| ■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 |
|
27th Seminar: “International Cooperation in Cultural Heritage amid the COVID-19 Pandemic”
International cooperation in cultural heritage is facing many challenges due to the spread of COVID-19. The Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage) held a webinar on “International Cooperation in Cultural Heritage under the COVID-19 Crisis” on September 5th, 2020. The purpose of the webinar is to share detailed information on how each project deal with the situation as well as to discuss the future possibilities of international cooperation in cultural heritage.
For the first report, “Conservation Project of Angkor Archaeological Park under the COVID-19 Crisis,” Dr. NAGAOKA Masanori (from the UNESCO Phnom Penh Office) who participated in the webinar from Cambodia, explained that tourism around Angkor has been severely hit as the number of tourists has decreased due to the COVID-19 pandemic while APSARA national authority, the administrative body of the Angkor, took advantage of the situation to undertake large improvement projects (which had been put on hold) around the site and new studies.
For the second report, “An Example of International Cooperation Project Utilizing Digital Tools,” Associate Dr. WATANABE Nobuya from Chubu University introduced the cooperation project for remotely supporting the 3D documentation work of endangered cultural heritage in Syria during the ongoing conflict.
Following the two reports, Mr. SEKI Yuji of the National Museum of Ethnology served as the moderator and the four panelists including Mr. TOMODA Masahiko of Tokyo National Research Institute for Cultural Properties, and Mr. YAMAUCHI Kazuya of the Research Institute of Cultural Properties, Teikyo University discussed about the possibilities and difficulties of online training and remote research and conservation projects with digital tools.
JCIC-Heritage will continue to make efforts to collect and disseminate information of the challenges and the trial of projects under the COVID-19 Crisis. We are hoping that the accumulation of these knowledge and experiences will be fully utilized for the post-Covid-19 international cooperation in cultural heritage.
For details about this webinar, please refer to the URL below:
http://www.jcic-heritage.jp/jcicheritageinformation20201110/
Mr. Shirono showing how to hold a camera properly
Study and documentation of cultural properties are means to develop a deeper understanding of them. Dissemination of the documented information provides many people with opportunities to become familiar with such properties. It also provides a basis for restoration if any cultural property were to be damaged. Therefore, documentation is necessary in terms of these properties’ preservation and utilization. On the subject of photography, which is a means to document cultural properties, Tokyo National Research Institute for Cultural Properties held the seminar, referred to in the title, at the Uehara Museum of Art in Shimoda City, Shizuoka Prefecture, on August 24th, 2020. The seminar was organized with the support of the Shizuoka Prefectural Museum Association as well as in collaboration with the Museum. Eleven people, including staff of museums and art galleries, and local government officials in charge of cultural properties in Shizuoka Prefecture, participated in the seminar. For the seminar, the Uehara Museum of Art took proper measures to prevent the spread of COVID-19, which included keeping distances between seats, ventilation of the lecture rooms, and temperature checks of the participants.
The seminar comprised a morning and an afternoon session. In the morning session, Mr. Tajima Sei, chief curator of the Uehara Museum of Art, shared his photography experience during his research on temples, followed by an open discussion on issues regarding photographing in the participants’ daily activities. Mr. Shirono Seiji, an artificer of the Department of Art Research, Archives and Information Systems at Tokyo National Research Institute for Cultural Properties, answered participants’ questions. He also explained, using examples, the importance of photographing focused on the significance of the subject which should be recorded.
In the afternoon, participants took photos of three artworks owned by the Uehara Museum of Art, using their own cameras. Mr. Shirono explained photographing methods and techniques, including the best lighting to draw out the character of the work, as well as how to properly record colors by manually setting the camera’s white balance. He also showed participants how to operate the photographing equipment. The afternoon session provided hands-on practice as curators of the Uehara Museum of Art, including Mr. Tajima, also gave an exposition of the research techniques of the work.
The seminar was well received as participants said it was fruitful and productive. It was meaningful for us as well, as it provided us with an opportunity to hear about issues on photography directly from the participants. We would like to show our deepest appreciation to the Uehara Museum of Art and its staff for their great support in planning and organizing the event. We will continue to improve our hands-on seminars, building upon this valuable experience.
Exhibit in Japanese Gallery (Honkan) Room 14 of the Tokyo National Museum
The Exhibition’s Dedicated Website
An exhibition regarding research notebooks of Imaizumi Yusaku (1850–1931), Hirako Takurei (1877–1911), and Tanaka Ichimatsu (1895–1983) owned by Tokyo National Research Institute for Cultural Properties, as well as research notebooks of Doi Tsugiyoshi (1906–1991) owned by the Kyoto Institute of Technology, and others was held at the Tokyo National Museum from July 14th to August 23rd, 2020. The research notebooks of Tanaka Ichimatsu and Doi Tsugiyoshi were showcased at the exhibition “Making notes of Japanese Art History―The research notes of Aimi Kouu, Tanaka Ichimatsu, and Doi Tsugiyoshi” held in 2018 (organized by the Kosetsu Memorial Museum, Jissen Women’s University and the Museum and Archives of Kyoto Institute of Technology). However this time, their notebooks were exhibited together with two artworks owned by the Tokyo National Museum. In the past, when it was not easy to take photos, the principal method of research was to sketch artworks by hand. It is possible to go through the whole process of the study, from the way the researcher worked with each subject to how they recorded and evaluated them, by studying these research notebooks. Reservations were required for the exhibition with the purpose of preventing the spread of COVID-19. However, as a special exhibition “KIMONO: Fashioning Identities” was held at the same time, many people visited and enjoyed the exhibition. A special website was also launched for the exhibition (https://www.tobunken.go.jp/exhibition/202007/).
This website continues to be accessible. Please visit the site to view the pages of research notebooks that were not presented at the exhibition as well as transcriptions of the research notebooks.
A scene from the seminar
A page of “Portrait of a Man” in Duveen’s collection in Sandro Botticelli by YASHIRO
At the 3rd seminar organized by the Department of Art Research, Archives and Information Systems held on August 25th, YAMANASHI Emiko delivered a presentation titled “Correspondence between Joseph Duveen and YASHIRO Yukio archived in the Getty Research Institute”.
YASHIRO Yukio (1890-1975) played an important role in the establishment of the Institute of Art Research, which is now Tokyo National Research Institute for Cultural Properties, studied in Europe from 1921 to 1925, and published a book titled Sandro Botticelli (Medici Society, 1925) in English as a result of his study under Bernard Berenson (1865-1959). Berenson was known as a masterful scholar of Renaissance paintings living in the Villa I’Tatti with a large garden near Florence, Italy. It is said that Berenson’s financial success had been based on a contract with Joseph Duveen (British nationality, 1869-1939). Duveen had galleries in New York, Paris and London and helped American millionaires such as Henry Clay Frick (1849-1919) and John D. Rockefeller (1839-1937) collect classical European paintings. He also founded the Duveen Wing in the Tate Gallery in the U.K.
Yamanashi translated and analyzed the correspondence between Duveen and YASHIRO and found that YASHIRO sent letters to Duveen as a pupil of Berenson before the publication of his book on Botticelli asking for research of paintings in Duveen’s collection after whichYASHIRO sent his opinion on each work. Some letters reveal that Duveen had been interested in Japan in the 1920’s as a market for classical European paintings and expected YASHIRO to mediate. This seminar gave new aspects to the study of YASHIRO as an art historian as well as the history of European painting collections in Japan.
The website of “COVID-19 and Intangible Cultural Heritage”
The spread of the novel coronavirus (COVID-19) has been continually causing a serious impact on the safeguarding of intangible cultural heritage at in Japan and abroad.
For example, in the field of traditional performing arts, performances face forced cancellation or postponement, or the reduction of the number of seats even if performances resume. The production of musical instruments and costumes to support traditional performing arts also has been suffering from a serious impact caused by the decline in demand. In the area of traditional craftsmanship as well, we can observe negative effects like restrictions on holding exhibitions, which serve as the occasions to present work, and limitation on opportunities and venues for sales. Furthermore, we know these traditional performing arts and craftsmanship are, in most cases transposed to the next generation through face-to-face training and skill transfer, facing serious diminution of such opportunities.
We can also observe serious impacts on folk performing arts, customs, and techniques handed down in local regions. Regarding these intangible folk cultural properties, it is true that the aging and declining population had already made it difficult for many of them to survive in local areas, It is concerned that this COVID-19 pandemic spurs them to further deterioration, now leading a number of them to face possible annihilation.
When it comes to international affairs, there are concerns that the existence of intangible cultural heritage handed down by ethnic groups is at stake in countries and regions already facing challenges in the medical system and sanitary environment.
Although the impacts of the COVID-19 pandemic are generally widespread on tangible and intangible cultural heritage, we believe that the effect on so-called living heritage including intangible cultural heritage is very serious. This is because such heritage is supported by the activities of living humans, and activities by humans are exactly what the COVID-19 pandemic restrains most.
The Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties has been widely collecting information on the effects of the COVID-19 on intangible cultural heritage in Japan and overseas since April 2020. Among them are information on cancellation and postponement of performances, exhibitions and festivities, information on their resumption, information on support (benefits, subsidies etc.) by the government, local public organizations and private organizations, information on new attempts including online distribution and disclosure of performances and exhibitions, information on situations in each country and attempts by international organizations including UNESCO.
We are also working to disseminate some of the collected information. For example, we launched the webpage of “COVID-19 and Intangible Cultural Heritage” (https://www.tobunken.go.jp/ich/vscovid19) on the website of the department. This webpage provides information on supports by the government, local public organizations and private organizations as well as discloses the analytic results of statistical information on postponement, cancellation and resumption of related businesses regarding the effects of the COVID-19 disaster on traditional performing arts. We also launched Facebook Groups “COVID-19 and Intangible Cultural Heritage” (https://www.facebook.com/groups/3078551232201858) on the Facebook page of the Institute to provide information on supports as well as information on new attempts and information on international trends. Anyone who has a Facebook account can join the group as a member and receive information on a regular basis. Also, anyone who has a Facebook account can read articles even without becoming a member.
We are also working to disseminate information through holding forums. In September, we are going to hold “Traditional Performing Arts and Novel Coronavirus” as the forum 1 of “Series Forum: COVID-19 and Intangible Cultural Heritage.” In December, we plan to hold “Intangible Folk Cultural Property in Novel Corona Virus Pandemic (tentative title)” as the forum 2. From the viewpoint of preventing the infectious disease, we have to limit the number of participants and have some presenters participate by recording or remote call. We plan to upload the videos of the forum online for a certain period of time. We will release the details of these forums in our future activity report.
The situation of the COVID-19 disaster is changing from moment to moment, making it already difficult even at present to obtain information on the preceding situation. Therefore, we are going to continuously collect information and comprehensively analyze the data including information not published on websites and in forums so that we will be able to effectively utilize them to contribute to the safeguarding of intangible cultural heritage.
Field survey
DNA base sequence analysis
The Biological Science Section of the Center for Conservation Science has been promoting basic research on a new technology useful for detecting cultural property pests or pest identification methods that use DNA analysis. In order to specify the type of a cultural property pest, we generally identify the species by comparing the characteristics of the external morphology of the pest with information described in pictorial books and specialized guides. The similar external morphology of some pests will make type specification difficult and require specialized knowledge, including dissection and comparison of body details. In addition, we frequently experience a situation that allows us to obtain only limited parts of their bodies. Therefore, we have been analyzing some specific regions of DNA of cultural property pests, creating a unique database of base sequence information specialized for cultural property pests, and attempting to apply the “DNA barcoding” method to conduct type specification by using DNA obtained from unidentified samples.
We conducted a field survey from August 6th to 7th, 2020, in the historical wooden structures in Nikko, Tochigi Prefecture, in an attempt to capture several species of Anobiidae not registered in the database. With no effective traps available to capture target Anobiidae during the field survey, we conducted persistent research, checking every detail of the damaged wooden structures, which resulted in the capture of several species of Anobiidae.
To date, we have determined the DNA base sequences of about 40 major cultural property pests, including the individuals obtained from this field survey, and are now proceeding with the creation of the database. Included in it are many types unregistered in the public database. We can safely say that it is a matter of great importance to build a database specializing in cultural property pests.
Hereafter, we plan to develop technology to identify the pests from their body parts such as legs and wings, extract DNA from molting shells and manure left in damaged parts, and identify the “criminal” that has harmed cultural properties.
In 2020, the novel coronavirus (COVID-19) infection spread all over the world. On April 7, the Japanese government issued a state of emergency to seven prefectures, and on April 16, they expanded the target areas to all prefectures. Facilities possessing cultural properties also found it necessary to prevent the spread of the COVID-19 infection and then they encountered the concerns about the impact disinfection might cause to cultural properties. The Agency for Cultural Affairs issued an administrative contact on April 23, “Regarding the measures for virus removal and disinfection work to be taken by cultural property owners and administrators of facilities for the conservation and public display of cultural properties.”
The Agency warned the departments responsible for cultural properties across the country that disinfecting chemicals could cause deterioration of cultural properties, therefore some cases would require cautions in using those chemicals; and when any department faced the necessity of engaging in disinfection work for cultural properties and needed professional advice, it should consult the Agency beforehand. They asked the following three organizations — the Agency for Cultural Affairs, the National Center for the Promotion of Cultural Properties, and the Center for Conservation Science of Tokyo Cultural Properties Research Institute — to cooperate and provide the service as the consultation desk to respond to the situation. Our Institute has posted on its website that it is available to accept technical consultations regarding disinfection. (http://www.tobunken.go.jp/info/info200424/index.html).
So far, we have received a wide range of consultations including not only on disinfection in museums, art museums, exhibition rooms and storage of archives, but also on the disinfection of buildings as well as folk cultural properties used for festivals. In response to these consultations, our Institute has advised to minimize the usage of chemicals for disinfection and instead employ other infection prevention countermeasures. Even in cases absolutely requiring disinfection, we have advised on how to respond or on how to ventilate in the best possible manner according to each situation. Hereafter, while constantly examining the need for disinfection, we are going to keep responding to the situations as a consultation desk.
Measuring of fine particles in the visitor corridor
The 29th Public Exhibition of the Conservation Facility for Mural Paintings of Takamatsuzuka Tumulus, a National Treasure, was canceled because the number of the cases with novel coronavirus was so increasing. With sufficient infection prevention supervised by public health specialists, the 30th Public Exhibition was held from July 18th to July 24th, 2020. Tokyo National Research Institute for Cultural properties sent four researchers as expositors for the visitors.
In this public exhibition, the azure dragon painted on the east wall, the black tortoise on the northern wall, female figures on the east and west walls, which were restored last year, were placed near the visitor corridor.
Before viewing these wall paintings, we asked visitors to measure their body temperature, report their health condition in the last two weeks, and disinfect their hands frequently. The number of daily visitors were restricted to 100 in the viewpoint of avoiding crowded in the corridor for visitors. While face to face instructions have been done previously, we installed audio guides and answered the questions from visitors outside to protect them against droplet infection. We also ventilated the corridor with a blower, and cleaned the surface inside with alcohol.. As specialists of conservation science, we offered technical supports to insure visitors’ safety, such as monitoring the concentration of carbon dioxide as the index of ventilation and measuring the number of droplet particles with a particle counter to check the air quality.
The application for public exhibition in this coming winter is available form the link below:
http://www.bunka.go.jp/seisaku/bunkazai/takamatsu_kitora/sagyoshitsu_kokai/index.html
AR presentation image of the East Gate after the superstructure was dismantled (technically supported by YAMADA Osamu (Project Professor, Tokyo University of Arts Graduate School))
A year-long permanent exhibition is being held at the Institute’s entrance lobby. Each department or center of the Institute takes turns to arrange this exhibition in yearly shifts to introduce the result of research and projects to the public. In the year of 2020, the exhibition provides an introduction to the ongoing restoration work of the East Gate, as a part of the cooperation project for the conservation and sustainable development of Ta Nei Temple, Angkor, Cambodia. Over two decades, the Japan Center for International Cooperation in Conservation of the Institute has been involved in the cooperation activities at this temple.
In Angkor, since the 1990s when Cambodia emerged from its domestic and political turmoil, the international community including Japan, France, the United States, India, and China has supported conservation initiatives aiming to preserve and repair the splendid architecture in the magnificent monuments, representing the glory of ancient Cambodia. At Ta Nei Temple, it is tried to take the objective of international support a step forward, and promote sustainable heritage conservation in Cambodian circumstances under the conservation masterplan jointly prepared by the Institute and the Cambodian government’s Authority for the Protection and Management of Angkor and Region of Siem Reap (APSARA). The restoration work of the East Gate is the first case to be explored under this conservation masterplan. The Institute provides technical advice and proposals about restoration methods and procedures as well as conducts architectural surveys and archaeological excavations at each phase of the restoration process, while APSARA ensures the budget and implements the onsite work.
Digital documentation techniques, such as 3D laser scanning and photogrammetry—with rapid progress rates—are actively adopted during onsite research activities. Regarding photogrammetry, a full-scale, straightforward application has already been put into commercial use at accessible prices. It could be utilized as a technique with high versatility in the field of heritage conservation in Cambodia and abroad. We have tried to use such digital data during the exhibition, introducing electronic presentations with AR (Augmented Reality) and VR (Virtual Reality) technologies, to provide an interactive experience of the site. We hope that this exhibition rouses your interest in the Institute’s international cooperation efforts for heritage conservation.
http://www.tobunken.go.jp/info/panel200704/index_e.html
Online meeting of the International Cooperation Survey Working Group
Online Interview – International Cooperation Survey
Many different cultures and civilizations have met through the oceans since ancient times. Both the land and oceans have become the stage for international exchanges between humans and objects. New trends have recently gained momentum in revising global history with a focus on oceans, pursuing transformation from a land-centric viewpoint. These new movements require new perspectives on surveys, research, and the protection of cultural heritage related to global exchanges through oceans.
The Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage), whose secretariat was commissioned to the Tokyo National Research Institute for Cultural Properties (TOBUNKEN)by the Agency for Cultural Affairs, proposed the “maritime network” based on the fact that many routes connect regions despite their distance by exchanges over oceans to form networks, and their influence reaches into the inner lands through ports and harbors. JCIC-Heritage attempted to grasp the trends in the protection of cultural heritage related to maritime networks in countries all over the world.
Surveys were conducted using various methods and related activities over two years, including questionnaires targeting 29 institutes in 27 countries, online interviews, forums, and symposia. They revealed various aspects of the exchanges between people, objects, and cultures through the oceans. In addition, we received information on the current status of the protection of cultural heritage related to maritime networks and expectations for international cooperation in these fields. Please read this report: Maritime Network and Cultural Heritage. JCIC-Heritage will continue to collect and disseminate information in the given field. (https://www.jcic-heritage.jp/en/publication/).
The seminar
The year 2019 witnessed the Enthronement Ceremony and Daijosai (Great Thanksgiving Ceremony). These great imperial ceremonies marked the change of the era from Heisei to Reiwa. The memory of the events is still vivid in our hearts. The graceful attire used in those ceremonies must have captivated many of you. How have a series of events that remind us of ancient ceremonies been passed down through the five eras namely the Meiji, Taisho, Showa, Heisei, and Reiwa eras? The presentation, “Imperial ceremonies in modern ages and the usages or practices of the court or military households,” by Mr. TANAKA Jun, a Visiting Researcher, in the seminar of the Department of Art Research, Archives and Information Systems held on June 23rd, 2020, depicted a few aspects of “the tradition” of the Imperial Household in the modern and present age.
Western dress has become common even in the Imperial Household since the Meiji Era, limiting the attire of the Imperial Household to be only used in religious services and rites. Whereas the reduction of the usage of the attire threatened its discontinuation, research on the usages or practices of the court or military households began to increase in importance to avoid such a situation and the result of the research has played an important role in each imperial ceremony. As we compare the attire used in imperial ceremonies in different eras, it can be observed that it has been through not a few changes which can be attributed to visual effects and the question of expense. Mr. TANAKA’s presentation made me recognize the existence of something very common between the manner of imperial ceremonies handing down images of “tradition” while flexibly corresponding to the needs of the ages and the manner of conserving and handing down tangible and intangible cultural properties.
This seminar convened approximately four months after the previous one with a recess in between caused by spread of the new coronavirus. As a preventive measure against viral infection, the venue was changed from the seminar room on the second floor to the seminar hall on the basement level to avoid a crowded place and close contact.
Handing materials over the counter equipped with plastic sheets to prevent droplet infection due to COVID-19.
We reopened the Library of our Institute on June 10th after keeping it temporarily closed since February 28th, 2020, as a preventive measure against the spread of COVID-19. As a continued preventive measure against infection, we have reduced the number of hours and the number of days it is open. Visitors are required to make a reservation in advance, wear a facemask and use nitrile rubber gloves in the Library. We regret the inconvenience caused by this policy. Our staff have been making their best efforts to provide necessary service, securing the safety of all users and staff, while the risk of infection is still high. We deeply appreciate your understanding and kind cooperation.
Please visit the following link to make a reservation.
http://www.tobunken.go.jp/info/info200605/index.html
We also provide a remote copy service, which enables you to obtain necessary materials from home. Although it may take some time before the materials reach you due to a lack of staff working here, it is still well worth trying. We highly recommend that you utilize this option.
http://www.tobunken.go.jp/~joho/japanese/library/copy.html
Study on the reinforcement measures for the foundation structure of the East Gate
The ICC Secretariat visited the restoration work site of the East Gate (courtesy of APSARA)
Tokyo National Research Institute for Cultural Properties provides continuous technical support to the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA) for the conservation and sustainable development of the ruins of Ta Nei Temple in Angkor, Cambodia. Last year, the restoration of the East Gate began under the Conservation and Sustainable Development Plan jointly developed by APSARA and the Institute. APSARA is responsible for securing the budget for materials and labors, as well as implementing the work. The Institute provides technical assistance on restoration methodologies and procedures, as well as cooperation in architectural and archaeological surveys before and during the work.
The possibility of our visiting Cambodia has all but disappeared after March this year, due to the global travel bans implemented to fight the COVID-19 pandemic. However, we cannot suspend the restoration work for our convenience, given that COVID-19 has not spread widely in Cambodia and the Cambodian counterpart has been continued regular site duties. From April, we have been benefiting from the advantages of Information & Communication Technology (ICT), actively utilizing interactive networking services with smartphones, besides normal e-mail messaging, to grasp real-time conditions at the site and hold online meetings as needed.
On the 21st of April, an online meeting was conducted with the East Gate restoration team of APSARA to share the result of the foundation’s geological testing during February and March and discuss restoration methods and structural reinforcement measures, based on the test result. Two of our collaborators, Professor KOSHIHARA Mikio (Structural Engineering) and Professor KUWANO Reiko (Geo-technical Engineering) from the Institute of Industrial Science, the University of Tokyo, joined the meeting. After an in-depth discussion from a scientific perspective, the participants finally agreed on a basic scheme for the restoration and reinforcement with an aim to balance heritage authenticity and structural safety. Under this basic scheme, online meetings were held in May and July to study about treating the foundation and superstructure, respectively. We had interactive discussions and shared ideas, plans, and other useful information, as well as the site’s latest condition, and decided that, at this stage, the concrete restoration/reinforcement method be considered the most appropriate one.
The Technical Session of the International Coordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), organized at APSARA headquarters in June every year, was also postponed, and only the site visit by the ICC co-chairs and the secretariat was done this year. APSARA and the Institute jointly made the progress report and work plan of the project, including the activities mentioned above, and submitted it to the ICC secretariat prior to their site visit. We also held an online meeting with Professor MASUI Masaya of Kyoto University Graduate School, a member of the Ad Hoc Expert Group of the ICC, who supervised and advised us on our recent issues and the project’s work plan and exchanged information about latest information concerning international cooperation on Angkor.
In this way, we accidentally realized a potential of ICT in heritage conservation. Indeed, there is a natural limit to conservation efforts based on telecommunication and remote information sharing because the universal value of cultural heritage is in its object itself. We hope that the world returns to normal, after overcoming the COVID-19 pandemic, and the days of unrestricted international travel are back soon.
Dismantlement of the base platform.
Core sampling.
Tokyo National Research Institute for Cultural Properties (TNRICP) has been providing technical support to the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA) for the conservation and sustainable development of Ta Nei Temple in Angkor, Cambodia. As a part of this project, TNRICP dispatched a total of four members, including an outside expert, to Cambodia between February 26 and March 18, 2020 for 3D documentation of the base structure and an investigation of the foundation’s strength of the East Gate under restoration.
Directed by Associate Professor Dr. OISHI Takeshi, from the Institute of Industrial Science, the University of Tokyo, a 3D laser scanning survey was conducted between February 27 and 28, 2020 to accurately record the state of the base platform including that in the excavation pits at the external corners of it, which were revealed after the superstructure was dismantled. After that, it was originally planned to conduct a flat-plate loading test and uniaxial compression test of the laterite substrate material. However, because of the spread of COVID-19, the experts in charge were unable to join the mission and only a simple dynamic cone penetration test (DCPT) was performed at the site, which was also conducted in December 2019.
DCPT was conducted at 11 points to check the bearing capacity of the soil infill inside the platform and the foundation layer at the outer edge of the platform. The outcomes of the test indicated that test points below the wall structure have generally larger values than that of the central area (under the pavement). Although the factors such as the difference in the climatic conditions at the time the tests were performed (wet and dry season) might affect the test results, the long-term structural weight causing the rammed earth beneath the walls to get compacted could have caused this distinction. It could be interpreted as the soil infill inside the platform has developed a certain degree of strength enough to support the upper weight of the structure at present. In addition to DCPT, a core sampling was also conducted with a hand auger to check the cross-sectional structure, including the lowest layer of the foundation.
Further, indoor material tests were performed by Professor Dr. KUWANO Reiko and Assistant Professor Dr. OTSUBO Masahide, from the Institute of Industrial Science, the University of Tokyo. Three kinds of specimens (original laterite stone, new laterite stone used for replacing deteriorated parts, and lime mortar used for the level adjustment) were tested in the laboratory through uniaxial compression test, etc. The test results indicated that there was no significant difference in the strength of the old and new laterite materials.
The recent global pandemic has also affected our international cooperation project severely due to the difficulty of reaching to the site yet still the request of completion of the project as scheduled. However, we are trying to adapt to this situation by trying to find a way to communicate remotely with the counterparts through effective utilization of online meeting tools and the digital data of the structure that we have created thus far.
The screen of Tobunken OPAC
An art exhibition catalog issued in the Meiji period, which is downloadable in PDF format
To prevent the spread of COVID-19, the Library of Tokyo National Research Institute for Cultural Properties has been temporarily closed since February 28th, 2020, like other facilities of the Independent Administrative Institution, National Institutes for Cultural Heritage. We apologize for any inconvenience. Since the government declared a state of emergency, many staff members of this Institute have been staying home. Thus, countless numbers of people have been forced to suspend their studies at school or at work throughout the world.
Under the circumstances, you can make full use of databases or open access materials via the Internet. The Institute has been working on digitalizing its collection and promoting their further utilization. Through the joint project with Getty Research Institute, we opened to the public more than 900 art exhibition catalogs issued from the Meiji period to the early Showa period on the Internet in October 2019. We are now digitalizing almost 730 titles (1,700 issues) of books printed from woodblocks in the Edo period, which are owned by the Institute, to guarantee their open access. These books will be searchable for browsing from the Getty Research Portal in 2020.
You can browse the digital collection through the joint project with Getty Research Institute from here:
https://opac.tobunken.go.jp/gate?module=top&path=corner/corner.do&method=open&no=1
You can access “Journal of Art Studies,” “Science for Conservation,” “Research and Reports on Intangible Cultural Heritage,” “Yearbook of Japanese Art,” and other publications from the repository of the Institute:
https://tobunken.repo.nii.ac.jp
In addition, you can search for a wide variety of research materials stored in the Institute’s databases through “Tobunken Research Collection”:
http://www.tobunken.go.jp/archives/
We will continue to provide access to free research materials from anywhere, at any time, for the convenience of more researchers.
A scene from the presentation
Tokyo National Research Institute for Cultural Properties has provided its collection of 2,565 art catalogs issued from the Meiji period to the Showa period for public reading for many years. Due to the poor condition of the original art catalogs, we started their digitization jointly with the Tokyo Art Club in 2015 (refer to the April 2015 monthly report: https://www.tobunken.go.jp/materials/ekatudo/206112.html), and they were opened to the public as the Art Catalog Digital Archive in May 2019 (refer to the April 2019 monthly report: https://www.tobunken.go.jp/materials/ekatudo/817176.html).
For the 10th seminar held by the Department of Art Research, Archives and Information Systems on February 25th, 2020, we invited three presenters, who introduced examples of utilization of art catalog digital archives in various fields under the title “Publication of the Art Catalog Digital Archive and Its Future Prospects–Toward New Utilization of Art Catalogs.” The first presentation titled “Utilization of Art Catalogs in the Studies of Buddhist Statues and the Significance of Their Publication” was delivered by Dr. YAMAGUCHI Ryusuke (Senior Researcher of Buddhist Sculpture at the Nara National Museum), the second one titled “Utilization and Development of Art Catalogs in the Exhibition of HIJIKATA Torei (at the Tottori Prefectural Museum)” was presented by Ms. YAMASHITA Mayumi (Curator at the Hosomi Museum), the third one titled “How to Utilize the Art Catalog Digital Archive in the Studies of Craftwork and Its Examples” was delivered by Ms. TSUKIMURA Kino (Curator at the Fukuyama Museum of Art), and the fourth one titled “Problems of Early modern Paintings from the Art Catalog Digital Archive” was presented by YASUNAGA Takuyo from the Institute. The seminar attracted an audience of around 50 people, including curators and researchers from all over Japan. After the presentations, the four presenters held an active discussion about the advantages and disadvantages of the digital archive, as well as its issues and problems. The presenters also answered questions from the audience. The questionnaire conducted at the venue showed that 87% of the audience was “very satisfied” with the seminar.
Meeting of International Terminology Working Group
At the International Terminology Working Group (ITWG) Meeting held in the Getty Center located in Los Angeles, the United States, on February 6th and 7th, 2020, we delivered a presentation titled “Japanese artists, TNRICP”. This presentation reported on the development process of our providing Japanese artists’ name data for the Getty Vocabularies, as part of the joint project between Tokyo National Research Institute for Cultural Properties (TNRICP) and the Getty Research Institute. The ITWG, led by the Getty Research Institute, aims to discuss the common topics on Getty Vocabularies (getty.edu/research/tools/vocabularies/), the controlled vocabularies comprising Art & Architecture Thesaurus (AAT), Getty Thesaurus of Geographic Names (TGN), Union List of Artist Names (ULAN), Cultural Objects Name Authority (CONA), Getty Iconography Authority (IA), and other programs. The meeting generally takes place every two years. This meeting attracted about 35 people from the United States, Taiwan, Belgium, Germany, Brazil, Israel, Croatia, the UAE, Switzerland, the Netherlands, and other countries. Persons in charge of Getty Vocabularies programs reported their current situations and progress in function enhancement, while the institutions involved delivered presentations on pioneering practices in providing data for Getty Vocabularies. During the discussions about issues common to the Getty Research Institute and the institutions concerned, in response to these reports and presentations, useful advice was provided by participants from other countries.
International technical terms and biographical dictionaries are essential in introducing Japanese cultural properties to overseas in local languages. Getty Vocabularies find another way by focusing on today’s technologies and the alliance among the institutions concerned. By providing Japanese artists’ name data accumulated by TNRICP for many years, we aim to disseminate Japanese cultural properties, and support international studies on Japanese cultural heritage.
A scene from the public lecture
On Thursday, February 6th, 2020, the Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties held the 13th public lecture, titled “Technology in Kusatsu Supporting the Textile Technology: Spiderwort-dyed Paper-Blue Made from Flower Petals.”
In the morning session, records on spiderwort-dyed paper were examined by watching films: a documentary film of craft techniques by the Agency for Cultural Affairs, titled “Yuzen – The Textile Art of MORIGUCHI Kako –“ (1988, Sakura Motion Picture),” and a film, titled “Asiatic Dayflower, the Flower of Kusatsu City: Handing Down of Spiderwort-dyed Paper,” produced by Kusatsu City in 1999.
In the afternoon session, there was a lecture describing the outcomes of a joint research on the spiderwort-dyed paper production technique of Kusatsu City, Shiga Prefecture, and Tokyo National Research Institute for Cultural Properties, conducted from 2016 through 2017. The joint research report has been published (refer to the April 2019 monthly report: https://www.tobunken.go.jp/materials/ekatudo/817676.html).
During the course of the lecture, explaining the main points, a documentary film was shown, titled “Recording Process of the Spiderwort-dyed Paper Production Technique” (produced in 2018 by Tokyo National Research Institute for Cultural Properties), which was shot and edited in the joint research. This was followed by a report on a survey by KIKUCHI Riyo from the Institute that explained how both the natural spiderwort blue and its alternative, synthetic spiderwort blue, are now used. The report was in the form of a presentation, titled “Current Situation of Spiderwort-dyed Paper Use – Through a Listening Survey on Textile Technicians.” Adding to this, Ms. OKADA Yumi from the Kusatsu-juku Kaido Koryukan made a presentation titled “Kusatsu City and Spiderwort-dyed Paper – Toward the Preservation of the Spiderwort-dyed Paper Production Technique,” which highlighted the relationship between Kusatsu City and the technique of producing spiderwort-dyed paper as clarified through the joint research, in addition to the present situation. Since the joint research was conducted two years ago, the circumstances surrounding the three farmers producing spiderwort-dyed paper have changed. To hand down the traditional technique to the coming generation, seminars for producers-to-be are now being implemented in Kusatsu City. The report on the current efforts unveiled the need for considering spiderwort-dyed paper as local culture and for protecting this cultural form. ISHIMURA Tomo, Head of the Audio-Visual Documentation Section of the Institute, made a presentation, titled “Spiderwort-dyed Paper as Cultural Heritage,” focusing on how the technique to produce such material should be positioned for protection of cultural properties.
At the end of the lecture, Mr. SUZUTA Shigeto was invited for a round-table-talk, titled “Spiderwort-dyed Paper as a Textile Material.” He was certified as the holder of the Mokuhanzuri Sarasa (wood-block) dyeing technique that was designated an intangible cultural property. The talk reinforced the fact that spiderwort-dyed paper works as a material supporting an important process even in producing works with the technique although it is considered a material to draw designs for Yuzen dyeing and tie-dyeing.
Transfer of technique to produce spiderwort-dyed paper is now at a milestone. One must always bear in mind that protection of intangible culture involves some alteration and hence, there should be scope for a compromise. The lecture was a good opportunity for the audience to understand the dilemma concerning spiderwort-dyed paper and whether it could become a sustainable material.
Brochure “Techniques Supporting Traditional Performing Arts V: Shirabeo by YAMASHITA Yuji”
The fifth brochure of the series addressing “Techniques Supporting Traditional Performing Arts” has been published. This brochure focuses on Mr. YAMASHITA Yuji, manufacturer of “shirabeo” (also called “shirabe”). Shirabeo is a special hemp rope used to tie the front and back leather of small hand drums, large hand drums, and drums used for noh and kabuki plays and in festivals held all over Japan. Mr. Yamashita has been working on the production of shirabeo, nurturing the younger generations, and disseminating production techniques as the fourth head of a long-established store called Yamashita Keishudo (Kyoto), which has been dealing in shirabeo for generations. The brochure mentions a part of the secret technique involved in producing shirabeo as “firmly yet softly twist the rope.” The survey on Mr. Yamashita’s technique in producing shirabeo was conducted prior to the publication of the brochure. The outline of the survey is available in the “Investigation Report on Techniques for Preserving Cultural Properties with Focus on Musical Instruments 2” (MAEHARA Megumi & HASHIMOTO Kaoru, “Research and Reports on Intangible Cultural Heritage” 13, Tokyo National Research Institute for Cultural Properties, 2018). Please refer to the report along with the brochure. (Access here to download the report: https://www.tobunken.go.jp/ich/maehara-hashimoto-2)
The series of brochures is available to those who require it for any non-commercial purpose. It will be delivered by Yu-Pack parcel post for COD. (Please note that the brochure may be out of stock.)
If you require any of the brochures, please send us details of 1. Your name, 2. Postal code & address, 3. Phone number, 4. The brochure you need (I-V) and the number of copies, by e-mail to mukei@tobunken.go.jp (Department of Intangible Cultural Heritage).
• “Techniques Supporting Traditional Performing Arts I: Biwa by ISHIDA Katsuyoshi”
• “Techniques Supporting Traditional Performing Arts II: Koma (Bridge of Shamisen) by OKOUCHI Masanobu”
• “Techniques Supporting Traditional Performing Arts III: Futozao Shamisen (Three stringed lute with thickest neck) by ISAKA Shigeo”
• “Techniques Supporting Traditional Performing Arts IV: Wind Instruments for Gagaku music by YAMADA Zenichi”
• The latest “Techniques Supporting Traditional Performing Arts V: Shirabeo (Tension ropes for drums) by YAMASHITA Yuji”
We will continue to publish brochures focusing on techniques to produce/repair musical instruments as skills to conserve cultural properties.
The Old Sasebo Wireless Transmission Facility and its surroundings at present (Sasebo City, Nagasaki Prefecture)
The front of the communication room in the center of the former Fongshan Communication Center (Kaohsiung City, Taiwan)
The Old Sasebo Wireless Transmission Facility (Hario Transmitting Station) standing on a hill overlooking the Harioseto Strait, which divides Sasebo City and Saikai City, Nagasaki Prefecture, is the remains of a long-wave telecommunication base built by the Navy in 1922. The construction of this group of buildings was undertaken by the Architecture Department of Sasebo Naval District led by MASHIMA Kenzaburo (1874-1941), a naval engineer known for pioneering concrete construction in Japan. The quality reinforced concrete constructions are represented by three huge radio towers 136 m in height. These buildings, which reflect the cutting-edge concrete technology of the day, were designated as important cultural properties in 2013.
Since their designation as important cultural properties, Sasebo City, which manages the Old Sasebo Wireless Transmission Facility (hereinafter Sasebo), has been making arrangements for the conservation and utilization of these buildings as cultural properties. On February 12th and 13th, 2020, the former Japanese Navy Fongshan Communication Center, located in a suburb of Kaohsiung, southern Taiwan, was investigated as part of the activities by the Maintenance Examination Commission, for which the author serves as a member. Fongshan Communication Center (hereinafter Fongshan ) is a long-wave telecommunication base built by the Sasebo Naval District, and it was completed in 1917, five years earlier than Sasebo. Fongshan was used as a guest house or as a training center for the Taiwanese Navy until the 2000s. Fongshan , which is now a facility open to the public, was designated a national ancient monument in 2010. Fongshan was designed by the same organization as Sasebo, and reinforced concrete was used everywhere except in the radio tower, which was a steel tower, an icon of the day (now demolished). A circular road of 300 m radius that surrounds Fongshan and the layout of the central facilities are similar to those in Sasebo. This investigation confirmed that Fongshan, which was consistently used as an educational facility, did not require any large-scale renewal or modification after the war, and still maintains its appearance as in the Japanese Navy period due to the relatively few alterations made to the major buildings. Particularly the communication room located at the center of the facility is built in the same style as in the Sasebo. Fittings such as steel doors and upper and lower window frames, as well as interior wooden floors and staircases, still maintain their original appearance although they were partly damaged in a fire. The transmission room in Sasebo was renovated periodically when Sasebo was used by the Maritime Self-Defense Force and the Japan Coast Guard, in addition to the modifications made for explosion resistance at the end of World War II. Therefore, Fongshan can be an effective reference in studying conservation and restoration principles for Sasebo.
However, Fongshan is considerably different from Sasebo due to the uniqueness of its buildings, which have heavy architectural features, locally called a “cross-shaped radio station,” and give an impression of a combat operations center. For the maintenance of Fongshan, relevant people consider the fact that it was a place to reform political prisoners during the White Terror period (the suppression of political dissidents by the Chinese Nationalist Party government). Its occupation by the Japanese Navy does not attract much attention, leading to several unattended matters. For sharing the issues involved in protecting cultural properties, interactions between Sasebo and Fongshan should be promoted. This would contribute to the development of conservation principles and restoration approaches in the modernization heritage of Japan and Taiwan.
