| ■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 |
|
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.
View of the trowel painting storehouse of the former Kina-Saffron-Shu-Honpo
Trowel paintings confirmed to be in good condition
The Tokyo National Research Institute for Cultural Properties is conducting ongoing research on the conservation and restoration of trowel paintings that decorate the earthen storehouses of the former Kina-Saffron-Shu-Honpo in Nagaoka City, Niigata Prefecture, as part of A Research Survey into Stucco Decorations and Clay Statues. By fiscal year 2024, studies had been carried out on consolidation treatments using inorganic restoration materials for the plaster layers that constitute the reliefs, as well as on retouching techniques, and conservation treatments were implemented based on the findings.
Following these treatments, an on-site investigation was conducted from April 20 to 23, 2026, to confirm the post-treatment condition of the reliefs. These trowel paintings are exposed to particularly harsh environmental conditions, including the hot and humid summers characteristic of the Sea of Japan coast, as well as heavy snowfall and freezing conditions during the winter months. During this survey, detailed observations focused primarily on the treated areas. As a result, no major deterioration, new detachments, or losses were observed in the reliefs themselves, confirming that the areas consolidated with inorganic restoration materials have remained in stable condition.
Until now, repairs to these trowel paintings had been repeatedly carried out in response to damage as it occurred. However, many of these interventions were intended as short-term repairs, and in particular, treatments using synthetic resin-based materials were found to harden and discolor over time, in some cases causing additional stress to the reliefs themselves. In response to these issues, the present study aimed to establish treatment methods based on established cultural heritage conservation, principles, considering both the distinctive environmental conditions of the region and the material characteristics of the reliefs. In particular, the introduction of highly durable and stable inorganic restoration materials represents the first full-scale application of such methods to the conservation of trowel paintings in Japan, and the present follow-up survey provided important findings demonstrating their effectiveness.
The Institute plans to continue long-term monitoring the condition of the reliefs while further evaluating the research results. It is hoped that the outcomes of this study will contribute to the conservation and restoration of trowel painting cultural properties throughout Japan and serve as a new guiding approach for their preservation in the future.
“Yamazaki Bridge” Digital Content – Top Page
Image Comparison Page
Engi text (Inscription) Page
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) concluded a memorandum of understanding for joint research with the Kubosō Memorial Museum of Arts, Izumi in 2024 (Reiwa 6). Under this collaboration, research has been conducted on works in the museum’s collection, and a research meeting on the painting “Yamazaki Bridge” was held in September 2025 (Reiwa 7). (https://www.tobunken.go.jp/materials/katudo/2403901.html))
With the aim of making the results of the optical investigation of “Yamazaki Bridge” widely available, we created digital content for the work and have now released it as an open-access resource. The site provides explanations in both Japanese and English regarding the work and the research methods used. Users can freely zoom in and out while comparing high-resolution color images of the painting with near-infrared and fluorescence images.
In many historical artworks, the surface of the painting becomes difficult to see due to aging, making it challenging to identify depicted elements and fine details with the naked eye. In the near-infrared images, however, ink line drawings can be observed with remarkable clarity, while fluorescence images reveal features such as areas of infill silk carried out during past restorations and differences in coloring materials. In addition, for the engi text (inscription) located at the bottom of the painting, we developed photographic methods and image-processing techniques designed to make the characters easier to discern. Previous studies have relied primarily on the text in an accompanying document dating to the late Edo period. Now that the characters on the painting’s surface can be more readily examined, it has become possible to undertake more in-depth analysis. Further advances in research are therefore anticipated.
We invite you to explore the pictorial space of this work and experience the atmosphere of the Kamakura period that it evokes.
The Kazaire Memorial Service at Honpō-ji Temple
Digital content screen
The Lotus Sutra Mandala scrolls preserved at Honpō-ji Temple, an ancient temple in Toyama City, Toyama Prefecture, are a unique and large-scale example consisting of a set of 22 large-format panels that visually illustrate the contents of the 28 chapters of the Lotus Sutra. Believed to have been created between the first and third years of the Karyaku era (1326–1328) at the end of the Kamakura period, they are also valued for their confirmed date of origin. Every year on August 6, during the Kazaire Memorial Service, the Lotus Sutra Mandala is hung inside the main hall of the temple and explained to the congregation, offering a tangible sense of how this deeply rooted local ritual has been passed down to the present day.
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) received a donation of high-resolution image data from Dr. HARAGUCHI Shizuko (Nara University), who has long been engaged in research on the Honpō-ji Lotus Sutra Mandala, captured during her research. Using this data, the Institute created digital content featuring color and infrared images of all 22 panels of the Lotus Sutra Mandala, as well as images of accompanying materials. We began limited public access to this content within the TOBUNKEN Library in March 2026.
（https://www.tobunken.go.jp/joho/japanese/library/library_collection/index.html#digitalcontents）
Although the Hokke-kyō Mandala Painting at Honpō-ji Temple is an extremely valuable example of its kind, it has rarely been exhibited as a complete set due to the large number of panels involved. Furthermore, because the illustrations in published books are limited in scope, it had not been possible to examine the details sufficiently. The digital content released on this occasion allows users to zoom in on specific areas of the painting and compare them with infrared images. We hope this will serve as an opportunity for many people to discover the rich world of the Lotus Sutra Mandala.
For information on accessing the digital content, please visit the TOBUNKEN website:
https://www.tobunken.go.jp/joho/japanese/library/library_collection/index.html
We would like to express our sincere gratitude to Honpō-ji Temple for their cooperation and support in making this available to the public.
*Affiliations listed are as of that time.
The Seminar
At the 10th seminar held by the Department of Art, Research, Archives and Information Systems at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on March 16, 2026, research presentations were given by Ms.MAIZAWA Rei (Department of Art, Research, Archives and Information Systems) and Dr. OKU Takeo (Musashino Art University).
First, Ms. MAIZAWA presented a report titled “Research Report: The Bronze Standing Statue of the Eleven-Faced Kannon at Hase-dera Temple,” providing an overview of the Eleven-Faced Kannon statue at Hase-dera Temple in Nara. The Hase-dera temple statue is a gilt-bronze statue of the Buddha created during the Kamakura period and is believed to be a standing statue of the Eleven-Faced Kannon modeled after the principal image of Hase-dera Temple. Ms. MAIZAWA examined the statue’s style and iconography and pointed out that it exhibits unique characteristics in its casting techniques.
Following Ms. MAIZAWA’s presentation, Dr. OKU delivered a research presentation titled “A Reexamination of the Statues of the Thousand-Armed Kannon and the Twenty-Eight Attendants in the Main Hall of Rengeō-in.” It is well known that the Main Hall of Rengeō-in Temple (Sanjūsangendō) in Kyoto was originally built in 1164 but was destroyed by a major fire during the Kamakura period and rebuilt in 1266. Regarding the Twenty-Eight Attendants—the retinue of the principal image of the Thousand-Armed Kannon—Dr. OKU first noted that, based on an entry in the Sankai-ki (a diary from the Heian period), these figures were present at the time of the temple’s founding. He further pointed out that many of the extant statues were created during the Heian period at the time of the temple’s founding, and that even those statues created anew during the Kamakura period generally followed the style of the original statues from the founding era. He argued that the dates of creation for the Twenty-Eight Attendants statues could be determined based not only on their artistic style but also on the characteristics of their production techniques; his argument was highly persuasive, drawing on the insights gained from his many years of experience in the field of cultural property restoration. He also discussed the possibility that the statue of Basūsen among the Twenty-Eight Attendants reflects a devotion to Mount Wutai in China, and touched upon the original vision of Retired Emperor Goshirakawa-in at the time of the temple’s founding. Dr. OKU’s presentation made a significant contribution to the history of research on the Twenty-Eight Attendants of Rengeōin, and following the presentation, participants engaged in a lively exchange of views, making it a highly productive seminar.
Examples of the films in the YANAGISAWA collection
A database screen
Ms. YANAGISAWA Taka (1926–2003), who served for many years at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), remained active until the end of her life as a leading scholar in the history of Japanese Buddhist painting, and through her meticulous and keen observational skills, authored numerous papers that form the foundation of the field’s scholarly history. After Ms. YANAGISAWA’s passing, most of the large collection of photographic film stored at her home was donated to the Aesthetics and Science of Arts Laboratory at Keio University, where she had taught; however, a portion of the film—believed to have been taken in connection with her work at TOBUNKEN—was accepted by the Department of Art Research, Archives and Information Systems.
Now, more than 20 years after Ms. YANAGISAWA’s passing, we have completed a digitization of the entire collection of 1,297 items—comprising positive film shot during surveys conducted both domestically and abroad, as well as collected prints—and published a list of them on the TOBUNKEN website: https://www.tobunken.go.jp/materials/yanagisawa_film.
The positive film contains footage shot with infrared video cameras, which were still rare at the time, making it an invaluable resource for understanding the history of TOBUNKEN, which incorporated scientific methods into cultural property surveys from the early postwar period. The digitized images are available for viewing in the TOBUNKEN Library. Please visit our website for details on how to access them.
https://www.tobunken.go.jp/joho/english/library/application/application_image.html
Examples of the materials in the SUGANUMA collection at the Library
A look at the material organization process
Mr. SUGANUMA Teizō (1900–1993) worked at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) before becoming a professor at Keio University, where he devoted himself to the study of early modern Japanese painting, particularly literati painting, and authored numerous papers and books. The materials he collected during his tenure at the university were long kept in a research room at Keio University, and were donated to TOBUNKEN in 2023 by Mr. KAWAI Masatomo (Professor Emeritus, Keio University), who took over the Keio laboratory. Most of the materials consist of mounted paper prints; in addition to early modern paintings—primarily literati paintings—the collection includes photographic materials of screen paintings, architecture, and sculpture gathered by Mr. NISHIKAWA Shinji (1920–1999), a leading authority on the history of Japanese sculpture and a former professor at Keio University.
With the cooperation of Mr. YASUNAGA Takuyo (Seijō University), the Department of Art Research, Archives and Information Systems has been working to organize and catalog the materials in its collection, and has now made catalogs for all materials and digital images of the microfilms available on the TOBUNKEN website: https://www.tobunken.go.jp/materials/suganuma_print. In particular, the collection of literati paintings and screen paintings includes works of which the current whereabouts are unknown, as well as works that have changed hands since their original creation; as such, this collection is an invaluable resource for contemporary research on these works. The actual materials are stored in cabinets in the TOBUNKEN Library and are available for viewing on-site. Please click here for information on how to use the Library.
Scene from the seminar
Materials in the collection of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) are open to researchers and broadly used, but in fact, there are not many items that shed light on the process of their collection itself. In this seminar, focusing on “Handwritten Materials of KIMURA Shohachi” in the collection of TOBUNKEN, Mr. TANAKA Jun (Visiting Researcher, Director of the Okawa Museum of Art), who was in charge of the collection of those materials while in office, and Ms. ARAI Yumi (Associate Professor, National Institute of Technology, Nara College), who has been conducting research on the materials based on literary studies in recent years, took the stage to elucidate the significance of those materials and report on the results of their research.
First, in his presentation titled “On the History of Collecting Materials of KIMURA Shohachi in TOBUNKEN,” Mr. TANAKA reported on how he had been collecting, transcribing, and researching those materials in collaboration with other institutions for nearly three decades, and introduced the testimony of a former collector of those materials who had interacted with KIMURA, in which he stated that KIMURA was a compulsive notetaker who kept a notebook with him in every room at home and wrote in it randomly.
Next, in her talk titled “On Issues Related to the Making of “Gathering for Pan” ― focusing on a “Production Note by KIMURA Shohachi from Showa 5th to Showa 11th” in the collection of TOBUNKEN,” Ms. ARAI focused on diaries from the early Showa period among those materials, sorted out the situation of materials in a complex chronological order, and discussed descriptions related to painting production, focusing on one of his representative works, the oil painting “Gathering for Pan,” 1928, in the collection of the Kitano Museum of Art.
The image of the “random notetaker” as described by Mr. TANAKA, and KIMURA’s writing style as described by Ms. ARAI, in which the contents were written at different times in the same diary, were matched perfectly. Guided by such episodes, opinions were actively exchanged on the human image of KIMURA while looking at the real materials during the Q&A session.
This seminar was a valuable opportunity for researchers of art history and literature studies to come together to exchange opinions on situations of the early Showa period through documents of a painter.
Image of a screen from the “Database of Photographic Materials Formerly Held by Kokka-sha.”
The Department of Art Research, Archives and Information Systems has opened a database for public access called the “Database of Photographic Materials Formerly Held by Kokka-sha.”
Kokka is a scholarly journal devoted to Japanese and East Asian art, founded in 1889 by figures such as OKAKURA Tenshin and TAKAHASHI Kenzo. It remains one of the oldest continuously published art journals in the world. Established at a time when Japanese art faced the risk of dispersal, the journal sought to introduce its value to a global audience and to promote the preservation of cultural heritage. The title Kokka (“The Flower of the Nation”) is said to derive from the founding statement: “Art is the essence of a nation.”
The collection of photographic materials formerly held by Kokka-sha (the publisher of Kokka) comprises images accumulated and preserved over many decades through the editorial process of Kokka, which has spanned more than 130 years. From its inception, the journal has placed a strong emphasis on the quality of visual reproductions, employing techniques such as collotype printing by leading photographer OGAWA Kazumasa, as well as woodblock prints produced by master craftsmen. These materials are grounded in records generated through rigorous editorial practices and constitute an important foundation for art historical research.
To facilitate scholarly use of these resources, a portion of the materials donated by Kokka-sha has been made publicly available through this database. Emphasizing timely access and the sharing of research materials, the database will be expanded and updated on an ongoing basis.
https://www.tobunken.go.jp/materials/kokka-sha_photo
SAKOUCHI Yuji delivering his presentation
A scene from the discussion
In the study of modern and contemporary art, while it is natural to focus on the artists who create the works, it is also important to investigate and examine the critics who evaluate these artists and works, and pass our knowledge of these artists and their works on to future generations through the writings of these critics.
At the Seminar Held by the Department of Art Research, Archives and Information Systems held on March 4, two researchers gave presentations focusing on SOEDA Tatsurei (1888–1971), who left behind numerous works, including A History of Struggles in the Japanese Art World (published in 1924), Appreciation of Nanga and Literati Painting (published in 1934), and Hanko and Fuko (published in 1955).
In his presentation, “SOEDA Tatsurei and His Materials,” Mr. SAKOUCHI Yuji (Kosugi Hoan Museum of Art, Nikko) shed light on SOEDA’s life and achievements, which had previously been largely unknown. This was followed by a presentation by Mr. HORI Yoshio (Fukushima Prefectural Museum of Art) titled “SOEDA Tatsurei and His Interactions with Japanese Painters from the East and West as Seen in Correspondence,” in which he introduced letters addressed to SOEDA from Japanese painters from both the eastern and western regions—including KANASHIMA Keika, TSUCHIDA Bakusen, DOMOTO Insho, KATAYAMA Nanpu, and SAKAI Sanyo—thereby shedding light on a facet of their interactions.
The research presented by these two scholars is based on an investigation of materials passed down through the SOEDA family, conducted with the support of the Idemitsu Museum of Arts. The seminar was attended by Ms. INO Azusa (Kawagoe City Art Museum) and Mr. TANABE Ken (Kosugi Hoan Museum of Art, Nikko), who participated in this research, as well as Ms. ENAKA-SOEDA Satoko (Professor Emerita, Showa Women’s University), who is SOEDA Tatsurei’s granddaughter. During the discussion following the presentations, opinions were exchanged regarding SOEDA’s place in art history and the future utilization of the surviving collection of materials, interspersed with recollections from Professor ENAKA.
On-site measurements of brick masonry in a building
Preliminary measurements in the laboratory
In FY2025, the Center for Conservation Science introduced a single-sided H-NMR system. Moisture contained within porous materials can induce various deterioration phenomena, including physical damage caused by salt crystallization and freezing, deformation due to expansion and contraction, and biological degradation such as mold growth. Therefore, understanding the moisture condition within materials is a key factor in assessing deterioration risks and determining appropriate conservation strategies.
Single-sided H-NMR detects NMR signals from hydrogen nuclei in water by applying a magnetic field generated by the instrument. By analyzing the intensity and temporal variation of these signals, it is possible to evaluate both the moisture content and the mobility of hydrogen in water within the material.
In March 2026, an on-site investigation was conducted on a brick masonry building where deterioration of the wall surfaces had progressed due to salt crystallization associated with the capillary rise of seawater. This survey represents the first field application of the system since its introduction. Non-destructive measurements of moisture content profiles in the direction of depth were carried out. Conventional non-destructive methods are often limited to surface measurements or require smooth surfaces, making it difficult to obtain information about the internal condition of deteriorated walls. In contrast, this method enables the acquisition of depth-resolved moisture distribution profiles regardless of surface condition.
This study was conducted as part of a collaborative research project involving the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), Kyoto University, Nagoya University, and the Nara National Research Institute for Cultural Properties (NABUNKEN), focusing on material treatments and environmental control strategies to mitigate salt weathering in brick masonry structures.
In the future, we aim not only to quantify moisture content but also to extend this technique to the non-destructive evaluation of material properties necessary for developing appropriate conservation measures. Furthermore, we plan to expand its application to a wider range of materials and cultural heritage objects.
Administration of the Archaeological Park of Pompeii
National Archaeological Museum of Naples
The Japan Center for International Cooperation in Conservation conducts international collaborative research focusing primarily on immovable cultural heritage, including wall paintings, from both theoretical frameworks and practical techniques related to conservation and utilization. Through these efforts, the Center aims to strengthen the foundation for improving the standards of conservation, restoration, and maintenance management, while also promoting international cooperation projects for cultural heritage protection that make use of these research outcomes.
From February 24 to March 13, 2026, a research visit to Italy was conducted, during which consultations were held with researchers from the University of Urbino, the University of Florence, and the National Research Council of Italy (CNR). The main agenda of these discussions was to identify current challenges related to conservation and restoration materials and to examine research directions that could contribute to their improvement. Through these consultations, it was confirmed that all participating institutions share a common awareness of these issues, and an agreement was reached to advance concrete research under a framework of international collaboration.
In addition, during visits to the National Archaeological Museum of Naples and the Archaeological Park of Pompeii, the current state of conservation and restoration of Roman wall paintings and stucco decorations was surveyed. At the same time, exchanges of views were conducted with local researchers regarding the challenges of existing methodologies and possibilities for their improvement. As a result, wall paintings and stucco decorations under the management of the Archaeological Park have been made available as research subjects for this project, and cooperation has been secured for research aimed at advancing conservation and restoration techniques.
Going forward, as part of this research initiative, Roman wall paintings and stucco decorations will serve as the primary focus, and in collaboration with the institutions consulted during this visit, efforts will be made to advance material studies and to systematize conservation and restoration techniques. This initiative is expected to play a significant role in establishing a foundation for the deepening and practical development of international collaboration in the field of cultural heritage conservation. Furthermore, the outcomes of this work will be applied to the practice of conservation, restoration, and maintenance of cultural heritage both in Japan and abroad, with the aim of contributing to the sustainable protection and utilization of cultural heritage in various regions.
Digital content of the Shuten-dōji Handscrolls (collection of the Nezu Museum)
Top page of the Shuten-dōji Handscrolls attributed to Kanō Sanraku
Detail from Scroll 3, Chapter 3 of the Shuten-dōji Handscrolls by Sumiyoshi Hironao
Following the launch in May 2025 (Reiwa 7) of digital content for the Shuten-dōji handscrolls by Sumiyoshi Hiroyuki (six scrolls, held by the Grassi Museum of Ethnology in Leipzig; hereafter, “the Leipzig version”) on a dedicated image-viewing terminal in the Library of the Tokyo National Research Institute for Cultural Properties (see the Monthly Report for May 2025: https://www.tobunken.go.jp/materials/katudo/2391511.html), we have additionally made available, on a limited basis, digital content for two Shuten-dōji handscrolls in the collection of the Nezu Museum: one attributed to Kanō Sanraku (three scrolls; hereafter. “the Sanraku-attributed version”) and another by Sumiyoshi Hironao (eight scrolls; hereafter. “the Hironao version”).
The Sanraku-attributed version vividly conveys the story of Shuten-dōji, making full use of the handscroll format through its disciplined brushwork and richly layered colors. The Hironao version, composed of an unprecedented eight scrolls, has drawn attention in exhibitions at the Nezu Museum and elsewhere, and can be regarded as a work that inherited the style of the Leipzig version. Because handscrolls are characterized by their long, continuous horizontal format, no printed publication exists that allows an overview of an entire image of a scroll from either the Sanraku-attributed or the Hironao versions. Although these digital contents are limited to on-site viewing and do not permit copying or printing, users are able to freely enlarge and examine each scene of the scrolls, which contain an abundance of pictorial detail. We hope that they will prove useful as research materials.
https://www.tobunken.go.jp/joho/english/library/library_e.html
This digital content was supported by JSPS KAKENHI Grant Number JP22H00623, “Study on Shuten-dōji Handscrolls.”
