| ■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 |
|
“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.”
Scene from the seminar
On February 17, 2026, a seminar was held by the Department of Art Research, Archives and Information Systems at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Focusing on the systematic organization and public release of artists’ materials, which has progressed significantly in recent years, this seminar examined the practical implementation of archive construction concerning two artists, MOCHIZUKI Katsura and MATSUZAWA Yutaka. We considered how artists’ materials should be passed on to future generations, focusing on both the “preservation” techniques for records and the “utilization” practices through exhibitions and digital archives.
In Part 1, “Regarding Materials Related to MOCHIZUKI Katsura,” SHIOBARA Rieko of the Azumino City Board of Education first reported on the process and future prospects of material research in the local community. Subsequently, TANIGUCHI Eri of the National Center for Art Research and YAMANAGA Naomi, Associate Fellow of the Department of Art Research, Archives and Information Systems, provided an interim report on the significance of the methods used for the acquisition, arrangement, and public release of these materials.
In Part 2, “Regarding the Former Collection of MATSUZAWA Yutaka,” Mr. TSUCHIGA Motonori of the Prefectural Nagano Library introduced the initiatives of “SHINSHU Digital Commons,” which aims to become a regional “intellectual commons,” and the mechanisms of digital archives that include artists’ materials. Finally, Mr. KIKKAWA Hideki, Head of the Modern and Contemporary Visual Arts Section of the Department of Art Research, Archives and Information Systems, discussed the role of the TOBUNKEN Library as a node for multi-layered activities and provided an outlook on mechanisms for accepting and making these artists’ materials function within the library.
Following each report, a discussion and Q&A session was held, moderated by Mr. SHIOYA Jun, Senior Researcher of TOBUNKEN, and Mr. KIKKAWA. Lively exchanges took place regarding the challenges of opening such artists’ materials to society and their potential as social infrastructure.
This seminar served as an important opportunity to continue exploring concrete strategies from both practical and research perspectives, such as how various institutions and research teams can leverage their respective expertise to share roles and functions to pass on the value of the vast amounts of generated materials to the next generation.
Common reed riverbed burning this year (February 15, 2026)
The Department of Intangible Cultural Heritage has been conducting investigations and research on raw materials essential to intangible cultural heritage. Common reeds grown in the riverbed of the Yodo River in the Kanmaki and Udono areas of Takatsuki City, Osaka Prefecture, are well known for being suitable for rozetsu (reed) of hichiriki (Japanese traditional flute) used for gagaku (Japanese traditional classical court music). It has been five years since a two-consecutive-year cancellation of the riverbed-burning event normally held every February occurred, because of unsuitable weather and the COVID-19 pandemic. Due to this two-year suspension of the riverbed-burning, the common reeds had become intertwined with overgrown wild vines and withered. Though this situation was challenging, new movements to conserve the common reed riverbeds have begun this year.
Activities to remove the wild vines were led mainly by the Common Reed Management Office of the Gagaku Conference, including raising contributions, recruiting volunteers, and disseminating related information. At the same time, a stable and sustainable framework was explored. The General Incorporated Association, the Gagaku Association was founded in 2023, triggered by the challenges of stable acquisition of common reeds in the Kanmaki and Udono areas. Members of Shikibu-shoku Gakubu (Music Department) of the Imperial Household Agency, Holder of Important Intangible Cultural Property, Gagaku, were engaged in this Society from the preparation stage and became members of the Association. This means that a connection was made between the Important Intangible Cultural Property of Gagaku classical court music and the common reeds in the Kanmaki and Udono areas.
Furthermore, the “Common Reed Conservation Consortium for Hichiriki, Musical Instrument of Gagakku” (hereafter, the Common Reed Conservation Consortium) was founded in June 2025 as a collaboration among the Gagaku Association, the Udono Association for Common Reed Riverbeds Preservation, the Kanmaki Working Union, and Takatsuki City to continuously make efforts to inherit gagaku and conserve common reeds in the given areas. As observers, the Agency for Cultural Affairs, which controls the cultural property administration, and the Ministry of Land, Infrastructure, Transport and Tourism, which manages these areas, have taken part in the Common Reed Conservation Consortium. With these movements, the dissemination activities became more active to raise awareness about the importance of the intangible cultural property: gagaku, and its raw material: common reeds.
In addition, as these frameworks were well established, a subsidy for operating expenses to conserve and utilize National Treasures and Important Cultural Properties, for the conservation of common reeds for hichiriki, was granted to the Common Reed Conservation Consortium by the Cultural Property Conservation Operating Expenses (Business Category: Conservation Technique for Cultural Property). Takatsuki City also decided to grant “a subsidy for the conservative operation for common reeds for ‘hichiriki’: musical instrument of gagaku,” and started investigations to ensure a stable supply of common reeds for hichiriki is maintained, to prepare for the weeding operation from the new fiscal year.
In the areas where the operational schemes to conserve the common reed riverbeds were started, the annual activity to burn the riverbed was conducted on Feb 15, 2026. The mayor and officials of Takatsuki City and related parties of the Gagaku Association participated. We could hear some visitors’ conversation: “The common reeds here seem to be used for a gagaku musical instrument.”
The Department of Intangible Cultural Heritage continues to conduct investigations and research on movements to conserve raw materials essential to intangible cultural heritage. “The Report on Common Reeds, Raw Materials of Rozetsu for Hichiriki: Mainly on the Kanmaki and Udono Areas of the Riverbed in the Yodo River” will be published at the end of March 2026. We will be happy if you can read it.
Mr. KIKUO Yuji
Mr. TANAKA Naoichi
Mr. HIYOSHI Shogo
The Department of Intangible Cultural Heritage has been recording live performances of Heike (or Heike Biwa). Heike faces the crisis of not being inherited by the next generation, because of a recent absence of sufficient successors. This series of recordings has been conducted with the cooperation of the Heike Narrative Research Society, led by Dr. KOMODA Haruko, Professor emeritus of Musashino Academia Musicae, and other members of the society, including Mr. KIKUO Yuji, Mr. TANAKA Naoichi, and Mr. HIYOSHI Shogo, since 2018. The eighth recording session of “Kōyō (Colored leaves)” (the first half of the piece) and “Yokobue” (the entire piece) was held in the Tokyo Research Institute for Cultural Properties (TOBUNKEN) Performing Arts Studio on February 19, 2026.
The first half of “Kōyō” features an episode of Emperor Takakura, related to Kōyō (colored leaves), which is also the title of this piece. Emperor Takakura loved Kōyō and planted the trees, the leaves of which turn red. In the early days just after his enthronement, an official made a blazing fire with the colored leaves to warm his sake drink. Emperor Takakura did not blame him for this activity; instead, he smiled and was impressed as he considered it very artistic. It is a rare scene with humor in the tale of Heike for a chamberlain to be worried about this official’s misconduct. The last scene of this episode is slowly concluded to highlight the gentleness of Emperor Takakura, who referred to the poem by Bai Juyi: “In a forest, we burn red leaves to warm sake up.”
The theme of “Yokobue” is the sad love of Takiguchi Nyūdō and Yokobue. Takiguchi Nyūdō made up his mind and left Yokobue to become a priest as his love with her was never permitted. Though Yokobue followed him, he did not see Yokobue, as he was afraid that seeing her could weaken his resolution. Depicting Nyūdō’s emotional conflict is the highlight of this piece. In Heike, this part is narrated in a tune called “Shirakoe.” Shirakoe has a limited melody, a rather flat tone, and this scene is narrated quite apathetically. Narrating such a dramatic scene in a relatively flat tone highlights its tragedy. This technique—using emotionless sounds and intonation during highly emotional scenes—is also sometimes found in shamisen music.
Our department has been recording live performances of Heike focusing on the acquisition and restoration of pieces that have been passed down in Nagoya from the Maeda School of Heike. This project is approaching completion. In the next fiscal year, we plan to complete the Heike series with live recordings in the ninth and final session. We also plan to hold a public research seminar that will include this recording session on December 8, 2026. Please stay tuned.
A scene from the expert meeting held at the Tokyo National Research Institute for Cultural Properties
A scene from the meeting at the Agency for Cultural Affairs
The Tokyo National Research Institute for Cultural Properties has been commissioned by the Agency for Cultural Affairs to carry out the “Project for Formulating Preservation and Restoration Policies for Museums in Sudan Damaged by the Armed Conflict” as part of the FY2025 Emergency International Contribution Project for the Protection of Cultural Heritage (Expert Exchange). As part of this project, four experts from the Republic of Sudan were invited to Japan, and an expert meeting and consultation meetings were held from February 24th to 27th, 2026. This project was implemented following the success of a workshop and related symposium held in Tokyo in August 2026, as part of the Agency for Cultural Affairs’ FY2025 Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage, “Project for Sudanese Cultural Heritage Expert Capacity Building Workshop” (https://www.tobunken.go.jp/materials/katudo/2398816.html).
Ongoing armed conflict broke out in the Republic of Sudan in April 2023, and many cultural heritage sites and museums remain at risk. This project aims to provide expert advice for the rehabilitation of museums damaged in the armed conflict.
The expert meeting was held at the Tokyo National Research Institute for Cultural Properties on February 24th. From the 25th to the 27th, we visited the Agency for Cultural Affairs, the Ministry of Foreign Affairs, the Japan International Cooperation Agency (JICA), and the National Museum of Ethnology, and held consultation meetings to receive expert advice from each organization.
The four experts invited to Japan on this occasion were as follows:
・ Dr. Abdelrahman Ali (Head of the Culture Unit, UNESCO Khartoum / former Director General, National Corporation for Antiquities and Museums (NCAM)
・ H.E. Mr. Khalid Fathalrahman (Director, ICESCO Center for Civilizational Dialogue)
・ Dr. Shadia Abdrabo (Deputy Director (Museums Sector), National Corporation for Antiquities and Museums (NCAM))
・ Mr. Elnzeer Tirab (Director, National Ethnographic Museum)
The four experts who visited Japan are all responsible for the protection of museums and cultural heritage in the Republic of Sudan. Holding the experts meeting with such individuals in Japan was meaningful in recognizing the current situation surrounding Sudan’s cultural heritage and considering methods for future cultural heritage restoration.
Installing sheet coverings to suppress ground moisture evaporation and setting up monitoring instruments inside the rock cave
Natadera Temple main hall during the February field survey
The Center for Conservation Science is conducting research on environmental management for the preservation of wooden structures built inside rock caves, commissioned by Natadera Temple. Natadera Temple, located in Komatsu City, Ishikawa Prefecture, is a religious site where indigenous Hakusan beliefs are combined with Buddhism. Its wooden main hall, designated as an Important Cultural Property, is constructed within a rock cave formed by natural erosion. In such an environment, conditions of high humidity are likely to occur due to moisture supply from the ground and the high thermal capacity of the surrounding rock, leading to risks such as condensation and wood decay.
To date, we have analyzed the causes of the high humidity through long-term monitoring of temperature and humidity within the cave and implemented seasonal ventilation strategies based on these findings. The results have been published in Science for Conservation, No. 65. These measures have led to a certain level of improvement in the humidity conditions within the cave. In particular, during winter, increasing airtightness to suppress the intrusion of cold outdoor air has been found to be effective in reducing condensation on the wooden main hall and lowering humidity levels within the cave. However, reducing the relative influence of moisture evaporation from the ground remained a challenge.
In response, in autumn 2025, a new winter-specific measure was introduced: a simple sheet covering to suppress moisture evaporation from the ground. A follow-up survey conducted in February 2026 confirmed that no problems have occurred so far. Further analysis of monitoring data will be carried out to evaluate the effectiveness of this measure and to propose appropriate operational methods.
The field survey in February was conducted under snowy conditions. Despite this, the interior of the cave was warmer than the outdoor environment, providing an opportunity to experience its characteristics as a natural shelter. Environmental management for cultural heritage requires addressing multiple factors such as climate and site conditions. We will continue to explore optimal environmental control strategies while maintaining harmony with the natural environment.
Group discussion during the workshop
Part of a roof ridge ornament
The 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 is continuing the conduction of a preliminary survey for the restoration of the Cruciform Terrace in front of the Central Complex as part of a cooperative project at the Ta Nei Temple.
Our previous joint surveys revealed that some statues and components stored in the Angkor Conservation Office (ACO) in Siem Reap City include elements originally belonging to the Ta Nei Temple. As a part of our work, we documented the balustrade components originating from Ta Nei that are stored in ACO and those scattered around the Cruciform Terrace using digital 3D measurement, and attempted a trial assembly of the 3D models of those members in digital space. This trial was carried out as a “Practical Workshop for Restoration of Cruciform Terrace” on January 21 and 22, 2026, with around 20 participants from APSARA, ACO, Angkor National Museum, and the Department of Culture and Fine Arts of Siem Reap Province. During the two-day workshop, participants documented components of Naga balustrade using free 3D scanning apps downloaded to their own smartphones. Afterwards, while reviewing the generated 3D models in group discussions, we examined ways to assemble the components remaining in on-site locations together. A major achievement of this workshop was identifying the potential for connecting multiple components.
During the mission in January, excavations of two remaining belts around the Cruciform Terrace were conducted. Many roof tile fragments were unearthed during this work, and similarly as in previous surveys, we found that the roof tiles were distributed from the surface layer near the eastern front of the Rectangular Terrace connected to the Cruciform Terrace.
Additionally, an examination of the archaeological artifacts excavated in the previous surveys was carried out. Roofing members, such as ridge ornaments and convex eaves tiles were identified, and a variety of artifacts including baluster jars, typical Khmer ceramics, black-glazed pottery decorated with wavy incised lines, multiple imported ceramics, and more were confirmed. Future detailed examinations will further clarify the characteristics of artifacts excavated at Ta Nei Temple.
Information leaflet (front)
Scene of the seminar
Since 2018, the Japan Center for International Cooperation in Conservation (JCICC) has been hosting the annual World Heritage Seminar, primarily for staff of administrative institutions responsible for World Heritage sites, to share and disseminate the latest information and discussions. In Fiscal Year 2025, we revisited the core meaning of “heritage” that we aim to safeguard through our daily work, under the theme “Expansion of ‘Heritage’ Beyond Boundaries: Bridging People’s Lives, Beliefs, and Circumstances.” A total of 111 participants from all over Japan attended the in-person meeting held on December 22 at our premises.
After Dr. SUZUKI Chihei (Agency for Cultural Affairs) presented his report titled “Trends in World Heritage,” summarizing the discussions and decisions of the 47th World Heritage Committee held at UNESCO Headquarters in Paris last July, Mr. KANAI Ken, Head of the Resource and Systems Research Section at the JCICC, opened the seminar by explaining its objectives. In the first half of the meeting, two lectures and two case studies were presented.
For the lectures, Dr. ITO Fumihiko (Mie Prefectural Saiku Historical Museum) delivered a talk titled “How to Understand ‘Heritage’ in the Context of Complex Cultural Heritage,” focusing on ‘route’ heritage, which encompasses diverse heritage values such as tangible and intangible properties, landscapes, and archaeological sites. Following this, Dr. MATSUURA Kazunosuke (JCICC) presented comparative examples from leading international cases, drawing on his expertise in archaeological protection in relationship with landscape, in a lecture titled “The World Heritage Site ‘Archaeological Area of Agrigento’ and the Archaeological Park System in Sicily.”
For the case studies, concrete efforts in value assessment and conservation were introduced. Mr. EBESU Hikaru (Ehime University) presented the “Shikoku Pilgrimage,” a World Heritage candidate involving cooperative initiatives among the four prefectures of Shikoku Island. Ms. TSUCHIYA Mizuho (Osaka Prefectural Education Agency) then introduced the World Heritage Site “Mozu–Furuichi Kofun Group: Mounded Tombs of Ancient Japan,” highlighting its status as an active imperial mausoleum and its growing popularity as a pilgrimage destination among recent Kofun enthusiasts.
In the second half of the meeting, a panel discussion was held with all five presenters. Together with questions from the audience, we engaged in a productive debate on topics such as the essential sources of heritage value, ways to safeguard and enhance that value, and the meaning of “heritage” within the World Heritage framework.
We are currently compiling the contents of the lectures, case studies, and panel discussions into a progress report, which will be published by March of this year. Progress reports from past World Heritage Seminars have also been published, and several of them are available in downloadable PDF format on our website. We encourage you to take a look.
Consultations at the Sainsbury Institute for the Study of Japanese Arts and Cultures
Lecture at SOAS
The Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), located in Norwich, United Kingdom, is one of the leading centers for the study of Japanese art and culture in Europe. Since fiscal year 2013, the Tokyo National Research Institute for Cultural Properties has continuously carried out joint projects with SISJAC. As part of this collaboration, the Department of Art Research, Archives and Information dispatches researchers to the United Kingdom each year to engage in consultations and deliver lectures. In fiscal year 2025, two researchers— Mr. TASHIRO Yuichiro and Ms. YOSHIDA Akiko—visited the UK for this purpose.
During this visit, on December 4, Mr. TASHIRO delivered a lecture entitled “Japanese Residents of Colonial Korea and Their Relationship with Ceramics” at Earlham Hall, University of East Anglia. This lecture was held alongside presentations by Simon Kaner, Director of SISJAC, and Lera Mason, a Professor at the University of East Anglia. A panel discussion involving all three speakers followed the lectures.
After the lecture, Mr. TASHIRO and Ms. YOSHIDA met with SISJAC members, including Associate Professor Eugenia Bogdanova-Kummer, to discuss future collaborative projects. On this occasion, Ms YOSHIDA, who is also scheduled to give a lecture in the following fiscal year, delivered a presentation, and through an exchange of views, participants discussed approaches to fostering more productive research exchange from the next year onward.
On the following day, December 5, the delegation traveled from Norwich to London. Under the moderation of Bogdanova-Kummer, Mr. TASHIRO gave a lecture entitled “Japanese ‘Kottō’ Culture and Korean Ceramics” at the School of Oriental and African Studies (SOAS), University of London. A discussion with students enrolled at SOAS followed the lecture.
In addition to such research exchanges, the Department of Art Research, Archives and Information is also working jointly with SISJAC on a database project that involves compiling information on exhibitions of Japanese art held in Europe and North America*. Moving forward, by strengthening collaboration with SISJAC through the dual pillars of “research” and “archives,” the Institute hopes to contribute further to academic research in both Japan and the United Kingdom.
*Information on Art Exhibitions and Film Festivals Held Outside Japan
A tour, guided by Mr. KIKKAWA Hideki
On December 18, 2025, a delegation from the National Museum of Modern and Contemporary Art, Korea (MMCA) visited the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Founded in 1969, MMCA is a national museum under the Ministry of Culture, Sports and Tourism and currently operates four venues, in Gwacheon, Seoul, Deoksugung, and Cheongju. Unlike many contemporary art museums in Japan, MMCA also includes modern art within its scope of collection and research, and is widely recognized as a leading institution representing modern and contemporary Korean art.
In June, the Department of Art Research, Archives and Information Systems at TOBUNKEN conducted a project titled “Survey of the Current State of Art Archives in Korea”* as part of the broader research initiative “Comprehensive Research on the Sharing of Research Findings and Scholarly Information on Cultural Properties” (Project Code: SH01). During this survey, representatives of the Institute visited and examined the archives of MMCA. This time, in a reciprocal exchange, representatives from MMCA visited Japan. The delegation consisted of three members: archivist Ms. Lee Ji-hee (이지희), Research Fellow; Ms. Park Hye-seong (박혜성), Curator; and Ms. Kim Su-jin (김수진), Head of the Collection Management Division.
Prior to this visit, Mr. KIKKAWA Hideki, Head of the Department of Modern and Contemporary Visual Arts, and Mr. TASHIRO Yuichiro, Research Fellow of the Department of Cultural Property Archives, who had visited Korea in June, held an online meeting on October 15 with MMCA archive staff. During this meeting, they delivered a presentation on the history of TOBUNKEN, and on the formation process and distinctive characteristics of its collections. Building on these preliminary exchanges, the focus of the present visit was placed on viewing and examining actual archival materials.
Guided by Mr. KIKKAWA and Mr. TASHIRO, the delegation toured the reading room and storage facilities in sequence, examining a wide range of materials. Particular attention was given to gallery and exhibition-related materials concerning Korean (formerly referred to as Chosŏn) artists who resided in Japan. Since its establishment in 1930 as the Art Research Institute, attached to the Imperial Academy of Fine Arts, the Institute has accumulated materials contemporaneously with their production. As a result, its collections are especially rich in resources related to modern and contemporary art, many of which hold significant value for the study of Korean art history. Similarly, MMCA has focused its collecting activities on modern and contemporary art, and the two institutions’ collections share many common characteristics.
In the discussions following the tour, it was confirmed that the collections of TOBUNKEN and MMCA are mutually complementary, and that further research collaboration could contribute meaningfully to the field of art history in both Japan and Korea. By moving beyond one-time exchanges and continuing to share information and deepen cooperation on an ongoing basis, it is hoped that a more fruitful and sustainable partnership can be developed.
*Activity Report, June 2025: “Survey of the Current State of Art Archives in Korea”
https://www.tobunken.go.jp/materials/katudo/2396756.html
