| ■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 |
|
On July 21st, 2026, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) introduced guidance for the TOBUNKEN Library to four graduate students of Musashino Art University, led by Professor EMURA Tomoko.
At the beginning of this guidance session, KIKKAWA Hideki explained how to use the library and how the collection was developed in the conference room on the second floor of TOBUNKEN. The group then moved to the library and its stack rooms, where our staff introduced materials related to art and architecture, including investigational photographs of cultural properties, exhibition catalogues, and auction catalogues. The participating students, whose specialties include Japanese art history, architecture, and oil painting, handled the materials, listened to the explanations, and actively asked questions from the viewpoint of how they could use the materials for their own research and creative projects.
The Cultural Property Archives Section of the Department of Art Research, Archives and Information Systems, under the research project “Expansion of Specialized Archives and Comprehensive Reference Services,” has a mission to collect, organize, and conserve materials concerning cultural property studies and prepare an easily accessible and effectively usable environment for experts and students. As a part of this effort, we will continue to actively hold guidance sessions.
If you would like to participate in a session, please submit a request with reference to “Guidance Session” (Target: undergraduate/graduate students, museum staff, etc.)
https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html
An interview at the Seohaean Baeyeonsingut and Daedonggu Preservation Association (Incheon)
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 of the Republic of Korea since 2008. As part of this project, we conduct human resource exchanges by mutually dispatching researchers for research. In 2026, Mr. ISHIMURA Tomo, Director of the Head of the Department of Intangible Cultural Heritage, conducted research in Korea on the theme of “Gut (Shamanic Ritual) of the Republic of Korea in a Contemporary Context.”
Gut refers to traditional rituals performed by shamans known as mudang on the Korean Peninsula, though the specific forms of these rituals vary significantly by region. During the 1970s, the “Saemaul Undong” (New Village Movement)—a modernization policy promoted by President Park Chung-hee—led to the persecution of gut practices, which were dismissed as “superstitious” and “unscientific.” However, from the 1980s onward, gut began to be re-evaluated as a form of traditional culture and was designated for protection as an Intangible Cultural Property. In 2009, an annual ritual called the “Jeju Chilmeoridang Yeongdeunggut” was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.
The study by Mr. ISHIMURA involved interviews with members of the preservation associations for the “Donghaean Byeolsingut” (Busan), “Namhaean Byeolsingut” (Tongyeong), and “Seohaean Baeyeonsingut and Daedonggut” (Incheon)—all of which are designated as National Intangible Cultural Properties. The primary focus of the interviews was to explore the challenges of preserving gut as a traditional cultural practice in contemporary society, as well as the new roles it might play in the modern world.
As a result, members of all the preservation associations spoke of the challenges involved in passing on the related traditions. Although designation as a National Intangible Cultural Property has enabled the societies to receive public support, generating sufficient income through their activities alone remains difficult, forcing many members to work part-time jobs. Mastering the skills and knowledge associated with gut requires many years, and the activities demand a significant time commitment; consequently, members say it is difficult to continue without genuine passion. At the same time, everyone interviewed expressed pride in preserving the traditional culture of gut.
On the other hand, in recent years, many preservation associations have been actively performing aspects of gut by highlighting them as a performing art. For instance, the Seohaean Baeyeonsingut and Daedonggu Preservation Association has staged performances in France and Japan, garnering high acclaim abroad.
Through this research, Mr. ISHIMURA felt that while gut possesses both religious and performative dimensions, the latter often takes center stage in contemporary contexts. However, everyone interviewed in the process emphasized that the religious and spiritual aspects of gut should not be overlooked, asserting that these elements constitute the very essence of the tradition.
In Japan, it is undeniable that folk performing arts—such as kagura—possess not only an aspect of performance but also a religious or spiritual dimension as part of a sacred ritual. It is also undeniable that when these arts are evaluated as cultural properties, the focus tends to be on the performance aspect, while the religious and spiritual dimensions are often “set aside” or “overlooked.” Yet, for those who carry on these traditions, Mr. ISHIMURA suspects that the religious and spiritual aspects are often the more significant ones.
Mr. ISHIMURA felt that through this research exchange project, it was important not only to deepen our understanding of intangible cultural heritage in the Republic of Korea, but also to reflect on our understanding of Japan’s own intangible cultural heritage in light of the insights gained.
Lecture on types and characteristics of restoration materials
Group discussion on the conservation environment
Introduction and practice of Integrated Pest Management (IPM) for cultural properties
The “Training Course for Museum Curators in Charge of Conservation (Advanced Course) in 2026” was held from July 6 to 10. This training course, which has been held annually at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) since 1984, was reorganized into a “Basic Course” and an “Advanced Course” in 2021, with the aim of enabling curators in charge of conservation at museums to acquire a wide range of knowledge and skills necessary for their work, from basic to advanced.
The “Basic Course,” conducted by the National Center for the Promotion of Cultural Properties, is designed to provide curators in charge of the conservation environment of museums with a wide range of knowledge and skills.
The “Advanced Course” covers not only the conservation environment, but also general conservation of cultural properties, and is conducted by the Center for Conservation Science. In the 2026 Advanced Course, lectures and practical training based on research results in various fields were conducted by the Center for Conservation Science, and lectures on the conservation and restoration of various cultural properties and cultural property rescue were provided by external lecturers.
The themes covered in the Advanced Course in 2026 were as follows:
・Theory of restoration of cultural properties
・Scientific investigation of cultural properties
・Theory and discuss of storage environment
・Introduction and practice of Integrated Pest Management (IPM) for cultural properties
・Types and characteristics of restoration materials
・Deterioration and conservation of outdoor materials
・Protection of heritage of modernization
・Conservation and restoration of various cultural properties
・Disaster prevention in museums
・Conservation and restoration of folk artifacts
・Preservation of large volumes of documents, and countermeasures against deterioration
・Conservation and restoration of works on paper
・Preservation and management of photographs
We received positive feedback from participants, including comments such as: “It may seem basic, but it reminded me of how important preservation of philosophy is. I now want to discuss and establish our library’s/museum’s policy with the whole team.” Another participant noted, “Fortunately, we do not have any materials requiring restoration at the moment. However, this training helped me understand the importance of carefully examining our approach, purpose, and the scope of restoration before actually starting any work.” A third comment highlighted the value of the session, stating, “It was highly meaningful, as I could reconfirm basic knowledge and theories, while also learning about the challenges and practical examples of other institutions.“ These responses show that the training served as an excellent opportunity for participants to rethink preservation and restoration at their own organizations. While the training achieved high satisfaction overall, some participants requested more practical workshops and specific solutions for real-world issues. We plan to incorporate this feedback into next year’s program.
Main venue; Busan Exhibition and Convention Center (BEXCO)
Discussion regarding inclusion of the Palace and Abbey of Westminster on the List of World Heritage in Danger
The 48th Session of the World Heritage Committee took place in Busan, Republic of Korea from July 19 to 29, 2026; three members of our institute, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), participated in the event as observers. In addition, on July 25, the Japan Consortium for International Cooperation in Cultural Heritage – for which our institute serves as the secretariat – organized a side event, attended by five members from TOBUNKEN and three members from the Regional Subcommittee to present the Consortium’s objectives, activities, achievements and future prospects. An overview, as well as details about this event are available on the Consortium’s website, which we invite you to visit (https://www.jcic-heritage.jp/). Compared with the previous years, and thanks to the geographical proximity of the two countries, there was a significantly larger Japanese turnout for the inscription of the “Ancient Capitals of Asuka and Fujiwara,” and also for a side event organized for July 24 by the Preservation and Utilization Council of “Sacred Island of Okinoshima and Associated Sites in the Munakata Region,”
This year, the total number of World Heritage sites has reached 1,273 thanks to 25 new inscriptions, including those made under emergency procedures for conflict zones such as Palestine and Lebanon. A series of decisions was also adopted that significantly reflect the impact of armed conflicts on 6 sites – located in the aforementioned countries and in Ukraine – leading to their inclusion on the List of World Heritage in Danger. Regarding Japan, in addition to the inscription of the Asuka-Fujiwara site, further improvement of the information and interpretation facilities for the “Sites of Japan’s Meiji Industrial Revolution” was requested by a related State Party concerned. Evolving concepts regarding the conservation of World Heritage are being applied retroactively; debates have arisen concerning two cultural heritage sites in London, United Kingdom, that lack a buffer zone, focusing on the negative impacts of urban development on their setting and their potential inclusion on the List of World Heritage in Danger. Although inclusion of these sites on that list was ultimately avoided, the challenges associated with preserving cultural heritage sites located in urban areas are highly relevant to Japan as well.
The World Heritage system has thus far been guided by five fundamental objectives, known as the “5Cs” (Credibility, Conservation, Capacity Building, Communication, and Communities); the Busan Declaration unanimously introduced a sixth “C,” that of “Cooperation,” to address issues such as armed conflict and climate change, which require a more cohesive commitment from the international community. Regarding the Nairobi Declaration on Heritage and Authenticity, while the importance of intangible aspects – such as oral traditions and spirituality – has been reaffirmed, challenges have arisen concerning the integration of these components into the World Heritage system, which was conceived primarily for the conservation of immovable properties. In light of these developments, TOBUNKEN will dedicate this year’s World Heritage seminar to the theme “World Heritage within the local community” and continue its efforts to disseminate relevant information.
Work in progress at St. Michael’s Church
Condition of a painting in the nave before cleaning treatment
Condition of the painting after cleaning treatment
The Japan Center for International Cooperation in Cultural Heritage is conducting a joint research project on the conservation and restoration of wall paintings on the interior walls of St. Michael’s Church (Keşlik Monastery) in Cappadocia, Türkiye, in cooperation with domestic and international experts and academic institutions.
From June 26 to July 19, 2026, an on-site investigation and conservation work were carried out based on the conservation and restoration plans developed through previous field surveys. The project focused on the apse and nave of the church, where surface cleaning of the wall paintings, filling of losses, and color retouching were conducted.
Attention was focused on the nave, in which thick layers of soot, oily residues, and resinous deposits derived from candles, oil lamps, and incense used over many years had accumulated on the painted surfaces. These issues had not been fully identified through prior visual inspections or scientific investigations alone. Therefore, repeated cleaning tests and careful evaluations were conducted, leading to the establishment of a safe and effective cleaning method using a poultice technique. As a result, the original colors and delicate details of the wall paintings were successfully brought back to light, while iconographic elements and inscriptions that had remained hidden beneath the accumulated deposits and unseen by human eyes for approximately 200 years were revealed for the first time. This achievement not only enabled a renewed appreciation of the original appearance of the wall paintings but also contributed significantly to a reassessment of their iconographic and historical value.
Alongside the conservation work, investigations into the causes of deterioration and evaluations of the effectiveness of the conservation treatments were continuously conducted, while promoting technology transfer and capacity building among local specialists. Through three years of collaborative research, the effectiveness and safety of the selected conservation materials and treatment methods were confirmed, establishing a foundation for the development of conservation approaches suited to the environmental conditions and characteristics of wall paintings in this region. Furthermore, improvements in the conservation skills of local specialists were observed, along with a deeper understanding of deterioration mechanisms and conservation treatments, contributing to the development of human resources capable of undertaking future conservation activities.
This project has contributed not only to the conservation and restoration of cultural heritage, but also to the strengthening of international collaborative research and the promotion of academic and professional exchange between research institutions in Japan and Türkiye. During the investigation period, more than 300 visitors came to observe the conservation activities, demonstrating a high level of interest from the local community. Furthermore, the project received recognition from the Governor of Nevşehir Province, which oversees the Cappadocia region, who expressed his appreciation for the initiative, reflecting strong expectations and support from local authorities. In the coming years, remaining retouching work and treatments addressing salt deterioration will be carried out, together with continuous monitoring to evaluate the long-term effectiveness of the conservation treatments.
The workshop in progress
3D documentation using Agisoft Metashape and iPhone Scaniverse has recently been introduced, and is rapidly coming into use. The introduction of these technologies not only can reduce working time but also makes it possible to document cultural heritage with unprecedented precision.
A three-day workshop on 3D digital documentation for Japanese experts involved in cultural heritage protection abroad was held from July 18 to 20, 2026. Dr. NOGUCHI Atsushi from Komatsu University, a leading authority on 3D documentation in Japan, and Dr. NAKAMURA Ryosuke from the National Institute of Advanced Industrial Science and Technology (AIST) were invited as lecturers. The main aim of this workshop was to provide Japanese experts with 3D documentation techniques that they could then spread them among foreign experts in their respective fields.
Twenty-two specialists with a variety of backgrounds in areas such as archaeology, conservation science, and architecture joined this workshop. During the three-day workshop, participants studied 3D documentation techniques using Agisoft Metashape and how to create unfolded drawings and cross-sectional views from 3D models using Cloud Compare. They also experienced practical applications for positioning 3D models on maps through a 3DDB viewer developed by AIST.
Group photo of participants at CRE26 Tokyo
Oral presentations in three parallel sessions and poster sessions
Current Research in Egyptology (CRE) is an international conference established to promote research presentations and academic exchange among graduate students and early-career researchers in Egyptology and related disciplines. The 26th conference (CRE26 Tokyo) was held at our institute, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), from July 11 to 14, 2026. This conference was organized by the CRE Japan Committee, which is composed of early career Japanese researchers, and our institute participated as one of the supporting institutions.
Egyptology is an interdisciplinary field of study, and the conference featured presentations and discussions based on diverse areas of expertise and perspectives, including archaeology, history, anthropology, religious studies, linguistics, museum studies, conservation and restoration, conservation science, archival studies, and digital humanities.
During the four-day conference, a total of 90 oral and poster presentations were delivered, with 178 presenters and participants in attendance. In addition, keynote lectures introducing ancient Egyptian collections held in Japan were organized throughout the conference to deepen participants’ understanding of these materials. The lectures featured collections from the Tokyo National Museum, the Ancient Orient Museum, the Institute of Civilization Research at Tokai University, and the Kyoto University Museum. Participants also had the opportunity to visit two of these museums and view the collections in person.
Researchers from TOBUNKEN presented a poster based on photographic materials taken in Egypt in 1930 by Shin Wada, one of the founding members of our institute. The photographs document archaeological sites and objects displayed in museums. The presentation focused on identifying the locations and subjects depicted in the photographs, while examining changes in the management of archaeological sites and museum exhibitions over the past century, as well as the interests and evaluations of ancient Egyptian objects by Japanese art historians. It also explored the potential of photographic archives as historical resources for research.
CRE26 Tokyo was the largest international conference on Egyptology ever held in Japan, and it also recorded the highest number of presentations and participants from Japan in the history of the CRE conference series. As one of the cooperating institutions, TOBUNKEN is pleased to be able to contribute to the international academic exchange on such a scale.
On June 25, 2026, a seminar was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) by the Department of Art Research, Archives and Information Systems. Aiming to clarify the role and actual state of local open-call exhibitions in the postwar period, this seminar invited Mr. ISHIZAKI Takashi, Senior Curator at the Aichi Prefectural Museum of Art, was invited to this seminar and he delivered a presentation titled “The Chubu Nippon Art Exhibition and Research on Prefectural Exhibitions.”
In his presentation, Mr. ISHIZAKI first reported on the historical role played by the Chubu Nippon Art Exhibition (Chubi-ten), an open-call exhibition held in Nagoya City, Aichi Prefecture, from 1947 to 1956. Initiated with the goals of showcasing postwar reconstruction and establishing a unique regional culture in the Chubu region, Chubi-ten left an important footprint in regional art history; alongside a parallel campaign for museum construction, it led to the birth of the Aichi Cultural Center Art Museum, the predecessor of the Aichi Prefectural Museum of Art. Meanwhile, recognizing that the lack of primary sources—including exhibition catalogues—had been a major barrier to research, Mr. ISHIZAKI shared the progress of the archival survey he had been conducting. Furthermore, he emphasized the significance of re-examining local open-call exhibitions and prefectural exhibitions (kenten)—which have often been viewed merely as “imitations” or “mini-salons” of central art organization exhibitions—from the perspective of providing specific details. He presented a highly suggestive proposition: such empirical, bottom-up approaches can unravel the Tokyo-centric narrative of art history, leading to the “decentralization of art history” and bringing the autonomy of regional art to light.
This seminar was also attended by 14 participants from outside the Department (both in person and online), including specialists in modern and contemporary art and curators from the Kanto and Chubu regions. In the second half, during the discussion and information exchange session moderated by Mr. KIKKAWA Hideki, participants engaged in a multifaceted discussion. Topics included how to re-examine prefectural exhibitions with their diverse origins and operational models, methods for developing primary sources and insights gained from surveys into a foundation for art history research, and the unique difficulties of studying ongoing prefectural exhibitions. Triggered by this seminar, discussions toward collaborative research have already begun among participating researchers, marking a steady step toward sustainable research cooperation in the future.
Explanation of stack room organization and material usage
On June 17th, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) introduced guidance for the TOBUNKEN Library to two graduate students of Meiji Gakuin University (led by SHIOYA Jun, Senior Researcher at TOBUNKEN / part-time lecturer at Meiji Gakuin University Graduate School). At the beginning of this guidance session, KIKKAWA Hideki explained how to use the library and described how the collection was developed in the conference room on the second floor of TOBUNKEN. The group then moved to the library and its stack rooms, where our staff introduced materials related to modern and contemporary art, including investigational photographs of cultural properties, exhibition catalogues, auction catalogues, and materials from the Akihiko Takami Collection. The participants handled the presented materials, listened to the explanations, and actively asked questions from the viewpoint of how they could use the materials in their own research.
The Cultural Property Archives Section of the Department of Art Research, Archives and Information Systems, under the research project “Expansion of Specialized Archives and Comprehensive Reference Services,” has a mission to collect, organize, and conserve materials concerning cultural property studies and prepare an easily accessible and effectively usable environment for experts and students. As a part of this effort, we will continue to actively hold guidance sessions. If you would like to participate in a session, please submit a request with reference to “Guidance Session” (Target: undergraduate/graduate students, museum staff, etc. https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html).
Scene from the seminar
On June 5, 2026, the Department of Art Research, Archives and Information Systems held its second research seminar for FY2026. Prof. MATSUSHIMA Jin of the Mt. Fuji World Heritage Centre, Shizuoka, was invited to serve as commentator, and Ms. ONO Mayumi, Head of the Japanese and East Asian Art History Section, gave a presentation entitled “Kanō Tsunenobu as a Waka Poet: Waka Practice, Connoisseurship, and Painting.”
Kanō Tsunenobu (1636–1713), best known as an official painter to the Tokugawa shogunate, has been regarded primarily as a leading master of the Kanō school. This presentation reconsidered his artistic career from a different perspective by focusing on his activities as a waka poet and on his intellectual exchanges with court nobles and Confucian scholars.
Based on historical sources, including records of waka gatherings and the Kokushikan Nichiroku (國史館日録), the presentation demonstrated that Tsunenobu actively participated in literary and intellectual circles from an early age. Through interactions with court nobles, scholars, and daimyō, he acquired broad knowledge of waka poetry, classical literature, and painting. The study further argued that this literary and classical learning formed an essential foundation for his activities as both a painter and a connoisseur of Chinese and Japanese paintings, enabling him to interpret painting subjects, inscriptions, and historical contexts with remarkable sophistication.
The presentation also suggested that the success of the Kobikichō Kanō lineage was not achieved solely through institutional advancement within the shogunate but was supported by the intellectual networks and cultural practices cultivated by Tsunenobu himself. By reexamining him not merely as a painter but also as a cultural figure whose expertise encompassed waka, classical learning, and connoisseurship, the study offered a new perspective on cultural production in the Edo period.
The seminar concluded with an active discussion, during which participants posed thought-provoking questions and offered valuable comments. Their insights provided important directions for future research, and the Japanese and East Asian Art History Section will continue to investigate the Kanō school and the broader cultural networks of early modern Japan.
A former presidential aircraft at the National Aviation Museum of Korea
Aircraft repainting work at the War Memorial of Korea
Magpie No. 2 at the Boramae Safety Experience Center
The Center for Conservation Science at the Tokyo National Research Institute for Cultural Properties conducts research on the preservation of aircraft as cultural heritage. As part of this work, in June 2026, representatives of the Center visited South Korea to learn about aircraft preservation initiatives and exchange views with Korean specialists.
In South Korea, efforts are underway to preserve and make use of historically significant aircraft. These include the designation of several aircraft as National Registered Cultural Heritage, such as *Buhwal* (“Rebirth”), the first aircraft manufactured in Korea, and the opening of the National Aviation Museum of Korea in 2020. The War Memorial of Korea also preserves and displays numerous original and reconstructed aircraft, particularly those related to the Korean War.
During the visit, Dr. Kang Hyun-Sam of the War Memorial of Korea kindly accompanied us to the National Aviation Museum of Korea, the War Memorial of Korea, the Boramae Safety Experience Center, and other facilities.
At the National Aviation Museum of Korea, we learned about indoor exhibition conditions, routine aircraft maintenance, and plans for the future preservation of a former presidential aircraft that was newly placed on outdoor display in 2026. At the War Memorial of Korea, Dr. Kang described their past efforts to conserve the many aircraft displayed both indoors and outdoors, as well as details of an ongoing project to renew the paintwork on several aircraft. At the Boramae Safety Experience Center, we learned about the conservation of the helicopter Magpie No. 2, which is designated as National Registered Cultural Heritage. At each facility, staff explained both the practical measures being taken and the challenges they face.
Each aircraft has a different history and is preserved under different conditions. The visit provided us with many valuable insights that will help inform future approaches to the preservation and display of aircraft in Japan.
We plan to invite Korean researchers to Japan to introduce aircraft preservation initiatives here and to continue exchanging ideas on how both countries can further improve their approaches.
*Further information on major aircraft designated as National Registered Cultural Heritage in the Republic of Korea is available in the list below (in Korean).
https://researchmap.jp/tsuyoshi_chiba/presentations/47770144
Geotechnical workshop for the restoration of the Cruciform Terrace
Excavated trench on inner side of the Terrace
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA National Authority) in Cambodia are continuing the conduction of a preliminary survey for the restoration of the Cruciform Terrace in front of the Central Complex of Ta Nei Temple as part of a cooperative project.
This Cruciform Terrace of Ta Nei Temple comprises a sandstone exterior wall with laterite substrate and sandstone paving, inside of which is filled with compacted soil layers. Much remains unknown regarding the function and structural characteristics of these inner soil layers, and various approaches for their stabilisation have been explored in the conservation of other monument structures at Angkor.
Therefore, archaeological and geotechnical surveys were conducted to clarify the configuration of the inner structure of the Cruciform Terrace and its construction process, as well as to examine the appropriate restoration methods of the Terrace during the mission from 20 May to 21 June 2026.
An archaeological excavation survey conducted at four trenches confirmed that the inner soil layers were constructed using different types of soils, and the stone masonry technique applied to this Terrace differs from the manner commonly used for other Khmer temple architecture. It was also clarified that intrusion of tree roots caused deformation of the side walls. Furthermore, several new clues were obtained regarding the construction process in relation to the adjacent rectangular terrace.
The geotechnical survey was carried out as the second session of “the practical workshop for the Cruciform Terrace restoration,” under the guidance of Professor KUWANO Reiko from the University of Tokyo. Three staff members from the APSARA National Authority participated, conducting dynamic cone penetration tests on-site targeting the soil layers of the Terrace, as well as laboratory tests on the collected soil samples, including dry density, particle size distribution, and compaction test. In addition, we visited the Institute of Technology of Cambodia in Phnom Penh to discuss the implementation of triaxial compression and permeability tests for those soil samples.
The survey results will be used in a structural assessment of the Terrace, followed by a discussion with the APSARA National Authority on appropriate restoration methods for the Terrace.
Art Research Center (Seoul)
Art Research Center (Gwacheon)
Larchiveum (Cheongju)
Search System (Gwacheon)
On May 1, 2026, the National Museum of Modern and Contemporary Art, Korea (MMCA) and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) concluded the “Agreement on Academic and Cultural Exchange and Other Activities.” This agreement was promoted mainly by the Archives Section of the Department of Art Research, Archives and Information Systems, with the aim of advancing research and investigation on modern and contemporary art materials held by the two institutions, sharing digital information on such materials and related scholarly information, promoting joint projects such as symposia and seminars related to modern and contemporary art in Japan and Korea, and encouraging staff exchanges.
The MMCA is one of Korea’s leading museums of modern and contemporary art. With venues in Gwacheon, Deoksugung, Seoul, and Cheongju, it actively engages not only in exhibitions, collection building, conservation, education, and research, but also in archival activities. At its Art Research Center, the MMCA collects, arranges, preserves, and makes available personal archival materials of artists, architects, critics, and others. It also manages materials generated through the museum’s exhibition, education, and research activities, to develop a foundation for research on modern and contemporary Korean art. These materials can be searched through the “Archive Search” page on the MMCA official website listed below.
The Cheongju venue also houses Larchiveum, a space for which the name combines “Library,” “Archive,” and “Museum.” Located on the third floor, Larchiveum collects and manages a wide range of content related to modern and contemporary Korean art, centered on works in the MMCA’s collection. Visitors can freely consult materials there, making it not only a space for preserving and managing art-related resources, but also a place where the public can engage with such materials and use them for research, study, and learning.
Among these archival materials, those available for consultation may be accessed by users after completing the prescribed application procedures. Once approved, users can consult original or digital materials at the Art Research Center in either the Gwacheon or Seoul venue. Information on opening hours and user guidance is available on the MMCA website “Library and Archive” page listed below. The MMCA also operates the online research platform “MMCA Research Lab,” also listed below, where it provides timelines, essays, glossaries, seminar records, and other resources related to modern and contemporary Korean art. Thus, the museum actively utilizes archival materials not only for preservation, but also as resources for research, education, and public outreach.
At TOBUNKEN, the Archives Section has long worked to investigate, arrange, preserve, and make materials held by the Institute available to the public, while also promoting information sharing with related institutions in Japan and abroad. Taking the conclusion of this agreement as an opportunity, the two institutions will further exchange information and conduct joint research on modern and contemporary art materials in their respective collections. They will also work to develop a foundation that contributes to the study of modern and contemporary art in Japan and Korea through the digitization of materials and the organization of symposia and seminars. In addition, the two institutions will exchange information on effective ways to utilize archival materials, with the aim of promoting their more effective and meaningful use.
Reference URLs
National Museum of Modern and Contemporary Art, Korea: Archive Search
https://www.mmca.go.kr/research/archiveSearchList.do
National Museum of Modern and Contemporary Art, Korea: Book Search
https://www.mmca.go.kr/bookArchive/searchBookList.do
National Museum of Modern and Contemporary Art, Korea: Library and Archive
https://www.mmca.go.kr/eng/bookArchive/bookArchiveMain.do
MMCA Research Lab
https://www.mmcaresearch.kr/
Mr. KIKKAWA Hideki explaining archival materials to the group.
On May 21, 2026, three staff members from the Library of the National Museum of Korea visited the TOBUNKEN Library of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN): Ms. Jeon Hae-eun, Officer, Education Division; Ms. Bae Jin-hee, Curator, Education Division; and Mr. Jeong Jae-ho, Librarian, Education Division.
The National Museum of Korea is widely recognized as one of Korea’s leading national museums. Its library collects and systematically organizes specialized materials related to museums from Korea and abroad, and provides diverse and professional information to library users and researchers in related fields. Its holdings include approximately 110,000 books and 40,000 academic journals in museum-related fields such as archaeology, general history, and art history. In this respect, the character of its collection may be considered similar to that of the TOBUNKEN Library.
On the day of the visit, guided by Mr. KIKKAWA Hideki and Mr. TASHIRO Yuichiro of the Cultural Property Archives Laboratory, the visitors received an overview of the Institute’s collection of books, which has been accumulated since 1930, an introduction to the reading environment of the TOBUNKEN Library, and an explanation of the Institute’s initiatives for the preservation and publication of materials. The visit also provided an opportunity for a lively exchange of views on such topics as the role of specialized libraries in museums and cultural property research institutions; the organization, preservation, and utilization of materials; user services; and the current state and challenges of digitization.
Although the two institutions operate under different national and institutional systems, they share many common issues associated with collecting and organizing cultural properties and museum-related materials and making them available to users, including researchers and students. Taking this visit as an opportunity, we hope to continue sharing information on materials and deepening exchanges concerning specialized libraries and archives, thereby contributing to the development of the research infrastructure for cultural properties in East Asia.
Library of the National Museum of Korea
https://www.museum.go.kr/MUSEUM/contents/M0610010000.do
Landscape with poppy flowers seen from the bus window
Rue KURODA Seiki (KURODA Seiki street),
Observation of a ceiling painting by Raphaël Collin, The Odéon-Théâtre de l'Europe, Paris
Poppy flowers scatter like bright red confetti across lush green fields of grass. The poppy, with its thin stems and petals appearing to float, was often included in landscape paintings of impressionists, and KURODA Seiki also left behind such rurual scenes from his student life in France.
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) traces its origins to the Art Research Institute, established within the KURODA Memorial Hall. Since the hall was transferred to the Tokyo National Museum in 2007, TOBUNKEN has continued to collaborate with the museum to conduct research on KURODA, and has also been involved in exhibitions held in the KURODA Memorial Room.
Recently, I accompanied a tour in France, titled “Tokyo National Museum 2026 Special Supporting Member Tour: Visiting Places Associated with KURODA Seiki,” as a guide. This project was prepared over nearly a year with Mr. OKIMASU Kenjiro and other staff members of the Tokyo National Museum, and with Ms. MOINE-MAEDA-Emiko, a guide conférencière holding a French national qualification, who has been investigating KURODA’s footsteps in the country. Ms. MOINE-MAEDA and her husband were at the venue, along with another guide conférancière, INOUE Yukari. The guide conférancière qualification is essential for guiding at French museums and similar institutions. Witnessing their skillful and lively commentary and agility during the tour placed me in a good mood during the sections I was responsible for guiding.
In France, we visited Paris, where KURODA lived from 1885 and received his first art education, and Grez-sur-Loing (hereafter, “Grez”), a commune located 70 km south of Paris where he regularly stayed in the rustic rural landscape. When KURODA first visited Grez, mainly in the late 19th century, there were colonies of foreign artists, and even around 1890 many foreign still artists stayed there, even though the peak period had passed. Their history is officially commemorated in this commune, and in 2001, ‘Rue KURODA Seiki’ (KURODA Seiki street) was established, with commemorative plaques in both Japanese and French displayed (KURODA is commonly written as ‘Kouroda’ in French, but the street name spelling was chosen to be ‘KURODA’ which is more familiar to Japanese visitors). The Hôtel-Chevillon in Grez, where KURODA painted “Reading,” is now operated by a Swedish foundation as an atelier and residence for artists. Paintings created in Grez are also housed in the City Hall, and a dedicated exhibition was held for our group there. Behind the warm welcome by the entire city lies the fact that the city is actively preserving not only the history of its artists, but also the landscapes they loved. For the fact that we can now see landscapes no different from what KURODA saw, we owe our gratitude to regulations such as minimizing power lines, and to the people protecting the environment of Grez.
In Paris, the program included visits to the Hall of Modern French Art, where KURODA and his colleagues studied, such as the Pantheon and Musée d’Orsay, visits to view works by his mentor Raphaël Collin that are usually not publicly exhibited, and walks through other places related to KURODA’s former residence.
After returning to Japan, KURODA took on a leading role in laying the foundations of Japanese modern art through art education and the establishment of exhibition systems, but due to his extremely busy schedule he was not able to devote himself fully to painting production. However, even during this period, KURODA kept focusing on everyday landscapes such as garden plants and suburban farmland, and continued to paint when he could.
This tour once again taught me that KURODA’s roots were nurtured during his free and sincere student life as an artist in France.
A pansori performance presented during the conference
Scenes from the Chunhyang Festival
Mr. ISHIMURA Tomo of our institute participated in the international conference “2026 International Forum for Promoting Good Safeguarding Practices of Intangible Cultural Heritage,” held in Namwon, Republic of Korea. This international conference was organized by Namwon City and the Center for Intangible Culture Studies (CICS) and was held from April 30 to May 1, 2026.
The theme of this conference was “Increasing the Visibility of Good Safeguarding Practices: Rethinking Approaches in the Context of Underrepresented Regions.” The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage includes three lists and registers: the “List of Intangible Cultural Heritage in Need of Urgent Safeguarding (Urgent Safeguarding List),” the “Representative List of the Intangible Cultural Heritage of Humanity (Representative List),” and the “Register of Good Safeguarding Practices.” However, the “Register of Good Safeguarding Practices” suffers from low international recognition, and the small number of entries (43 as of 2025) remains a challenge. The purpose of this conference was to discuss measures to enhance its visibility.
Mr. ISHIMURA delivered a presentation titled “Good Safeguarding Practices vs. Representative List: Comparing Two Cases of Traditional Architectural Craftsmanship,” focusing on Japan’s “Traditional Skills, Techniques, and Knowledge for the Conservation and Transmission of Wooden Architecture in Japan” and Germany, Austria, France, Norway, and Switzerland’s “Craft Techniques and Customary Practices of Cathedral Workshops, or Bauhütten, in Europe, know-how, transmission, development of knowledge, and innovation,” noting that while the former is inscribed on the Representative List, the latter is registered as a Good Safeguarding Practice, and reported the results of a comparative analysis of their contents.
Namwon City, where the conference was held, is known as the setting for the story “The Tale of Chunhyang.” Originally a folktale from the Joseon Dynasty, “The Tale of Chunhyang” depicts a love story that transcends social boundaries between the daughter of a gisaeng, a type of traditional female artist and entertainer, and the son of a yangban, a high-ranking nobleman and scholar. It is performed as a piece of the traditional performing art pansori (inscribed on the Representative List) and has also been adapted into novels and films. Namwon City hosts the annual “Chunhyang Festival” to commemorate this story, and on the second day of the conference, participants observed the festivities. The “Chunhyang Festival” began in 1931 and marked its 96th edition this year. During the conference, there was discussion that this festival—which has been organized by citizens for many years—is a worthy example of “Good Safeguarding Practices.”
Although the Register of Good Safeguarding Practices has received little attention in Japan to date, it was felt that this approach should be reconsidered going forward.
A presentation by a participant
Panel discussion
Mr. CHIBA Tsuyoshi, a researcher of the Center for Conservation Science, participated as a panelist in the public symposium “Considering the Preservation of Historical Materials on Science and Technology in Modern Japan: What Should We Preserve, and How?” organized by the he History of Science Society of Japan and the Graduate School of Language and Society, Hitotsubashi University, held on May 31, 2026. He presented a paper entitled “Historical Materials on Science and Technology as Cultural Properties: Focusing on Modern Transportation Movable Cultural Properties.”
In his presentation, Mr. CHIBA first provided an overview of how “historical materials on science and technology” have been positioned within Japan’s Law for the Protection of Cultural Properties. He then introduced the current state of designation systems at the national, prefectural, and municipal levels, focusing primarily on cultural properties related to transportation and mobility.
With regard to aircraft in particular, Mr. CHIBA highlighted the striking gap between their recognized scientific and technological value and their actual status under cultural property designation: no aircraft has been designated as an Important Cultural Property at the national level or as a prefectural cultural property, and only a handful of municipal designations are on record. He suggested several possible reasons for this situation: the idea of evaluating aircraft “from a cultural property perspective” has yet to gain broad acceptance in society; adequate research and investigation to establish such an evaluation has not sufficiently advanced; and there exists a sense of aversion toward materials associated with the military and warfare.
As the sole example of an actual aircraft designated as a cultural property, Mr. CHIBA discussed the Imperial Japanese Army Type 4 Fighter Hayate (No. 1446), designated as a cultural property of Minamikyushu City, Kagoshima Prefecture in 2020. He explained that this designation was driven by an affirmative recognition of the aircraft’s local ties — its local significance as a type with a specific connection to the region. He further noted that since the former town of Chiran purchased the aircraft in 1995, it has been continuously preserved and studied in Minamikyushu City. This ongoing stewardship, he argued, generates new value in itself — not only through the knowledge gained from research, but through the very act of preservation carried out by its owners together with those involved. This can be understood, he suggested, as an effort to reconstruct the aircraft’s local ties within the broader life history of the airframe.
Mr. CHIBA also touched on certification schemes established by academic societies and industry associations, noting that these play an important role alongside official government designation, with the two serving as complementary pillars of evaluation.
At the same time, he pointed out that many modern historical materials on science and technology are inherently perishable, making long-term preservation difficult in numerous cases. Such materials are currently being lost at a rapid pace, and he emphasized the importance of bringing together diverse stakeholders — including government bodies, researchers, museums, and enthusiasts — to collectively confront the difficult question of “what to preserve” (and, by extension, “what not to preserve”).
Following the panelists’ presentations, a discussion was held with fellow panelists Dr. ARIGA Nobumichi, Dr. SAITO Yurika, and Dr. HISHIKI Fuka. A wide range of topics were explored in lively debate, with participation from the floor, including the preservation of related materials as a coherent body or collection, the risk of large-scale dispersal of undesignated cultural properties, questions around the cultural property evaluation of materials related to accidents and incidents, and the long-term sustainability of corporate museums.
The proceedings of the symposium are scheduled to be published in the Journal of the History of Science, Japan.
The seminar
From “Zetsudai Shiho cho (The Album of Unparalleled Treasures)” (published in 1919)“Zetsudai Shiho cho (The Album of Unparalleled Treasures)” is a lavish collection of Heian-period Buddhist paintings published in conjunction with the “Ten Great Buddhist Paintings” exhibition held at the Imperial Household Museum in Tokyo; it features a preface by MORI Ōgai.
MORI Ōgai (1862–1922) is widely known as a literary giant who produced masterpieces such as “The Dancing Girl,” “Sanshō Dayu,” and “Takasebune.” While he achieved great success as a novelist, he also rose to the highest ranks as an Army surgeon. However, it may be less well known that he served as Director-General of the Imperial Household Museum (now the National Museum) for the final four years of his life.
At the Seminar held by the Department of Art Research, Archives and Information Systems on April 24, Mr. TARASHIMA Satoshi—who had worked for many years at the Tokyo National Museum and is currently a visiting researcher at our institute—gave a presentation titled “The Management of the Imperial Household Museum and Director MORI Ōgai during the Taisho Period: Focusing on Exhibitions and ‘Internationalization.’” Mr. MORI assumed the position of Director-General of the Imperial Household Museum in December 1917. At that time, the museum was derided as an outdated “luxury storage shed,” and its management was criticized for “deep-rooted problems.” Expected to breathe new life into the institution, MORI attempted to reform exhibitions and internationalize the museum. While exploring exhibition methods that would visualize the customs of various eras, he devoted himself to organizing the “Ten Great Buddhist Paintings” exhibition, which brought together masterpieces of Heian-period Buddhist painting under one roof. He also accepted a donation of copperplate engravings by the British painter Frank Brangwin and hosted visits from Western art historians such as Oswald Schieren and Langdon Warner. In Mr. TARASHIMA’s presentation, MORI’s activities at the Imperial Household Museum were revealed through magazine articles and the diaries and memoirs of those involved, prompting a reevaluation of the conventional image of MORI Ōgai.
Cover of the publication
Figures in the publication (fan-shape cigar box with maki-e decoration, collection of the Bangkok National Museum)
At the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), we have been conducting research on cultural properties located in Thailand in cooperation with the Fine Arts Department, Ministry of Culture, Thailand since 1992. Since 2011, TOBUNKEN has been involved in research on the Japan-made lacquered door panels of Wat Rajapradit, a first-grade royal temple in Bangkok, providing technical support for a full-scale restoration project of the panels currently being organized by the Fine Arts Department.
Apart from the lacquered door panels, in Thailand, Japan-made lacquerware can be found at libraries, museums, temples, palaces, and more. Historical exchanges in lacquerwork between Japan and Thailand were not limited to trade. At the beginning of the 20th century, several Japanese lacquer craftsmen were invited to Thailand to make or restore utensils, furniture, and other items for the royal family.
In March 2026, we published a book titled “Publication of “Study of the Japan-made Lacquerwork Found in Thailand (3) – Japanese Lacquerwork and Investigation of Lacquering Materials –.” The book summarizes the activities from fiscal years 2021 and 2025, as well as the results of the investigations conducted jointly by TOBUNKEN and the Fine Arts Department. To deepen our understanding of the lacquered door panels of Wat Rajapradit, these investigations include studies of lacquering materials used in Japan and Thailand, and also of lacquerware in Northern Thailand that influenced some Japanese lacquerware. Other studies described focused on Japanese-made lacquerware stored at Wat Bovonniwet, the Bangkok National Museum, and the Central Storage of National Museums, and on a ceremonial fan for which the stem was decorated by Mr. Miki Sakae (1884-1966), a Japanese lacquer craftsman who had worked in Thailand. This book is available in public libraries in Japan and some overseas libraries that hold documentary materials related to Japanese art.
As 2027 marks the 140th anniversary of the establishment of diplomatic relations between Japan and Thailand, we will continue our research into the exchange between the two countries.
In fiscal year 2025, the Center for Conservation Science acquired a new “ultraviolet-visible-near-infrared spectrophotometer” and a “large-scale vacuum freeze dryer,” and updated its “micro-infrared spectrophotometer” (Fig. 1). This section introduces these instruments.
UV-Vis-NIR Spectrophotometer.
When light is irradiated on a sample, the absorption profile (spectrum) of the light changes depending on the sample’s molecular structure. This instrument analyzes the structure and concentration of a substance based on these changes. In the cultural heritage field, it is particularly widely used for the quantification of color. It comes equipped with a large integrating sphere and a fiber-optic external integrating sphere, enabling the analysis of a wide variety of samples.
Micro-Infrared Spectrophotometer (Updated)
The infrared spectrophotometer is the most frequently used analytical instrument at the Center for Conservation Science and Research, particularly for the structural analysis of organic materials. For example, when analyzing the type of adhesive used to bond paper, the type of fibers in textile products, or contaminants adhering to cultural properties, infrared spectroscopic analysis is often the first step. In addition to standard infrared spectroscopy, the instrument is capable of micro-infrared spectroscopy, enabling the analysis of extremely small artifacts measuring on the scale of a few micrometers (Fig. 2).
Large-Scale Vacuum Freeze Dryer
Vacuum freeze-drying (freeze-drying) is a process by which artifacts are dried with minimal deformation by sublimating frozen water under a vacuum. It enables the efficient and safe drying of documentary materials that have become wet due to water damage or other causes. The large-scale vacuum freeze-dryer recently introduced to our laboratory can process a large volume of disaster-affected materials at once, and is expected to be used in the field of cultural property disaster prevention.
We will continue to advance cultural property analysis using these devices.
Figure１ Photos of newly introduced and updated instruments
A.UV-Vis-NIR spectrophotometer
B.Micro-infrared spectrophotometer (updated)
C.Large-scale vacuum freeze dryer
Figure 2 Fiber Analysis Using a Micro-Infrared Spectrophotometer
Results of mapping a section of a multi-fiber interwoven fabric compliant with JIS L 0803. In this area, the warp consists of PET fibers and the weft of rayon, acrylic, and silk, yet the mapping is clear. This analysis was performed using reflectance analysis. While such analysis was difficult with the previous equipment before the upgrade, advances in the instrument have made non-contact, non-destructive analysis possible, which is extremely beneficial in the field of cultural heritage.
