax (usually a small amount) with a cloth, and apply it to the non-carved areas. Brush off the wax from the carved areas. Then wipe it off with another dry cloth, and after the wax has dried, lightly rub the carved areas with a dry brush, and polish the whole with a dry cloth. When polishing with a cloth or brush (such as a scrubbing pad), be careful not to scratch the surface yourself. If you don't know how much pressure to use, just wipe it lightly with a cloth without using wax. When polishing with a brush or scrubbing pad, you may rub against hard parts and cause scratches, so you must use moderate pressure to avoid scratching the surface and avoid hitting hard parts.
5.Cushion for mokugyo Cushion for mokugyo is necessary to prevent damage to the mokugyo or the floor where it is placed, and to keep it from moving when you are hitting it. Cushion affects the change in sound. The larger the surface area of the cushion that comes into contact with the mokugyo, the more the sound is suppressed (reduced reverberation). Conversely, the smaller the surface area of the cushion that comes into contact with the mokugyo, the more the sound is released. The hardness of the cushion also affects the change in sound. If the cushion is soft, the reverberation is suppressed and the sound becomes quieter. On the other hand, if the cushion is hard, the sound is released and the sound becomes louder. The size of the cushion for the mokugyo is such that the mokugyo can sit comfortably and it is easier to handle if it does not move while you are hitting it. In the end, it is up to the preference of the person using it. 2 It is also a good idea to refer to the opinions of the store where you purchase it and people who are knowledgeable about it.
6.Relationship between the bachi (stick used to strike a mokugyo) and the sound The sound of a mokugyo changes depending on the bachi. The sound changes depending on the part of the baku that hits the head, the hardness of the part that hits the head, and the flexibility of the stick between the handle and the head. If you feel that the sound of the mokugyo is dull and no longer resonates, the head of the baku may be getting soft. If the baku is wrapped in cloth and then covered with leather, you will need to rewrap the cloth. If you don't know how to fix it, it may be better to buy a new baku. However, changing the baku may not improve the sound. In that case, the cause of the change in sound may be the cushion or mokugyo underneath. The cushion may have become worn out (it may have become soft by being crushed, or it may have become hard), the mokugyo may have dried out and changed the sound, or it may have cracked, causing a chattering sound (the sound will no longer resonate, it will make a fine vibration sound). There are various materials and mechanisms for the head of the bachi, which each produce a different sound. There are those made of cloth and leather, rubber and wood, etc. The harder the bachi head, the higher the sound it tends to produce.
7.About the origin and meaning of mokugyo Mokugyo is a religious tool and is also used as a musical instrument, mainly in Buddhism. The mokugyo used in Japan are mainly round and have a handle. They are mainly made of wood, they are hollow inside, and when struck with a mallet, the inside vibrates and reverberates to produce sound. In Buddhism, they are used as musical instruments to keep the rhythm when reading sutras (reciting sutras or chanting). The carvings on the surface include two pairs of dragons facing each other with a ball in their mouths, and fishes holding a ball in their mouths. 3 Both types of decorations are often related to water. They are used all over the world, but the shapes are slightly different.
8.About the materials used for mokugyo Mokugyo are mainly made of wood, and the types of wood used are mulberry, camphor, cork, and zelkova. Forty years ago, cork was the most popular material, and from the makers' point of view, it is soft and easy to carve. It was used as a substitute for paulownia in the past, but now it has become more expensive and is not used much. Nowadays, camphor seems to be widely available, and is used in camphor, an insect repellent, and has a unique smell. It grows thick, so it is easy to obtain large pieces, and it is often used for mokugyo in temples. Mulberry wood is hard and more difficult to carve than the other four types of wood, which is a feature from the craftsman's point of view. The grain is beautiful and it becomes black over time, which gives it a nice flavor. It is a high-quality material and is expensive as a material. It is also difficult to grow large and straight, so it is difficult to obtain materials with uniform grain. Silkworms are raised and the leaves are used as food for the silkworms to make silk, so it is basically a high-quality product. Zelkova is also hard and difficult to carve compared to cork and camphor, but the grain is well-defined. It is not often used for mokugyo because there is not much demand for it. It gives a smart finish, and the grain is a little thicker than mulberry. None of the trees are necessarily the same. The material and color change depending on where the tree was grown and the era, and basically no two trees are the same. The harder the wood, the higher and shriller the sound will be, even for mokugyo of the same size. There are also plastic mokugyo, but I have not been able to confirm whether they are still used as Buddhist altar implements.
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