| ■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 |
|
A daghdghan, or wooden amulet hung around the neck to protect domestic animals and children from the “evil eye”
Wooden spoons
Research was conducted on intangible culture in Armenia. The Japan Center for International Cooperation in Conservation has implemented international projects to primarily conserve tangible cultural properties in the countries of the Caucasus and West Asia. In January 2012, Migiwa Imaishi of the Department of Intangible Cultural Heritage conducted a basic study of intangible cultural heritage in those countries in order to explore the potential for international research exchanges and cooperation in the field of intangible cultural heritage. As part of the study, Imaishi conducted documentary research by visiting several museums, including the History Museum of Armenia and the National Museum of Ethnography and History of the Liberation Struggle of Armenia. Imaishi talked with ethnologists and also studied the current state of research and transmission of culture in Armenia. Ethnologists acknowledge that much of the “traditional culture” of Armenia was lost during the period of Soviet rule, but pieces of culture are remembered and continued to this day. Indigenous beliefs and customs that have fused and coexisted with Christian beliefs and customs are particularly interesting. One example involves eating manners and customs. There are various customs regarding salt and the use of special salt containers (such as pots shaped like a woman or bird) that remain culturally important. Likewise, each member of a family used to have his or her own wooden spoon, just like Japanese have their own chopsticks, so spoons symbolized each member of the family. The Dovlat, a deity of the home, was also said to dwell in spoons. Spoons are also said to authorize the rights of housewives and had many magical uses, just like ladles and chopsticks in Japan. The potential for studies or research exchanges in some form must be explored in concert with local researchers.
Mold growing on areas painted oyster shell white
An on-site exposure test with a fungicide
As part of a commissioned study on Development of Techniques to Prevent Color Paint Peeling at Kirishima Shrine and Work to Implement Those Techniques, the Center for Conservation Science and Restoration Techniques has studied biological deterioration of traditionally painted areas of Kirishima Shrine. Traditional painting techniques used organic substances such as animal glue and are usually susceptible to biological deterioration by microbes like mold. If mold grows, it can seriously mar a building’s appearance. Moreover, mold degrades the proteins in animal glue that serve as a binder, causing pigments to separate from the painted surface. Metabolites also cause pigments to discolor and dissolve. As a result, the physical deterioration of painted areas accelerates.
Kirishima Shrine has suffered damage, i.e. extensive growth of mold, in areas that were painted traditionally with oyster shell white paint or ochre paint including walls of breezeways, the covered stone stairway, and the worship hall. This year, a microbiological study was conducted to identify the mold responsible and ascertain the impact of that mold on painted areas. Temperature and humidity changes on-site were also monitored and an exposure test with fungicides was also conducted to help devise optimal control measures.
Environmental measurements revealed that the Shrine’s air temperature is lower than the air temperature of level ground and the Shrine has a relatively high relative humidity of about 70% as an annual average. The Shrine was found to have an environment conducive to the growth of indigenous microbes. During the on-site exposure test with fungicides, several agents were found to have fungicidal action, but some of the fungicides chemically reacted with the white paint and could lead to deterioration. One hundred and thirty-three fungal strains have been isolated from damaged areas. These strains were grouped based on colony morphology and analyzed phylogenetically and physiologically. Results indicated that 3 groups had highly prevalent fungal strains (i.e. they had the most strains isolated). These groups are presumed to play a major role in microbial deterioration of traditionally painted areas of Kirishima Shrine. Plans are to perform a more detailed analysis of the isolated strains and continue exploring measures to prevent and control microbial deterioration of areas with traditional oyster shell white paint and ochre paint in conjunction with exposure test results.
The older part of Padang affected by the earthquakes
Workshop on recovery process in Padang
Visit to a disaster area in Kesennuma, Miyagi Prefecture
The historical district of the City of Padang, West Sumatra was seriously damaged by earthquakes occurring off the coast of West Sumatra in September 2009. Since November of that year, the National Research Institute of Cultural Properties, Tokyo, has continued to support the recovery process of damaged cultural heritage sites in the district. This year, field studies were undertaken by Japanese experts, and a local workshop focusing on the topics of earthquake-resistant construction, disaster countermeasures, and risk management was conducted from January 4th to 13th, 2012 within the framework of emergency programs by the Japanese Agency for Cultural Affairs. Afterwards, Indonesian experts were invited to Japan from January 19th to 25th. Proposed restoration efforts are based on Japan’s own experiences following the March 11th, 2011 disaster in Tohoku.
At the workshop, examples of efforts to restore damaged cultural heritage sites in Japan were presented, and earthquake countermeasures and townscape preservation of the the historical district were discussed on-site. In addition to surveys of restoration of damaged historical buildings and townscapes, field studies proposed seismic retrofits based on basic structural surveys and those studies examined the architecture of traditional townhouses. Indonesian experts who were invited to Japan were able to talk with personnel actively working on restoration and earthquake countermeasures on-site in affected areas like Tohoku. This series of programs helped to clarify issues with reconstruction of damaged cultural heritage sites in Padang two years after the earthquakes. Further cooperation is needed for more specific action plans so that valuable historical heritage sites are not lost.
Participants of the workshop
Government Palace, Ulaanbaatar
Four experts from the National Research Institute for Cultural Properties, Tokyo (NRICPT) were dispatched to Mongolia from January 21 to 27, 2012 as a part of the Networking Core Centers Project commissioned by Japan’s Agency of Cultural Affairs.
On January 24th and 25th, workshops to draw up the management plan for Amarbayasgalant Monastery were held under the joint auspices of NRICPT, Nagoya University and the Ministry of Education, Culture, and Science of Mongolia (MECS). During the discussion, the protection of cultural heritage was considered along with the Land Law and the system of administrative courts. Accordingly, a written proposal to MECS and the Selenge Aimag (province) office was drafted. This proposal mentions establishment of a working group to include the Monastery on the World Heritage List and to draft a management plan, clarification of problems with the current regulations on protected areas, and efforts to obtain the understanding of local residents. NRICPT seeks to closely coordinate and cooperate with relevant bodies to bring the proposal to fruition.
On January 26th, representatives of the NRICPT, Nagoya University, and the National Police Agency of Mongolia discussed the matter of illicit export and import of cultural properties. Representatives of the Police Agency explained national policies, systems, and criminal cases related to this topic. Representatives of the NRICPT informed them of cases of illegal mining and graffiti at the sites of Serven Khaalga and Rashaan Khadin Khentii Aimag, Mongolia.
Sample screen from the integrated database
Report on a Study of Architectural Pigments at Byodoin’s Phoenix Hall: With Particular Focus on Blues by the Cultural Properties Division, Kyoto Prefectural Board of Education (Papers of TANAKA Ichimatsu). This report is from an August 10, 1955 meeting of the Byodoin Phoenix Hall Restoration Committee. This document was discovered during this attempt to create a database and appears to feature the first instance of the term “substituted azurite blue.”
On December 20th, the Department of Art Research, Archives, and Information Systems held an interim meeting on a study funded by a Grant-in-Aid for Scientific Research entitled R&D to Preserve and Utilize Past Reports on Artwork and Types of Image Data: Passing on the Views of Art Historians (principal researcher: Atsushi Tanaka). The Institute is a repository for materials used in its previous projects and reports, photos, and other items donated by the families of former Institute officers. The Department is encouraging the preservation and utilization of these items as research materials. The Department is also encouraging the study and utilization of related materials that had been overlooked in previous art history research. The materials include items that are easily categorized and stored, like printed publications, as well as handwritten notes and sketches, handouts from meetings and conferences, 35-mm slides, and 16-mm film. Organizing these items is difficult, and such items are treated less than reverentially by organizations such as art museums, museums, libraries, and universities. Such items are also extremely rare. The study on R&D to Preserve and Utilize Past Reports on Artwork and Types of Image Data was scheduled to last 4 years starting in 2009, and this year marks the third year of the study. Members of the Department of Art Research, Archives, and Information Systems and visiting researchers have divvied up the voluminous materials and are organizing them and converting them into digital formats. The interim meeting described which materials were assigned to certain individuals in certain categories, to wit:
EMURA Tomoko is studying Kogabiko (Notes on Old Paintings) during the Showa Period: Using the Papers of TANAKA Ichimatsu in Future Research, SARAI Mai is studying the Papers of KUNO Takeshi, MIKAMI Yutaka (Wako University, visiting researcher in the Department) is studying Documents on Modern Art: Assembling Art Gallery Circulars and Catalogs and Topics for the Future, NAKANO Teruo (visiting researcher) is studying the Papers of YANAGISAWA Taka, WATADA Minoru is studying the Papers of TANAKA Sukeich, and TANAKA Atsushi is studying the Papers of TANAKA Toshio.
There are various databases for each category of material, preventing a full archiving of these cultural properties. To resolve this problem, basic data from the papers of TANAKA Ichimatsu, KUNO Takeshi, and UMEZU Jiro were integrated into a database of books, exhibition catalogs, art journals, original photos, and other items currently in use at the Institute. A simulation was performed with the resulting database (about 635,000 records in total). The database allows simultaneous searches of research materials in various formats and it highlights multiple trends in research. The database will provide new directions for specialized archives. Numerous issues must be dealt with so that the database can serve as a more accurate information-gathering tool, but hopes are to create an archive of cultural properties that can be utilized in various fields of study.
Yokoyama Taikan’s Yamaji (Eisei Bunko collection), Imaging of the back of the painting
As reported last October, the Department of Art Research, Archives, and Information Systems is conducting joint research with Eisei Bunko on Yokoyama Taikan’s Yamaji (the Mountain Path) as part of a research project entitled Documentary Research on Cultural Properties. Taikan’s Yamaji in Eisei Bunko’s collection was exhibited at the 5th Bunten Art Exhibition (sponsored by the Ministry of Education) in 1911 and is an important work that inaugurated new forms of expression in Japanese painting with its vivid strokes. After the piece was studied last fall, it was restored by one of the Kyushu National Museum’s conservation facilities. The mounting was dismantled, the cover was removed, and the back side of the painted silk cloth was visible, occasioning a second survey on December 9th with the aid and cooperation of the Museum and the Association for Conservation of National Treasures, which supervised the restoration. Looking at the picture through the thin silk cloth from the back revealed a process of manufacture that was not apparent from the front. The piece’s characteristic brownish tint to represent leaves in fall appears to have been dotted on later on, but the survey of the back of the piece revealed that the color was applied in an earlier stage of the piece’s production.
The current survey team included MIYAKE Hidekazu of Eisei Bunko; HAYASHIDA Ryuta of the Kumamoto Prefectural Museum of Art, which curates Yamaji; ARAI Kei and TAIRA Yuichirou of the Tokyo University of the Arts, both of whom were on the previous survey team; and SHIRONO Seiji and SHIOYA Jun of the Institute. Mr. SHIRONO took high-resolution images of the back of the painting. Such an imaging survey of a piece during its restoration is rare. The back of the painting is not visible unless the painting is removed from its mounting, so images of the back provide extremely valuable information.
Survey of species of organisms on stone surfaces and environmental conditions
Signing of the memorandum of understanding
In December 2011, the Institute conducted a field survey of the Angkor Complex. The memorandum of understanding between the Nara National Research Institute for Cultural Properties (Nara Institute) and the Authority for Protection and Management of Angkor and the Region of Siem Reap (APSARA National Authority) was also renewed.
Efforts at the Angkor Complex seek to clarify environmental conditions suited to preserving stone monuments. Biodeterioration of stone is a common problem in the area, and different species affect stone surfaces differently. However, few organizations are studying the relationship between the condition of stone and the environment and species of microorganisms, and this includes taxonomic studies. The Institute has been studying the relationship between environmental conditions and species of moss, lichen, and algae that grow on stone to quantitatively and qualitatively evaluate their effect on stone surfaces. The current survey included specialists in the taxonomic study of lichen from Japan and South Korea, and specialists in plant ecology and biodeterioration of cultural property from Italy. The survey was conducted at sites with different environmental conditions such as the Ta Nei Temple which has been previously surveyed, and several other temples like Ta Keo, Ta Phrom and Bayon. Researchers are now analyzing the information obtained from the field survey. Institute researchers have been monitoring the surface conditions of stone samples taken from a nearby quarry and left at Ta Nei and they have been following up on past attempts at conservation efforts.
Following the field survey, the Institute renewed a memorandum of understanding with the APSARA National Authority on joint research at the Angkor Complex. Previously, both the Tokyo and Nara Institutes each signed an MOU with the APSARA National Authority, but the current MOU was signed by all three organizations so that the Tokyo and Nara Institutes will be able to cooperate more closely with each other in the same area. The signing ceremony was held at the Headquarters of the APSARA National Authority in Siem Reap and was attended by Mr. KAMEI Nobuo (the Director General of the Tokyo Institute), Mr. INOUE Kazuto (Deputy Director General of the Nara Institute), and H.E. Bun Narith (President of the APSARA National Authority). The Institute will study restoration preparations at the West Prasat Top, where repair work is planned.
Eten-raku, popular since the Kamakura period, is now known as Gagaku music performed at wedding ceremonies or as a Kuroda-bushi of Japanese folk songs. Though Gagaku was originally instrumental music, the melody of Eten-raku is a favorite among the Japanese. Eten-raku features varied verses. These are known as Eten-raku Ima-yo.
Noh plays achieved success with Zeami in the early Muromachi period and sometimes set up a climactic scene by adopting the essence of other performing arts. For example, the play “Ume-gae” has a Gagaku musician’s wife as its heroine and features Eten-raku Ima-yo verses before the heroine dances as she recalls her past. The chanting melody has changed so much that it does not sound like Eten-raku anymore, but restoring the melody of the Momoyama Period should bring out the melody of Eten-raku. Ume-gae was performed publicly by Tessen-kai of the Kanze school in December and featured the melody of Eten-raku Ima-yo, which was restored with the cooperation of Dr. Takakuwa of the Department of Intangible Cultural Heritage. Study of old Noh performances by Dr. Takakuwa has shown that exchanges of the music from different genres, such as Gagaku and Noh, are evident on-stage.
Presentation
Overall discussions
The 6th Conference on the Study of Intangible Folk Cultural Properties was held on December 16th, 2011 with “Intangible Cultural Heritages in Post-earthquake Reconstruction” as its theme.
After the huge earthquake in March, various efforts have been made to preserve the culture and cultural properties of disaster-stricken areas. However, the reality is that issues with and information concerning the intangible culture and cultural properties of stricken areas were not adequately shared. Thus, the Department of Intangible Cultural Heritage planned to continue to work on this theme. For the first year, the Department sought to clarify conditions in devastated areas and to share information. Five experts who were working in the Tohoku area before the earthquake or who are providing logistical support to or helping with reconstruction efforts were invited to give lectures at the conference. Two commented from the respective standpoints of academia and administration.
Various subjects were raised and discussed from various standpoints thanks to comments from various individuals. Interestingly, the theme of the conference was the earthquake but the actual issues raised preceded the earthquake, such as how to safeguard folk culture, how to deal with a lack of individuals to carry on traditions of techniques and shrinking communities, systematic problems involved in managing intangible cultural heritage, and the force and essential significance of folk performing arts, religions, and beliefs. An extremely unusual event, the earthquake and subsequent tsunami had distorted everyday life and revealed what is essential. One of the invited speakers was from Fukushima, which is struggling with a nuclear power plant accident. Although Iwate, Miyagi, and Fukushima Prefectures are all labeled disaster-stricken areas, conditions in Iwate and Miyagi differ vastly from those in Fukushima. There has been little talk of Fukushima’s reconstruction. As the speaker reiterated, nuclear power is a force that had never been fully controlled by humans and was now present in a form completely divorced from the local culture.
Plans are to disseminate and share information by covering issues concerning the stricken areas and restoration. The lectures and discussions at the conference should be published in March.
Temple remains where large pools of water still remain (mud caked to walls indicates the maximum height of flooding)
Excavated remains completely under water
The bottom of a mural damaged by flooding
Through a program commissioned by the Agency for Cultural Affairs, flood damage to the ancient city of Ayutthaya was surveyed by 2 successive missions on November 28–December 3, 2011 and December 18–23, 2011. Extremely heavy, continual rainfall starting in September caused massive flooding in Ayutthaya and Bangkok, a fact that was also widely reported in Japan. The Ayutthaya ruins, a World Cultural Heritage site, were extensively flooded as well. Concerned about the effects of flooding on the site’s conservation, the Thai Government asked for Japan’s assistance via the UNESCO Office in Bangkok. The decision was then promptly made to provide emergency assistance by having experts conduct a field survey.
Two experts in measures to counter water damage and conservation of cultural heritage were sent to conduct the first survey, and 6 experts in conservation science, murals, architecture, and photography were sent to conduct the second survey. The extent of damage to major sites was determined firsthand together with experts from the Fine Arts Department of the Thai Ministry of Culture and the Japanese Agency for Cultural Affairs.
The surveys indicated that flooding was considerable and that some murals were soiled with mud, salt deposits had emerged in places, mud had been deposited on brick foundations, and an exhibition of excavated archaeological remains was submerged. However, generally speaking, direct damage to ruins was limited and most of the damage was relatively minor. Nevertheless, deterioration and deformation of brick stupas and prasats due to aging were observed everywhere. The survey results reaffirmed the importance of continual monitoring and conservation efforts based on a medium- to long-term plan in order to mitigate damage in the event of a disaster. Exploring ways to assist the Fine Arts Department in these efforts is a subject for the future.
Interview at the Bahrainian Ministry of Culture
Qalat Al Bahrain and associated museum
Burial mounds
The Japan Consortium for International Cooperation in Cultural Heritage surveyed the cultural heritage of Bahrain from December 16th to the 23rd. The main goal of the survey was to explore current and future developments in international cooperation to preserve cultural heritage in Bahrain by visiting sites firsthand and determining Bahrain’s specific cooperation requirements. Sites such as archeological sites primarily consisting of burial mounds built around 2200 BC and Qalat Al Bahrain (on the World Heritage List) were visited along with the Bahrain National Museum and historical district in Muharraq. Survey members gathered information and interviewed with concerned personnel. As a result, the survey indicated the need for joint research on maintenance and management after excavations or inscription on the World Heritage List. The survey also indicated the need for long-term technical cooperation in conservation science and training of personnel to safeguard and restore buildings. Plans are to determine the future forms of Japan’s cooperation by consulting with relevant institutions.
In the Restoration Laboratory
14 participants of the Kyushu National Museum’s “Project to Encourage Active Use of Museums”:
On November 10, fourteen participants in the Kyushu National Museum’s “Project to Encourage Active Use of Museums” visited the Institute to view research activities related to conservation of cultural properties in order to facilitate the implementation of integrated pest management (IPM) at their individual facilities. The participants toured the Restoration Laboratory, Fumigation Laboratory, and Biology Laboratory of the Center for Conservation Science and Restoration Techniques and the Restoration Studio of the Japan Center for International Cooperation in Conservation. The staff members in charge of each section explained the work they do.
In the Image Laboratory
Four visitors from the National Research Institute of Cultural Heritage, South Korea:
On November 15, four visitors from the National Research Institute of Cultural Heritage, South Korea visited the Institute as part of a conservation project. The visitors toured the Image Laboratory of the Department of Art Research, Archives, and Information Systems and the Restoration Laboratory and Chemistry Laboratory of the Center for Conservation Science and Restoration Techniques. The staff members in charge of each section explained the work they do.
In the Chemistry Laboratory
Mr. Yokokawa, Director of the Historical Museum of Nagasaki Shipyard and Machinery Works, Mitsubishi Heavy Industries, Ltd.:
On November 11, Mr. Yokokawa, Director of the Historical Museum of Nagasaki Shipyard and Machinery Works, visited the Institute in order to view the studio and the laboratories where the lacquered shelf of the Argentina Maru, a piece in the museum’s collection, is going to be restored. Director Yokokawa toured the Conservation Laboratory and Chemistry Laboratory of the Center for Conservation Science and Restoration Techniques and the Restoration Studio of the Japan Center for International Cooperation in Conservation. The staff members in charge of each section explained the work they do.
In the Restoration Studio
Prof. A. Ochir, International Institute for the Study of Nomadic Civilizations, Mongolia and Prof. Matsukawa, Otani University:
On November 25, Profs. A. Ochir and Matsukawa visited the Institute in order to exchange opinions with our specialists on the Birch-Bark Manuscripts that were recently excavated in Mongolia. The visitors also inspected the current state of conservation of paper in Japan. The visitors toured the Conservation Laboratory and the Chemistry Laboratory of the Center for Conservation Science and Restoration Techniques and the Restoration Studio of the Japan Center for International Cooperation in Conservation. The staff members in charge of each section explained the work they do.
Presentation by TAKAGISHI Akira (Nov. 11th)
Presentation by SASAKI Moritoshi (Nov. 12th)
In order to further publicize the results of its day-to-day research, the Department of Art Research, Archives, and Information Systems hosts a public lecture series each fall for personnel from the Institute and other facilities. This year marked the 45th of these lecture series. The theme of this year’s lecture series was a new one, Dialogues on Objects and Images, and dealt with various aspects of cultural properties as immobile objects that engender vivid imagery in people’s minds. Four art history researchers from the Institute and other facilities gave presentations Nov. 11th and 12th in the Institute’s seminar hall.
The theme for Nov. 11th was “Multiple streams of styles in Japanese art history: Selection and modification of styles.” SARAI Mai, a researcher in the Department, gave a presentation entitled “From the Early to Late Heian Period: Sculpting of the Juichimen Kannon [eleven-headed Kannon] at Rokuharamitsuji Temple while TAKAGISHI Akira, an associate professor in the graduate school of the Tokyo Institute of Technology, gave a presentation entitled “From the Kamakura Period to the Muromachi Period: The origins and revival of the medieval Yamato-e painting style.” Ms. SARAI focused on “style,” a concept particular to art history, as she discussed sculptures during a transition in styles in the mid-10th century with specific attention to the context in which those sculptures were produced. Mr. TAKAGISHI expanded on his own multilayered view of changes in Yamato-e style paintings evident in picture scrolls from the end of the Heian Period–Muromachi Period.
The theme for Nov. 12th was “Concepts of antique art.” WATADA Minoru, Head of the Department’s Trans-Disciplinary Research Section, gave a presentation entitled “Foundations for Chinese-style paintings of the Muromachi Period: Shubun and Sesshu” while SASAKI Moritoshi of the Machida City Museum of Graphic Arts gave a presentation entitled “Buddhist print design from the Heian Period–Kamakura Period: Buddhist images on stamps.” Antique art tends to be described merely in terms of shape, but Mr. WATADA shed light on conditions during the creation of “Autumn and Winter Landscapes,” one of Sesshu’s works (in the Tokyo National Museum’s collection) and the works of Shubun, his teacher, as well as the roles of those works. Similarly, Mr. SASAKI shed light on conditions during the creation of Buddhist prints stored inside Buddhist statues as well as the roles of those prints. Although completely forgotten today, the “concepts” of those works were brought to light.
Lectures were unusually well attended, with an audience of 128 on Nov. 11th and 108 on Nov. 12th. The seminar hall was packed. In each presentation, presenters described the results of their latest research. Despite the academic content of the lectures, audiences remained enthralled and appeared to enjoy these novel topics.
The Azerbaijan State Museum of Art
Survey underway at the Museum
As part of a program for cultural cooperation by the Japan Foundation and scheduled from Nov. 27 to Dec. 6, 2011, a survey of Japan-related artworks in the collection of the Azerbaijan State Museum of Art was conducted. Azerbaijan became an independent state following the collapse of the Soviet Union in 1991. Its capital, Baku, is located on the western coast of the Caspian Sea, and medieval buildings that have been inscribed as world heritage sites still remain in the older part of the city. The Azerbaijan State Museum of Art was founded in Baku in 1920 and curates and domestically exhibits primarily Russian and European paintings and sculptures. The Museum’s collection includes about 300 pieces of Oriental art from Japan and China, but the Museum has no expert in Oriental art, so the Museum has had difficulty distinguishing Japanese artworks from those made in China or elsewhere. Thus, OCHI Ayako, a member of a culture team in the Cultural Programs Division of the Japan Foundation, KOMATSU Taishu, Director of the Akita Senshu Museum of Art, and EMURA Tomoko of the Institute visited the Museum. We surveyed works in the collection and advised Museum personnel on exhibiting and managing those works. As a result, the survey determined that about 100 of 270 works that were surveyed were Japanese artworks (pottery, sculptures, lacquerware, gilded objects, textiles, paintings, and books printed from woodblocks). Most of the surveyed works are pottery exported overseas from Japan and China from the late 19th century to the early 20th century; although the pieces are not considered particularly rare, the identification of this collection of exported pottery is significant. Plans are to finish compiling the survey data and then translate the survey report and provide copies to the Museum. This effort should help to further understanding of Japanese culture in Azerbaijan and help locate unknown works held abroad as part of research on pottery exported from Japan.
While in Azerbaijan, we visited the Embassy of Japan in the Republic of Azerbaijan and met with WATANABE Shusuke, the Ambassador Extraordinary and Plenipotentiary. The Ambassador explained that he wanted to build on the survey and encourage further cultural exchanges between Japan and Azerbaijan. The efforts of Embassy staff like KOBAYASHI Ginga, second secretary to the Japanese Embassy and supervisor of this program, helped to ensure our survey went smoothly overall. The year 2012 will mark a 20-year milestone since the establishment of diplomatic relations between Japan and Azerbaijan. Plans are underway for the Museum to host commemorative exhibitions with the cooperation of the Japanese Embassy. The survey was extremely significant since it laid the groundwork for future activities like plans for friendly relations between the two countries.
Decoy cormorants placed in front of a hut (where catchers wait for cormorants) on a 15-meter-high cliff
A cormorant that has just been hooked and caught
This study examined techniques of catching Japanese cormorants (an intangible folk cultural property of Hitachi City) in Jyu-o Town, Ibaraki Prefecture in the beginning of November. This was the second time this area was visited since last spring, when the aftermath of the earthquake in March was investigated. Since the study took place midway through the autumn cormorant season, the actual techniques used to catch cormorants were observed and recorded. Cormorants in flight are lured in by using several cormorants as decoys. They are then hooked with a long bamboo pole, placed in bamboo cages with their bills fixed with a little wooden implement called a Hashikake, and sent to cormorant fishing sites all over Japan.
Researchers were fortunate enough to see a cormorant been caught during the study since cormorant catchers mentioned that they often saw no cormorants flying even after waiting for several days. In terms of the type of technique, techniques to catch cormorants could be categorized as ambush hunting techniques, which include techniques to catch falcons and Mabushi hunting, a primitive style of hunting. Cormorant catching retains this primitiveness because catchers have to select and catch only quality cormorants and because large numbers of cormorants need not be caught. However, this also means that cormorant catching alone cannot constitute one’s livelihood, resulting in a lack of catchers to carry on the technique. Since almost all of the cormorant fishermen at 12 locations in Japan use cormorants caught in Jyu-o town, this technique of catching cormorants is an important folk technique that sustains traditional cormorant fishing in Japan. Additional safeguards are needed to pass on this technique in the future
6th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage
The 6th session of Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage was held in the Nusa Dua area of Bali, Indonesia from November 22 to 29, 2011 at the Bali International Convention Centre. Representing the Institute, MIYATA Shigeyuki and IMAISHI Migiwa from the Department of Intangible Cultural Heritage and FUTAGAMI Yoko from the Department of Art Research, Archives and Information Systems participated in the conference.
In the Session, 11 nominated files were inscribed in the “List of Intangible Cultural Heritage in Need of Urgent Safeguarding,” 19 were inscribed in the “Representative List of the Intangible Cultural Heritage of Humanity,” and 5 safeguarding practices were registered as “Best Safeguarding Practices.”
Six files nominated by Japan for the Representative List were evaluated. As a result, 2 nominated elements, “Mibu no Hana Taue, ritual of transplanting rice in Mibu, Hiroshima” and “Sada Shin Noh, sacred dancing at Sada shrine, Shimane,” were inscribed, and 4 nominated files, including “Hon-minoshi, papermaking in the Mino region of Gifu Prefecture,” were “referred” back to the submitting state.
“Referring” a nomination is a system adopted by this session of the Committee in order to ask Submitting States for additional information, if necessary, to better recommend whether to inscribe the element or not. Since the system is brand new, lengthy debate was held over the appropriateness of each “referral.” Topics that had been discussed starting last year, such as limits on the number of nominations considered, limits on the number of nominations made by each State, and the appropriateness of involving experts from the Consultative Body, led to a greater rift in opinions among Committee Members than was apparent last year. Several topics were even decided by a majority vote, which had never occurred before in a session. Although in full force for less than 3 years, the Convention for the Safeguarding of the Intangible Cultural Heritage appears to have reached a turning point. This issue is of considerable interest domestically and, given the desire to encourage international exchanges in the area of Intangible Cultural Heritage, these trends must be carefully followed in the future.
Workshop in progress
The 16th Local Workshop on Materials Conservation was held on Nov. 16th and 17th at the Contemporary Art Museum, Kumamoto The workshop had 68 attendees.
The workshop seeks to send Institute personnel into local communities to teach basic knowledge about materials conservation to curators and administrators of cultural heritage. Seminars are conducted on topics such as general theory, temperature and humidity, lighting, climate control, and pest control. In addition, this session of the workshop was the first to feature a lecture on materials conservation in a “contemporary art museum.” Contemporary art museums are often designed based on concepts unlike those used in facilities dealing with works prior to the modern era. That said, contemporary art museums sometimes handle classical works, including national treasures , so persons in charge of cultural properties need to be aware of the characteristics of their individual facilities in order to safely conserve and exhibit those pieces. Such persons also need to handle those pieces appropriately. In addition, such persons are aware that the time has come for them to seriously consider the conservation of contemporary artworks with potential historical and artistic value. The fact is that we as curators are lacking in experience with and study of both works of contemporary art and the facilities curating them. Thus, the Institute hopes to actively ascertain the needs of current curators and highlight those issues.
