| ■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 |
|
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.”
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
[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.
