| ■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 |
|
Ongoing consultation
A scene from the lecture; Photo by Sainsbury Institute/Andi SAPEY
The Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), located in
Norwich, the country capital of Norfolk, UK, is among the most prominent institutions for the
study of Japanese arts and culture in Europe. SISJAC and Tokyo National Research Institute for Cultural Properties have been working on a joint project, “Shaping the Fundamentals of Research on Japanese Art,” since 2013. Through this project, documents related to Japanese art that are written in English and published outside Japan are provided by SISJAC and made available on the Institute’s website. Also, as part of the project, researchers of the Department ofArt Research, Archives and Information Systems have been visiting Norwich annually to hold consultations with SISJAC and conduct lectures on related topics. In fiscal 2019, two researchers, EMURA Tomoko and MAIZAWA Rei, visited Norwich from November 20th to 23rd for this purpose.
During the consultation, various issues were addressed, including the number of people accessing the data provided by SISJAC, as well as problems related to a system of transcribing the collected data in general, and the link structure of the web. The Institute and SISJAC agreed to continue the project to ensure better database construction and active data utilization.
On November 21st, EMURA conducted a lecture titled, “The Expression of the Four Seasons in Japanese Paintings,” at the Weston Room of Norwich Cathedral, with interpretation provided by Dr. Simon KANER, Executive Director of the Sainsbury Institute. The lecture was conducted as part of a regular lecture event focused on general audience and offered by SISJAC on every third Thursday of the month. This event saw an attendance of about 150 people, who asked a number of questions after the lecture, thus showing the popularity of Japanese art in the UK. The Institute will globally transmit further information on Japanese art through effective collaboration with SISJAC.
Lecture at Tokyo National Research Institute for Cultural Properties
Lecture at the National Museum of Ethnology
In March 2017, Tokyo National Research Institute for Cultural Properties exchanged a letter of intent with the Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO) and the Research Institute of Cultural Heritage and Tourism (RICHT) to offer its cooperation in various academic fields for the protection of Iranian cultural heritage over the next five years.
During the survey to explore the partner country’s needs conducted in Iran in October 2016, Iranian experts consulted us about the serious air pollution in the capital city of Tehran that resulted in damage to cultural properties. They said that even metal products displayed and housed in the National Museum of Iran might be eroding. Based on this information, we have been conducting seminars regarding the improvement of display and housing environment at Iranian museums since 2017.
In 2019, we invited four researchers, two from RICHT and two from the National Museum of Iran, to Japan for a seminar from November 25th to 29th.
First, lectures on museum environments were delivered at the Institute and were mostly led by SANO Chie, Director, Center for Conservation Science, and Dr. RO Toshitami, in addition to the presentation of a report on the results of air pollution monitoring conducted at the National Museum of Iran in 2018. The lectures on pest control for cultural properties were mostly led by SATO Yoshinori, Head, Biological Science Section, and Associate Fellow KOMINE Yukio.
After the academic program, we visited the Kyoto National Museum and the National Museum of Ethnology. At the Kyoto National Museum, Dr. FURIHATA Junko delivered a lecture on disaster prevention measures before observing the disaster prevention system. At the National Museum of Ethnology, Dr. HIDAKA Shingo, Ms. WADAKA Tomomi, Ms. KAWAMURA Yukako, and Ms. HASHIMOTO Sachi conducted lectures on environmental management, air conditioning, pest control measures, and so on, while taking a tour of the exhibition halls and storage area. Once again, we express our gratitude to all the people and the institutes that have cooperated to support the program.
The Institute will continue to offer its cooperation in various fields for the protection of Iranian cultural heritage.
As cultural properties attract more attention, conservation and restoration measures have been required for works comprised of various materials in recent years. Under the circumstances, conventional measures are inapplicable in many cases. It is of particular importance that we clean the works without diminishing their value.
To meet these growing needs, the Center for Conservation Science invited Dr. Paolo CREMONESI, conservation scientist from Italy, to organize a workshop on basic scientific knowledge of cleaning and usage of gels from October 8th through 10th, 2019. On October 11th, a seminar on restoration measures for cultural properties was also held to raise on-site issues and introduce the latest research on cleaning of Japanese and Western cultural properties.
With regard to the workshop, lectures were delivered in the seminar room in the morning (to 56 participants). During the afternoon training in the conference room, 21 trainees learned how to prepare cleaning solutions used for the restoration of cultural properties and how to actually clean them.
At the seminar, Dr. Cremonesi delivered a lecture on “Cleaning Methods in Western Countries –Application of Gels and the Latest Cases,” in addition to “Cleaning of Oriental Paintings” by Ms. YAMAMOTO Noriko, Representative Director of the Association for Conservation of National Treasures, and “Potentiality of Gels Applicable to Paper and Photo Works” by Ms. SHIRAIWA Yoko, photo restorer. They introduced the current state of restoration sites in the East and the West. TORIUMI Hidemi and HAYAKAWA Noriko from the Center for Conservation Science gave lectures on the “Historical Background of Cleaning Methods Developed for Western Paintings” and the “Development of Cleaning Solutions for Cultural Properties – Introduction of Recent Studies,” respectively.
Dismantling work with a crane truck
Head of a statue found inside the East Gate
Tokyo National Research Institute for Cultural Properties provides 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. During the period from September 7th to November 5th, 2019, the Institute dispatched a total of six members, including outside experts, to Angkor.
In this restoration project of the East Gate of Ta Nei Temple, APSARA is responsible for implementing the dismantling work, while the Institute provides technical assistance, mainly on restoration methodologies, in addition to cooperation indocumentation and other scientific surveys .
The team began dismantling the roof of the gate by using a crane truck after praying for the safety of all persons involved in the work at the ground-breaking ceremony on September 12th. The numbered stone blocks were removed one by one from the top during which each block was measured, photographed, and assessed with its damage condition.
After dismantling the roof part, the tree roots and anthills invading the structure were removed, and the collapsed stones inside the building were taken out. Most of the collected stones, almost 70 in total,were revealed to fell down from the roof or pediment. They seemed to collapse naturally due to aging. Beneath the collapsed stones, broken head (measuring approximately 56 cm in height) of a statue, which could be identified as Lokesvara, was found leaning against the western wall of the south wing. This statue must be significant in that it is expected to shed light on the history of Ta Nei Temple, much of which is still unknown. After the find was documented with photography and 3D scanning to be described, it was moved to store at a APSARA’s facility for further study.
In cooperation with the OISHI Laboratory at the Institute of Industrial Science, the University of Tokyo, the walls and the interior of the gate were documented with a 3D laser scanner, while the Structure from Motion (SfM) technique was used to record the walls in conjunction with surveying the structure in detail. Dismantlement of the walls started on October 16th and ended safely on November 5th with the completion of the required recording.
A series of surveys following the dismantlement process disclosed the fact that the structure was deformed, partly because of the invasion of tree roots and anthills into the stone joints. Uneven subcidence of the foundation and floor surface suggests that the base structure might have some defects. The recovery of structural soundness requires the improvement of the base structure after clarifying the deterioration mechanism. Therefore, we will dispatch the staff again in December to excavate part of the foundation and investigate the ground.
Besides, we attended the meeting of the International Coordination Committee for the Safeguarding and the Development of Preah Vihear Temple (ICC-Preah Vihear) at the APSARA headquarters office on September 18th to collect the latest information. While exchanging opinions with and collecting information from international experts, we will try to find the most appropriate way to conserve the Angkor ruins in cooperation with APSARA.
Church of Santa Maria Paganica (La chiesa di Santa Maria Paganica) in L’Aquila
Well-Maintained Street at Pompeii
Tokyo National Research Institute for Cultural Properties has been providing technical assistance to Myanmar for its restoration project covering the areas devastated by the earthquake in 2016, as well as the conservation and restoration work for the wall painting at the Bagan Ruins. During our visit to Italy on October 9th-27th, 2019, we conducted surveys in L’Aquila City and Pompeii Ruins, where post-quake reconstruction activities and conservation efforts have been in progress, so as to emulate the model in the improvement plan for Bagan.
Reconstruction activities have been continuing in L’Aquila even 10 years after an earthquake struck the Abruzzo Region in 2009. According to the experts engaged in the project there, around 50% of the affected areas have just been reconstructed. Since many of the devastated building structures have murals and decorative stucco, the restoration planning requires multiple points of view. As a result, the complicated project delayed the progress of the restoration work. However, since the reconstruction activities took these aspects into consideration, the conservation of the historical landscape has been remarkable.
On the other hand, the maintenance project covering a vast area at the Pompeii Ruins has been underway for more than 100 years. We exchanged opinions with the Archaeological Superintendency of Pompeii on how we should deal with conservation and restoration policies as times change, as well as the difficulties in the comprehensive maintenance of the entire site.
In this survey, we reconfirmed the importance of planning from a comprehensive viewpoint for the conservation and restoration of cultural property consisting of multiple elements. To pass down the vast site to the coming generation, maintenance effort, which is the best way to minimize the burden on the cultural heritage, is important. In the field survey planned for Bagan in January 2020, we will report the outcomes of these surveys, while also repeatedly consulting with local experts about protection activities suitable for the ruins.
Dyeing with natural dyes
Analysis of a material possessed by the Museum of the Mother See of Holy Etchmiadzin
Completion ceremony
Tokyo National Research Institute for Cultural Properties organized a 10-day workshop beginning October 7th, 2019, on the conservation of historic textiles, in collaboration with the Ministry of Education, Science, Culture and Sport in the Republic of Armenia. Based on the cooperation agreement on cultural heritage protection established between the Institute and the Ministry of Culture (at that time) in 2014, this was the third workshop to be organized since 2017.
This workshop was conducted at the Scientific Research Center for Historical and Cultural Heritage and the Museum of the Mother See of Holy Etchmiadzin, with Dr. ISHII Mie, Associate Professor of the Faculty of Art and Regional Design at Saga University, and Ms. YOKOYAMA Midori, expert in embroidery, serving as lecturers like in the previous year. Fourteen trainees from seven institutions, such as museums and galleries in Armenia, attended the workshop. At the Center, silk and cotton cloth was dyed with natural dyes such as indigo and madder while preparing standard samples to identify the dyes actually used in historic textiles. At the Museum, the historic materials in its possession were analyzed for specific techniques.
Director General of the Institute SAITO Takamasa granted a completion certificate to each trainee at the completion ceremony held the last day. The workshop program, organized for three years, has finally ended. We sincerely hope that the Armenian people will not only contribute to the conservation and restoration of their cultural heritage based on the knowhow they have acquired, but also hand down their techniques and knowledge to the coming generation.
Practical work on the usage of brushes
Group photo of course participants
From October 30th to November 13th, 2019, the International Course on Paper Conservation in Latin America: Meeting with the East was held as part of the LATAM program (conservation of cultural heritage in Latin America and the Caribbean). This course has been jointly organized by Tokyo National Research Institute for Cultural Properties (TNRICP), the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), and the Instituto Nacional de Antropología e Historia (INAH). It has been held since 2012 at the Coordinacion Nacional de Conservacion del Patrimonio Cultural (CNCPC), which belongs to INAH, in Mexico City. The course sought to provide attendees with basic knowledge and techniques regarding traditional Japanese paper, adhesives, and tools so that the knowledge and techniques could be used to help conserve cultural properties in the attendees’ home countries. This year, 9 conservation specialists from 8 countries (Argentina, Brazil, Chile, Colombia, Mexico, Peru, Spain and Venezuela) participated.
Japanese specialists were in charge of the first part of the course (October 30th to November 6th). They offered lectures on the protection system of cultural properties in Japan; tools and materials used in restoration, such as Japanese paper and adhesives; and “Restoration techniques for mounts” which is one of the Selected Conservation Techniques in Japan. The practical work on linings using these tools and materials was carried out with the cooperation of CNCPC staff members who had learned the techniques for several months at TNRICP.
In the latter half of the course (November 7th to 13th), lectures were given by experts from Mexico and Spain who had completed the International Course on Conservation of Japanese Paper at TNRICP. They spoke about how to select materials and apply their techniques to Western paper cultural properties.
The participants could gain a deeper understanding of conservation materials, tools and techniques used in Japan through this technical exchange. We hope that the knowledge and techniques they acquired in the course will be applied to the conservation and restoration of cultural property overseas.
Example of Kanji Variants in the Japanese Language
System to Search All Possible Variations through Comprehensive Retrieval
The International Council of Museums (ICOM), created in 1946, is a non-government organization aimed at exchanging and sharing information on museums. The general conference, which is held for all of its International Committees every three years, took place in Kyoto this year. Three staff members from the Cultural Properties Information Section attended the conference to deliver a presentation titled “Two Solutions for Orthographical Variants Problem” at CIDOC, ICOM’s International Committee for Documentation.
One of the features of the Japanese language is its varied orthographic system, under which you use kanji, hiragana and katakana quite differently. However, this system results in creating orthographical variants, such as龍 and竜, as well as藝 and芸, causing search omissions. Focusing on personal names, we reported our own way of coping with all possible variations for the database of our website.
Orthographical variants are not unique to the Japanese language. For example, some systematic solution is required for the English retrieval system if the results of the plural form should also be shown when you perform a search in a singular form. Cultural properties have their universal value although there are some issues originating in locality in their documentation. We would like to consider the universality and locality in cultural properties from the aspect of system infrastructure.
Presentation for ICFA committee at ICOM Kyoto
For a week, from September 1st to 7th, ICOM Kyoto 2019, the 25th General Conference was held at the Kyoto International Conference Centre as its main venue.
At the ICFA’s (International Committee for Museums and Collections of Fine Arts) individual session “Asian Art in Western Museumns, Western Art in Asian Museums II,” KOBAYASHI Koji from the Department of Art Research, Archives and Information Systems delivered a presentation titled The Minakuchi Rapier, European Sword Produced in Japan jointly with Ms. NAGAI Akiko from the Koka City Minakuchi History and Folkroe Museum.
The Minakuchi Rapier (cruciform sword possessed by Fujisaka Shrine in Koka City) was produced in Japan modeled on a European sword, which was brought Japan in the early 17th century. We have been researching this sword together with experts at home and abroad since 2013. Part of the processes and outcomes have been reported through the articles, “the 10th Seminar Held by the Department of Art Research, Archives and Information Systems ‘Study of the Western Cruciform Sword Possessed by Fujisaka Shrine in Koka City’” (https://www.tobunken.go.jp/materials/katudo/243895.html) and “Research of the Western-style Cruciform Sword Possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture by an Expert from the Metropolitan Museum of Art and an Initial Report at the 7th Seminar Held by the Department of Art Research, Archives and Information Systems” (https://www.tobunken.go.jp/materials/katudo/247392.html).
For this presentation, the later result of analyzing the sword blade at SPring-8 (large-scale synchrotron radiation facility) and historical examination from an overall point of view was added. This presentation aimed at disseminating to the world, including Europe and the United States, the fact that such Western swords existed in Japan in the 17th century when cultural exchange was occurring globally, and that a sword was imitated at that time and has been handed down up to the present time.
At the fully occupied presentation venue, the audience showed much interest in the existence of such a cultural property in Japan through a variety of questions and discussions, including on the background of producing a Western sword replica.
Ongoing Seminar
At the 6th Seminar held by the Department of Art Research, Archives and Information Systems on September 24th, 2019, KOBAYASHI Koji, Head of the Trans-Disciplinary Research Section, delivered a presentation titled “Formation Process of Namban Lacquer and Its Dating – Examination Especially Focusing on Christian Portable Oratory.”
There is no consensus on when and how Namban lacquer, which was produced in Kyoto and exported mainly to Europe and America in the early 17th century, started to be utilized. So far, among portable oratories, in which Christian sacred paintings are placed, much attention has been paid only to the ones produced as Namban lacquer. The presenter comprehensively examined the portable oratories produced for Japanese Christians as well, which continued to be handed down to this day in the Sendaiji and Shimo-otowa areas in Ibaraki City, Osaka, well-known as settlements of crypto-Christians; these oratories include the one owned by the General Library of the University of Tokyo, which has a the painting of Christ by NIWA Jacob, who learned painting in seminary in Japan, in addition to the Namban lacquer portable oratories scattered around the world. Among them, a group of oratories without decorative pattern on metal fittings were extracted and compared with a makie decorated Chinese-style chest owned by Toyokuni Shrine, with a miniature shrine ornamented by Namban lacquer patterns of Kodaiji-style makie and raden decoration made for a statue of TOYOTOMI Hideyoshi possessed by Richi-in Temple in Misaki Town, with a relatively older makie shelf having metal fittings, and others. As a result, the presenter concluded that the oratories with no decorative metal fittings are the oldest, estimated to have been produced between the latest 16th century and the earliest 17th century.
This dating of older oratories matches the presenter’s dating of Namban lacquer lectern, which had been estimated to be produced from the early 17th century, i.e., a little later than oratories.
The examination was aimed at exploring the formation process and dating of Namban lacquer. If these results are accepted, it might become a catalyst for reconsideration of various issues involving painters or production areas of sacred paintings and frames placed in the portable oratories, on the reality of Christianity and trade in Japan around the early 17th century as well as the relations between TOYOTOMI Hideyoshi /the Tokugawa shogunate and the Anti-Christian Edicts/Christian missions.
At the seminar attended by Dr. TAKEDA Eri, a restorer of Western early paintings, Professor KOIKE Tomio from Tsurumi University, and many other researchers in related fields from the art museums organizing exhibitions of lacquerware from the Momoyama period, lively discussions were held on diverse topics, right from methodology to various other aspects.
Scene of winnowing
On September 23rd, 2019, the fourth “Workshop on Winnowing Baskets” took place for interested persons at Tokyo National Research Institute for Cultural Properties.
The series of workshops aims to research the techniques and cultures involved in “winnowing baskets” as folkcraft articles, used for screening and carrying threshed grains, considering the inheritance of them to be important. Originating in the “Summit Conference on Winnowing Baskets – Discussion of Weaving Techniques” held here in 2017, the workshop was organized by those who are interested in winnowing baskets, such as specialists in folk studies, archaeology, design engineering, and botany, as well as craftsman, sellers, and users of winnowing baskets and other handicrafts. We have been sharing our research outcomes and issues through the workshop held almost biannually.
For the fourth workshop, winnowing experiments were conducted with baskets produced in various areas, in addition to the research reports. Wheat, rice, and perilla were screened with winnowing baskets named Omogishi (Iwate Pref.), Oidara (Akita Pref.), Kizumi (Chiba Pref.), Ronden/Kumanashi (Toyama Pref.), Awa (Tokushima Pref.), and Hioki (Kagoshima Pref.) (production techniques for Oidara, Kizumi, and Ronden/Kumanashi ones are designated as national intangible folk cultural properties), in addition to Chinese willow ones, Korean wickerwork ones, and Malaysian ones. Actual comparison between these baskets allowed us to deepen the understanding of their functions and arrive at a basic date to verify the significance of their individual shaping and material selection as well as the differences in user-friendliness (functionality) according to areas.
The workshop will enhance studies on winnowing baskets produced in a variety of areas and reflect on the inheritance of their production techniques and cultures of usage together with their craftsman and sellers.
Watching the land under slash-and-burn agriculture in Shiiba village, Miyazaki Prefecture
The Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties has been conducting research exchanges with the National Intangible Heritage Center in the Republic of Korea since 2008. As a part of the interaction, the department welcomed Ms. Kang Kyeonghye from the center as a visiting researcher from September 17th through October 4th, 2019.
The theme of her research during the visit was agricultural folk technology as an intangible cultural heritage in Japan; particularly, the current slash-and-burn agriculture practiced here. Therefore, we accompanied her to field studies as support from the department.
During her stay, she conducted field work twice. First, she visited Ikawa in Shizuoka City, Shizuoka Prefecture, which is a mountain area above the Oi River. Slash-and-burn agriculture had flourished until World War II in the area. Shortly after the war, it declined so drastically that it was maintained only for the cultivation of foxtail millet, which was used for rites of the shrine. In recent years, however, a private organization has taken the initiative to revive slash-and-burn agriculture to encourage the growth of traditional crops.
Second, she visited Shiiba village in Miyazaki Prefecture, an area located in the middle of the Kyushu Mountains. Slash-and-burn agriculture had also flourished there until the war. In the post-war period, it almost disappeared. However, one farm family has been sustaining the cultivation technique. Recently, a new association was established to preserve the technique while schoolchildren were taught about slash-and-burn agriculture as part of a work-study program, in addition to the promotion activities by a group led by the farm family. The slash-and-burn agriculture in Shiiba village was designated as an intangible folk cultural property by the Village in 2012, and then by the Prefecture in 2016. It is now well-known as the Takachihogo-Shiibayama Site by the Globally Important Agricultural Heritage Systems (GIAHS) after the certification in 2015.
In Korea, the Act on Conservation and Promotion of Intangible Cultural Properties was enforced in 2016, which raised interest in traditional knowledge as an intangible cultural heritage. From 2017 to 2020, the Cultural Heritage Administration has been investigating the traditional agricultural knowledge that exists until today. The data is to be accumulated as basic information or used for the designation of cultural properties. However, Korean slash-and-burn agriculture techniques have also almost disappeared, and none of them have been designated as cultural heritage properties.
In Japan, although the slash-and-burn agriculture in Shiiba village is designated as an intangible folk cultural property by the Prefecture and the Village, there are no nationally designated agricultural techniques. It should be noted that private organizations have taken the initiative to promote slash-and-burn agriculture, as observed in Ikawa and Shiiba village. Utilization of GIAHS or any other framework different from the existing one might be more important in the future.
Thus, how to conserve and utilize the traditional agricultural techniques, including slash-and-burn agriculture is a common issue in both Japan and Korea. It would be meaningful to find a solution for such a common issue by exchanging information and promoting discussions through this joint research.
Practical session
The International Course on Conservation of Japanese Paper was held from September 9th to 27th, 2019. This course has been jointly organized by Tokyo National Research Institute for Cultural Properties and the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) since 1992. The course aims to contribute to the protection of cultural property outside Japan by disseminating the knowledge and techniques of the conservation and restoration of paper cultural property in Japan to participants from around the world. This year, ten specialists in conservation from ten countries (Australia, Canada, China, Estonia, Ireland, Italy, Qatar, UK, Ukraine, and USA) were selected as participants among 71 applications from 33 countries.
The course was composed of lectures, practical sessions, and an excursion. The lectures covered the protection systems of both tangible and intangible cultural property in Japan, basic insights into the Japanese paper, traditional conservation materials, and tools. The practical sessions were led by instructors from a certified group holding the Selected Conservation Techniques on “Restoration techniques for mounts.” The participants had an experience of restoration work of paper cultural property, from cleaning it to mounting it in a handscroll. Japanese-style bookbinding and handling of folding screens and hanging scrolls were also included in the sessions. The excursion to the cities of Nagoya, Mino, and Kyoto, which was arranged in the middle of the course, offered an opportunity to see folding screens and sliding doors in historic buildings, the Japanese papermaking, which is designated as an Important Intangible Cultural Property of Japan (Honminoshi), a traditional restoration studio, and so forth. On the last day, availability and the usage of washi in each country and the application of Japanese traditional techniques to other countries were discussed.
The participants could gain a deeper understanding of conservation materials, tools, and techniques used in Japan throughout this course. We hope that the knowledge and techniques they acquired during the course will be applied to the conservation and restoration of cultural property overseas.
Equestrian Statue of DATE Masamune (completed in 1935; the photo has been taken from a postcard)
Scene from the study meeting
Tōru KOMURO (1899-1953) was a sculptor born in Tsukinoki Town (current Shibata Town), Miyagi Prefecture, and the creator of the Equestrian Statue of DATE Masamune (completed in 1935), which is located in Sendai Castle. The work is famous as a symbol of the tourist destination, but so far, it has not been widely known how he produced the equestrian statue.
On August 26, 2019, Kyoko YASHIRO, an associate fellow at the Department of Art Research, Archives and Information Systems of Tokyo National Research Institute for Cultural Properties, made research presentations under the title “Basic Research on the Sculptor Tōru KOMURO,” analyzing the life and works of the sculptor based on the albums, diaries, and other materials he left and discussing the Equestrian Statue of DATE Masamune , one of his most prominent works.
KOMURO published his works in group exhibitions in Tokyo during the prewar period while in Miyagi, his native land, he produced portrait sculptures, bronze statues, and wood-carved works of local distinguished people. In these creative activities, he must have cultivated relationships with local influential and knowledgeable people and garnered their support. In her presentations, YASHIRO also made it clear that when he produced the Equestrian Statue of DATE Masamune , he adopted the opinions of Sendai’s local historians as much as possible and expressed the figure of DATE Masamune as a feudal lord that carried out peace projects.
Currently, energetic creative activities of sculptors in Tokyo are being clarified, but there are only a few materials to confirm in detail the works and movements of sculptors like KOMURO who developed productive activities in provincial areas, and therefore, it is necessary to further deepen research on these sculptors in the future.
At the recent study meeting, experts in the modern history of sculpture, including Mr. Satoshi KODAMA of the Local Museum of Shibata. which houses materials concerning KOMURO, Prof. Shuji TANAKA of Oita University, and Dr. Taiko TOBARI of the Asakura Museum of Sculpture, were invited as commentators, and there was active exchange of opinions about differences between KOMURO’s works in Tokyo and Miyagi and the style of the Equestrian Statue of DATE Masamune .
From the front page of the website for the Buddhist paintings in the Heian period (national treasures)
Transformed Buddha of Samantabhadra Bodhisattva
Tokyo National Research Institute for Cultural Properties has been jointly conducting research with the Tokyo National Museum on the Buddhist paintings in the Museum’s collection. Releasing the outcomes of the research, four Buddhist paintings belonging to the Heian period were published on their joint website (tnm-tobunken.tobunken.go.jp) on August 20th, 2019. They are pictures of Samantabhadra Bodhisattva, Ākāshagarbha Bodhisattva, Sahasrabhuja Avalokitesvara, and Mahamayuri vidyaraja, which are designated National Treasures.
Although the paintings seem flat, layers of pigment are intricately deposited on the paper or silk cloth. You form an impression of the picture as a light complex is seen when daylight is reflected on or penetrates the layers. Traces of the painting process and what happened to the painting after its completion can be seen underneath.
Key clues to capture them are the information on the piled-up layers, as well as the data on materials such as the size and shape of the pigment particles, the texture of the silk cloth, and the thicknesses of its warp and weft. An optical survey is one of the effective methods to look beneath the surface without touching or collecting an analysis sample from the painting. The Institute was the first in Asia to start the optical survey for arts and crafts soon after its foundation as The Institute of Art Research in 1930. This joint research is also based on the accumulated know-how of that survey.
To make a fine depiction in a picture of the world of Buddha transcending this world, delicate patterns were drawn on the garment and ornaments of the Buddha during the Heian period. However, to protect these painting, few opportunities are given to appreciate them and confirm through close observation. This publication on the joint website enables visualizing high-definition images on a PC or a tablet computer. Photographs have now been taken under visible light providing an expanded and detailed view. Further details of the paintings will be provided by including their pictures taken by infrared, fluorescence, or X-ray photography, apart from the results of fluorescent X‐ray analysis, to distinguish the elements contained in the pigments. Looking forward to your anticipation for their forthcoming release.
Group photo with the participants after the basic workshop
Advanced workshop: practical work on documentation
Two workshops on the conservation of Japanese textiles were held at the Research Center for Conservation of Cultural Relics in National Taiwan Normal University (NTNU), Taipei, from August 14th to 23rd, 2019. A basic workshop, “Cultural Properties of Textiles in Japan,” was conducted from August 14th to 16th, and an advanced workshop, “Conservation of Japanese Textiles,” was run from August 19th to 23rd. These workshops have been co-organized annually since 2017 by Tokyo National Research Institute for Cultural Properties and NTNU for the preservation and utilization of Japanese textiles overseas, as part of our joint research. The lectures and instructions were presented by researchers specialized in textiles and conservators from Japan and Taiwan. Conservators, curators and students from around the world participated in the workshop; there were 11 participants from 10 countries in the basic workshop and 6 participants from 5 countries in the advanced workshop.
The basic workshop included lectures on the systems for the protection of tangible and intangible cultural properties, textile and clothing materials, and representative textiles in Japan. The participants also experienced folding and displaying Japanese garments (kimono). In addition, the practical work on making a paper model of kimono helped the participants to understand the construction of kimono. The advanced workshop comprised lectures and practical work on topics such as the degradation of textiles, scientific analysis of dyes, and cleaning of textiles. Furthermore, the participants experienced stitching a support silk fabric to the back of an old textile fragment and making a Japanese traditional folder for it. This served as an opportunity for the participants to comprehend Japanese approaches to textile conservation. In both workshops, case studies on display and conservation of Japanese textiles were shared, and opinions regarding conservation approaches, materials and methods were actively exchanged.
It is expected that introducing fundamental knowledge about Japanese textiles and their conservation to conservation specialists overseas could contribute to the better conservation and utilization of Japanese textile objects outside Japan.
Examining utilization strategies with local experts
Yuwakha village in Punakha, one of the surveyed settlements
Since 2012, Tokyo National Research Institute for Cultural Properties (TNRICP) has been conducting joint architectural research on rammed earth buildings in Bhutan with the Division for Conservation of Heritage Sites (DCHS), Department of Culture, Ministry of Home and Cultural Affairs, the Royal Government of Bhutan. From this fiscal year, TNRICP has started the Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project, which was commissioned by the Agency for Cultural Affairs, with the objective of providing technical support and capacity building for the conservation and utilization of historic buildings in Bhutan. As a part of this project, a team of 11 experts, including TNRICP staff and outside experts, conducted on-site fieldwork from 20th to 28th August, 2019.
The field survey was jointly conducted with DCHS staff and covered traditional houses in the dzongkhags (districts) of Thimphu, Punakha, and Haa. The three main objectives were establishing a methodology for their conservation and repair, studying alternatives for their sustainable utilization, and clarifying the criteria for their evaluation as cultural heritage. Regarding the methodology for conservation and utilization, three traditional houses, which had been previously identified on the basis of features that indicated an early construction date, were selected as case studies. The potential methodologies for the seismic retrofitting of their rammed earth walls and the repair of their wooden members were studied. Furthermore, their potential use, compatible both with the owner’s demands and with the conservation of their value as cultural heritage, was examined during a discussion that involved DCHS staff, local architects, and owners. Regarding the evaluation of traditional houses as cultural heritage, comprehensive surveys were conducted in several settlements, and a potential method for the classification of traditional houses as well as a set of criteria for their designation as cultural properties was studied.
In addition, a Memorandum of Understanding referring to this project was signed at the Department of Culture, and a meeting was organized with the DCHS to discuss the results of this survey as well as the future prospects and needs of the Bhutanese counterparts.
In the future, we expect to continue cooperating with Bhutanese experts through on-site surveys and workshops to establish a methodology for the conservation and utilization of historic buildings suited to the Bhutanese reality.
Scene of the seminar
The 4th seminar was held by the Department of Art Research, Archives and Information Systems on July 23rd, 2019. The seminar was held in a mini symposium format with the theme, “Applying Post-War Japanese Art Archives in Research: The Case of Yutaka MATSUZAWA Archives.”
In the first half of the seminar, there were four presentations and reports on the following: “Letters to Yutaka MATSUZAWA from the 50s and 60s” by Hideki KIKKAWA (Department of Art Research, Archives and Information Systems), “Investigation and Records on MATSUZAWA Yutaka Atelier Psi Room” by Mayumi KINOUCHI (Nagano Prefectural Shinano Art Museum), “Yutaka MATSUZAWA Archive: Potential Uses Considered from Naiqua Gallery-Related Materials” by Yūka MIYATA (The National Museum of Art, Osaka), and “Digitization and Storage of Video Media: In the Case of MATSUZAWA Materials” by Shuhei HOSOYA (art and media researcher, filmmaker). In the second half of the seminar, Jun SHIOYA (Department of Art Research, Archives and Information Systems) presided over a discussion on Yutaka MATSUZAWA’s artwork and activities, the significance of these archives from the perspective of art history, the applications of these archives, and the archive organization method (data organization and material preservation). During the break, some of Yutaka MATSUZAWA’s archives were viewed by the concerned parties and some information was exchanged.
More than 40 people attended this seminar, including Yutaka MATSUZAWA’s family members, researchers from art museums and universities, and art writers. Presently, the Yutaka MATSUZAWA archives are being considered as the theme for grant-in-aid for scientific research, and there are plans to hold a symposium in 2020, the final year of this grant-in-aid research. Toward this end, the significance of Yutaka MATSUZAWA archives from the perspective of art history and cultural history will be studied in association with researchers from diverse fields.
Filming of Miyazono-bushi (from left to right: Miyazono Senyoshie, Miyazono Senroku, Miyazono Senkazuya, and Miyazono Senkoju)
On July 31st, 2019, the Department of Intangible Cultural Heritage recorded a live performance of Miyazono-bushi (second recording of a live performance) at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties.
Miyazono-bushi is an important intangible cultural property of Japan which was founded in the first half of the 18th century by Miyakoji Sonohachi in Kyoto. After seeing a revival during the mid- 18th century in Edo, it has become what it is today. Miyazono-bushi can be characterized by its distinctive vocal part called joruri (dramatic narrative chanted to a shamisen accompaniment) that is sang in a solemn and silky voice, accompanied by the soft and thick sounds of a chuzao shamisen (middle-neck sized three-stringed Japanese banjo). With training and experience, subtle expressions are produced through their harmonization. Traditional songs include classical dramatic piece in ten acts as well as modern songs, with the content of these songs being almost entirely about elopements for double suicides.
This time, two pieces were recorded: a classical piece, the “Michiyuki Natane no Midarezaki – Yamazaki” (blooming of rapeseed flowers during an elopement – Yamazaki) and a modern piece, the “Uta no Nakayama” (small path near Seikanji Temple). Both pieces were performed by Miyazono Senroku (lead singer; an individual certified as a Holder of Important Intangible Cultural Property or what is called living national treasure), Miyazono Senyoshie (supporting singer), Miyazono Senkazuya (lead shamisen player), and Miyazono Senkoju (supporting shamisen player).
The Department of Intangible Cultural Heritage will continue to record live performances of Miyazono-bushi classics, as well as new pieces that get few occasions to be performed live.
Original thread manufacturing machine for traditional Korean string instruments
Research presentations at the National Intangible Heritage Center
The Department of Intangible Cultural Heritage, Tokyo National Research Institute for Cultural Properties has been engaged in research exchange with the National Intangible Heritage Center in the Republic of Korea since 2008. This exchange involves conducting overseas research while staying at the other party’s institution for a certain period of time and holding joint symposiums. Megumi Maehara, Head of the Intangible Cultural Properties Section of the Department sojourned in South Korea from July 1st–19th, 2019 to pursue overseas research.
Considering current conditions in Japan where cultural heritage application is anticipated, the purpose of this overseas research was to derive hints at preserving and transmitting cultural heritage preservation techniques used in musical instrument manufacturing and repair, in addition to cultural heritage utilization. During her stay, Ms. Maehara visited musical instrument manufacturers, musical instrument materials manufacturers and those associated with the education on, and preservation and succession of, traditional performance art (music), and also research organizations. The aim of her visit was to investigate South Korean traditional musical instrument manufacturing and repair techniques, the tools and raw materials used, the frameworks utilized to support these techniques, and the treatment of these techniques in the education about, and dissemination of, traditional music to the masses.
In South Korea, classical music and folk music are considered to be inseparable facets of “traditional Korean music (gugak).” Having knowledge and practical skill in these subjects are requirements for teachers who wish to be employed in music education because “traditional Korean music” is an indispensable qualification for music educators. This environment where one can naturally come in contact with traditional Korean music is starkly different from that in Japan. Nonetheless, there is still room to cultivate a general awareness of the techniques and raw materials supporting traditional performance art (music) in Japan and even in South Korea. Case studies and common issues discovered from this research exchange were compared to the current situation in Japan and the results were presented orally on July 18th at the National Intangible Heritage Center. Together with an investigative report in Japan, an overview of this investigation into musical instrument manufacturing and repair techniques will be published in the 14th volume of the “Research and Reports on Intangible Cultural Heritage” to be issued at the end of the fiscal year.
The Institute would like to extend its deepest gratitude to Kyeong-Hye, Kang of the National Intangible Heritage Center for supporting its research during this exchange, to interpreter Ji-Ye, Lee, and to everyone at the National Intangible Heritage Center.
