| ■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 |
|
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
[Photo 1] The moment India's nominated "Deepavali" was inscribed on the Representative List
[Photo 2] Delegation of Sudan described the status of cultural heritage in the midst of armed conflict
[Photo 3] Scene after the closing of the Intergovernmental Committee session
The Twentieth Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage of UNESCO was held in New Delhi, India, from December 8th to 13th, 2025. The venue was the Red Fort (Lal Qila), a UNESCO World Heritage Site. Three researchers from the Tokyo National Research Institute for Cultural Properties attended the meeting as observers.
No new element was nominated by Japan this time; however, extension of three elements, "Traditional skills, techniques and knowledge for the conservation and transmission of wooden architecture in Japan," "Washi, craftsmanship of traditional Japanese hand-made paper," and "Yama, Hoko, Yatai, float festivals in Japan" was adopted. The extension allows new elements to be added to existing elements, a new procedure that began in the 2024 cycle. For example, "Washi, craftsmanship of traditional Japanese hand-made paper" previously consisted of three elements: "Sekishu Banshi," "Honmino Paper," and "Hosokawa Paper," while this time "Echizen Torinoko Paper" has been added
Currently, Japan is practically limited to proposing new elements once every two years; however, there are no restrictions concerning an extension of an element. The number of Japanese elements inscribed on the Representative List of the Intangible Cultural Heritage of Humanity remains at twenty-three, but several intangible cultural properties, intangible folk cultural properties, and selected conservation techniques have been added as elements.
Extension of elements has also been applied to elements of multinational nomination. For example, an element from Uzbekistan was added to "Traditional knowledge and skills in making Kyrgyz and Kazakh yurts (Turkic nomadic dwellings)," and the name of the element was changed to "Traditional knowledge and skills in making Kyrgyz, Kazakh and Karakalpakh yurts (Turkic nomadic dwellings)." UNESCO encourages multinational nomination from the perspective of deepening dialogue and mutual understanding between countries, and it is possible that this trend will become even more widespread in the future.
It was notable that representatives from countries currently in the midst of armed conflict, including Ukraine and Sudan, expressed concern over the situation in which intangible cultural heritage is in during emergencies, as well as their perspectives on the significance of the role that cultural heritage plays in peacebuilding.
As India, the host country, is a culturally diverse country, a variety of cultural performances, including traditional performing arts, were showcased during intermissions and side events. Immediately after the session closed, a band appeared in the venue, and the atmosphere became like a dance floor, with participants and secretariat staff joining in together.
The next session of the Intergovernmental Committee is scheduled to be held in Xiamen, China, from November 30 to December 5, 2026.
The scene of the general discussion
On December 5, 2025, the 20th Conference on Intangible Folk Cultural Properties, titled “Safeguarding and Utilizing Folk Cultural Properties through Networks,” was held at the Tokyo National Research Institute for Cultural Properties.
Six years have passed since the 2019 amendment to the Law for the Protection of Cultural Properties, which explicitly emphasized the “utilization” of cultural properties. However, amid the ongoing reduction of budgets and personnel, many local governments continue to struggle with how cultural properties can be effectively utilized in practice. In the field of folk cultural properties in particular, preservation and transmission themselves remain pressing challenges, even before utilization can be considered.
This year’s council focused on “networking” as one possible approach to addressing these issues. Presentations introduced practical examples of networks not only for intangible folk cultural properties—such as folk performing arts and folk techniques—but also for tangible folk cultural properties that are inseparably connected to them. Reports were given on initiatives being undertaken in various regions across Japan.
Through the presentations and subsequent discussions, the significance of networks and the roles they can play were reaffirmed on the basis of concrete case studies. Presenters noted that incorporating external and comparative perspectives through networks can lead to the rediscovery of cultural value and foster more positive attitudes toward preservation. Sharing challenges and solutions was also shown to broaden the range of options and reference points when facing critical decisions. In addition, the presence of “peers” within a network enables day-to-day consultation and mutual encouragement, becoming an important support mechanism for preservation and transmission efforts. The discussions also addressed practical measures for sustaining networks, including organizational frameworks and the securing of human and financial resources.
Some participants commented that “this council itself functions as a network.” The Department of Intangible Cultural Heritage aims to continue serving as a hub for information sharing and dissemination through conferences such as this, thereby supporting the further development of networks.
A full report of the conference will be compiled within the current fiscal year and made available in PDF format on the Department of Intangible Cultural Heritage website.
Relocation of the Naga balustrade components
Temporary storage for the Naga balustrade components after the relocation
In the collaborative project with the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA National Authority) at Ta Nei Temple, a preliminary investigation aimed at the conservation and restoration of the Cruciform Terrace has been on-going since 2024. Located at the front of the Central Complex, the Cruciform Terrace is an important architectural component in terms of the temple landscape. This Terrace is currently in a state of severe deformation and many areas of the pavement and side walls are in a state of collapse due to factors such as tree growth and the loss of inner soil layer. In addition, investigations to date have revealed that some structural elements—particularly from the middle layer of the side walls of the Terrace—were intentionally removed, a factor that is also considered to have caused the deterioration.
Excavation of the scattered stones around this Terrace has resulted in the identification of a total of 152 stone elements. Classification based on form and decoration indicates that approximately half of these are components of the Naga balustrade that originally bordered the outer edge of the Terrace surface. From November 16 to December 4, 2025, two staff members from the Japan Center for International Cooperation in Conservation were dispatched, and these Naga balustrade elements were relocated and arranged to a temporary storage area in collaboration with staff members from APSARA National Authority. In parallel with the documentation of each element, trial assembling, together with investigation regarding their construction techniques, were conducted. As a result, four balustrade elements were successfully recomposed from multiple fragments, and new insights were gained into the techniques used to build up the stone members.
Progress of the investigations to date is reported in the activity reports listed below.
– Preliminary Investigation (part 1)
（URL：https://www.tobunken.go.jp/materials/ekatudo/2385461.html）
– Preliminary Investigation (part 2)
（URL：https://www.tobunken.go.jp/materials/ekatudo/2403881.html）
Ms. FUJIOKA Naomi presenting her lecture
The Illustrated Mirror of Emperors from the Wall Paintings of Nagoya Castle's Honmaru Palace (Photographic Glass Plate)
Every autumn, the Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) organizes a “Public Lecture” to present the results of our researchers to the general public. The 59th Public Lecture, “Look at Form, Read Form” was held in the TOBUNKEN seminar room on November 13 and 14, 2025, featuring lectures by four researchers.
On the first day, Ms. TSUKIMURA Kino (Researcher of the Department of Art Research, Archives and Information Systems) presented on the topic of “Considering ‘Inscriptions’,” focused on inscriptions as important clues in art history research, in which she proposed a new research methodology for re-examining Japanese sword inscriptions from the perspectives of character shape and frequency of occurrence by character type. Also, Ms. FUJIOKA Naomi (Curator, Shimane Art Museum) presented her work in a lecture titled “The Paintings of the Monk-Painter Fugai Honko,” in which she examined the work of Fugai Honko, who left numerous paintings in Izumo Province (present-day Shimane Prefecture). Ms. FUJIOKA’s work demonstrated that the influence of woodblock printed books and Ike no Taiga strongly shaped Fugai’s choice of subjects and painting techniques.
On the second day, Ms. FUTAGAMI Yoko (Head of the Cultural Properties Information Section of the Department of Art Research, Archives and Information Systems), in her lecture, “Maki-e Craftsmen Who Went to Thailand: Tsuruhara Zenzaburo and Miki Sakae,” introduced previously unknown aspects of the treatment received by two Japanese maki-e craftsmen who were invited to Thailand in the early 20th century, and their production of lacquerware for the Thai royal family. Additionally, Ms. YAKUSHIJI Kimiko (Visiting Researcher in the Department of Art Research, Archives and Information Systems) presented work in a lecture titled “What Is the ‘Teikan-zu’ (Illustrated Mirror of Emperors)?” in which she examined how the originally Chinese book ‘Teikan Zusetsu’ evolved to become more diverse in Japan, attempting to redefine the concept through the works themselves.
There were 126 participants from the public attending on both days, and we received a positive reaction from the audience: about 90% of the feedback questionnaire responses were “very satisfied” or “relatively satisfied.” Additional comments from the participants further indicated high levels of satisfaction with the lecture content.
Data entry work for Yearbook of Japanese Art
Bibliograhic Records from Yearbook of Japanese Art
Nihon bijutsu nenkan (“Yearbook of Japanese Art,” hereinafter called “NENKAN”) is an annually published data book that presents trends in the art world in Japan compiled over the course of each year. It was first published in 1936 by the Art Research Institute of the Imperial Academy of Fine Arts, the predecessor of Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Starting with the 2022 edition, published in January 2025, the “References Published in Periodicals ” section of the NENKAN was discontinued. Instead, the publication “Bibliograhic Records from Yearbook of Japanese Art,” which contains the section, has been made available on our website (https://www.tobunken.go.jp/
yearbook/articles_from_periodicals).
This database, like the printed edition, focuses on listing references according to classifications that reflect the content. Persons interested in researching literature related to a specific artist or art museum can search by keyword, just like in a general database. However, some of the literature classified in NENKAN under categories such as “preservation and restoration” and “cultural property administration” can be difficult to identify with appropriate keywords. For this reason, this database, which enables browsing literature by classification, is effective for understanding trends in each field that are difficult to grasp through keyword searches, as with the previous print version.
Currently, we are publishing bibliographies of magazines and newspapers published between January 1, 2021, and December 31, 2022, when print publication ended. Going forward, we plan to soon publish information on the latest literature published before 2020. Through these efforts, we will continue to maintain and develop the role that the print version of the NENKAN has played for many years, in providing a systematic understanding of trends in the art world in Japan. Since it currently takes about 10 seconds for the database to load, which can feel slow to some users, we are currently working to improve this speed.
Scene from the session
Presentation slide
The Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) manages approximately one hundred databases built with Claris FileMaker, a low-code development platform provided by Claris International Inc. Among them is the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts), developed as part of the Agency for Cultural Affairs’ project “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts.” On November 7, 2025, TOBUNKEN presented a report on this database at the Claris Conference 2025, organized by Claris International Inc.
A defining feature of this database is that each stage of the workflow—‘creating,’ ‘storing,’ ‘retrieving,’ and ‘displaying’ data—is not carried out within a single integrated system, but rather operated by utilizing multiple software tools while sharing only the data itself. In practice, data created with Microsoft Excel is imported into Claris FileMaker, while WordPress is used for public dissemination.
In a presentation titled “The High Flexibility of Claris FileMaker Supporting the Database of Restoration Records for Cultural Properties Without a Predefined Standard” (presenters: Mr. OYAMADA Tomohiro, Ms. YAMANAGA Naomi, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko, Department of Art Research, Archives and Information Systems), the speakers explained that this approach offered a high degree of flexibility at each development stage, enabling adaptable system design and quick adjustment of specifications. Under this agile-style development process, we will continue our efforts through ongoing trial and error, with the aim of designing and developing a database that will be of practical use to those engaged in restoration work.
The results of this fiscal year’s project will be announced on February 6, 2026 (https://www.tobunken.go.jp/info/event/2026/0206/ (Japanese only)).
On November 15, 2025, a monthly public lecture was held at the Heiseikan Auditorium of the Tokyo National Museum. Mr. TASHIRO Yuichiro, Researcher in the Department of Art Research, Archives and Information Systems (also serving concurrently as Researcher in the Oriental Art Section, Curatorial Research Department, Tokyo National Museum), delivered a lecture titled “Exploring the Beauty of Korean Ceramics.” This lecture was organized as a related program to the exhibition “A Journey through Asia at the Museum: 60th Anniversary of the Normalization of Japan–Korea Relations — Walking through Korea: Pathways of Korean Culture,” held at the Toyokan Gallery from September 23 to November 16.
The lecture began with an overview of the aesthetic characteristics of Korean ceramics across different periods, focusing primarily on works displayed in the exhibition, ranging from Goryeo celadon to Buncheong ware and white porcelain of the Joseon dynasty. Drawing upon the history of appreciation, the speaker then discussed differences in the ways Japanese and Korean audiences have perceived ceramics, incorporating personal experiences from his time in Korea.
This lecture was not merely an occasion for the transmission of knowledge, but also provided participants with an opportunity to directly observe and reflect upon the works through the exhibition itself. As such, it offered a meaningful forum for considering Korean ceramics from multiple perspectives. Looking ahead, alongside academic research activities such as publications and conference presentations, we aim to continue sharing the insights and outcomes gained through such endeavors with a broader public.
Reference:
Tokyo National Museum, Lectures and Courses
https://www.tnm.jp/modules/r_event/index.php?controller=list&cid=1&lang=en
The database screen
An Akamatsu records paper
The Cultural Properties Protection Division of Kyoto Prefecture holds a vast collection of materials related to a cultural property survey conducted within the prefecture, spanning from the WWⅡ period to the present day. In recognition of the importance and public value of these materials, which warrant preservation for future generations, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the Kyoto Prefectural Board of Education signed a joint agreement in 2018 concerning the digitization of these materials. Since then, we have been organizing the materials deposited by the Board of Education and constructing an archive.
We are now pleased to announce the public access to the catalogue and digitized database of the materials known as the “Akamatsu Records Papers,” which comprise the survey records of temple treasures in Kyoto prefecture. This is a record of the documents dated from 1941 collected in the comprehensive treasure survey conducted throughout Kyoto Prefecture. The survey was spearheaded by AKAMATSU Toshihide (1907–1979), who had served as Director of the Cultural Properties Protection Division. While some volumes are missing, the surviving collection comprises 92 ledgers and 21,871 investigation reports covering 1,581 temples. This is a unique database in which the information on cultural properties contained within all Akamatsu records papers previously held as internal documents by Kyoto Prefecture were digitized and have been catalogued as comprehensively as possible. Among the temple treasures surveyed are original items already lost to disaster or theft, making their records exceptionally valuable as they document the state of Kyoto’s temples as of over eighty years ago. Digital images of the records are available to view in the TOBUNKEN Library, and sections of the catalogue can be accessed via the website of TOBUNKEN. We are also progressively organizing other materials deposited by the Kyoto Prefecture Board of Education, which will be made available in due course.
It took approximately five years to digitize and organize the Akamatsu Records Papers, during which time five student assistants devoted considerable effort to data entry. We hope that this database will prove useful for research into cultural properties, and would like to express our heartfelt gratitude to all those who contributed to its creation.
In 2014, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) established a database of cultural property information using WordPress (https://
ja.wordpress.org/), a web content management system, which is still in operation (https://www.tobunken.go.jp/
archives/). Insights gained through approximately ten years of operation have been reported periodically at academic conferences and related venues. Most recently, on November 2, 2025, at WordCamp Kansai 2025 (https://kansai.wordcamp.org
/2025/), a conference organized by the regional WordPress community, Mr. OYAMADA Tomohiro, Mr. ISHIBAI Hideyuki, and Ms. FUTAGAMI Yoko of the Department of Art Research, Archives and Information Systems, presented a session entitled “Reconsidering WordPress from the Perspective of Database Structure.”
While a large amount of information is publicly available regarding WordPress screen design and data input methods, relatively little attention has been paid to its database structure. At TOBUNKEN, WordPress has been employed as a platform for publishing cultural property information databases, and since the beginning of its operation we have addressed the challenge of how to effectively integrate this information into WordPress’s database architecture. In the recent session, we explained the data storage mechanisms of WordPress from this perspective, drawing on concrete examples from the databases that the Institute has made publicly available to date. The presentation also reported on experimental attempts to handle large image files in WordPress by converting them into text through Base64 encoding, and a comparison between WordPress and Omeka S (https://omeka.org/s/), a content management system specifically designed for publishing cultural property information.
During the question-and-answer session, concerns were raised about whether the Institute’s experimental approaches might lead to slower page loading times. While display speed is an important performance indicator for general websites, we explained that for TOBUNKEN, these experiments also served to examine the possibility of creating backups through printing text-based content.
Through this session, it became clear that the technical priorities involved in managing and preserving cultural property information differ from those of typical blogs or corporate websites, a perspective that attracted considerable interest from conference participants. Going forward, in addition to disseminating cultural property information, TOBUNKEN will continue to study optimal methods for its management and long-term preservation.
Photo 1: Nagauta performance (From left, Mr. KINEYA Katsushizu and Mr. KINEYA Katsujiro)
Photo 2: Ryūkyū traditional music performance (Mr. TANAHARA Kenta)
Photo 3: Round table talk (From right, Ms. OSHIO Satomi, Mr. IIDA Tsutomu, Mr. KINEYA Katsushizu, Mr. KINEYA Katsujiro, and Mr. TANAHARA Kenta)
On November 7, 2025, the 19th Public Lecture, titled “Inheritance of Traditional Performing Art Considered through Promotional Efforts,” was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), in the basement seminar room.
At the beginning of the first half of the Public Lecture, Ms. MAEHARA Megumi, Head of Intangible Cultural Properties Section, explained the purpose of the lectures. Afterwards, Mr. IIDA Tsutomu, Senior Specialist of Textbooks for Elementary and Secondary Education in the Ministry of Education, Culture, Sports, Science and Technology, Japan, provided a lecture titled “The National Curriculum Standard and Traditional Performing Arts Described in the Textbooks.” In this lecture, he described the National Curriculum Standard as a key pillar to popularize traditional performing arts in education at schools, and the description of traditional performing arts in textbooks as a guideline for the Standard. Following his lecture, Ms. KAMATA Sayumi, Researcher of the Department, and Ms. MAEHARA conducted presentations titled, respectively, “Efforts to Provide Traditional Performing Arts Experiences in Schools in Tokyo,” and “Efforts to Promote Traditional Performing Arts in and out of Schools in Okinawa.” Through these presentations, the presenters clarified the current situations and challenges in traditional performing arts promotion.
In the latter half of the Public Lecture, Mr. KINEYA Katsushizu and Mr. KINEYA Katsujiro played Nagauta “Kuramayama,” and talked about the opportunities in which they had become engaged in traditional performing arts and their training afterwards (Photo 1, Interviewer: Ms. KAMATA). Afterwards, Mr. TANAHARA Kenta, an Uta Sanshin (Traditional Ryūkyū Music) player, played works titled “Mutouhanafuubushi” and “Saginjyashi syukkwebushi” and talked about how he came to know traditional Ryūkyū music, and some of the challenges he faced during his activities. (Photo 2, interviewer: Ms. MAEHARA).
After the lectures, a round table talk was held in which Ms. OSHIO Satomi, Professor of Miyagi University of Education, who worked for traditional performing art promotion through the training of teachers, joined and exchanged opinions with the other participants on the current situation and challenges regarding training and promoting the traditional performing arts in and outside of schools, from their respective viewpoints of their regions and standpoints. (Photo 3).
The Department of Intangible Cultural Heritage will share the information gleaned at the Public Lecture through collaboration with people of various standpoints and seek solutions for the challenges of promotion and inheritance of intangible cultural properties. We plan to publish a report on this Public Lecture in the next fiscal year.
The Japan Centre for International Cooperation in Conservation and Heritage Commission of Saudi Arabia co-organised a workshop for 3D digital documentation at the National Museum of Saudi Arabia from 2nd to 4th November, 2025. As the application of 3D documentation in the field of cultural heritage has been drawing attention in Saudi Arabia in recent years, our workshop series of 3D documentation was organised for the first time in Saudi Arabia, with the theme of “3D Digital documentation of archaeological objects,” receiving 25 experts as participants who are working in fields such as archaeological excavation and museum management.
During the workshop, lectures were held by lecturers despatched from Japan regarding the basic methods of 3D photogrammetry, and various 3D documentation techniques depending on the object size or occasion of the documentation. In addition to the lectures, participants were divided into five groups and practiced the 3D photogrammetry of sample objects and documentation with a Lidar smartphone application and 3D laser scanning.
On 4th November, an open event titled “XR meet up in Riyadh” was held in the National Museum of Saudi Arabia. Various examples and activities from Japan related to 3D digital documentation were exhibited in the event, as follows: ‘VR experience of Copan in Honduras’ by Komatsu University; ‘XR Heijo-kyo’ by the Nara National Research Institute for Cultural Properties, ‘3D DB Viewer project’ by the National Institute of Advanced Industrial Science and Technology and Nara National Research Institute for Cultural Properties; ‘Kyoto VR’ by Holo Lab Inc.; Scaniverse by Niantic Inc.; and VR experience of Aali royal burial mound in Bahrain and Tanei Temple in Cambodia. The event provided opportunities to experience various utilisations of 3D documentation of cultural heritage widely to the public.
This workshop was organized as a part of the project for Exchanges in International Cooperation for Conservation of Cultural Heritage funded by the Agency of Cultural Affairs.
Professor Emeritus SASAKI Tatsuo giving a lecture
On Saturday, November 8, 2025, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) welcomed Professor Emeritus SASAKI Tatsuo of Kanazawa University as a guest speaker for a lecture titled “Excavating the Archaeological Sites of the Persian Gulf Region.” This event was organized as the seventh session of the “Pioneer Seminars in West Asian Archaeology,” a lecture series launched in 2018 by the Japanese Society for West Asian Archaeology to highlight first-generation researchers who opened new paths in archaeological studies across West Asia and its surrounding regions. Co-hosted with the Society, the seminar was held in a hybrid format—both in-person at the Institute’s seminar room and online—and brought together a total of 90 attendees.
Professor SASAKI, a specialist in the history of inter-civilizational exchange, has focused his scholarly work on the distribution of ceramics while participating in numerous excavations conducted in Japan, and also overseas in Iraq, Egypt, the Indian Ocean, the Persian Gulf, and various desert regions. Despite the often unstable political and security conditions in these areas, he continued his fieldwork, deepened his collaborations with local researchers, and dedicated himself not only to excavation but also to the conservation of archaeological sites.
Drawing from his extensive experience—encountering different research environments and approaches to heritage preservation across countries—Professor SASAKI’s lecture offered valuable insights. It resonated not only with active field researchers, but also with those who have long been inspired by the archaeological and historical world of West Asia, as well as younger generations preparing to enter the field.
Today, at least fiveJapanese-led archaeological missions are operating in the Gulf region. The latest research results, carried forward by the new generation that has inherited the pioneers’ spirit, will be presented in detail at the 33rd Annual Meeting of Excavation in West Asia scheduled for March 21–22, 2026, to be held in the same venue.
Symposium in Tokyo
Symposium in Kyoto
Study Tour: Visiting the Byōdō-in Temple
Due to conflict and prolonged instability, archaeological research and international assistance had been suspended in Iraq for a period of time. In recent years, however, foreign archaeological missions have gradually been returning, and international research on the history of ancient West Asian civilizations, as well as activities for the protection of cultural heritage, have resumed. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has continuously provided support to Iraq, including training programs in Japan and the provision of equipment for conservation and restoration specialists of the Iraq National Museum between fiscal years 2004 and 2010, and the organization of two symposia in 2019 and 2022. At present, one of the key challenges in Iraq is to raise awareness among local communities to ensure the sustainability of cultural heritage protection.
In response to this situation, TOBUNKEN, in cooperation with the Japanese-Iraqi Institute for Archaeological Education of Mesopotamia and the Research Center for Japanese Garden and Historical Heritage at Kyoto University of the Arts, invited three specialists from Dhi Qar Governorate in southern Iraq from November 22 to December 1, 2025 to participate in two symposia held in Japan with the core theme of “Local Communities and Cultural Heritage” and a study tour organized to introduce new ideas and approaches through Japanese examples of site management and the utilization of cultural heritage, and to apply these insights to address challenges in Iraq.
At each symposium, the Iraqi specialists presented the current state of archaeological excavations and site management in Dhi Qar Governorate. They also reported on outreach activities related to ancient Mesopotamian civilization and archaeology, events designed to connect museum collections with local communities, and the results of surveys on perceptions of cultural heritage within higher education.
From the Japanese side, at a Tokyo venue, lectures were delivered by Mr. NAKAO Tomoyuki of the Agency for Cultural Affairs and Mr. MIYOSHI Seicho of Hida City on the current status of Japan’s cultural property protection policies and initiatives undertaken by local governments. At a Kyoto venue, a keynote lecture on the site management of Byōdō-in Temple and its collaboration with local communities was given by Prof. NAKA Takahiro of Kyoto University of the Arts. In addition, Mr. YAMADA Takafumi of the World Heritage Office of Nara Prefecture spoke on guidance for municipal officials responsible for World Heritage sites and collaboration with school education, while Prof. USAMI Tomoyuki of Kyoto University of the Arts introduced student- and citizen-participatory support activities, including a web-based GIS mapping of cultural heritage in Iraq. Through these presentations, the characteristics and challenges of public outreach activities in both countries were shared, and active discussions were held on effective strategies for increasing opportunities for citizens to engage with cultural heritage.
During the invitation period, the Iraqi specialists also visited archaeological sites and museums in Tokyo and Kyoto between the two symposia. They were able to bring valuable information relevant to addressing challenges back to Iraq, including the advantages of site museums; methods of site presentation, such as the indication of remains through reconstructed buildings and plantings, and in situ preservation using protective shelters; as well as interpretive approaches employing VR and AR technologies and multilingual video materials.
We hope that the methods and knowledge gained in Japan will contribute to the future advancement of cultural heritage protection in southern Iraq, and we will continue to strengthen our cooperative efforts going forward.
Commemorative photo with trainees, the Latin team, ICCROM representatives, and the Japanese team
Practical training session conducted by the Japanese team
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has jointly organized the ‘International Course on Conservation of Japanese Paper in Latin America’ in Mexico City since 2012, together with ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) and CNCPC-INAH (The National Center for Cultural Preservation, The National Institute of Anthropology and History). Compared to North America and Europe, the Latin American region is considered to have fewer opportunities for training and information exchange regarding cultural property conservation and restoration. Therefore, by targeting this region, the training program aims to contribute to the preservation and restoration of paper cultural properties in the region.
The course was held from November 12 to 26, 2025, marking its ninth edition, welcoming a total of nine trainees from six countries: the Argentine Republic, the Plurinational State of Bolivia, the Republic of Chile, the Republic of Colombia, the Republic of Guatemala, and the United Mexican States.
The first half of the training was conducted by the Japanese team of instructors and the second half by the Latin team of instructors from the United Mexican States and the Kingdom of Spain. The first half provided foundational knowledge on Japanese restoration techniques for paper-based cultural properties, including lectures on washi, traditional Japanese paper, and restoration techniques for such materials. Practical sessions focused on highly applicable techniques, tools, and materials.
Participants expressed very high satisfaction with the training. They greatly valued the opportunity to learn directly through hands-on experience with washi and Japanese techniques, and to gain an understanding of the underlying philosophy behind them.
Furthermore, the instructors for the Latin team included Mexican experts who had previously attended the courses, including the ‘International Course on Conservation of Japanese Paper’ at TOBUNKEN, which has been running for over 30 years. This steady capacity building abroad represents a significant achievement for our institute. We hope the techniques, knowledge, and personal connections fostered during this training will further contribute to the preservation of cultural properties both domestically and internationally.
Survey of wall painting condition using a checklist
An example of a wall painting under investigation
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in Joint research on the maintenance, management, and conservation-restoration of mural paintings under the “International Research on Conservation and Restoration Techniques for Cultural Heritage” program.
As part of this initiative, we are collaborating with the Ministry of Culture and Media of Croatia, the Museum of Istrian History and Maritime Heritage, and the University of Zagreb to develop a maintenance management system for wall paintings in churches in the Istrian region, located in the northwest of Croatia. This region is home to numerous mural paintings created from the medieval period to the Renaissance, with over 150 works currently documented. The aim of this research is to investigate and record the state of conservation of these wall paintings, and to share the collected data among experts to help in their maintenance and management.
From November 3 to 7, 2025, we visited sites in the region and conducted a third pilot test using a checklist. In this test, based on the results and issues identified in the previous investigation, we reviewed and refined the checklist items to obtain more accurate assessment results, confirming further improvement in its practicality. The local institutions expressed a deep understanding of and strong interest in this project, along with a strong desire to continue their cooperation in the future. Moving forward, we plan to further develop the collaborative relationships that have been built so far, and, under a more robust research framework, continue our practical efforts toward establishing a sustainable maintenance and management system that will contribute to the conservation and utilization of the wall paintings.
Statue of Saint Zanobi
X-ray imaging of the statue
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in a research survey on stucco decoration and clay statues under the research project “Technology for the Conservation and Restoration of Cultural Heritage” program.
From November 8 to 12, 2025, we visited Florence to conduct research and present our findings on the clay statue groups created by late Renaissance and Mannerist sculptors Pietro Francavilla and Antonio di Annibale Marchissi. These sculptures were originally produced as elements of a temporary façade erected at the Santa Maria del Fiore Cathedral in 1589 to celebrate the wedding of Grand Duke Ferdinando I de’ Medici of Tuscany and Christine of Lorraine. After the temporary structure was dismantled, the works were placed for a time along the nave walls inside the cathedral. In the nineteenth century, they were moved to the attic space on the northeastern side of the cathedral dome, where they remain today under the care of the Opera di Santa Maria del Fiore.
In the recent results briefing, we shared within our research team the findings obtained through the non-destructive investigations conducted to date— including photographic documentation using visible, infrared, and ultraviolet light, X-radiography, fiberscope exploration, and 3D measurements. These investigations enabled us to identify key structural features, such as the multi-layered composition centered on clay and the design based on the modularization of individual components. We also confirmed traces of surface finishes and gilding, providing important clues to the original production processes of the works. Going forward, we plan to gradually shift toward micro-destructive analyses involving limited sampling—conducted under appropriate ethical standards and with full consideration for conservation science— to obtain detailed information that cannot be adequately captured through non-destructive methods alone. Through this approach, we aim to clarify the correlation between the works’ structural characteristics and their deterioration mechanisms, and ultimately contribute to the development of appropriate conservation and restoration strategies.
Furthermore, this study aims to clarify both the universality of stucco decoration and clay statue traditions—elements that have been transmitted across regions and historical periods—and the diversity of their technical developments. As an interdisciplinary endeavor that spans art history, conservation studies, materials science, and cultural heritage studies, the project depends fundamentally on the international exchange of knowledge and collaborative research. Moving forward, we intend to strengthen our partnerships with specialists around the world and deepen interdisciplinary dialogue, thereby advancing our work in a steady and informed manner as we strive to open new frameworks for understanding within the field of cultural heritage research.
