Workshops on the Conservation and Restoration of Japanese Lacquer Works in the framework of the Cooperative Program for the Conservation of Japanese Art Objects Overseas

Introduction to traditional Japanese lacquer materials and techniques (workshop I )

Practicum on pressing using a wooden box (workshop III）

　The Japan Center for International Cooperation in Conservation conducted workshops on the Conservation and Restoration of Japanese Lacquer Works at Museum of the East Asian Art, Cologne, Germany from November 2 to 16. The workshops were held as part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas with cooperation of the museum.
　The workshops targeted students, researchers, curators, conservators, and restorers and were attended by a total of 19 people from 11 different countries including the U.S. and Australia as well as European countries such as Sweden, Portugal, and the Czech Republic.
　The lectures covered concepts of restoration, materials, damage, survey techniques, and case studies of restoration of lacquer works, while practica consisted of exercises related to various types of conservation and restoration techniques, such as facing, cleaning, consolidation, and pressing of urushi lacquered films. Both the lectures and the practica were very well-received.
　Based on an idea of Dr. Schlombs, the director of the Museum of the East Asian Art, the museum enhanced exchanges with workshop participants through a tour guided by Dr. Rosch, the vice director.
　Japanese lacquer works have been exported since the 16^th century and have been stored in museums, art museums and palaces all over the world. Workshops should help participants gain knowledge and learn techniques to keep these lacquer works safe and pass them down to future generations.

The 26^th Study Meeting on the Conservation of Modern Cultural Heritage, “Conservation and Restoration of Goryosha, Japanese Imperial Carriages”

A presentation with technical drawings

　“Goryosha,” Imperial carriages, refers to special railway cars and automobiles used by Japanese Emperors and other members of the Imperial family. Since railways were introduced in Japan in the Meiji Period, the imperial carriages have been created. The first Imperial carriage is considered to have great cultural and artistic value, therefore, it has been designated as an Important Cultural Property. However, information on the object was not readily available. Thus, the Center for Conservation Science and Restoration Techniques held a study meeting entitled “Conservation and Restoration of Goryosha, Japanese Imperial Carriages” in the Institute’s basement seminar hall on November 30, 2012.
　The imperial carriages are said to be “moving works of art and craft” or “distillations of the culture of the Meiji Period.” They were specifically made for the Imperial family to use by employing the latest technologies and techniques at that time, so their furnishings and other features are extraordinary and remarkable. The carriages currently on display are 6 at the Railway Museum and 2 at the Museum Meiji-Mura. However, visitors are only able to look at their furnishings and exquisite interior decoration details through glass. At the study meeting, firstly, a specialist of industrial heritage talked about the technical aspects of the Imperial carriages and the development of the railways in Japan. Secondly, curators of the 2 museums preserving and displaying the Imperial carriages presented the characteristic furnishings and interiors of the objects. They also revealed approaches to and difficulty with daily maintenance and the way to display. Then, 2 conservators who worked to restore the Imperial carriages on display at the Railway Museum talked about actual restoration work done on the objects. It was worthy of special mention that an expert of industrial cultural heritage from Taiwan reported the Imperial carriages that were produced and left in Taiwan under Japanese rule between 1895 and 1945.
　The study meeting focused on not only the technical viewpoint of conserving railway cars, but also their cultural value in terms of the history of art and craft. The meeting had over 53 attendees and ended with a lively question and answer session with the presenters.

Survey of Japanese artworks in Armenia and Georgia

The History Museum of Armenia & the National Gallery of Armenia

Survey in the Georgian National Museum

　The Japan Center for International Cooperation in Conservation surveys Japanese artworks in collections of art museums overseas and it provides those institutions with advice and information on relevant research. The Center also conducts cooperative conservation programs for artworks that urgently or desperately need to be conserved. In countries far removed from Japan where the climate, environment, racial makeup, and religion differ considerably, seeing the state of Japanese artworks instills in one the vitality of cultural properties, despite their fragile composition. In November 2012, KAWANOBE Wataru, KATO Masato, and EMURA Tomoko surveyed Japanese artworks in the Republic of Armenia and Georgia. Both countries were once part of the Soviet Union, and 2012 marked the 20^th anniversary of their establishing diplomatic relations with Japan. However, this survey was the first on-site survey of Japanese art by personnel from the Institute.
　Japanese artworks in the History Museum of Armenia, the National Gallery of Armenia, and the Charents House-Museum were surveyed. These museums have ukiyo-e (woodblock) prints from the late Edo Period and early modern to modern craftworks. That said, some of the works are not properly identified since their title or date of production is unclear. The Center provided advice and information regarding these works. Additionally, the state of conservation of cultural properties in the Matenadaran (the Mesrop Mashtots Institute of Ancient Manuscripts) and the National Library was also studied.
　In Georgia, Japanese artworks primarily in the National Museum were surveyed. The National Museum has armaments from the Edo Period, such as armor and swords, as well as Japanese artworks like ukiyo-e paintings, pottery, and textiles. The museum was found to have 2 silk hanging scrolls, “Carps” by TACHIHARA Kyosho (1786–1840), a painter from the late Edo Period, and “Mt. Fuji” by TAKASHIMA Hokkai (1850–1931), a painter active during the Meiji Period. Both works have been damaged by time and need extensive restoration. The first step, however, is to gather detailed information about these artworks and then coordinate the future programs with the museum staff.

Workshops and International Seminar on the Conservation of Archaeological Metal Objects in the History Museum of Armenia

Practice during a domestic workshop

Practice during the international workshop

Exchange of opinions among participants in the international workshop practicum

　As part of the Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project commissioned by the Agency of Cultural Affairs, the Japan Center for International Cooperation in Conservation conducted workshops on the conservation of archaeological metal objects in the History Museum of Armenia in November 2012 at the museum. The 3^rd domestic workshop for Armenian experts was conducted November 6–17, and 8 of the participants had attended the previous workshop. Continuing from the previous workshop, the 3^rd workshop expounded further on elemental analysis of metal surfaces using a handheld XRF analyzer following surface cleaning of archaeological metal objects to remove corrosion and deposit. Participants also practiced corrosion inhibiting, surface coating, adhering and filling defects. Participants learned techniques to treat materials in order to facilitate their conservation and display.
　An international workshop was held with 4 Armenian experts as well as 6 expert invitees concerning archaeological metal objects from 5 countries—Georgia, Iraq, Kazakhstan, Kyrgyzstan and Russia. Also giving presentations were Armenian archaeologists and scientists who study archeological metals in Armenia. Attendees gave presentations on the study of Armenian metal objects and on the current state of museums and conservation in their own countries. The workshop contributed to foster the exchange of information and establish wider networks.
　The next set of workshops will cover advanced cases. Plans are to summarize research on fabrication techniques and have participants use the conservation knowledge and skills they learned in previous workshops.

Support for documentation standards and procedures of the Silk Roads World Heritage Serial and Transnational Nomination in Central Asia: specialist training workshop in the Republic of Tajikistan

Surveying at Hulbuk

　As part of the UNESCO-/Japan Funds-in Trust project titled as “Support for documentation standards and procedures of the Silk Roads World Heritage Serial and Transnational Nomination in Central Asia”, a specialist training workshop on archeological site documentation was conducted in Tajikistan from November 2^nd to the 7^th by Japan Center for International Cooperation in Conservation in close collaboration with the Ministry of Culture, Tajikistan and Historic-Cultural Reserve “Hulbuk”, Tajikistan. Within the framework, a series of specialist training workshops have thus far been conducted in other Central Asian countries, such as Kyrgyz and Kazakhstan. The workshop in Tajikistan focused on practical training of site documentation at the ruins of the medieval city of Hulbuk (9^th-12^th century AD), which is currently on the tentative lists of the UNESCO World Heritage Site. In particular, on-site practical training of topographic survey and establishment of excavation grids as well as basic lectures on surveying were conducted, using total station that was supplied to the Tajik side from UNESCO. The six days short-term workshop was not always sufficient to obtain a mastery of the various survey skills, but attended ten Tajik participants made a serious effort to acquire the skills, using their own equipment. Japan Center for International Cooperation in Conservation will continue this supporting project for young Tajik experts in the next 2013 season.

Conservation of wall paintings from the early Islamic period excavated in southern Tajikistan

Fragments (partial) excavated at the Khulbuk site　Left: before efforts　Right: After surface cleaning and fragments were pieced back together

Backing work underway

　From November 6 to December 5, wall painting fragments in the National Museum of Antiquities of Tajikistan were conserved on-site. The wall painting fragments that are being conserved were excavated in 1984 from the palace ruins at Khulbuk in southern Tajikistan. The Khulbuk site dates to the early Islamic period. The fragments have been kept in the repository of the National Museum of Antiquities but for a long time they were not properly conserved. Serious conservation efforts began in 2010.
　The wall painting fragments are extremely fragile. Pigments from multi-colored layers are merely resting on the fragments, and the plaster base coat has been severely fragmented. Following up on last year’s work to reinforce the multi-colored layers, work was done to stabilize assembled fragments by piecing them back together and attaching a new backing. Approaches such as filling in the gaps in fragments that were stabilized last year were tested with the goal of exhibiting the fragments in the future. The wall painting fragments are easier to appreciate once they have been stabilized and pieced back together with the gaps filled. Plans are to examine ways to exhibit the fragments in the future.
　This conservation project was undertaken with a Sumitomo Foundation grant for the preservation and conservation of foreign cultural properties.

Networking Core Centers Project for the Conservation of Traditional Buildings in the Kingdom of Bhutan

Observations of a rammed earth wall using a soil color chart

Measurement of micro-tremors at a rammed earth temple in the City of Thimphu

　For the second time this year, experts from Japan were dispatched to the Kingdom of Bhutan from November 21 to December 2 in order to survey on the conservation of rammed earth buildings in the country within the framework of the Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project commissioned by the Agency of Cultural Affairs. The survey was conducted jointly with Bhutanese counterparts from the Division for Cultural Properties, Department of Culture, Ministry of Home and Cultural Affairs. Experts split into 2 groups to do the following works in the capital Thimphu and its suburbs:
　Architectural survey group: In order to reveal the traditional techniques of rammed earth construction, multiple craftsmen were interviewed, and reinforce techniques for damaged houses, temples, and ruins with rammed earth structures were inspected and surveyed.
　Structural survey group: In order to quantitatively assess the performance of structures with rammed earth walls, specimens that Bhutanese personnel had prepared ahead of time were subjected to compressive strength testing. Micro-tremors were also measured at 2 small temple buildings of rammed earth structure. Basic data were obtained for analysis of the structural properties of those buildings.
　In addition to the current surveys, a workshop was conducted with Bhutanese counterparts in order to share the results of previous surveys (including prior cooperative projects involving Japanese personnel), as well as to introduce Japanese experiences for the conservation of 　traditional houses in Japan.
　Through such activities, the Core Centers Project seeks to explore prospects for appropriate conservation of traditional buildings and continuation of building techniques and deal with the issue of improved safety in the event of an earthquake. The project also seeks to train local personnel who are responsible for preserving cultural heritage. Hopes are to further enhance cooperation by transferring basic techniques through architectural surveys and structural analysis to eager Bhutanese personnel.

Facility Tour，October

An explanation at the Biology Laboratory (October 5)

Thirteen Visitors from the Agency for Cultural Affairs’s “Project to Encourage Active Use of Museums”

　On October 5, thirteen visitors from the Agency for Cultural Affairs’s “Project to Encourage Active Use of Museums” visited the Institute in order to view work involved in the conservation and restoration of cultural properties.
　They toured the Physics Laboratory, the Chemistry Laboratory, and the Biology Laboratory in the Center for Conservation Science and Restoration Techniques.
　The staff members in charge of each section explained the work they do.

The Department of Art Research, Archives, and Information Systems hosts its 46^th public lecture series

A lecture underway 1

A lecture underway 2

　This year marks the 46^th public lecture series of the Department of Art Research, Archives, and Information Systems. Lectures on the topic of Dialogues on Objects and Images were given in the Institute’s basement seminar hall starting at 1:30 PM on both October 19^th (Fri.) and 20^th (Sat.). Cultural properties and artworks are immobile objects that engender vivid imagery in people’s minds. With this in mind, the lecture series seeks to inform more people of new information about the Objects and Images they encounter every day.
　Presentations were made by PAI Shih-ming, an Associate Professor at National Taiwan Normal University (on the 19^th, entitled Firsthand Experiences from Ueno Modern to Modern Culture: The modern Japan that CHEN Cheng-po encountered) and MARUKAWA Yuzo, an Assistant Professor at the International Research Center for Japanese Studies (on the 20^th, entitled The Lines and Dots of Art History that Engender Mental Associations: What can be gleaned from archives). Presentations were also made by YAMANASHI Emiko, Assistant Director of the Department of Art Research, Archives, and Information Systems (on the 19^th, entitled Painters who Depicted the Mausoleum of the Tokugawa Shoguns) and TANAKA Atsushi, Director of the Department of Art Research, Archives, and Information Systems (on the 20^th, entitled October 20^th, 1912: Ueno & Art) from the Institute. Despite the great weather on both days, lectures on the 19^th had an audience of 96 and lectures on the 20^th had an audience of 80.

A survey of Filmon audio recordings in the collection of Myogan-ji Temple (Maki Ward, City of Joetsu, Niigata Prefecture)

IKENAGA Fumio, the chief priest of the Myogan-ji Temple (right)

portable player of the Filmon sound-belt

　The National Research Institute for Cultural Properties, Tokyo has conducted joint studies of Filmon sound-belts with the Tsubouchi Memorial Theatre Museum, Waseda University. Some of the results of those studies were previously reported in the March 2011 edition (Vol. 5) of Research and Reports on Intangible Cultural Heritage.
(http://www.tobunken.go.jp/~geino/pdf/kenkyu_hokoku05/kenkyu_hokoku05Ijima.pdf).
　Filmon endless sound-belts are a special type of audio recording medium (record) developed in pre-war Japan. At the time, the most ubiquitous records were 78 rpm records that had an average recording time of about 3 minutes. In contrast, Filmon sound-belts could record performances of 30 minutes or longer. These sound-belts were a ground-breaking invention, but they were produced only for a short period from 1938 to 1940. Moreover, they required a special player, so after the war they were soon forgotten. Only a few sound-belts and players have survived until today.
　About 120 types of sound-belts appear to have been sold. When the report mentioned earlier was written, 85 types were thought to have survived. Late last year, information became available that Myogan-ji Temple in Niigata Prefecture (Maki Ward, City of Joetsu) had a number of sound-belts in its collection, so the sound-belts were surveyed in October with the assistance of the Temple’s chief priest, IKENAGA Fumio. The survey found 49 types of sound-belts in the collection, and 16 of these types had not been seen before. Moreover, few portable players remain, but the Temple had one in working order. The survey was also a major milestone in terms of on-site studies.
　The sound-belts in Myogan-ji Temple’s collection consist of a number of public performances, most of which are Rokyoku or recited stories accompanied by music. According to the Temple’s chief priest, the Temple’s former chief priest, the late IKENAGA Takakatsu, fashioned a setup for wire broadcasts on the main building of Myogan-ji Temple (broadcasts started in 1937) because the region had little entertainment (it currently takes about an hour to reach the Temple by car from the JR Takada Station, which is the closest station). Apparently, the late IKENAGA Takakatsu bought large numbers of recordings to broadcast (primarily in the form of long recordings on Filmon sound-belts) along with players. Several broadcast facilities from that time still remain. The collection is also a wealth of material in terms of the history of folk culture in the region.

7^th Conference on the Study of Intangible Folk Cultural Properties held

the 7^th Conference

　On October 26^th, the 7^th Conference on the Study of Intangible Folk Cultural Properties was held with “Passing down Recollections and Records: Disasters and Intangible Folk Culture” as its theme. Following up on the 6^th Conference on “Intangible Cultural Heritage in Post-earthquake Reconstruction” that was held in December of last year, this year’s Conference delved further into the topic of disasters and intangible folk cultural properties.
　Ways of passing down intangible folk cultural properties to future generations are normally an extremely important topic, but this topic is particularly pressing in regions that were disrupted and depopulated by the tsunami and nuclear plant accident resulting from the March 11, 2011 earthquake. Thus, the 7^th Conference covered “Records,” which is one way of passing down intangible folk cultural properties. Invited to the Conference were 5 presenters who dealt with records in various capacities following the disaster and 2 commentators. These experts described and discussed previous efforts and issues and prospects for the future. Various recording techniques and uses of records were presented during the Conference. In addition, the importance of a network linking efforts was again confirmed from various perspectives.
　The 7^th Conference was also attended by many relevant personnel from regions potentially slated to suffer a large-scale disaster in the future. Steps that can be taken and steps that should be taken to prepare intangible folk cultural properties for crises in the near future, such as massive disasters, the falling birthrate, aging of the population, and depopulation of rural areas, are important topics warranting future discussion.
　Plans are to publish a report on the Conference’s proceedings in March 2013.

17^th Local Workshop on Materials Conservation held

Photo caption: A lecture on Pests by Researcher SATO Yoshinori

　Through various seminars and workshops, the Center for Conservation Science and Restoration Techniques provides information on knowledge and skills to individuals working to conserve materials in museums, art museums, and archives. The Local Workshop on Materials Conservation is conducted once a year in a specific region. Scheduled for 1 day, this workshop is for conservation specialists in that region. This year, the workshop was held in conjunction with the Committee of Okayama Prefectural Museums at the Okayama Prefectural Museum of Art on October 16^th. The workshop had 56 attendees. Lectures were given by SANO Chie (Head of the Conservation Science Section), SATO Yoshinori (Researcher in the Biology Laboratory), and YOSHIDA Naoto (Senior researcher) from the Center, and these lectures covered topics such as General Theories on Conservation Conditions, Temperature and Humidity, Climate Control, Light and Illumination, and Pests. The workshop was well-received even by individuals who were unable to attend the 2-week Training for Museum and Art Museum Conservators conducted by the Center each year in Tokyo. The lectures tended to discuss topics such as recommended conservation conditions and facilities, but the question “What if we don’t have such a facility?” was often raised. Clearly, individual museums and art museums have their own unique conditions, so offering a single answer to that question is difficult. With this in mind, Center personnel will strive to enhance their usual research and formulate answers in response to different situations.

International training in Conservation of Japanese Paper in Latin America conducted

A demonstration of mending techniques

A presentation involving active use of Japanese mounting and repair techniques

　Training in the Conservation of Japanese Paper in Latin America was conducted jointly by the Institute, ICCROM, and INAH (Mexico’s National Institute of Anthropology and History) as part of the ICCROM-LATAM Program (conservation of cultural heritage in Latin America and the Caribbean). Training took place at the INAH from October 17^th to 30^th and was attended by 12 experts in restoring cultural properties from 9 countries: Venezuela, Cuba, Ecuador, Brazil, Peru, Columbia, Argentina, and Mexico.
　Training sought to provide attendees with basic knowledge of traditional Japanese paper, adhesives, and tools. It also sought to enhance attendees’ understanding of Japanese mounting and repair techniques by having them practice reinforcing, mending, and attaching a backing using actual Japanese paper, adhesives, and tools. The first half of the training consisted of lectures by Japanese experts on materials and tools used in mounting and repair techniques and then practice by the attendees. In the latter half of the training, lecturers from Mexico, Spain, and Argentina with experience conserving works using mounting and repair techniques described how Japanese materials, tools, and techniques were actually used to restore cultural properties in Europe and the US, and then attendees practiced those techniques. Given the likelihood that Japanese mounting and repair techniques will be used to conserve cultural heritage in different countries, plans are to conduct similar training sessions in the future as well.

Lecture on Textile Conservation

Lecture by Ms. Ann French

A demonstration of textile storage

　On October 19, 2012, the Japan Center for International Cooperation in Conservation organized a lecture by Ms. Ann French, collections care manager and textiles conservator of the Whitworth Art Gallery, University of Manchester entitled “The Ancient, the Historic and the Contemporary: The Textile Collections of the Whitworth Art Gallery, and their Conservation.” Since its founding in 1889, the Art Gallery has amassed a host of textile objects ranging in date from the 3^rd century AD Egypt to contemporary Japanese textiles. Ms. French described the Art Gallery’s textile collection as a reference for textile techniques and design. Ms. French cited examples of innovative methods of display and storage used to make the collection’s 20,000 textile pieces accessible to researchers as well as school children. Ms. French also answered questions about the conservation of Japanese kimono, fabric scraps, and paper patterns, which led to an active discussion with the audience. Despite the specialized nature of the lecture, many people attended. The Center hopes to continue such lectures to share information on the conservation of cultural heritage abroad.

Department of Art Research, Archives, and Information Systems seminar held: Interim report on a joint study of Kasuga Gongen Kenki-e [The Kasuga Gongen Miracles] in the Sannomaru Shozokan [The Museum of the Imperial Collections, Imperial Household Agency]

　Kasuga Gongen Kenki-e is a voluminous work that was commissioned by SAIONJI Kinhira, the Minister of the Left, in the early 14^th century. The work consists of a total of 20 scrolls painted by TAKASHINA Takakane, head of the official court atelier. Masterfully painted, the work is a treasured part of the history of Japanese paintings. The work is currently curated by the Imperial Household Agency. The Imperial Household Agency has been dismantling and completely restoring the scrolls in line with a 15-year plan that started in 2004. As part of joint research by the Institute and the Imperial Household Agency, optical studies of the work were done prior to its restoration.
　On September 25^th, the Department of Art Research, Archives, and Information Systems held a seminar to report on the interim results of those studies. OTA Aya, a senior researcher from the Sannomaru Shozokan who is directing the restoration, described the restoration overall and findings yielded by the restoration. SHIRONO Seiji of the Department of Art Research, Archives, and Information Systems delivered a report focusing on the characteristics of high-resolution images in visible light. The various optical studies done by SHIRONO include visible-spectrum images as well as near-infrared reflectance, near-infrared transmittance, and fluorescent images. As the current point in time, studies of 12 scrolls have resulted in image information consisting of close to 6,700 sections. KOBAYASHI Tatsuro of the Department of Art Research, Archives, and Information Systems described some of that information in terms of its significance to art history. The optical studies also include a scientific study of pigments via X-ray fluorescence analysis done by HAYAKAWA Yasuhiro of the Center for Conservation Science and Restoration Techniques. The information that study is yielding is clearly quite valuable. Suitable ways of publishing that information will be explored in consultation with representatives from the Imperial Household Agency.

A survey of door paintings of Nissokan [meditation by contemplating the setting sun] in the Phoenix Hall of Byodoin Temple

Survey of the Nissokan [door paintings] (from the rear corridor)

　The Phoenix Hall of Byodoin Temple is a famed structure that was built around the first year of the Tengi Era (1053). Paintings on its doors and pillars are also a treasured part of the history of Japanese paintings. Behind the Seated Amida Nyorai (Amitabha Buddha) statue, the temple’s principal Buddhist image, are 2 doors to the entrance to the rear corridor from the west side of the main hall. The paintings on these doors depict Nissokan as described in the Kanmuryojukyo [“Sutra on the Contemplation of Buddha Amitayus”]. Although much of the paint has peeled off and the paintings were retouched a number of times in later centuries, the paintings are important because they have retained the major elements of their composition since they were originally created.
　The foot of the left door has a flush bolt that locks when the bolt is dropped into a hole in the doorsill. The lock’s wooden support is shaped like an “エ,” obscuring part of the painting. In conjunction with work to restore the Phoenix Hall, this support was removed, revealing the part of the painting that had been obscured. At the behest of Byodoin Temple, an optical study primarily of this portion was conducted. The study took place over 3 days from Sept. 4–6 and was done by HAYAKAWA Yasuhiro of the Center for Conservation Science and Restoration Techniques and SHIRONO Seiji and KOBAYASHI Tatsuro of the Department of Art Research, Archives, and Information Systems.
　Little pigment remains in what is thought to be the original portion of the painting behind the flush bolt. However, traces do remain. HAYAKAWA submitted these traces to X-ray fluorescence analysis while SHIRONO took high-resolution images, near-infrared reflectance images, and fluorescent images of these traces. Plans are to soon analyze and examine the data obtained and then publish those findings.

Research on the Kyogen of Yamguchi Sagi School

Interview with Mr. KOBAYASHI Eiji

　The 7^th Public Lecture, organized annually by the Department of Intangible Cultural Heritage will be held in December 2012, with the Kyogen of the Yamaguchi Sagi School as its theme. The Sagi School had been one of the Schools of Kyogen in central Japan until it was abolished under the confusion in the Meiji Restoration. In Yamaguchi prefecture, however, the tradition was maintained until present thanks to SYUNNICHI Syosaku, a Kyogen performer who taught his performing skills to the nonprofessionals. Now the preservation society for Yamaguchi Sagi School has formed and was designated as the intangible cultural properties of Yamaguchi prefecture. Department of Performing Arts, the predecessor of the Department of Intangible Cultural Heritage, conducted on-site recording of this Kyogen in 1958, which became the oldest record of the Kyogen of Yamaguchi Sagi School.
　The Department conducted the on-site research on September 18^th, and interviewed with Mr. KOBAYASHI Eiji, the eldest member of the preserving society, about the situation of the transmission of the Sagi School. Its result will be introduced in the coming Public Lecture.

Supporting the Conservation Center of the Grand Egyptian Museum Project: Conducting training in chemistry for conservation materials

Practice textiles cleaning

　In the framework of the supporting project for the Conservation Center of the Grand Egyptian Museum (GEM-CC) by the Japan International Cooperation Agency (JICA), the National Research Institute for Cultural Properties, Tokyo conducted training in chemistry for conservation materials for 10 Egyptian personnel of the GEM-CC in conjunction with JICA Tokyo. Trainees consisted of 8 conservators and 2 chemists in charge of analyses using scientific techniques. Training took place over 3 weeks from Aug. 31–Sept. 21. Trainees learned about the chemical and physical properties of materials used in conservation and they actually used these materials, providing them with firsthand knowledge of the characteristics of individual materials. This training further emphasized to the Egyptian trainees the importance of sharing information and evaluating materials so that appropriate conservation materials can be chosen. Hopes are to establish systems at the GEM-CC so that trainees can share this information among the staff and coordinate with one another.

International Course on Conservation of Japanese Paper

Photo of assembled personnel following the opening session

Practical training (lining for handscrolls)

　Every year, the Institute conducts international training with ICCROM. In a typical year, there are around 70–80 applications. This year, that number was winnowed down to 10 trainees from the US, Italy, Egypt, Australia, Austria, Thailand, Colombia, Denmark, Poland, and Russia. The course lasted 3 weeks starting on Aug. 27^th. The course focused particularly on Japanese paper and included classes from various perspectives such as materials science and history. During training, trainees mounted a paper-sheet cultural properties as handscrolls be steps such as infilling and lining, and they also prepared booklets with Japanese-style binding. Participants visited the Mino region in Gifu Prefecture, where a type of Japanese handmade paper that is used in restoration work is produced, and they also learned about the distribution of Japanese paper throughout history, from its manufacture to its transportation and sale. Participants also viewed the latest exhibits of cultural properties and conservation facilities at the Kyushu National Museum. Trainees visited a traditional mounting studio and stores selling traditional tools and materials in Kyoto, and they learned about circumstances involving the conservation and restoration of paper in Japan. The techniques and knowledge provided by this training will help encourage the conservation and exhibition of paper cultural properties from Japan in collections overseas and can also be used to conserve works abroad.

Project to Support the World Heritage Serial and Transnational Nomination of the Silk Road: Training Workshops in Kazakhstan and the Kyrgyz Republic

Geophysical survey training

On-site training using a Total Station

　Currently, five Central Asian countries and China are undertaking various activities to facilitate the serial nomination of historical sites along the Silk Road for inscription on the World Heritage List in 2014. The Japan Center for International Cooperation in Conservation (JCICC) participates in the UNESCO/Japanese Funds-in-Trust Project to support the World Heritage Serial and Transnational Nomination of the Silk Road. As part of the project, JCICC is undertaking various activities in Central Asian Countries. This year two training workshops were held in Kazakhstan and the Kyrgyz Republic.
　In Kazakhstan, a second training workshop on geophysical surveys was held from September 19 to 24. The workshop was co-organized with Nara National Research Institute for Cultural Properties and the Kazakhstan Archeological Expertise Scientific Research Organization. A total of 12 trainees, including eight Kazakhs, 2 Kyrgyzs, one Tajik, and one Uzbek, participated in the training workshop. The training workshop was held at the Boraldai burial mounds. After last year’s workshop, Kazakhstan purchased geophysical survey equipment and Kazakh specialists actively included geophysical surveys in their archaeological research. Hopes are that this workshop will motivate other Central Asian countries to conduct geophysical surveys in their own countries.
　In the Kyrgyz Republic, a training workshop on archaeological documentation was held from September 19 to 25. The workshop was organized jointly with the Institute of History and Cultural Heritage, National Academy of Sciences, Kyrgyz Republic. A total of eight young Kyrgyz archaeologists participated in the workshop. After three days of lectures on archaeological documentation at the National Academy of Sciences, trainees studied topographic mapping using Total Station, leveling, and photogrammetry at the site in Ak Beshim. The trainees gained a better understanding of archaeological documentation through the workshop.
　The Japan Center for Cooperation in Conservation will continue to support the World Heritage Serial and Transnational Nomination of the Silk Road next year as well.