| ■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 |
|
Ms. FUJIOKA Naomi presenting her lecture
The Illustrated Mirror of Emperors from the Wall Paintings of Nagoya Castle's Honmaru Palace (Photographic Glass Plate)
Every autumn, the Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) organizes a “Public Lecture” to present the results of our researchers to the general public. The 59th Public Lecture, “Look at Form, Read Form” was held in the TOBUNKEN seminar room on November 13 and 14, 2025, featuring lectures by four researchers.
On the first day, Ms. TSUKIMURA Kino (Researcher of the Department of Art Research, Archives and Information Systems) presented on the topic of “Considering ‘Inscriptions’,” focused on inscriptions as important clues in art history research, in which she proposed a new research methodology for re-examining Japanese sword inscriptions from the perspectives of character shape and frequency of occurrence by character type. Also, Ms. FUJIOKA Naomi (Curator, Shimane Art Museum) presented her work in a lecture titled “The Paintings of the Monk-Painter Fugai Honko,” in which she examined the work of Fugai Honko, who left numerous paintings in Izumo Province (present-day Shimane Prefecture). Ms. FUJIOKA’s work demonstrated that the influence of woodblock printed books and Ike no Taiga strongly shaped Fugai’s choice of subjects and painting techniques.
On the second day, Ms. FUTAGAMI Yoko (Head of the Cultural Properties Information Section of the Department of Art Research, Archives and Information Systems), in her lecture, “Maki-e Craftsmen Who Went to Thailand: Tsuruhara Zenzaburo and Miki Sakae,” introduced previously unknown aspects of the treatment received by two Japanese maki-e craftsmen who were invited to Thailand in the early 20th century, and their production of lacquerware for the Thai royal family. Additionally, Ms. YAKUSHIJI Kimiko (Visiting Researcher in the Department of Art Research, Archives and Information Systems) presented work in a lecture titled “What Is the ‘Teikan-zu’ (Illustrated Mirror of Emperors)?” in which she examined how the originally Chinese book ‘Teikan Zusetsu’ evolved to become more diverse in Japan, attempting to redefine the concept through the works themselves.
There were 126 participants from the public attending on both days, and we received a positive reaction from the audience: about 90% of the feedback questionnaire responses were “very satisfied” or “relatively satisfied.” Additional comments from the participants further indicated high levels of satisfaction with the lecture content.
Data entry work for Yearbook of Japanese Art
Bibliograhic Records from Yearbook of Japanese Art
Nihon bijutsu nenkan (“Yearbook of Japanese Art,” hereinafter called “NENKAN”) is an annually published data book that presents trends in the art world in Japan compiled over the course of each year. It was first published in 1936 by the Art Research Institute of the Imperial Academy of Fine Arts, the predecessor of Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Starting with the 2022 edition, published in January 2025, the “References Published in Periodicals ” section of the NENKAN was discontinued. Instead, the publication “Bibliograhic Records from Yearbook of Japanese Art,” which contains the section, has been made available on our website (https://www.tobunken.go.jp/
yearbook/articles_from_periodicals).
This database, like the printed edition, focuses on listing references according to classifications that reflect the content. Persons interested in researching literature related to a specific artist or art museum can search by keyword, just like in a general database. However, some of the literature classified in NENKAN under categories such as “preservation and restoration” and “cultural property administration” can be difficult to identify with appropriate keywords. For this reason, this database, which enables browsing literature by classification, is effective for understanding trends in each field that are difficult to grasp through keyword searches, as with the previous print version.
Currently, we are publishing bibliographies of magazines and newspapers published between January 1, 2021, and December 31, 2022, when print publication ended. Going forward, we plan to soon publish information on the latest literature published before 2020. Through these efforts, we will continue to maintain and develop the role that the print version of the NENKAN has played for many years, in providing a systematic understanding of trends in the art world in Japan. Since it currently takes about 10 seconds for the database to load, which can feel slow to some users, we are currently working to improve this speed.
Scene from the session
Presentation slide
The Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) manages approximately one hundred databases built with Claris FileMaker, a low-code development platform provided by Claris International Inc. Among them is the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts), developed as part of the Agency for Cultural Affairs’ project “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts.” On November 7, 2025, TOBUNKEN presented a report on this database at the Claris Conference 2025, organized by Claris International Inc.
A defining feature of this database is that each stage of the workflow—‘creating,’ ‘storing,’ ‘retrieving,’ and ‘displaying’ data—is not carried out within a single integrated system, but rather operated by utilizing multiple software tools while sharing only the data itself. In practice, data created with Microsoft Excel is imported into Claris FileMaker, while WordPress is used for public dissemination.
In a presentation titled “The High Flexibility of Claris FileMaker Supporting the Database of Restoration Records for Cultural Properties Without a Predefined Standard” (presenters: Mr. OYAMADA Tomohiro, Ms. YAMANAGA Naomi, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko, Department of Art Research, Archives and Information Systems), the speakers explained that this approach offered a high degree of flexibility at each development stage, enabling adaptable system design and quick adjustment of specifications. Under this agile-style development process, we will continue our efforts through ongoing trial and error, with the aim of designing and developing a database that will be of practical use to those engaged in restoration work.
The results of this fiscal year’s project will be announced on February 6, 2026 (https://www.tobunken.go.jp/info/event/2026/0206/ (Japanese only)).
On November 15, 2025, a monthly public lecture was held at the Heiseikan Auditorium of the Tokyo National Museum. Mr. TASHIRO Yuichiro, Researcher in the Department of Art Research, Archives and Information Systems (also serving concurrently as Researcher in the Oriental Art Section, Curatorial Research Department, Tokyo National Museum), delivered a lecture titled “Exploring the Beauty of Korean Ceramics.” This lecture was organized as a related program to the exhibition “A Journey through Asia at the Museum: 60th Anniversary of the Normalization of Japan–Korea Relations — Walking through Korea: Pathways of Korean Culture,” held at the Toyokan Gallery from September 23 to November 16.
The lecture began with an overview of the aesthetic characteristics of Korean ceramics across different periods, focusing primarily on works displayed in the exhibition, ranging from Goryeo celadon to Buncheong ware and white porcelain of the Joseon dynasty. Drawing upon the history of appreciation, the speaker then discussed differences in the ways Japanese and Korean audiences have perceived ceramics, incorporating personal experiences from his time in Korea.
This lecture was not merely an occasion for the transmission of knowledge, but also provided participants with an opportunity to directly observe and reflect upon the works through the exhibition itself. As such, it offered a meaningful forum for considering Korean ceramics from multiple perspectives. Looking ahead, alongside academic research activities such as publications and conference presentations, we aim to continue sharing the insights and outcomes gained through such endeavors with a broader public.
Reference:
Tokyo National Museum, Lectures and Courses
https://www.tnm.jp/modules/r_event/index.php?controller=list&cid=1&lang=en
The database screen
An Akamatsu records paper
The Cultural Properties Protection Division of Kyoto Prefecture holds a vast collection of materials related to a cultural property survey conducted within the prefecture, spanning from the WWⅡ period to the present day. In recognition of the importance and public value of these materials, which warrant preservation for future generations, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the Kyoto Prefectural Board of Education signed a joint agreement in 2018 concerning the digitization of these materials. Since then, we have been organizing the materials deposited by the Board of Education and constructing an archive.
We are now pleased to announce the public access to the catalogue and digitized database of the materials known as the “Akamatsu Records Papers,” which comprise the survey records of temple treasures in Kyoto prefecture. This is a record of the documents dated from 1941 collected in the comprehensive treasure survey conducted throughout Kyoto Prefecture. The survey was spearheaded by AKAMATSU Toshihide (1907–1979), who had served as Director of the Cultural Properties Protection Division. While some volumes are missing, the surviving collection comprises 92 ledgers and 21,871 investigation reports covering 1,581 temples. This is a unique database in which the information on cultural properties contained within all Akamatsu records papers previously held as internal documents by Kyoto Prefecture were digitized and have been catalogued as comprehensively as possible. Among the temple treasures surveyed are original items already lost to disaster or theft, making their records exceptionally valuable as they document the state of Kyoto’s temples as of over eighty years ago. Digital images of the records are available to view in the TOBUNKEN Library, and sections of the catalogue can be accessed via the website of TOBUNKEN. We are also progressively organizing other materials deposited by the Kyoto Prefecture Board of Education, which will be made available in due course.
It took approximately five years to digitize and organize the Akamatsu Records Papers, during which time five student assistants devoted considerable effort to data entry. We hope that this database will prove useful for research into cultural properties, and would like to express our heartfelt gratitude to all those who contributed to its creation.
Photo 1: Nagauta performance (From left, Mr. KINEYA Katsushizu and Mr. KINEYA Katsujiro)
Photo 2: Ryūkyū traditional music performance (Mr. TANAHARA Kenta)
Photo 3: Round table talk (From right, Ms. OSHIO Satomi, Mr. IIDA Tsutomu, Mr. KINEYA Katsushizu, Mr. KINEYA Katsujiro, and Mr. TANAHARA Kenta)
On November 7, 2025, the 19th Public Lecture, titled “Inheritance of Traditional Performing Art Considered through Promotional Efforts,” was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), in the basement seminar room.
At the beginning of the first half of the Public Lecture, Ms. MAEHARA Megumi, Head of Intangible Cultural Properties Section, explained the purpose of the lectures. Afterwards, Mr. IIDA Tsutomu, Senior Specialist of Textbooks for Elementary and Secondary Education in the Ministry of Education, Culture, Sports, Science and Technology, Japan, provided a lecture titled “The National Curriculum Standard and Traditional Performing Arts Described in the Textbooks.” In this lecture, he described the National Curriculum Standard as a key pillar to popularize traditional performing arts in education at schools, and the description of traditional performing arts in textbooks as a guideline for the Standard. Following his lecture, Ms. KAMATA Sayumi, Researcher of the Department, and Ms. MAEHARA conducted presentations titled, respectively, “Efforts to Provide Traditional Performing Arts Experiences in Schools in Tokyo,” and “Efforts to Promote Traditional Performing Arts in and out of Schools in Okinawa.” Through these presentations, the presenters clarified the current situations and challenges in traditional performing arts promotion.
In the latter half of the Public Lecture, Mr. KINEYA Katsushizu and Mr. KINEYA Katsujiro played Nagauta “Kuramayama,” and talked about the opportunities in which they had become engaged in traditional performing arts and their training afterwards (Photo 1, Interviewer: Ms. KAMATA). Afterwards, Mr. TANAHARA Kenta, an Uta Sanshin (Traditional Ryūkyū Music) player, played works titled “Mutouhanafuubushi” and “Saginjyashi syukkwebushi” and talked about how he came to know traditional Ryūkyū music, and some of the challenges he faced during his activities. (Photo 2, interviewer: Ms. MAEHARA).
After the lectures, a round table talk was held in which Ms. OSHIO Satomi, Professor of Miyagi University of Education, who worked for traditional performing art promotion through the training of teachers, joined and exchanged opinions with the other participants on the current situation and challenges regarding training and promoting the traditional performing arts in and outside of schools, from their respective viewpoints of their regions and standpoints. (Photo 3).
The Department of Intangible Cultural Heritage will share the information gleaned at the Public Lecture through collaboration with people of various standpoints and seek solutions for the challenges of promotion and inheritance of intangible cultural properties. We plan to publish a report on this Public Lecture in the next fiscal year.
The Japan Centre for International Cooperation in Conservation and Heritage Commission of Saudi Arabia co-organised a workshop for 3D digital documentation at the National Museum of Saudi Arabia from 2nd to 4th November, 2025. As the application of 3D documentation in the field of cultural heritage has been drawing attention in Saudi Arabia in recent years, our workshop series of 3D documentation was organised for the first time in Saudi Arabia, with the theme of “3D Digital documentation of archaeological objects,” receiving 25 experts as participants who are working in fields such as archaeological excavation and museum management.
During the workshop, lectures were held by lecturers despatched from Japan regarding the basic methods of 3D photogrammetry, and various 3D documentation techniques depending on the object size or occasion of the documentation. In addition to the lectures, participants were divided into five groups and practiced the 3D photogrammetry of sample objects and documentation with a Lidar smartphone application and 3D laser scanning.
On 4th November, an open event titled “XR meet up in Riyadh” was held in the National Museum of Saudi Arabia. Various examples and activities from Japan related to 3D digital documentation were exhibited in the event, as follows: ‘VR experience of Copan in Honduras’ by Komatsu University; ‘XR Heijo-kyo’ by the Nara National Research Institute for Cultural Properties, ‘3D DB Viewer project’ by the National Institute of Advanced Industrial Science and Technology and Nara National Research Institute for Cultural Properties; ‘Kyoto VR’ by Holo Lab Inc.; Scaniverse by Niantic Inc.; and VR experience of Aali royal burial mound in Bahrain and Tanei Temple in Cambodia. The event provided opportunities to experience various utilisations of 3D documentation of cultural heritage widely to the public.
This workshop was organized as a part of the project for Exchanges in International Cooperation for Conservation of Cultural Heritage funded by the Agency of Cultural Affairs.
Professor Emeritus SASAKI Tatsuo giving a lecture
On Saturday, November 8, 2025, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) welcomed Professor Emeritus SASAKI Tatsuo of Kanazawa University as a guest speaker for a lecture titled “Excavating the Archaeological Sites of the Persian Gulf Region.” This event was organized as the seventh session of the “Pioneer Seminars in West Asian Archaeology,” a lecture series launched in 2018 by the Japanese Society for West Asian Archaeology to highlight first-generation researchers who opened new paths in archaeological studies across West Asia and its surrounding regions. Co-hosted with the Society, the seminar was held in a hybrid format—both in-person at the Institute’s seminar room and online—and brought together a total of 90 attendees.
Professor SASAKI, a specialist in the history of inter-civilizational exchange, has focused his scholarly work on the distribution of ceramics while participating in numerous excavations conducted in Japan, and also overseas in Iraq, Egypt, the Indian Ocean, the Persian Gulf, and various desert regions. Despite the often unstable political and security conditions in these areas, he continued his fieldwork, deepened his collaborations with local researchers, and dedicated himself not only to excavation but also to the conservation of archaeological sites.
Drawing from his extensive experience—encountering different research environments and approaches to heritage preservation across countries—Professor SASAKI’s lecture offered valuable insights. It resonated not only with active field researchers, but also with those who have long been inspired by the archaeological and historical world of West Asia, as well as younger generations preparing to enter the field.
Today, at least fiveJapanese-led archaeological missions are operating in the Gulf region. The latest research results, carried forward by the new generation that has inherited the pioneers’ spirit, will be presented in detail at the 33rd Annual Meeting of Excavation in West Asia scheduled for March 21–22, 2026, to be held in the same venue.
Symposium in Tokyo
Symposium in Kyoto
Study Tour: Visiting the Byōdō-in Temple
Due to conflict and prolonged instability, archaeological research and international assistance had been suspended in Iraq for a period of time. In recent years, however, foreign archaeological missions have gradually been returning, and international research on the history of ancient West Asian civilizations, as well as activities for the protection of cultural heritage, have resumed. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has continuously provided support to Iraq, including training programs in Japan and the provision of equipment for conservation and restoration specialists of the Iraq National Museum between fiscal years 2004 and 2010, and the organization of two symposia in 2019 and 2022. At present, one of the key challenges in Iraq is to raise awareness among local communities to ensure the sustainability of cultural heritage protection.
In response to this situation, TOBUNKEN, in cooperation with the Japanese-Iraqi Institute for Archaeological Education of Mesopotamia and the Research Center for Japanese Garden and Historical Heritage at Kyoto University of the Arts, invited three specialists from Dhi Qar Governorate in southern Iraq from November 22 to December 1, 2025 to participate in two symposia held in Japan with the core theme of “Local Communities and Cultural Heritage” and a study tour organized to introduce new ideas and approaches through Japanese examples of site management and the utilization of cultural heritage, and to apply these insights to address challenges in Iraq.
At each symposium, the Iraqi specialists presented the current state of archaeological excavations and site management in Dhi Qar Governorate. They also reported on outreach activities related to ancient Mesopotamian civilization and archaeology, events designed to connect museum collections with local communities, and the results of surveys on perceptions of cultural heritage within higher education.
From the Japanese side, at a Tokyo venue, lectures were delivered by Mr. NAKAO Tomoyuki of the Agency for Cultural Affairs and Mr. MIYOSHI Seicho of Hida City on the current status of Japan’s cultural property protection policies and initiatives undertaken by local governments. At a Kyoto venue, a keynote lecture on the site management of Byōdō-in Temple and its collaboration with local communities was given by Prof. NAKA Takahiro of Kyoto University of the Arts. In addition, Mr. YAMADA Takafumi of the World Heritage Office of Nara Prefecture spoke on guidance for municipal officials responsible for World Heritage sites and collaboration with school education, while Prof. USAMI Tomoyuki of Kyoto University of the Arts introduced student- and citizen-participatory support activities, including a web-based GIS mapping of cultural heritage in Iraq. Through these presentations, the characteristics and challenges of public outreach activities in both countries were shared, and active discussions were held on effective strategies for increasing opportunities for citizens to engage with cultural heritage.
During the invitation period, the Iraqi specialists also visited archaeological sites and museums in Tokyo and Kyoto between the two symposia. They were able to bring valuable information relevant to addressing challenges back to Iraq, including the advantages of site museums; methods of site presentation, such as the indication of remains through reconstructed buildings and plantings, and in situ preservation using protective shelters; as well as interpretive approaches employing VR and AR technologies and multilingual video materials.
We hope that the methods and knowledge gained in Japan will contribute to the future advancement of cultural heritage protection in southern Iraq, and we will continue to strengthen our cooperative efforts going forward.
Commemorative photo with trainees, the Latin team, ICCROM representatives, and the Japanese team
Practical training session conducted by the Japanese team
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has jointly organized the ‘International Course on Conservation of Japanese Paper in Latin America’ in Mexico City since 2012, together with ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) and CNCPC-INAH (The National Center for Cultural Preservation, The National Institute of Anthropology and History). Compared to North America and Europe, the Latin American region is considered to have fewer opportunities for training and information exchange regarding cultural property conservation and restoration. Therefore, by targeting this region, the training program aims to contribute to the preservation and restoration of paper cultural properties in the region.
The course was held from November 12 to 26, 2025, marking its ninth edition, welcoming a total of nine trainees from six countries: the Argentine Republic, the Plurinational State of Bolivia, the Republic of Chile, the Republic of Colombia, the Republic of Guatemala, and the United Mexican States.
The first half of the training was conducted by the Japanese team of instructors and the second half by the Latin team of instructors from the United Mexican States and the Kingdom of Spain. The first half provided foundational knowledge on Japanese restoration techniques for paper-based cultural properties, including lectures on washi, traditional Japanese paper, and restoration techniques for such materials. Practical sessions focused on highly applicable techniques, tools, and materials.
Participants expressed very high satisfaction with the training. They greatly valued the opportunity to learn directly through hands-on experience with washi and Japanese techniques, and to gain an understanding of the underlying philosophy behind them.
Furthermore, the instructors for the Latin team included Mexican experts who had previously attended the courses, including the ‘International Course on Conservation of Japanese Paper’ at TOBUNKEN, which has been running for over 30 years. This steady capacity building abroad represents a significant achievement for our institute. We hope the techniques, knowledge, and personal connections fostered during this training will further contribute to the preservation of cultural properties both domestically and internationally.
Survey of wall painting condition using a checklist
An example of a wall painting under investigation
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in Joint research on the maintenance, management, and conservation-restoration of mural paintings under the “International Research on Conservation and Restoration Techniques for Cultural Heritage” program.
As part of this initiative, we are collaborating with the Ministry of Culture and Media of Croatia, the Museum of Istrian History and Maritime Heritage, and the University of Zagreb to develop a maintenance management system for wall paintings in churches in the Istrian region, located in the northwest of Croatia. This region is home to numerous mural paintings created from the medieval period to the Renaissance, with over 150 works currently documented. The aim of this research is to investigate and record the state of conservation of these wall paintings, and to share the collected data among experts to help in their maintenance and management.
From November 3 to 7, 2025, we visited sites in the region and conducted a third pilot test using a checklist. In this test, based on the results and issues identified in the previous investigation, we reviewed and refined the checklist items to obtain more accurate assessment results, confirming further improvement in its practicality. The local institutions expressed a deep understanding of and strong interest in this project, along with a strong desire to continue their cooperation in the future. Moving forward, we plan to further develop the collaborative relationships that have been built so far, and, under a more robust research framework, continue our practical efforts toward establishing a sustainable maintenance and management system that will contribute to the conservation and utilization of the wall paintings.
Statue of Saint Zanobi
X-ray imaging of the statue
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in a research survey on stucco decoration and clay statues under the research project “Technology for the Conservation and Restoration of Cultural Heritage” program.
From November 8 to 12, 2025, we visited Florence to conduct research and present our findings on the clay statue groups created by late Renaissance and Mannerist sculptors Pietro Francavilla and Antonio di Annibale Marchissi. These sculptures were originally produced as elements of a temporary façade erected at the Santa Maria del Fiore Cathedral in 1589 to celebrate the wedding of Grand Duke Ferdinando I de’ Medici of Tuscany and Christine of Lorraine. After the temporary structure was dismantled, the works were placed for a time along the nave walls inside the cathedral. In the nineteenth century, they were moved to the attic space on the northeastern side of the cathedral dome, where they remain today under the care of the Opera di Santa Maria del Fiore.
In the recent results briefing, we shared within our research team the findings obtained through the non-destructive investigations conducted to date— including photographic documentation using visible, infrared, and ultraviolet light, X-radiography, fiberscope exploration, and 3D measurements. These investigations enabled us to identify key structural features, such as the multi-layered composition centered on clay and the design based on the modularization of individual components. We also confirmed traces of surface finishes and gilding, providing important clues to the original production processes of the works. Going forward, we plan to gradually shift toward micro-destructive analyses involving limited sampling—conducted under appropriate ethical standards and with full consideration for conservation science— to obtain detailed information that cannot be adequately captured through non-destructive methods alone. Through this approach, we aim to clarify the correlation between the works’ structural characteristics and their deterioration mechanisms, and ultimately contribute to the development of appropriate conservation and restoration strategies.
Furthermore, this study aims to clarify both the universality of stucco decoration and clay statue traditions—elements that have been transmitted across regions and historical periods—and the diversity of their technical developments. As an interdisciplinary endeavor that spans art history, conservation studies, materials science, and cultural heritage studies, the project depends fundamentally on the international exchange of knowledge and collaborative research. Moving forward, we intend to strengthen our partnerships with specialists around the world and deepen interdisciplinary dialogue, thereby advancing our work in a steady and informed manner as we strive to open new frameworks for understanding within the field of cultural heritage research.
Scene from the poster presentation
Posters on display
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in a project called the “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts”—part of a project headed by the Agency for Cultural Affairs, the “TAKUMI Project,”—since the 2022 fiscal year. On October 3, 2025, at the 29th annual training session organized by the Association for Conservation of National Treasures (ACNT), a key deliverable of this project was presented as a poster presentation highlighting the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts).
ACNT is a group of specialists dedicated to the conservation and restoration of cultural properties, particularly fine arts and crafts such as paintings, calligraphies, books, documents, and historical materials. As of the 2025, ACNT had ten member studios with approximately 140 registered specialists. ACNT is certified as the preservation organization for mounting and restoration techniques, which are nationally designated as “Selected Conservation Techniques.” Many technicians and specialists from across the country participate in its annual training session, with 376 attending in the 2025 fiscal year.
On the presentation day, Mr. ASAKA Hiroshi (Museum of the Imperial Collections, Sannomaru Shozokan) and Mr. WATADA Minoru (First Cultural Properties Division, Agency for Cultural Affairs) delivered lectures on the appreciation and preservation of portraits and ink paintings. Alongside reports of restoration cases by member studios, TOBUNKEN participated in the poster presentation under the title “On the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts): Project Report of the Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” (presenters: Ms. YAMANAGA Naomi, Mr. OYAMADA Tomohiro, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko from the Department of Art Research, Archives and Information Systems). The presentation included details on research procedures, database structure, scope of content, outlook and challenges, and methods of use.
At the venue, numerous questions and comments were received from restoration technicians, museum personnel, and graduate students studying cultural property restoration. Furthermore, valuable information was obtained on restoration records that have become increasingly difficult to inherit in recent years for various reasons. These insights will be fed back into the project, ensuring ongoing resource development of restoration records and effective operation of the database.
Exhibition honoring the Giuseppe Tucci Collection (Museo delle Civiltà, Rome)
Research room of the Historical Archives of the Italian Chamber of Deputies
Exterior view of the Alinari Foundation for Photography
The Department of Art Research, Archives and Information Systems conducts investigations on Japanese art materials and the historical documents that reveal their historical context. In October 2025, we carried out field research in Italy, visiting institutions in Rome and Florence to examine related materials.
In Rome’s EUR district, we visited the Museo delle Civiltà (Museum of Civilizations), which houses collections formerly belonging to the National Museum of Oriental Art and the Luigi Pigorini National Museum of Prehistory and Ethnography. At the museum’s Arti e Culture Asiatiche (Asian Arts and Cultures) department, we met with Dr. Pierfrancesco Fedi to conduct object-based research and consult on the museum’s holdings. Our discussion included valuable exchanges of information concerning the Giuseppe Tucci Collection—the foundation of the museum’s Asian holdings—and the Pigorini Collection, which incorporates works from the collection of Vincenzo Ragusa and KIYOHARA Tama.
We also visited the Archivio Storico della Camera dei Deputati (Historical Archives of the Italian Chamber of Deputies), located in Rome’s Rione Pigna district, and met with the Director, Paolo Massa. During the meeting, we were able to confirm the existence and location of primary sources related to cultural exchanges and artistic diplomacy between Japan and Italy during the Mussolini regime. These documents are invaluable records that illuminate the realities of cultural administration within Italo-Japanese diplomatic relations and offer crucial evidence for understanding the intersection between cultural policy and political intent in that period.
The Historical Archives of the Chamber of Deputies was established in 1848 during the Kingdom of Sardinia to support parliamentary activity. After moving to the Palazzo Montecitorio in 1865, the archives served as the intellectual foundation of the legislature for more than a century. The archives were opened to the public in 1988, and in 2007 the Polo Bibliotecario Parlamentare (Parliamentary Library Center) was established to coordinate services with the Senate Library. The documentary heritage of the Chamber of Deputies comprises original records produced and acquired by the Chamber since 1848, as well as private papers related to parliamentary politics. Digitized inventories, photographic archives, and portions of digital collections can be accessed through the archive’s website (https://archivio.camera.it/).
In Florence, we visited the Fondazione Alinari per la Fotografia and met with its Director, Dr. Claudia Baroncini. The foundation inherits the legacy of the company Fratelli Alinari—Italy’s first photographic studio established in the nineteenth century—and is dedicated to the preservation of its photographic heritage and the promotion of a culture of photography. The foundation is currently preparing to open a museum and makes its holdings accessible online. Many photographs donated to TOBUNKEN in 2023 by the family of MORIOKA Ryūzō were produced by Fratelli Alinari, and the art-historical photographs collected by YASHIRO Yukio are also known to be linked with a photographer who belonged to the studio. During our meeting, we introduced TOBUNKEN’s photographic archives and ongoing research activities, and exchanged information concerning potential collaboration.
[On Materials of MORIOKA Ryuzo https://www.tobunken.go.jp/materials/ekatudo/2059906.html] .
Through this trip, we gained a renewed appreciation for the Italian understanding of archives not merely as repositories of documents, but as “sacred spaces for the preservation of memory.” This perspective is essential for treating cultural properties as a form of shared knowledge and offered us valuable insight into the relationship between the sharing and responsibility of knowledge within cultural heritage research.
Scene from Mr. KAWASHIMA's presentation
Scene from Mr. YAMGUCHI's presentation
Scene from the Q&A session (left: Mr. KAWASHIMA Tadashi; right: Mr.YAMAGUCHI Katsura)
Among the important book collections held by the National Research Institute for Cultural Properties, Tokyo, is that of uritate mokuroku (sale catalogues). These catalogues were booklets produced and distributed for the purpose of selling artworks owned by private individuals or distinguished families through uritatekai (sealed-bid sales). The Institute currently holds a total of 2,532 such catalogues published from the late Meiji period through the Showa period. This constitutes the largest collection of its kind among public institutions in Japan and is used on a daily basis for provenance research and other art-historical investigations.
In these uritatekai, artworks were traded through a unique bidding system mediated by facilitators and fudamoto (agents responsible for handling bids). This system differed significantly from auctions in which prices are driven upward through openly competing bids, and was instead grounded in traditional Japanese commercial practices. Today, however, while the catalogues themselves are frequently consulted, the institutional background and operational realities of the sales system are not always fully understood, and cases in which uritatekai are mistakenly equated with Western-style auctions are not uncommon. The Japanese art market has developed and evolved within a distinctive framework of transactions different from those of Europe and North America. To provide researchers with an opportunity to understand these mechanisms and deepen their comprehension of related materials, the 7th Research Meeting of the Department of Art Documentation and Archives, entitled “Understanding the Mechanisms of the Art Market,” was held on October 9.
The meeting was moderated by Mr. TASHIRO Yuichiro (Department of Art Documentation and Archives), who also organized the event. First, Mr. KAWASHIMA Tadashi (Chairman, Tokyo Art Dealers Association; President and Representative Director, Mayuyama Ryusendo) delivered a lecture entitled “On Uritate and Kokankai (Exchange Sales),” in which he explained the characteristics of the Japanese-style art market. This was followed by a presentation entitled “On Auctions” by Mr. YAMAGUCHI Katsura (President and Representative Director, Christie’s Japan), who introduced the Western model of the art market. Through these presentations, the structural differences between the Japanese and Western art markets emerged clearly. A question-and-answer session was held afterward, making the meeting a valuable opportunity for researchers to learn about the mechanisms of the art market, an area with which they rarely have the chance to engage in depth.
Art-historical research is not sustained solely by the knowledge of professional researchers such as museum curators and university faculty members. It is hoped that the Research Meetings of the Department of Art Research, Archives and Information Systems will continue to provide opportunities to incorporate diverse perspectives and to acquire insights broadly beneficial to scholarly research.
(Reference)
Uritate Mokuroku Digital Archive:
https://www.tobunken.go.jp/japanese/uritate.html
Reservation for dedicated terminals:
https://www.tobunken.go.jp/joho/japanese/library/application/application_uritate.html
Figure 1
Training room of the Gangneung Danoje Educational Training Center (equipped with musical instruments and costumes for training)
Figure 2
Theater associated with the Gangneung Danoje Educational Training Center
Figure 3
Dissemination Performance of Hahoe Byeolsingut Mask Dance Drama performance, fully occupied (temporary space, as the theater is under construction)
Figure 4
The outcome presentation held on the last day (at the Intangible Cultural Heritage Bureau of the Korea Heritage Service)
The Department of Intangible Cultural Heritage of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting research exchanges with the Korea Heritage Service (formerly the Cultural Heritage Administration) of the Republic of Korea since 2008. As part of this project, we conduct human resource exchanges by mutually dispatching researchers for research. In 2025, Ms. MAEHARA Megumi, Head of the Intangible Cultural Properties Section, conducted research in Korea on the theme of “Systematic Approach to Promoting Traditional Performing Art Training and Education Without Reliance on Heredity.”
Like Japan, Korea is experiencing a declining birthrate. This situation can impact the transmission of traditional performing arts to the next generation. Considering this circumstance, the research at this time focused on the activities of preservation societies for traditional performing arts in Korea and the “National Intangible Cultural Heritage Training” system, in which universities selected by the government participate in nurturing successors for traditional performing arts and others.
Gangneung Danoje festival (selected as the National Intangible Cultural Heritage of Korea: formerly 13th National Important Intangible Cultural Property) held in the Dano festival on the Lunar calendar and Hahoe Byeolsingut Mask Dance Drama (selected as the National Intangible Cultural Heritage of Korea: formerly 69th National Important Intangible Cultural Property), in which dancers wearing wooden masks perform welcoming dances for deities of villages, are both listed on the Representative List of the Intangible Cultural Heritage of UNESCO. Both preservation societies of these traditional performing arts have educational training centers and performance spaces (Figures 1, 2, and 3), and conduct performances and exhibitions for their dissemination, establish various curricula to nurture successors, and hold presentations of their activity outcomes at their centers. Furthermore, Gyeongsang National University, Chonnam National University, and the Korea National University of Cultural Heritage, which were selected in the “National Intangible Cultural Heritage Training” system, make efforts to organize training for potential successors of traditional performing arts and craft techniques as a part of the university education, exploring ways to collaborate with preservation societies, though they are different organizations.
We recognized that we can learn a lot from these environments and systems to pass down traditional performing arts in Japan. Obviously, the participants face various challenges: how to manage an academic career while performing art skills, problems of over-tourism, how to build comprehensive collaborative relationships, and so on. We believe that Japan shares these challenges. We will make efforts to find ways to contribute to the transmission of traditional performing arts in Japan while further understanding traditional performing arts of Korea.
We thank the members of the Intangible Heritage Bureau of the National Heritage Service of the Republic of Korea for their heartfelt support from the research to the outcome presentations on the last day of the research trip (Figure 4).
Survey of brush making
Lecture at Fudenosato Kobo
Although a wide range of tools and raw materials are used in the preservation and restoration of cultural property, fine arts, and crafts, many are at risk of being discontinued in the future due to a lack of skilled successors and increasing difficulty in securing the necessary materials. In response to this situation, the Center for Conservation Science, Department of Intangible Cultural Heritage and Department of Art Research, Archives and Information Systems at Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in commissioned research on “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” as part of the project of the Agency for Cultural Affairs, “Support for the Management of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts.” This article introduces a field survey of brush making in Kumanocho, Hiroshima, held on October 21, 2025.
Brushes have been used for a long time traditionally in Japan as tools of painting and drawing, as well as for the preservation and restoration of cultural property. Makiefude brushes in particular are used for the preservation and restoration of lacquerware crafts, and there are not many craft artisans who can make them. For the project to reproduce the Hatsune Furnishings from the Tokugawa Art Museum’s Collection, brushes that could faithfully reproduce the intricate and exquisite techniques were needed.
For this survey, we visited Fudenosato Kobo and Hakuhodo Company, Limited. We were able to gain an overview of the history and techniques of making brushes in Kumano. A craft artisan carefully removed any hair that was damaged or facing the wrong direction at each step in the brush-making process and selected suitable hairs from a variety of types with diverse characteristics to produce the best possible brushes for a user. On observing this, we gained appreciation for the effort of craft artisans.
Like other traditional techniques, the brush-making industry also faces difficulties in procuring tools and raw materials. For example, hair is among the most important materials for brush-making, along with ramie threads for binding the base of the brush, combs for the refinement of hair condition during each process, and high-quality bamboo for the brush handle.
Over a long period of time, Hakuhodo Co., Ltd., and Mejiro Institute of Urushi Research and Restoration have established direct relationships with users and creators through interactive communication. Thanks to this, hope for improved procurement of the needed materials is beginning to appear little by little. Going forward, the Agency for Cultural Affairs and TOBUNKEN will join the relationship and make efforts to expand the network of raw materials producers.
Participants at the opening ceremony
Lecture on basic chemistry using molecular models
Practical session on waste solvents and their disposal
Since FY2021, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been offering training sessions that provide the scientific information necessary for cultural property restoration. These sessions incorporate insights gained from our research at TOBUNKEN. The program is designed for specialists with restoration experience in cultural properties, museum materials, library materials, and so on, and is intended for professionals with extensive practical field experience.
The fifth iteration of the training was held over three days from September 30 to October 2, 2025, with 16 participants in attendance. The lectures, which included practical sessions, covered the fundamental scientific knowledge considered essential for cultural property restoration. Researchers from TOBUNKEN delivered lectures on the essential chemistry required for cultural property restoration, including adhesion and adhesives, the science of paper and its deterioration, responses to biological issues, and the necessary precautions when using and disposing of laboratory equipment and chemicals.
In response to requests from conservators, we developed a more practical and field-applicable curriculum. Despite the limited time available, participants were highly engaged in proposing scientific approaches to real-world challenges, networking, and sharing information. Post-event surveys revealed positive feedback, with many participants rating the program as “extremely beneficial.” We also received specific requests for scientific insights to be applied in future restoration work. Taking these opinions into account, we plan to continue offering similar training programs on an ongoing basis.
Participants after the opening ceremony
Since FY2019, the Center for Conservation Science of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has put effort into training programs related to restoration treatments for cultural properties, inviting international specialists and implementing these programs in collaboration with partner institutions. Until last year, the workshops had been co-organized with the National Center for Art Research, Japan (NCAR). This year, the National Museum of Western Art (NMWA) was also added as a partner, making it a three-institution collaborative initiative.
The theme of this year’s program focused on “frames,” which, much like hyōsō (mounting) in East Asian paintings, have long played an essential role in the display and protection of paintings. Despite their close connection with artworks, the importance of frames has yet to gain sufficient recognition in Japan, and information on their conservation practice remains scarce. In light of this situation, Ms. BARROW Yukiko, Senior Conservator at the Victoria and Albert Museum (UK), was invited as the instructor for a three-day workshop titled “History, Technique and Conservation of Picture Frames,” held from October 29 to 31, 2025.
The morning lecture sessions took place in the seminar room of TOBUNKEN, where participants (67 in total) received a wide-ranging introduction, from the history and production techniques of frames to contemporary conservation approaches in the UK. In the afternoon, the venue shifted to the Conservation Studio of NMWA, where 15 selected participants engaged in hands-on training in gilding, toning, cleaning, and other conservation techniques currently practiced in the UK.
On November 1, an associated lecture titled “The History and Conservation of Picture Frames in Britain and Japan” was held. Ms. Barrow spoke on the history of frame conservation and the work of conservators in the UK, while Ms. NAKAE Kana, Curator at the Tokyo Metropolitan Art Museum (MOT), gave a lecture on the history of Western-style frames in Japan. The event was attended by 69 participants.
This workshop, marking the first collaborative effort among the three institutions, offered an integrated opportunity to study both the theoretical and practical aspects of frame history and conservation. The program proved highly fruitful and is expected to contribute to the future advancement of conservation and restoration practices in Japan.
UAV surveying on Filaka Island
Participants working on 3D model creation
The Japan Center for International Cooperation in Conservation held a workshop, titled, “Workshop on Unmanned Aerial Vehicle (UAV) Surveying of Archaeological Sites” in Kuwait on October 10-17, 2025, as a part of the Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage sponsored by the Agency of Cultural affairs. This workshop built upon previous workshops conducted in Bahrain and Japan, focusing specifically on large-scale surveying of archaeological sites such as cities and fortresses.
This training program was conducted in collaboration with the National Council for Culture, Arts and Letters (NCCAL), Department of Antiquities and Museums, and Kuwait University. A total of 15 experts from the institutions and the Kuwait National Museum participated. Participants received lectures on UAV, GNSS (Global Navigation Satellite System), and 3D digital documentation techniques, and then worked on creating 3D models of archaeological sites using sample data. Additionally, on Failaka Island in eastern Kuwait, all participants conducted UAV surveys of archaeological sites of the Hellenistic period. Using the captured data, they created 3D models and learned how to utilize the data for studies and how to perform large-scale surveys of archaeological sites.
Not only Kuwait, but other Gulf countries possess numerous cultural heritage sites. However, there is concern over a shortage of personnel to document and preserve this cultural heritage. It is hoped that learning such efficient methods will help resolve some of these challenges.
