| ■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 |
|
Poster of the Symposium the Oceans and Cultural Heritage - the Oceans Have Connected People and Products
Forum the World Connected through the Oceans by Presenters
Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage), which the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) is commissioned as its secretariat by the Agency for Cultural Affairs, held the webinar Maritime Network and Cultural Heritage -People and Objects connected by Oceans- on November 28th, 2021.
Cultural heritage related to the oceans exists in many locations worldwide. It is a witness to people’s living, society, history, and culture at that time. Although in the past, there were scarce ways of knowing where the products transported by oceans had come from, latest technologies and analysis methods have made it possible to locate the original source of these products. This symposium aimed to introduce the international trends and case studies on the protection of cultural heritage related to the maritime network, share Japanese researchers’ contributions in this area, and consider the potential roles of Japan in facilitating international collaboration in this field.
ISHIMUMRA Tomo from TOBUNKEN briefed on the purpose of the symposium, followed by five lectures: The Appeal and Significance of Research on Sunken Ships – Time Capsules of the Sea- by Dr. SASAKI Randall from the Maritime Archaeology Lab; Opening the Sea Route, Voyages, and Shipbuilding by Dr. KIMURA Jun from Tokai University; Glass Beads Brought across the Oceans-East-West Trade and the Road of Glass by Dr. TAMURA Tomomi from the Nara National Research Institute for Cultural Properties; People Crossing the Maritime World – Islamic merchants, including the merchants of Hormuz by Dr. YOKKAICHI Yasuhiro from Rikkyo University; and Places where the Sea and Land Meet- Port Cities of Asian Waters: Shophouse & Courtyard House by Dr. FUNO Shuji from Nihon University.
Following these lectures, the forum entitled the World Connected through the Oceans was conducted with two more commentators: Dr. SUTO Yoshiyuki and Dr. ITO Nobuyuki from Nagoya University. The forum consisted of four sessions with the following perspectives: Exchange between the West and the East via the Oceans and the Lands; Ships, and their Technologies; Ocean Network in the Mediterranean World and the New Continental World; and Japan’s International Cooperation related to the Maritime Network and Cultural Heritage.
At the end of the symposium, Prof. YAMAUCHI Kazuya from Teikyo University made a closing remark. He emphasized the importance to protect and conserve cultural heritage related to the maritime network, which are witness to the fact that human beings have connected the world via their ocean explorations.
Although it was JCIC-Heritage’s first attempt to conduct an online symposium, it was successful with about 200 participants from 11 countries. The JCIC-Heritage will continue to collect and disseminate the relevant information.
Please visit the following webpage for the further details.
https://www.jcic-heritage.jp/20211209symposiumreport-j/
Displaying a wall painting “Macedonian prince with a philosopher”
The Tokyo National Museum is currently holding the Special Exhibition: POMPEII from January 14th to April 3rd, 2022. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) cooperated on the condition survey of the artifacts for the exhibition (wall paintings, mosaics and marble statues) at the display setting prior to the opening of this exhibition.
Pompeii is a city built in the Roman period, located about 23 km southeast of Naples, a city in the south of Italy. In 79 AD, a major eruption of Mount Vesuvius, located between Naples and Pompeii, buried the city with volcanic ash and pumice in a twinkle. Time has passed; the city of Pompeii was rediscovered in 1748. Full-scale excavation was started then. Many buildings, wall paintings, and artifacts of that time have been unearthed. About 150 pieces came to Japan from the National Archaeological Museum of Naples, which holds a vast collection of artifacts excavated from Pompeii. These attract many museum visitors.
We had a chance to watch the set-up process at the exhibition venues, which we rarely experience during our usual work. In usual cases, experts from the museums owning these artifacts accompany them. However, they could not come to Japan due to the COVID-19 pandemic. Thereafter, the entire exhibition set-up was left to the staff members of the Tokyo National Museum, and the experts in fine art transportation and display. The operation is far from easy, since special attention has to be paid, not to damage the pieces while simultaneously considering exhibit conditions best tailored to audiences. There is a wall painting weighing several hundreds of kilograms amongst the pieces listed for the exhibition. It was a very good opportunity for us to realize that the exhibitions we usually visit without giving them special attention can only be accomplished due to the sincere efforts of many people.
Online discussion
Information about exhibitions for Japanese art held abroad provided by the Sainsbury Institute (TOBUNKEN Research Collections database)
Exhibition Catalog, “Tokyo: Art & Photography,” Ashmolean Museum
On December 2, 2021, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) held an annual meeting online with the Sainsbury Institute for the Study of Japanese Arts and Cultures in the United Kingdom about our collaborative project, “Shaping the Fundamentals of Research on Japanese Art.” We have been carrying out this joint project with the Sainsbury Institute since 2013. The meeting began with Professor Simon Kaner, Executive Director of the Sainsbury Institute, expressing his gratitude for the ongoing activities during the current challenging period of COVID-19. He also mentioned that this project had been highly valued as an important international collaborative project by the institute’s management board.
During the past year, in addition to the ongoing updating of databases, we started translating the historical articles from the annals of art where Japanese originals are already included in Nihon Bijutsu Nenkan (Yearbook). The translations are now published as “Art News Articles” on the TOBUNKEN website in a searchable format (https://www.tobunken.go.jp/materials/nenshi-en). Please refer to the November 2021 monthly report (https://www.tobunken.go.jp/materials/ekatudo/927811.html). The English translations are currently available online for 2013–2015. More articles will be translated and published online in due course to disseminate information on Japanese art globally.
The Sainsbury Institute has contributed information on exhibitions of Japanese art held abroad to the TOBUNKEN Research Collections database (https://www.tobunken.go.jp/archives/?lang=en). As parts of our information sharing and research exchanges for the project, Ms. Miwako Hayashi Bitmead of the Sainsbury Institute has also contributed a review of the exhibition, “Tokyo: Art & Photography.” It is held at the Ashmolean Museum for our periodical, Bijutsu Kenkyū (The Journal of Art Studies), issue 436, to be published in March 2022. Her review provides us with insight into the exhibition as well as the situation outside of Japan, as opportunities to visit overseas art exhibitions have been reduced dramatically. It is highly recommended.
Recently, more activities can be conducted online, and we all have been taking advantage of these. Yet, presenting at a venue in person is still indispensable for researching artworks, delivering lectures, and exchanging ideas with a wide range of audiences. Though our plans are dependent on the situation, our intention is to resume the research exchanges that were conducted before the pandemic in the coming year or so.
Photographing
Investigation of coloring materials by X-ray fluorescence spectrometry
The Kuroda Memorial Hall houses and exhibits the paintings of KURODA Seiki and others. His oil paintings, the key collection, now count to 149, and belong to the Tokyo National Museum, of which the Kuroda Memorial Hall is currently a part of.
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) photographed KURODA’s entire collection of oil paintings housed at the Hall, with high-resolution color, infrared and fluorescence imaging, from October through December 2021, in collaboration with the staff of the Tokyo National Museum. Furthermore, using X-ray fluorescence technologies, we analyzed the coloring materials used for the paintings: “Wisdom, Impression, Sentiment”, “Reading”, “Maiko Girl” and “Lakeside”.
KURODA Seiki studied oil paintings in France at the end of the 19th century. He learned the academic style, and acquired the Impressionist vision, weighing the sketches from outside. Following his return to Japan, he became a part of the mainstream Japanese modern painting world. His style changed with his position and circumstances – while in France, soon after returning to Japan, and after creating his niche in the Japanese art world. It is significant to have photographed his oil paintings with the same modern methods and lighting, including high-resolution color, infrared or fluorescence images that had never been taken before. We will uncover the techniques he used to actually paint these works, by comprehensively evaluating the information of brush touch, as highlighted by the high-resolution color imaging; the existence of drawings beneath and the color overlap as exposed by infrared and fluorescence imaging; and the details of the coloring materials used, as analyzed by the x-ray fluorescence imaging. The images photographed will prove to be essential in the research to understand the heart of the oil paintings by KURODA Seiki, who was an artistic leader of modern oil art in Japan.
Some images of his oil paintings have been made public on the TOBUNKEN website (https://www.tobunken.go.jp/kuroda/english/works.html), as well as in the reports including “Kuroda Seiki, Wisdom, Impression, Sentiment, Artwork Archive for Art Studies, volume I” (2002) and “Kuroda Seiki Lakeside, Artwork Archive for Art Studies, volume V” (2008). We plan to publish the outcomes of the latest photographing and research on our website.
The Shakuhachi 5 performed “Space for three Shakuhachi”
Round table session
Department of Intangible Cultural Heritage held “Forum 3: Traditional Performing Arts amid COVID-19 Pandemic: Seeking Good Practices for Safeguarding” in the seminar room at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on December 3rd, 2021.
In the morning session, ISHIMURA Tomo, MAEHARA Megumi, and KAMATA Sayumi of the Department of Intangible Cultural Heritage reported on the topics: the UNESCO’s perspective of “Good Practice,” the current situation of traditional performing arts, and various supports for them amid the COVID-19 pandemic. MAEHARA also introduced the technique recently recognized as the nation’s Selected Conservation Technique. The topics on the movements of young and mid-career performers such as “Souten” and “the Shakuhachi 5” were also introduced. Then shakuhachi performance followed.
In the afternoon session, the case studies were introduced from the viewpoints of various roles:
as planners and producers, the Japan Arts Council, an independent administrative agency, and Hyogo Performing Arts Center;
as performers, Noh performer of Kanze School, and Japan Shakuhachi Professional-players Network（JSPN）;
as a conservation technique practitioner, Fujinami Properties Co. Ltd. (Association of Conservation for Production Techniques of Kabuki stage properties); and
as secretariat of Dissemination and Empowerment for Hogaku, Agency for Cultural Affairs, Toppan Inc.
At the round-table-talk, we discussed how to foresee realistic ways of managing “with COVID-19,” even when we are still amid the COVID-19 pandemic; overview of the current situation of traditional performing arts and their activities; and information sharing. We concluded this forum with the statement that holding this kind of discussion itself is considered as “Good Practice”.
This forum was held with an audience limited to small numbers of related parties, considering the COVID-19 pandemic. However, it is now available to watch on the TOBUNKEN website till March 31st, 2022. We also plan to publish a report at the end of FY2021 and release it on our website in Japanese.
Kiribati faces the risk of being submerged by increasing sea levels (photo taken in February 2014)
Currently, climate change is one of the most important issues that need resolution. To that end, the 26th session of the Conference of the Parties to the United Nations Framework Convention on Climate Change (COP 26) was held from October 31st to November 12th, 2021 to tackle this issue on a global scale.
Climate change is closely linked to the conservation of cultural heritage. For example, large typhoons and heavy rain that are considered common indicators of climate change could damage cultural heritage and museums. Furthermore, rising sea levels caused by climate change could vanish the cultural heritage in coastal areas and at low altitudes. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) conducted a survey entitled “The Current State of Cultural Heritage Sites that Are Likely to be Affected by Climate Change” as a “Project for International Contribution to Cultural Heritage Protection (Exchange of Experts)” commissioned by the Agency for Cultural Affairs in FY2013; in the project, we made surveys in Tuvalu, Kiribati, and Fiji of the Oceania region which were likely to be affected by climate change.
In 2021, the International Co-Sponsored Meeting on Culture, Heritage and Climate Change (ICSM CHC) was held online from December 6th to 10th and was co-sponsored by the United Nations Educational, Scientific and Cultural Organization (UNESCO), the International Council on Monuments and Sites (ICOMOS) and the Intergovernmental Panel on Climate Change (IPCC). It became the first international opportunity to comprehensively discuss the impacts and issues of cultural heritage and climate change. More than 100 experts participated from all over the world. Two experts from Japan participated: ISHIMURA Tomo (this article’s author), Head, Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage and Dr. IWABUCHI Akifumi, Professor of Tokyo University of Marine Science and Technology and a member of the ICOMOS International Committee on the Underwater Cultural Heritage (ICUCH).
Prior to this meeting, three preliminary meetings were held online from September to October 2021 in which discussion points were organized and clarified in preparation of the ICSM CHC. The outcomes were then compiled as reports titled “White Papers” on December 1st; these reports formed the basis of discussions during the ICSM CHC.
Three themes were discussed: 1) Knowledge Systems and Climate Change: Systemic connections of culture, heritage and climate change; 2) Impacts and Climate Change: Loss, damage and adaption for culture and heritage; and 3) Heritage Solutions and Climate Change: Role of culture and heritage in transformative change and alternative sustainable futures. Each theme had a panel discussion, workshop and poster presentations. Preliminarily selected experts participated in the panel discussions which were broadcasted online. Experts participated in the workshops using an online conference platform. Since simultaneous discussion with all participating experts was not practical, the experts were divided into groups of 5 to 10. For the poster presentations, experts posted their posters on the web and participated in related Q&A sessions and discussions using an online conference system.
Many topics were discussed in the meetings. Currently, the secretariat of the ICSM CHC is compiling the outcomes of discussions and the final report will be published in the first half of 2022.
I, as a participant in this meeting, strongly feel that people are powerfully connected to cultural heritage, especially intangible cultural heritage, and can thus be spurred to better attend to climate change issues. Many participants said that in the discussion for the theme “Knowledge Systems and Climate Change,” we would need to seriously consider not only “scientific knowledge” but also “indigenous knowledge” and “local knowledge” to address climate change. These are considered equivalent to the so-called “traditional knowledge” that intangible cultural heritage provides. Participants made the claim that, to understand the effects of climate change on cultural heritage, it is essential to incorporate local community knowledge in areas surrounding such heritage. Additionally, many people suggested that the key to solving climate change related issues can be found in indigenous and local knowledge.
ICOMOS will continue to work on this project to build a framework to pursue the issues of culture, heritage, and climate change. The author, in collaboration with the TOBUNKEN team, will also continue to monitor the situation.
Field research for canoe culture in the Federated States of Micronesia by TOBUNKEN (August 2018)
The Sixteenth Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage of UNESCO was held from December 13th to 18th, 2021. This session was planned to be held in Sri Lanka but was held online like the previous session due to COVID-19. While the previous session was shortened to three hours per day for deliberations, this session had 6 hours per day and the agenda was the same as usual. In the meeting, only Dr. Punchi Nilame Meegaswatte, chairperson of the session and Secretary General of Sri Lanka National Commission for UNESCO, and members of the secretariat gathered at UNESCO’s headquarter in Paris, while other representatives from the Committee Member States, States Parties, accredited non-governmental organizations etc. participated using an online conference platform. It was broadcasted via the internet and two researchers of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) participated as observers.
This time, while Japan did not submit any agenda, the Intergovernmental Committee inscribed four elements on UNESCO’s List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 39 elements on the Representative List of the Intangible Cultural Heritage and 4 elements on the Register of Good Safeguarding Practices. The elements of 9 countries were inscribed for the first time on the list: the Federated States of Micronesia, Montenegro, Democratic Republic of the Congo, Congo, Denmark, Seychelles, Timor-Leste, Iceland, and Haiti.
Among these elements, “Carolinian wayfinding and canoe making” which was nominated by the Federated States of Micronesia and inscribed in the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, is the one related to the international cooperation projects for cultural heritage conservation by TOBUNKEN. TOBUNKEN has been working on the conservation of canoe culture as intangible cultural heritage (ICH) in the Pacific Island nations: the first “Canoe Summit” was held in Guam in May 2016 and interactions took place in Japan with the traditional navigators of the Federated States of Micronesia. In fact, one of the TOBUNKEN outcomes was the inscription of “Carolinian wayfinding and canoe making” at this time. “Joumou soup” nominated by Haiti was discussed in this session and inscribed in the Representative List in accordance with Haiti’s wish and international society’s consideration to encourage the people in Haiti, who were devastated by the 2021 earthquake. The important role that ICH plays to encourage people suffering in the aftermath of disasters was highlighted in the discourse regarding the Great East Japan Earthquake in 2011 and reaffirmed in this case.
In this session of the Intergovernmental Committee, the outcomes of “Open-ended intergovernmental working group meeting in the framework of the global reflection on the listing mechanisms of the 2003 Convention” held in 2021, were also discussed. Though the operational procedures for the Convention for the Safeguarding of the Intangible Cultural Heritage are described in “Operational Directives,” there are various cases whose procedures were not covered by the current “Operational Directives” as it has been more than 10 years since the Directives were first adopted. For example, there are no descriptions on how to transfer the elements in the List of Intangible Cultural Heritage in Need of Urgent Safeguarding to the Representative List of the Intangible Cultural Heritage, and how to remove the elements once inscribed from the list. These cases have been individually judged in the intergovernmental committee. The working group, which was set up in 2018 to comprehensively discuss these issues, has submitted the revision of “Operational Directives” based on the outcome of the intergovernmental working group meeting held in 2021 described above. While the reform plan was decided to be submitted to General Assembly in 2022, the mandate of this working group was extended to 2022 to further streamline the discussion.
This session progressed smoothly despite it being online owing to the mutual trust and cooperation among the state party representatives including committee member states and the UNESCO secretariat; nevertheless, I felt that it was largely because of the chairperson’s leadership. The session in Sri Lanka, the chairperson’s native country, could not happen but he took his position’s responsibility seriously and made the participants feel comfortable using his sense of humor. We were deeply impressed by his attitude. The next host country will be officially announced after monitoring the COVID-19 situation. We sincerely hope to hold the meeting in person.
General discussion
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) held the 16th Conference on the Study of Intangible Folk Cultural Properties titled “The Power of Video Documentation – to Overcome the Crisis” participated by a minimum number of stakeholders on December 17th, 2021, to comply with the COVID-19 protocols.
We are still suffering from the consequences of the COVID-19 pandemic. The stakeholders representing intangible folk cultural properties are trapped in the situation, as they have been unable to organize the usual activities. Japan’s annual festivals, including religious and local festivals, have been on hold for two consecutive years. This has hindered the techniques succession process and reduced motivations, thus affecting the succession process of intangible cultural heritage.
An attempt was made to overcome these crises through the utilization of video documentations. In the COVID-19 pandemic, which imposed a limit on people’s gathering, video technology, including video documentation and online video meetings, has gained popularity. This has made it possible to connect people without face-to-face meetings. Additionally, as videos have proven to be useful for the succession of cultural heritage, various video documentations have been produced and archived video recordings utilized.
Thus, we used this year’s conference as an opportunity to discuss the challenges of video documentations. Two participants from TOBUNKEN and five from public administration and research delivered the presentation about the activities undertaken for the conservation and utilization of video and media in local governments, industries, and academia. Then, they participated in a general discussion with two additional commentators, where the topics were examined in detail.
This conference is available online between January 14th and February 14th, 2022 at https://tobunken.spinner2.tokyo/frontend/login.html. All contents of this conference will be published as a report in March 2022 and be available online at the webpage of the department of Intangible Cultural Heritage.
Method to identify cultural property pests using DNA as an identifier
Collecting frass from buildings
Damages caused by cultural property pests are a serious and global threat to cultural property conservation because they result in significant losses of cultural property materials and largely reduce their values. Thus, it is critical to identify and take appropriate measures as soon as the cultural properties start showing signs of damage to prevent further loss. However, we may encounter a situation in which it is difficult to identify “criminal” species even by experts, as we cannot find living insect pests but only their frass. To overcome these difficulties, the Biological Science Section has identified cultural property pests using DNA extracted from frass as an identifier.
As the outcomes in FY2021, we succeeded in establishing a method to identify species by frass for the major pests boring bamboo, which are used as part of cultural property buildings and to create craft works. The method includes collecting bamboo-boring pests, extracting the DNAs, and determining a short section of sequence from a specific gene. The datum is registered in the international databases, combining the morphological characteristics and the DNA sequence. Then, DNA is extracted from frass collected at rearing containers and outside buildings, determining their target sequence. The resulting sequences are compared to the reference databases to find the matching species. Before the establishment of the method, it was difficult to determine the base sequence, because the DNA extracted from the frass was either too small or contaminated by DNA of other species. However, specific primers for PCR constructed in this study enabled us to succeed in identifying “criminal” species using anonymous frass collected in the cultural property buildings, rather than being limited to laboratories. Please refer to “Science for Conservation” #61 for further details.
In the future, we plan to further develop specific primers to identify species by frass of cultural property pests in various phyletic lines, and enable easy usage in the field by upgrading the base detection system, including standardization and simplification of methods. We will continue to proceed with the study to achieve these objectives.
Conserved and restored parts are maintained in good condition (middle and upper parts), and plants have grown in the parts that remain unrestored.
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been working on a technical support and skill development project for the conservation and restoration of wall paintings and exterior walls of the temples composed of bricks, targeting the staff in the Bagan branch of the Department of Archaeology and National Museums of the Ministry of Religious Affairs and Culture of Myanmar. However, the COVID-19 pandemic and deterioration of Myanmar’s general situation have hindered our onsite work for some time. In such circumstances, we are conducting online meetings every two months to understand the status of the Me-taw-ya and Lokahteikpan temples, which are the target sites for the conservation and restoration project. We continue to provide advice for their maintenance and management by referring to the site photographs sent to us by the local staff.
The current status of the Me-taw-ya temple was reported at the meeting held on December 19th, 2021, informing that its restored parts have remained in good condition since our onsite activities were halted, which was two years ago. In the Bagan Archaeological Site, other organizations (prior to the involvement of TOBUNKEN) had repeatedly restored the joint plaster and adopted countermeasures against rain leakage. However, in most of the cases, the restoration materials were damaged within a year. Additionally, in 2021, the heavy rainfall caused disastrous damages to the structure.
For this project, we have been closely working with the local experts by listening carefully to their concerns and conducting relevant research to address them. The restoration materials introduced by TOBUNKEN have remained in good condition for 5 years, showing no damage even at the oldest parts. Thus, it is important to carefully monitor the progress after the restoration and to work on the restoration. Despite the frustration at being unable to work onsite because of the current situation, the proven effectiveness of the conservation and restoration to sustain over multiple years is a source of constant motivation for us.
Thus, while we continue to extend our full cooperation to the local staff, we remain hopeful about resuming our onsite work shortly.
The South East corner of the Shiva Temple podium before the investigation
Assuming original structure of internal podium exposed by the dismantling investigation
An earthquake of magnitude 7.8 struck Nepal on April 25th, 2015. Subsequently, several regions, including the capital city of Kathmandu, were stricken, and many cultural properties, including the World Cultural Heritage, were damaged. Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been continuing the investigation and support for the preservation of damaged cultural heritage since November 2015 through projects such as the one commissioned by the Agency for Cultural Affairs. Recently, I was asked to travel there by Japan International Corporation Agency (JICA). The investigation required partially dismantling the podium of the Shiva Temple in the Hanumandhoka Palace in Kathmandu and was conducted from December 5th–17th, 2021.
Shiva Temple, which is a 5m by 5m-multi-storied building, is considered to have been constructed in the 17th century. Its super structure had completely collapsed due to the above mentioned earthquake. TOBUNKEN conducted excavations to examine the composition of its foundation in June, 2017. To this end, we investigated the internal composition and condition of the remaining podium that was made of bricks to obtain the basic data and materials to reinforce the structure, which was essential for its full recovery.
From this investigation, we found that the bricks outside and at the upper parts of the podium were varied and uneven in composition and placement, being irregularly piled on top of each other. This suggests that such parts were restored sometime later than the original construction. On the contrary, the bricks inside and at the lower parts were standardized, and regularly and precisely piled, implying that these parts made up the original structure before restoration. These parts maintain relative stability, which supports our previous investigation outcome.
Furthermore, we plan to conduct a compositional analysis of the adhesive used to join stones at the upper structure as well as the mortar applied to bricks at the joint of the podium. We hope that the research outcome can support Nepal’s earthquake rehabilitation efforts and contribute to enhancing the local understanding of historic buildings.
Lecture by KOBAYASHI Tatsuro
Lecture by YASUNAGA Takuyo
The Department of Art Research, Archives and Information Systems conducted a public lecture titled “Look at Form, Read Form” on November 5th, 2021. The “Public Lecture” is conducted every autumn over the course of two days, and a wide range of audiences are invited to attend lectures presented by researchers on their work. However, this year, as with the preceding year, we shortened the period to one day with only two lecturers from our institute to follow COVID-19 prevention measures. The audience was limited to 30 people, and they were selected by raffle. In the venue, temperature checks were conducted and the speakers and audiences were requested to wear masks and sanitize their hands.
The following two lectures were conducted by members of our department: “Emergence and its Meaning of Amida Paintings All in Gold – Representation of Time Spirit in Transition Period” by KOBAYASHI Tatsuro, Head, Japanese and East Asian Art History Section; and “‘Hanshan and Shide’ Painted by Yosa Buson at Myōhōji Temple in Kagawa – Study for Restoration Utilizing Image Materials” by YASUNAGA Takuyo, Senior Researcher.
“KOBAYASHI discussed the Amida pictures of the Kamakura period—painted and plated in all gold—in light of the transition of the time spirit. Special emphasis was placed on how Amida emerged alongside the doctrine of original enlightenment (hongaku), which dominated Tendai Buddhism.” YASUNAGA introduced the ongoing restoration work of “Hanshan and Shide”—an Important Cultural Property owned by the Myōhōji Temple in Marugame city, Kagawa Prefecture—which was partially damaged by age. The old monochrome films shot decades ago by Tobunken have been used for this restoration with the high-definition images that Tobunken pictured recently.
Questionnaire survey responses from the audience show that 85% participants were “satisfied” or “generally satisfied” with the lecture.
Summary of the Seminar
Nearly 30 years have passed since Japan ratified the World Heritage Convention. Japan currently has 25 properties inscribed on the World Heritage List, including “Amami-Oshima Island, Tokunoshima Island, Northern part of Okinawa Island, and Iriomote Island” and “Jomon Prehistoric Sites in Northern Japan”, which were recently added to the list in 2021. FUTAGAMI Yoko, Head, Cultural Properties Information Section, conducted a presentation about the recent international and domestic activities based on the World Heritage Convention, including the nomination, inscription, and protection.
Many nominated properties that were not recommended to inscribe on the World Heritage List by its advisory bodies, were eventually decided to be inscribed on the List at the extended 44th session of the World Heritage Committee conducted in Fuzhou, China, with both in-person and online attendees in July 2021. For example, “Frontiers of the Roman Empire – The Danube Limes (Western Segment)” nominated by Hungary and other states, was also decided to be inscribed on the list. This happened even though ICOMOS / International Council on Monuments and Sites, as an advisory body on cultural properties, concluded that it was “impossible to evaluate” because its boundary of the property was significantly modified soon before the session due to Hungary’s withdrawal from its nomination. Hungary noted discrepancies between the outcomes of the thematic study that ICOMOS performed in the past and their recent advice based on the mission triggered by its nomination, and the related states failed to reach agreements regarding how to deal with the advice provided. These hiccups may have influenced the Committee Member states to turn against ICOMOS. FUTAGAMI explained these issues related to the nominations to the World Heritage List, as well as the introduction of improvement measures, such as Preliminary Evaluation on the nomination dossiers at the extended 44th session of the World Heritage Committee.
In addition to the movements of the World Heritage Committee, since 2020, domestic discussions have been conducted in Japan at the Subdivision of World’s Cultural Heritage of the Council for Cultural Affairs regarding the nomination and protection of world heritage properties. FUTAGAMI presented information about its discussion points based on the materials published on the Internet.
Active discussions were conducted during this seminar on the challenges for domestic activities in the light of World Heritage nomination and protection. It provided a good opportunity for us to recognize the need for outreach on a wide range of related information.
“(Japanese)” at the end of the article is linked to its Japanese article.
Since 1936, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has annually issued the “Year Book of Japanese Art (the Year Book),” which covers activities in the art world in the given year in Japan. Although this book can be downloaded from “TOBUNKEN Publications repository > Yearbook of Japanese Art,” you can also directly search for specific information on the TOBUNKEN web database.
“Art News Articles database,” one of the databases constructed based on the Year Book, is a useful material that allows you to track movements in the art world through major exhibitions, art competitions, and events related to museums and cultural properties since 1936. We are happy to announce that the English version of “Art News Articles” with articles dating back to 2013, 2014, and 2015 were published. They were translated by Ms. Miwako Hayashi Bitmead, Japanese Arts Database Officer of the Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC) in the United Kingdom. SISJAC and TOBUNKEN have conducted joint research since 2013 and this English publication was created with their cooperation. As the translation progresses, more data will be available.
The English version of this database will be helpful for disseminating information all over the world about the history of the movement in the Japanese art world until now. We believe that it can be also used as a vocabulary glossary for further outreach activities. Japanese and English versions of articles are mutually linked to ensure that each version can be easily referred. We are also planning to improve the database to mutually refer to both English and Japanese at a vocabulary level. We hope that you can find it useful and will use them regularly.
Manually adjusting warps set on the loom
Handweaving with various types of woof
Cutting and tailoring Noh costumes
The Department of Intangible Cultural Heritage conducts the research on the preservation techniques for cultural properties. We studied the “manufacturing Noh costumes related to Nohgaku*1” technique among various preservation techniques. Nohgaku is performed on stages, where the performers wear masks (Noh masks), costumes (Noh costumes), and other traditional items. Not only the performing arts themselves but also the techniques to support them are mandatory to inherit the intangible cultural heritage.
Mr. SASAKI Yoji (in Kyoto Prefecture) is a government –certified technique holder who has mastered the techniques to manufacture Noh Costumes, moreover these selected preservation techniques are certified by the national government. Mr. SASAKI, who is the fourth president of Sasaki Noh Robes (founded in 1897), manufactures Noh costumes with Nishijin’s*2 traditional handlooms equipped with the Jacquard machine*3 for each order. Noh costumes come in various forms, styles, and patterns and are selected for each drama. Most of them exhibit gorgeous designs, which include shining silk and gold and silver threads, to stand out on the stage. Thus, manufacturing requires highly skilled technique holders to perform weaving techniques to meet the subtle demands of Noh performers.
We interviewed Mr. SASAKI Yoji and recorded each process of manufacturing Noh costumes; the recording included still pictures and videos. We plan to publish a leaflet named “Techniques to support Japanese traditional performing arts” based on the outcomes of this research.
*1. Nohgaku is one of the traditional styles of Japanese theater. It includes the lyric drama noh, and the comic theater kyogen (https://en.wikipedia.org/wiki/N%C5%8Dgaku)
*2. Nishijin: is a district in Kamigyō-ku, Kyoto, Japan. It is well known for traditional textiles which are often referred to as Nishijin-ori (西陣織) (https://en.wikipedia.org/wiki/Nishijin)
*3. Jacquard machines control movements of warps by punch cards to generate complex patterns. They are not powered automatic looms. Sasaki Noh Robes manually develop clothes (using hands) using handlooms equipped with Jacquard machines.
Exhibition catalogues: “Love, Fight, Feast “(left) and “Tosa and Sumiyoshi Schools II—The Development of the Yamato-e Painting Style and the Outstanding Characteristic of Each School” (right)
Lecture at Kuboso Memorial Museum of Arts, Izumi
International Symposium at the Rietberg Museum (YouTube distribution screen)
The exhibition “Tosa and Sumiyoshi Schools II—The Development of the Yamato-e Painting Style and the Outstanding Characteristic of Each School” was held from September 12th through November 7th, 2021 at the Kuboso Memorial Museum of Arts, Izumi, well known for its precious collection of Japanese and East Asian antiquities. The art works of the Tosa and Sumiyoshi Schools, from Tosa Mitsuyoshi’s work in the Momoyama Period till the modern period, were gathered and exhibited there. The exhibition was curated to highlight what each painter inherited and what each one innovated. During the exhibition, EMURA Tomoko from the Department of Art Research, Archives and Information Systems gave a lecture titled “Sumiyoshi School Paintings Overseas: Examining Shutendōji Handscrolls in Grassi Museum of Ethnology in Leipzig” at a lecture meeting held on October 16th, with Mr. KAWADA Masayuki, the director of the museum. EMURA introduced the Cooperative Program for the Conservation of Japanese Art Objects Overseas by Tokyo National Research Institute for Cultural Properties (TOBUNKEN), as well as Japanese arts overseas. She discussed Sumiyoshi Hiroyuki’s Shuten-dōji handscrolls, considered to be painted in 1786. This exhibition also featured the Shuten-dōji handscrolls painted by Hiroyuki’s son, Sumiyoshi Hironao (owned by Nezu Museum), following his father’s works. EMURA clarified the contrast between their works.
In the same month, on October 23rd, EMURA delivered a keynote lecture titled “A Great Tale of Exterminating Ogres: Shuten-dōji Handscrolls of GRASSI Museum für Völkerkunde zu Leipzig” at an international symposium marking the occasion of the special exhibition “Love, Fight, Feast – The World of Japanese Narrative Art,” held at the Rietberg Museum in Switzerland from September 10th to December 5th, 2021. The exhibition shows Japanese narrative scrolls owned by European museums. In her lecture, she explained the overall contents of Sumiyoshi Hiroyuki’s Shuten-dōji handscrolls and their characteristics as they were first exhibited there. This symposium was held online, connecting the museum in Zurich with Tokyo, Dublin (Ireland) and New York (USA), and broadcasted via the Internet.
https://www.youtube.com/watch?v=36FC6IOS_o0&t=1160s
It was unfortunate that we could not gather in person at the same venue due to the COVID-19 pandemic, but it was still a precious opportunity to discuss with many researchers and to exchange opinions. EMURA plans to publish her research about Sumiyoshi Hiroyuki’s Shuten-dōji handscrolls, which she talked about in her lecture, as an article in the Bijutsu Kenkyu (the Journal of Art Studies), No. 453.
Adherence sample setting for exposure test
Water content meter setting to measure the amount of water in the rock
Usuki Stone Buddhas, a National Treasure, are a group of “magaibutsu” (Buddha statues directly carved into rock face) sculpted niches that were carved on ignimbrites between the late Heian period and the Kamakura period. They consist of the following four clusters: the Hoki First Cluster, the Hoki Second Cluster, the Sannosan Cluster, and the Furuzono Cluster.
Weathering has partially progressed in these Buddha statues. Although protected by the niches from rainfall and winds, their surfaces have been impacted by repeated frosting and melting of underwater and rainwater during winters, and by flaking and granulating as a result of salt deposition due to evaporation in dry season. Therefore, weathering prevention methods such as building protective shelters, controlling river-bed water running behind the statues, and remounting falling pieces were adopted in the past. Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been engaged in these efforts for a long time.
A new joint research with Usuki City has now started to preserve and restore the Stone Buddha Statues. The surfaces around one knee of the seated Amitabha Tathagata Buddha statue in the Hoki Second Cluster have rebegun flaking and falling despite early preservation and restoration efforts. Via environmental research, we plan to monitor the change in temperature and humidity in the newly built protective shelters and review the water content in the rock, in addition to studying materials and implementing methods to strengthen and remount falling pieces. In preparation, we set the measuring equipment and adhesive samples for outdoor exposure testing on October 18th and 19th.
We plan to regularly review the measured data and observe the efficacy of adhesive samples against the weather, while continuing to discuss appropriate actions for the preservation and restoration of the Usuki Stone Buddha Statues with the Agency of Cultural Affairs, Oita Prefecture, and Usuki City.
SHIMAZAKI Kiyomi in a classroom; photo taken in 1950s.
He taught arts as an elementary school teacher, while playing a key role in Sōzō Biiku Kyōkai
Presentation at the seminar
Have you ever heard about an organization called “Sōzō Biiku Kyōkai”? This private organization was founded in 1952 to pursue new art education that respects and nurtures children’s individual personalities. Artists such as KITAGAWA Tamiji and EI-Q, and the art critic KUBO Sadajiro played key roles in its founding. These educational activities have grown and expanded, and have resulted in the establishment of the organization’s branches all over Japan. Thus, these activities have had a huge impact on post-war art education in Japan.
Ms. NAKAMURA Maki (part-time employee, Kanagawa Prefectural Museum of Cultural History and temporary staff, Tokyo Keizai University Historical Data Office) was invited by the Department of Art Research, Archives and Information Systems to the seminar held on September 24th, 2021 on the materials left behind by SHIMAZAKI Kiyomi (1923-2015). SHIMAZAKI was an art educator and served as the Bureau Chief of the Sōzō Biiku Kyōkai. Ms. NAKAMURA gave a presentation titled “Art Education in Japan after World War II, tracked with the activity records of the ‘Sōzō Biiku Kyōkai’ – referring to the materials left by SHIMAZAKI Kiyomi.” She had interviewed SHIMAZAKI in the past, and after his death, has been engaged in organizing and studying the large amount of materials he had left behind. She explained that this organization has made immense contributions, not only by helping art education to evolve, but also by supporting artists, popularizing print arts, and nurturing art collectors.
In the discussion following her presentation, Dr. KANEKO Kazuo, Professor Emeritus at Ibaraki University, delivered a commentary on the positioning of the Sōzō Biiku Kyōkai in post-war art education in Japan. Following this, participants from the institute and other facilities actively discussed how to conserve and utilize the materials of SHIMAZAKI Kiyomi. In the discussion, we also recognized the difficult situation related to the art education archives, for example, the fact that no institute so far has accepted these materials permanently.
Ms. NAKAMURA brought some of the actual materials to the seminar and participants had an opportunity to see them in person. We hope that this seminar provided the participants an opportunity to understand the importance of these materials.
Lecture by Mr. NAKANO Noriyuki
Lecture by Dr. IMAIZUMI Shoko
To obtain fundamental data for their research, protection, and utilization, the documentation of cultural properties and artifacts through both texts and photographs is an important activity for museums, fine art museums, and municipal governments managing cultural properties. The Department of Art Research, Archives and Information Systems is actively discussing methods for documenting cultural properties as well as the compilation of a database to organize and utilize these documentations. To this end, we conducted a seminar titled “Documentation of Cultural Properties for Protection and the Principle of Image Compression,” on September 21st, 2021, in the seminar room at the Tokyo National Research Institute for Cultural Properties while following the appropriate countermeasures against COVID-19 infection.
Mr. NAKANO Noriyuki (Senior Specialist of the First Cultural Properties Division, Agency for Cultural Affairs) delivered a lecture titled “Documentation of Cultural Properties for Protection.” He explained the importance of documenting cultural properties to ensure their protection and reiterated the areas of special care that must be taken into consideration during the documentation process, based on the abundance of materials with actual cases. In addition, Dr. IMAIZUMI Shoko (Associate Professor, Graduate School of Engineering, Chiba University) delivered a lecture titled “Concepts and Basic Technologies of Image Compression” as the second session in the series on “Digital Image Compression from the Basics of Images to Moving Images.” She explained digital image compression, the processes involved, and finally, the basic technologies and techniques of major compression formats for still and moving images, such as JPEG and MPEG.
The significance of documenting cultural properties continues to increase as it is crucial to securing opportunities for research and appreciation in the current situation wherein it is difficult to access cultural properties due to the COVID-19 pandemic. We will continue to actively disseminate useful information for documentation, preservation, and publication of cultural properties by providing lecture-style and hands-on seminars.
Lecture on how to handle lab instruments
The Center for Conservation Science conducts scientific research on the conservation and restoration of cultural property. In 2021, we introduced a workshop on basic science, based on our research, for conservators who have diverse experience in restoration of cultural properties and museum curation and archiving.
The workshop was held for three days from September 29th through October 1st, 2021. We provided lectures and practical sessions on basic scientific knowledge that is important for conservation and restoration. It included basic chemistry, science of adhesion and adhesives, chemistry of paper, and pest damage control. The researchers of Tokyo National Research Institute for Cultural Properties delivered the lectures, based on their areas of expertise.
We received 44 applications from across Japan for 15 seats. Fifteen applicants, who either resided in or commuted to Tokyo, and had the desirable expertise, participated in the workshop keeping in mind the on-going COVID-19 pandemic.
The participants expressed their appreciation for this workshop through the questionnaires that were provided. We received requests for further scientific information on more advanced conservation and restoration cases. We intend to continue this workshop series to meet these expectations.
