Tokyo National Research Institute for Cultural Properties Center for Conservation Science
Department of Art Research, Archives and Information Systems Japan Center for International Cooperation in Conservation
Department of Intangible Cultural Heritage


Facility Tour in October

Briefing at the Chemical Laboratory II

 A Researcher from the National Museum of Iran and Another Researcher from the Research Center for Conservation of Cultural Relics (RCCCR)
 On October 30, two Iranian researchers toured the Institute to see how environmental management is conducted at Japanese museums for the protection of the items housed there. They visited Chemical Laboratory II and other sections, where they received a briefing from the persons in charge.

The Survey of Disaster Prevention for Intangible Cultural Heritage in Fiji

Village N in the eastern part of Viti Levu Island, where the on-site survey was conduced
Hearing survey with local residents

 The International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI), one of the Category 2 centres under the auspices of UNESCO, located in Sakai City, Osaka Prefecture has been conducting a research survey on disaster prevention for intangible cultural heritage in the Asia-Pacific region since 2016. The Department of Intangible Cultural Heritage of this Institute has continually cooperated in its program. Mr. Tomo ISHIMURA, Head of the Audio-Visual Documentation Section of the Department, joined the on-site survey conducted by IRCI in Fiji as its collaborative researcher.
 Fiji is an island nation in the Pacific region. Many of its areas suffered tremendous damage due to a direct hit of Tropical Cyclone “Winston” in March 2016. This on-site survey was implemented in two villages with particularly serious damage in the eastern part of Viti Levu Island, where the capital is located. Interviews with local residents about intangible cultural heritage and disasters were made there. The hearing survey was conducted by four members from September 23 through October 3, 2017: Ms. Yoko NOJIMA, Associate Fellow from IRCI, Ms. Elizabeth EDWARDS from the Fiji Museum, Ms. Ilaitia Senikuraciri Loloma from the Ministry of iTaukei Affairs, and Mr. Ishimura from the Institute.
 Although most buildings had been destroyed by the cyclone in both villages, houses were being reconstructed with the aid of the Fijian government and overseas NPOs. However, most of the new houses were built with lots of modern construction materials such as galvanized plates and concrete blocks. Regrettably, traditional-style wooden thatched houses called bures disappeared completely.
 Interviews with local residents disclosed the fact that much of their traditional knowledge was related to disaster prevention, including one heralding a cyclone. For example, they said that they had regarded trees bearing too much fruit as a warning sign of a cyclone. It was particularly true when a branch of the bread tree bore multiple fruits. In recent years, however, people have made light of such knowledge without utilizing it fully.
 The hearing survey also revealed the fact that the number of traditional bures had gradually decreased since the 1960s. Most of them disappeared due to the damage of Tropical Cyclone “Bebe” in 1972, and they were completely eradicated after the hit of Tropical Cyclone “Kina” in 1993. On the other hand, some people said that bures were optimum to ward off the heat and the cold and that it was comfortable to live there. They also said that there were few people who were capable of building bures these days.
 This on-site survey tells us that disasters change our traditional lifestyles and that intangible techniques are also apt to be lost accordingly. We understand that these tendencies are also greatly affected by globalization and modernization, not just resulting from disasters only.
 Based on these findings obtained through the on-site survey, we would like to seek the best way to maintain a good balance between “Reconstruction” and “Protection of Culture”.

Cooperation with the Asia-Pacific Cultural Centre for UNESCO (ACCU) in Its Seminar

On-site seminar in the Performing Arts Studio

 The Cultural Heritage Protection Cooperation Office of the Asia-Pacific Cultural Centre for UNESCO (ACCU) (Nara City) conducted the “Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2017: Recording, Conservation and Utilization of Cultural Properties at Museums” from October 10 through November 3, 2017. The Department of Intangible Cultural Heritage of this Institute cooperated on this program by delivering a lecture titled “On-Site Seminar: How to Record Intangible Cultural Heritage” at the Institute on the afternoon of October 30, 2017. The lecturer was Mr. Tomo ISHIMURA, Head of the Audio-Visual Documentation Section of the Department.
 This seminar attracted six trainees from the Pacific region, who were experts engaged in practical affairs at museums (three from Fiji, two from Papua New Guinea, and one from the Solomon Islands). In the first half of the seminar, the Japanese system to protect intangible cultural properties was explained while in the last half, how to record intangible cultural heritage was presented concretely. Particularly, focus was placed on image recording by using videos recorded actually by the Department (Kodan storytelling, a technique to make winnowing baskets from Japanese wisteria in the Kizumi area, and others recorded as videos) as visual aids.
 Although there is a wide variety of intangible cultural heritage in the Pacific region, from which the trainees came, it seems that records have not been sufficiently prepared yet. They recognized the significance of video recording well since most of the intangible techniques require manual movements in particular, which cannot be fully covered with written records in many cases. We felt that they had much interest in recording while answering their specific questions, including one referring to “how oral traditions have been recorded in Japan.”
 We realized that it would be meaningful to utilize the research outcomes accumulated by the Department for the protection of cultural heritage not only at home but also abroad.

Publication of the Intangible Cultural Heritage Archives

Map screen of the Intangible Cultural Heritage Archives
Individual screen of the Intangible Cultural Heritage Archives

 As part of the “Cultural Heritage Disaster Risk Mitigation Network Promotion Project” (commissioned by the Agency for Cultural Affairs), the Department of Intangible Cultural Heritage and the Department of Art Research, Archives and Information Systems have been working on the “Project to Collect, Organize and Share Cultural Properties Designated by the Local Governments.” The Department of Intangible Cultural Heritage is now compiling a database of intangible cultural heritage information collected throughout Japan while establishing archives of its related data as one of its missions.
 We have already published our “Intangible Cultural Heritage Archives” subject to Wakayama Prefecture as its pilot version (http://mukeinet.tobunken.go.jp/group.php?gid=10027). You can learn the name of each intangible cultural property, its place of publication and overview, as well as view its photos and videos, by searching it with a map, classification, date of performance and keyword. We have disclosed the information and images on intangible cultural properties located in Wakayama Prefecture, which were collected thanks to the Wakayama Prefectural Board of Education.
 We will expand the same data collection and publication to all prefectures while accumulating and disclosing related records as much as possible.

Seminar on Environmental Management at Museums for Iranian Researchers

On-going lecture at the Institute

 In March 2017, the Tokyo National Research Institute for Cultural Properties (TNRICP) exchanged a letter of intent with the Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO) and the Research Institute of Cultural Heritage and Tourism (RICHT) so as to commit its cooperation in various academic fields for the protection of Iranian cultural heritage for the next five years.
During the survey conducted in Iran in October 2016, Iranian experts consulted us about serious air pollution in the capital Tehran, which resulted in damage to cultural properties. They said that even metal products displayed and housed in the National Museum of Iran were eroding.
 Thus, we invited two researchers, one from the National Museum of Iran and the other from the, RICHT for a seminar and a study tour of the Institute, expecting the improvement in exhibiting and housing environments at Iranian museums.
 We provided lectures on the museum environment and air pollution at the Institute, in addition to a study tour at the Tokyo National Museum (TNM) so as to inspect its display and storage environments and to the Great Buddha of Kamakura.
We will continually provide cooperation next year for Iranian museums, aiming at enhancement in their exhibiting and housing environments.

Seminar on “Challenges and Issues to Wall Painting Conservation” in the “Human Resource Development Project toward the Improvement of the Conservation and Management System for Mural Paintings in the Republic of Turkey”

Group photo with trainees
Survey at Tagar Church (St. Theodore Church)

 As part of the above-mentioned program commissioned by the Agency for Cultural Affairs, we provided a seminar titled “Challenges and Issues to Wall Painting Conservation” from October 30 through November 2, 2017. The seminar held at Nevşehir Hacı Bektaş Veli University attracted 30 conservators and restorers from 10 national conservation and restoration centers in Turkey.
 This seminar aims to review the existing emergency procedures, which are important in conserving mural paintings in Turkey, as well as to establish the protocol. For this first seminar, we delivered introductory lectures on “Mural Painting Techniques and Main Causes of Deterioration,” “Principles in Conservation and Restoration” and so on. An opportunity provided to exchange opinions on lectures between lecturers and trainees resulted in motivating the members to work on challenges together in a united effort.
 On the last day of the seminar, we visited Tagar Church (St. Theodore Church), where on-site training is planned from the next year, to check the conservation state of the mural painting in the church based on the knowledge learned from the lectures delivered to date. We discussed how emergency procedures should be as important steps in conserving and managing mural paintings unlike general conservation and restoration projects, eliciting a variety of views from them.
 At present, a system to conserve and manage mural paintings well has not been established fully in Turkey. It is important for us to proceed with this program in step with the Turkish government.
 Before starting this seminar program, we visited the Ministry of Culture and Tourism, and the Department of Conservation and Restoration of Cultural Properties, Faculty of Fine Arts, Gazi University to exchange opinions for enhancement of the seminar program. Four training courses will be provided by 2019. We hope to build up a practical and feasible system for experts engaged in conservation activities for cultural properties by all the members attending these seminar courses.

Facility Tour in September(1)

Briefing at the Biological Science Section

 Four members from the Council for the Protection of Cultural Properties in Sakegawa Village, Yamagata Prefecture
 Due to rapidly aging cultural property administrators, it is becoming increasingly difficult to conserve and manage cultural assets year after year in Sakegawa Village. They came to the Institute on September 13th to find solutions to be reflected in their cultural property protection program. The members visited the Biological Science Section and others to receive briefings from the staff in charge.

Facility Tour in September(2)

Brief overview at the Japan Center for International Cooperation in Conservation

 Six Members including Vice-Chancellor from the Deccan College Post-Graduate and Research Institute in India
 They visited the Institute to attend the “Seminar on Indian Cultural Heritage” on September 26th.
 After a brief overview provided by the staff from the Japan Center for International Cooperation in Conservation, the members toured the Performing Arts Studio and other sections.

Facility Tour in September(3)

Briefing at the Performing Arts Studio

 Ambassador Extraordinary and Plenipotentiary of the Republic of Tajikistan in Japan, Dr. Hamrokhon ZARIFI, Second Secretary, Mr. Azizu Nazarof, and Interpreter, Mr. Kireer
 They paid a courtesy call on the Institute. The members also toured the Biological Science Section, the Library, and the Performing Arts Studio to receive briefings from the staff in charge.

Seminar on Art Archives in France Today – Seminar Held by the Department of Art Research, Archives and Information Systems

Inside the Library of L'Institut national d'histoire de l'art

 The Tokyo National Research Institute for Cultural Properties has been making efforts to collect, organize and publish art materials accumulated since its foundation in 1930 as The Institute of Art Research, following the art archive models in Europe. After more than 80 years, the way in which European art is archived has progressed. The presentation titled “Introduction of Modern Art Materials, Museums, Libraries, Archives and Internet Resources in France and Their Utilization Cases” provided on September 5th by Mr. Tatsuya SAITO (visiting researcher) of the Department of Art Research, Archives and Information Systems was a good opportunity for us to understand the current situation in France.
 Mr. Saito, who now researches French modern art for his doctorate at Paris-Sorbonne University in Paris, daily accesses archives in France. From the viewpoint of their user, he mainly introduced the cases in public institutions, such as the Bibliothèque nationale de France, L’Institut national d’histoire de l’art, the Musee de l’Histoire de France Archives Nationales, and the Musée d’Orsay. Compared with Japan, the digital archives operated by each institution are excellent in quality and quantity in general. Particularly manuscript materials, including letters written by artists, are digitalized well. The staff of this Institute, where lots of similar materials are housed, were extremely inspired. On the other hand, as not all materials are digitalized, it is also necessary to refer to original materials. We nodded in agreement at his comment as researchers.
 At the seminar, Mr. Masaya KOIZUMI from Hitotsubashi University gave comments as a commentator while Ms. Masako KAWAGUCHI and Ms. Megumi JINGAOKA from the National Museum of Western Art and Mr. Rei KOZAKAI from the Yamanashi Prefectural Museum of Art joined the seminar. Although the Department of Art Research, Archives and Information Systems daily focuses on Japanese art, the staff proactively exchanged opinions with researchers in Western art about what art archives should be like.

Research of the Western-style Cruciform Sword Possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture by an Expert from the Metropolitan Museum of Art and an Initial Report at the 7th Seminar Held by the Department of Art Research, Archives and Information Systems

Research by Dr. Pierre Terjanian
Presentation at the Seminar of the Department

 The cruciform sword possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture is a slender Western-style sword, which is said to have been owned by feudal lord Yoshiaki KATO (1563-1631) who served Hideyoshi TOYOTOMI and Ieyasu TOKUGAWA, the founder of the Kato family ruling the Minakuchi Domain in the Tokugawa Shogunate. This sword of excellent workmanship is formed completely differently from those used in Japan or in Asia. A survey conducted by domestic specialists in 2016 revealed that this was a rapier produced in Europe between the 16th and early 17th century and that this is the only Western-style sword handed down to the present time in Japan (reported in TOBUNKEN NEWS No. 65). However, the research conducted at that time did not address some essential problems, such as whether this sword was made in Japan or brought to Japan from Europe, and around which year it was manufactured.
 To resolve these problems, we invited Dr. Pierre Terjanian, Arthur Ochs Sulzberger Curator in Charge, Department of Arms and Armor, Metropolitan Museum of Art in New York, which boasts the world’s leading rapier collection. After conducting research in Minakuchi, Dr. Terjanian presented his considerations on this Western sword under the title “European Renaissance Rapiers and the Minakuchi Rapier” at the 7th seminar held by the Department of Art Research, Archives and Information Systems.
 According to his consideration, the copper hilt was obviously made in Japan, and the sword blade was probably made in Japan or in Asia, not in Europe. The original European rapier, on which the Minakuchi rapier was modeled, would have been manufactured between 1600 and 1630, but closer to 1630. Moreover, this sword displays less practicability.
 His view unveils a new fact utterly unknown so far that Japanese people scrutinized a Western sword from Europe and even manufactured a reproduction of it in the early 17th century in Japan. On the other hand, another fact was also found: that a unique technique was used to connect the hilt to the blade with an advanced screw structure, which has not been confirmed in European rapiers. You can understand that such a unique feature resulted from much effort and ingenious attempts by Japanese artisans of the day who worked hard to accurately reproduce an unfamiliar Western sword with the knowledge and techniques they had.
 Thus, the research of a Western-style sword handed down in Minakuchi reveals various facts about the metalwork techniques of the early 17th century and about the acceptance of foreign culture. We will proceed with further research and study, including the issue of where and how this sword was manufactured and by whom. We are planning to disclose the actual situation of this sword and its historical backdrops.

The 28th EAJRS Conference “Digital Strategies for Japanese Studies: Theories and Practices”

The 28th EAJRS Conference: Session at Professorboligen, the University of Oslo
The 28th EAJRS Conference: Resource Provider Workshop

 The 28th European Association of Japanese Resource Specialists (EAJRS) Conference was held at the University of Oslo, Norway from September 13th through 16th. From the Department of Art Research, Archives and Information Systems of this Institute, Mr. Kikkawa attended the conference. EAJRS is an organization composed of librarians, professors, and museum and gallery curators who handle Japanese study materials in Europe. The 2017 conference was titled “Digital Strategies for Japanese Studies: Theories and Practices,” attracting more than 90 participants. At this conference consisting of 14 sessions, 30 presentations were made, regarding studies on the collections of Japanese materials overseas by the Chester Beatty Library, the C.V. Starr East Asian Library at Columbia University, and so forth; digital archive programs by the National Institute of Japanese Literature, the National Museum of Japanese History, the International Research Center for Japanese Studies, the Japan Center for Asian Historical Records, and the Shibusawa Eiichi Memorial Foundation; the expertise on references using internet tools by the National Diet Library; and initiatives by the EAJRS Conservation/Preservation Working Group.
 At the conference, we conducted a resource provider workshop and set up a booth to introduce our research programs and archives. We exhibited our publications and digital archives with explanations. Through talks during the period, overseas experts gave us concrete advice on how information should be disseminated through the institutional repository, as well as evaluation of our publications. This was really a good opportunity for us. You can access the EAJRS site (http://eajrs.net/) to watch this conference. The 2018 conference is scheduled to be held at Vytautas Magnus University in Lithuania.

Interview for building Cultural Heritage Disaster Risk Mitigation Networks

Fig.1 An interview on site
Fig.2 The freeze-drying equipment for tsunami-damaged documents

 Natural disasters, such as earthquakes and typhoons, are causing serious damage to cultural property. The National Institute for Cultural Heritage has conducted interviews with museums and prefectural offices regarding the risk management of cultural property all over Japan in order to build networks providing for disasters, because it is necessary to protect our cultural heritage and pass it on to future generations. We are in charge of Hokkaido and Tohoku areas, and conducted an interview with Tohoku University of Art and Design on September 15.
 In the university, documents that were damaged by the Great East Japan Earthquake have been subjected to a freeze-drying process in order to dry them. We obtained information giving a detailed description of the time of the disaster in 2011. In addition, we learned about some problems and tasks on site.
 Through these interviews, we found that there were many types of risk management for cultural property in each region. We will continue to conduct interviews, and aim to build Cultural Heritage Disaster Risk Mitigation Networks that help people and protect our cultural property when problems arise.

Workshop for the Conservation of Historic Textiles in the Republic of Armenia: “Textile Art and Conservation: Knotting the Past and the Present”

Ongoing workshop
Completion Ceremony

 The Tokyo National Research Institute for Cultural Properties organized a workshop for the conservation of historic textiles titled “Textile Art and Conservation: Knotting the Past and the Present” jointly with the Ministry of Culture in the Republic of Armenia from September 11th through 20th, 2017. This workshop was implemented based on the agreement on cooperation in the cultural heritage protection area concluded between them in 2014.
 In the Republic of Armenia, numerous organic substances such as fibers have been unearthed from archaeological sites. However, they do not have sufficient knowhow to preserve such artifacts. In addition, several religiously and historically valuable items, including ritual clothing and accessories, handed down since ancient times are stored in the Mother See of Holy Echmiadzin, which is registered as a world cultural heritage site. Among them, however, some are seriously damaged, so it is necessary to restore them in the proper manner for smooth transfer of precious cultural heritage to the succeeding generations.
 For this workshop, Dr. Mie ISHII, a visiting researcher from the Japan Center for International Cooperation in Conservation, and Ms. Midori YOKOYAMA from the NHK Culture Center Saitama were invited as lecturers. The first half of the workshop was conducted at the Scientific Research Center for Historical and Cultural Heritage while the second half took place at the Museum of the Mother See of Holy Etchmiadzin. Thirteen trainees from seven institutions handling cultural heritage such as museums attended the seminar. This first workshop was designed to learn basic knowledge and techniques on textiles. We will continue this cooperative relationship to enable them ultimately to preserve and restore their cultural heritage by themselves.

Seminar on “Protection of Cultural Heritage and the Latest Research on the Indus Civilization in India”

Photo taken after the seminar together with Dr. Shinde

 On September 26th, the Tokyo National Research Institute for Cultural Properties and the Japanese Centre for South Asian Cultural Heritage held a seminar titled the “Protection of Cultural Heritage and the Latest Research on the Indus Civilization in India” inviting Vice-Chancellor of the Deccan College Post-Graduate and Research Institute in India, Dr. Vasant Shinde.
 Dr. Shinde is an archaeologist representing India, who has conducted many excavations in India. At present, he is working on the Archaeological Ruins at Rakhigarhi, which were the largest city ruins in the ancient Indus Valley civilization overwhelming Moenjodaro.
For this seminar, Dr. Shinde made presentations on the “Current Situation on the Protection of Cultural Heritage in India” and “The Latest Outcomes from the Excavation of the Archaeological Ruins at Rakhigarhi.”
 Before the presentations, he toured the Tokyo National Research Institute for Cultural Properties. Deccan College is a post-graduate and research institute specialized in cultural heritage. In 2018, it will establish new departments of “Conservation and Restoration” and “Heritage Management.” For that reason, Dr. Shinde listened intently to the briefing provided by Mr. Kuchitsu, the Head of the Restoration Planning Section of the Center for Conservation Science.

Mission for the Project “Technical Assistance for the Protection of the Damaged Cultural Heritage in Nepal” (Part 7)

Investigation to check the wall surface finishing condition in Hanumandhoka Palace, Kathmandu
Ongoing workshop for the conservation of historic settlements held in Kirtipur

 As part of the above-mentioned project commissioned by the Agency for Cultural Affairs, we have continually dispatched an expert to Nepal. From September 6th through 14th, Mr. Yamada, associate fellow of this Institute, conducted an on-site survey.
 This time, he mainly surveyed the finishing specifications of the internal walls for the buildings around Aganchen Temple in Hanumandhoka Palace, Kathmandu, the restoration of which is planned under the guidance of Japanese specialized technicians, while taking photos to provide an official record. The wall surfaces of the buildings have been repeatedly painted since their construction, changing the paint materials. Therefore, the finishing layers damaged by the earthquake were carefully peeled off one by one with a working knife to investigate the history of the internal wall specifications in each room. Toward the future restoration, it is necessary to examine whether the former painted surfaces should be preserved, as well as to consider the specifications for restoration painting. The results of the investigation will be utilized as information for making such decisions, giving us important clues to clarify the history of the buildings repeatedly rebuilt.
 On the other hand, on September 10th, he attended the workshop for the preservation of historic settlements in the Kathmandu Valley hosted by Kirtipur Municipality that has historic settlements inscribed on the World Heritage Tentative List, and suggested the items that require urgent attention for the conservation of historic settlements. Responding to this suggestion, the Mayor of Kirtipur, local administrative staff having jurisdiction over each historic settlement, and personnel from the Department of Archaeology of the national government held enthusiastic discussions with one another. Although there are still a lot of tasks to be completed before a proper system for conservation of historic settlements can be established, this workshop allowed the members to anticipate its realization.

International Course on Conservation of Japanese Paper 2017

Practical session

 The International Course on Conservation of Japanese Paper was run from August 28th to September 15th, 2017. This course has been jointly organised by the Tokyo National Research Institute for Cultural Properties (TNRICP) and the International Centre for the Study of Preservation and Restoration of Cultural Property (ICCROM) since 1992. It is aimed at contributing to the protection of cultural property outside Japan by disseminating the knowledge and techniques of conservation and restoration of paper cultural property in Japan to participants from around the world. This year, 10 specialists in conservation from 9 countries (Argentina, Australia, China, Czech Republic, Greece, Israel, Latvia, the Philippines and the USA) were selected as participants among 79 applications from 38 countries.
 The course was composed of lectures, practical sessions and excursions. The lectures covered protection systems of both tangible and intangible cultural property in Japan, basic insights into Japanese paper, traditional conservation materials and tools. The practical sessions were led by instructors from a certified group holding the Selected Conservation Techniques on “Restoration Techniques of Mounting.” The participants gained experience of restoration work of paper cultural property from cleaning it to mounting it to a handscroll. Japanese-style bookbinding, and handling of folding screens and hanging scrolls were also included in the sessions. The excursion to the cities of Nagoya, Mino, and Kyoto, arranged in the middle of the course, offered an opportunity to see folding screens and sliding doors in historic buildings, the Japanese papermaking (Honminoshi) which is designated as an Important Intangible Cultural Property of Japan, a traditional restoration studio, and so forth. On the last day, the present situation and issues with a focus on paper cultural property in each country such as conservation materials and environmental control were discussed.
 The participants could acquire a deeper understanding not only on conservation materials and tools used in Japan but also conservation approaches and techniques using Japanese paper throughout this course. We hope that the knowledge and techniques they gained in the course will be applied to conservation and restoration of cultural property overseas.

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The Third Mission for the Project “Networking Core Centers for the Transfer of Technology Related to Study and Protection of Archaeological and Architectural Heritage in Myanmar” (Architectural Field)

Crack Gauge Damaged by Squirrels and Installation of Crack Disk
Technical Survey
Performance by Local Bricklayer
Ongoing Lecture
Manufacture of Brick Specimens

 As part of the above-mentioned project commissioned by the Agency for Cultural Affairs (re-commissioned by the Nara National Research Institute for Cultural Properties), we conducted the third on-site survey for 2017 (from September 17th through October 2nd) by dispatching six members, including three outside experts. This time we conducted structural behavior monitoring, surveys on traditional building and production techniques, material experiments, and so forth.
 In the structural behavior monitoring checked for the third time, no progress was found in deformation of the three monitored buildings in particular. However, part of the crack gauge had come off due to damage by birds or animals, and therefore, continual monitoring could not be performed at some of the measuring points. Therefore, we took measures according to the on-site situation by covering crack gauges or switching to crack disks.
 The heritage building has various values: not only its appearance but also the techniques used for its construction. Regrettably, in the conventional restoration work in Bagan, people were scarcely aware of the conservation or reproduction of original techniques. And also scarce studies on such techniques are precious few. Thus, for this survey, we checked the bricklaying techniques in 20 buildings together with experts in building structure and conservation/repair. We also collected information on production techniques of traditional buildings through interviews and demonstrations with local bricklayers involved in repair.
 As part of our technical assistance, we delivered lectures at the Bagan Branch of the Department of Archaeology and National Museums, the Ministry of Religious Affairs and Culture in Myanmar for its 13 staff members, including the Deputy Director of the Bagan Branch, on September 20th. The three lectures were given in an omnibus manner: “Seismic damage of masonry cultural heritage in Asian countries” (Masahiko TOMODA, Head of the Conservation Design Section of the Tokyo National Research Institute for Cultural Properties); “Surveys for Structural Analysis of Brick Cultural Heritage Buildings and Their Cases” (Professor Mikio KOSHIHARA, the University of Tokyo); and ”Conservation and Repair Work for Former Winery Facilities of Chateau Kamiya” (Yasuo NAKAUCHI, Adviser, the Japanese Association for Conservation of Architectural Monuments). The audience showed much interest in reinforcement materials and techniques in particular.
 On the other hand, in Yangon, we conducted compressive strength tests for single bricks (14 pieces) from September 23rd through October 1st in cooperation with the Myanmar Engineering Society (MES) and Yangon Technological University (Y1TU). In addition, we manufactured prisms (four-layered brick specimens) using three types of mortar that differed in materials and mix proportions based on the information obtained from the production technique survey in Bagan (nine in each type), cylindrical mortar specimens (three in each type), and square mortar specimens (three in each type). We are planning to conduct strength tests for these specimens about two months later.
 We hope to accumulate more data useful for conservation and repair of the cultural heritage buildings in the Bagan area through such surveys and experiments.

The Forefront of Research on Sesshu – The Department of Art Research, Archives and Information Systems Organizes a Workshop

Landscape “Haboku-sansui” by Sesshu (partial) owned by TNM (picture provided by TNM)

 Sesshu Toyo went to China (Ming) and made a serious career of ink brush painting. Materials on Sesshu’s entry into Ming include “Tenkai togaro ki” by Baifu Ryoshin and Sesshu’s painting “landscape” including his inscription (commonly called the Painting “Haboku-sansui” owned by the Tokyo National Museum (TNM)). Mr. Yu HASHIMOTO (Hokkaido University) presented his theory that Sesshu proactively went to Ming from the standpoint of Japan-Ming history research in his papers titled “Reexamination of Sesshu’s Travel to Ming China” (Studies in Art History 33, March 2017). Regarding “之” of “向者、大明国北京礼部院、於中堂之壁、尚書姚公、命公令画之” in “Tenkai togaro ki,” he pointed out that it was the theme of the painting drawn by Sesshu in the interior wall of lǐbu(礼部) in Beijing and assumed that it was an image of Zhôngkui(鍾馗) and as collateral evidence, and he discussed the relations between Zhôngkui and Chinese higher civil service examinations and lǐbu. Furthermore, the part “於茲長有声并李在二人得時名、相随伝設色之旨兼破墨之法兮” of Sesshu’s inscription in “Sansuizu” was read as the fact that Zhang Yousheug and Li Zai learned the traditional painting style by following each other unlike the traditional interpretation of “Sesshu’s studying under Zhang Yousheug and Li Zai.”
 In response to this discussion, Mr. Minoru WATADA, Cultural Affairs Agency, scrutinized Hashimoto’s views of “Tenkai togaro ki” and Sesshu’s inscription in “landscape” in a presentation entitled “On the Occasion of Yu HASHIMOTO’s ‘Reexamination of Sesshu’s Travel to Ming China’” at a workshop organized by the Department on August 7th. We invited Mr. Arata SHIMAO, Gakushuin University, as the moderator, Mr. Koji ITO, Kyushu University, Mr. Hitoshi YONETANI, Waseda University, Ms. Makiko SUDA and Mr. Makoto OKAMOTO, Historiographical Institute, The University of Tokyo, as commentators and views and opinions from the perspectives not only of art history but also of historiography and philological history were exchanged in the workshop.
 Mr. Watada read in the past “命公令画之” in “Tenkai togaro ki” as “之に画く” in the book titled “Sesshu and Japanese Kanga Painters (Brücke, 2013) and if it is “之を画く” as traditionally interpreted, he raised a question as to Hashimoto’s view that “之” is “墨鬼鍾馗” right before it. Many of the participants in the workshop expressed their views that there was no way to determine what “之” points to only through interpretation based on grammar and pointed out that there was room for restudy of the validity of making the theme of the painting an image of Zhôngkui. Based on the collateral evidence shown by Mr. Hashimoto and other evidence, some noted that the possibility of the theme of the painting being an image of Zhôngkui cannot be denied categorically, either. The participants concluded that seeking a possible interpretation and the theme of the painting that is appropriate for lǐbu would be future challenges to be addressed.
 Furthermore, regarding the subject of “相随伝” written in the inscriptions, Mr. Watada read it as Sesshu, considering the fact that the subject after “余曽入大宋国” was supposed to be “余,” namely, Sesshu. So he took the position of reading Sesshu’s studying under Zhang Yousheug and Li Zai as traditionally interpreted. As opposed to this, many of participants in the workshop expressed views that there was a contradiction in terms of the structure of a sentence in the traditional theory and ended up supporting Mr. Hashimoto’s interpretation. It remains unknown why Sesshu illustrated two painters, that is, Zhang Yousheug and Li Zai , but if you pay attention to “数年而帰本邦地、熟知吾祖如拙周文両翁製作楷模,” as “長有声并李在” and “如拙周文” become paired, it is safe to say that Sesshu intended to make “如拙周文” stand out. Mr. Watada pointed out that unless you make the one that did “相随伝” Sesshu, it did not agree with the description of “至于洛求師,” namely, Sesshu sought a teacher in China. Mr. Shimao, who served as the moderator, suggested clichés be distinguished in text and it was an opportunity to share the recognition that studies are needed from an extensive perspective that is not confined to reading or interpreting of historiographic materials.
Thanks to the question raised by Mr. Watada, the participants were able to share the possibility and amplitude of interpretation of historiographical materials yet again. We can look forward to future developments in research on Sesshu.

Participation in IFLA World Congress in Wroclaw

Centennial Hall, the main venue of the IFLA World Congress
Presentation by Ms. Salomon

 The International Federation of Library Associations and Institutions (IFLA) held its 83rd World Library and Information Congress from August 19 to 25, 2017 in Wroclaw, a city in western Poland. IFLA, founded in 1927 in Edinburgh, Scotland, is an international organization for libraries and a member of the International Committee of the Blue Shield. Headquartered in The Hague, the Netherlands, IFLA has approximately 1,400 member institutions from over 140 countries, and holds an annual world congress. At this year’s world congress, 248 sessions, including conferences, meetings and workshops, took place based on various topics and types of libraries such as national, academic and public libraries. As the first delegate from the Tokyo National Research Institute for Cultural Properties, I, Tomoko Emura from the Department of Art Research, Archives and Information Systems, participated in the Congress, joining workshops and meetings on art libraries and other topics relevant to our archives to share information and network with other participants from around the world.
 A session for the Art Libraries Section, Discovering Art and Architecture: Open-Access Tools for Art History Research, was held in the Museum of Architecture in Wroclaw on August 22, where four speakers from the Netherlands, Italy, the United States and Hungary presented various measures to expand the sharing of art-related documents and research materials to facilitate further studies. Ms. Kathleen Salomon from the Getty Research Institute explained, in her presentation titled A Virtual Library for Art History: The Getty Research Portal, that the Portal added our institute to the list of contributors in May this year and now provides access to digitized copies of the magazines and exhibition catalogues from the Meiji era owned by our institute. She also explained that other rare books in non-English languages are widely accessible from the Portal. Having seen no other participants from Japan or other Asian countries in the Art Libraries Section or the standing committee, I received the impression that international initiatives on art-related documents and materials are led by people in the U.S. and Europe, but also found that many Japanese artworks and documents are owned by institutions all over the world. Further, I realized that our institute would be able to play an instrumental role in supporting research activities and promoting a better understanding of Japanese culture more widely around the world by providing archive functions and information more effectively to the international community. Our challenge for the future is to foster international cooperation while maintaining our specialized expertise at a sufficient level.

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