| ■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 |
|
Professor Emeritus SASAKI Tatsuo giving a lecture
On Saturday, November 8, 2025, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) welcomed Professor Emeritus SASAKI Tatsuo of Kanazawa University as a guest speaker for a lecture titled “Excavating the Archaeological Sites of the Persian Gulf Region.” This event was organized as the seventh session of the “Pioneer Seminars in West Asian Archaeology,” a lecture series launched in 2018 by the Japanese Society for West Asian Archaeology to highlight first-generation researchers who opened new paths in archaeological studies across West Asia and its surrounding regions. Co-hosted with the Society, the seminar was held in a hybrid format—both in-person at the Institute’s seminar room and online—and brought together a total of 90 attendees.
Professor SASAKI, a specialist in the history of inter-civilizational exchange, has focused his scholarly work on the distribution of ceramics while participating in numerous excavations conducted in Japan, and also overseas in Iraq, Egypt, the Indian Ocean, the Persian Gulf, and various desert regions. Despite the often unstable political and security conditions in these areas, he continued his fieldwork, deepened his collaborations with local researchers, and dedicated himself not only to excavation but also to the conservation of archaeological sites.
Drawing from his extensive experience—encountering different research environments and approaches to heritage preservation across countries—Professor SASAKI’s lecture offered valuable insights. It resonated not only with active field researchers, but also with those who have long been inspired by the archaeological and historical world of West Asia, as well as younger generations preparing to enter the field.
Today, at least fiveJapanese-led archaeological missions are operating in the Gulf region. The latest research results, carried forward by the new generation that has inherited the pioneers’ spirit, will be presented in detail at the 33rd Annual Meeting of Excavation in West Asia scheduled for March 21–22, 2026, to be held in the same venue.
Symposium in Tokyo
Symposium in Kyoto
Study Tour: Visiting the Byōdō-in Temple
Due to conflict and prolonged instability, archaeological research and international assistance had been suspended in Iraq for a period of time. In recent years, however, foreign archaeological missions have gradually been returning, and international research on the history of ancient West Asian civilizations, as well as activities for the protection of cultural heritage, have resumed. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has continuously provided support to Iraq, including training programs in Japan and the provision of equipment for conservation and restoration specialists of the Iraq National Museum between fiscal years 2004 and 2010, and the organization of two symposia in 2019 and 2022. At present, one of the key challenges in Iraq is to raise awareness among local communities to ensure the sustainability of cultural heritage protection.
In response to this situation, TOBUNKEN, in cooperation with the Japanese-Iraqi Institute for Archaeological Education of Mesopotamia and the Research Center for Japanese Garden and Historical Heritage at Kyoto University of the Arts, invited three specialists from Dhi Qar Governorate in southern Iraq from November 22 to December 1, 2025 to participate in two symposia held in Japan with the core theme of “Local Communities and Cultural Heritage” and a study tour organized to introduce new ideas and approaches through Japanese examples of site management and the utilization of cultural heritage, and to apply these insights to address challenges in Iraq.
At each symposium, the Iraqi specialists presented the current state of archaeological excavations and site management in Dhi Qar Governorate. They also reported on outreach activities related to ancient Mesopotamian civilization and archaeology, events designed to connect museum collections with local communities, and the results of surveys on perceptions of cultural heritage within higher education.
From the Japanese side, at a Tokyo venue, lectures were delivered by Mr. NAKAO Tomoyuki of the Agency for Cultural Affairs and Mr. MIYOSHI Seicho of Hida City on the current status of Japan’s cultural property protection policies and initiatives undertaken by local governments. At a Kyoto venue, a keynote lecture on the site management of Byōdō-in Temple and its collaboration with local communities was given by Prof. NAKA Takahiro of Kyoto University of the Arts. In addition, Mr. YAMADA Takafumi of the World Heritage Office of Nara Prefecture spoke on guidance for municipal officials responsible for World Heritage sites and collaboration with school education, while Prof. USAMI Tomoyuki of Kyoto University of the Arts introduced student- and citizen-participatory support activities, including a web-based GIS mapping of cultural heritage in Iraq. Through these presentations, the characteristics and challenges of public outreach activities in both countries were shared, and active discussions were held on effective strategies for increasing opportunities for citizens to engage with cultural heritage.
During the invitation period, the Iraqi specialists also visited archaeological sites and museums in Tokyo and Kyoto between the two symposia. They were able to bring valuable information relevant to addressing challenges back to Iraq, including the advantages of site museums; methods of site presentation, such as the indication of remains through reconstructed buildings and plantings, and in situ preservation using protective shelters; as well as interpretive approaches employing VR and AR technologies and multilingual video materials.
We hope that the methods and knowledge gained in Japan will contribute to the future advancement of cultural heritage protection in southern Iraq, and we will continue to strengthen our cooperative efforts going forward.
Commemorative photo with trainees, the Latin team, ICCROM representatives, and the Japanese team
Practical training session conducted by the Japanese team
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has jointly organized the ‘International Course on Conservation of Japanese Paper in Latin America’ in Mexico City since 2012, together with ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) and CNCPC-INAH (The National Center for Cultural Preservation, The National Institute of Anthropology and History). Compared to North America and Europe, the Latin American region is considered to have fewer opportunities for training and information exchange regarding cultural property conservation and restoration. Therefore, by targeting this region, the training program aims to contribute to the preservation and restoration of paper cultural properties in the region.
The course was held from November 12 to 26, 2025, marking its ninth edition, welcoming a total of nine trainees from six countries: the Argentine Republic, the Plurinational State of Bolivia, the Republic of Chile, the Republic of Colombia, the Republic of Guatemala, and the United Mexican States.
The first half of the training was conducted by the Japanese team of instructors and the second half by the Latin team of instructors from the United Mexican States and the Kingdom of Spain. The first half provided foundational knowledge on Japanese restoration techniques for paper-based cultural properties, including lectures on washi, traditional Japanese paper, and restoration techniques for such materials. Practical sessions focused on highly applicable techniques, tools, and materials.
Participants expressed very high satisfaction with the training. They greatly valued the opportunity to learn directly through hands-on experience with washi and Japanese techniques, and to gain an understanding of the underlying philosophy behind them.
Furthermore, the instructors for the Latin team included Mexican experts who had previously attended the courses, including the ‘International Course on Conservation of Japanese Paper’ at TOBUNKEN, which has been running for over 30 years. This steady capacity building abroad represents a significant achievement for our institute. We hope the techniques, knowledge, and personal connections fostered during this training will further contribute to the preservation of cultural properties both domestically and internationally.
Survey of wall painting condition using a checklist
An example of a wall painting under investigation
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in Joint research on the maintenance, management, and conservation-restoration of mural paintings under the “International Research on Conservation and Restoration Techniques for Cultural Heritage” program.
As part of this initiative, we are collaborating with the Ministry of Culture and Media of Croatia, the Museum of Istrian History and Maritime Heritage, and the University of Zagreb to develop a maintenance management system for wall paintings in churches in the Istrian region, located in the northwest of Croatia. This region is home to numerous mural paintings created from the medieval period to the Renaissance, with over 150 works currently documented. The aim of this research is to investigate and record the state of conservation of these wall paintings, and to share the collected data among experts to help in their maintenance and management.
From November 3 to 7, 2025, we visited sites in the region and conducted a third pilot test using a checklist. In this test, based on the results and issues identified in the previous investigation, we reviewed and refined the checklist items to obtain more accurate assessment results, confirming further improvement in its practicality. The local institutions expressed a deep understanding of and strong interest in this project, along with a strong desire to continue their cooperation in the future. Moving forward, we plan to further develop the collaborative relationships that have been built so far, and, under a more robust research framework, continue our practical efforts toward establishing a sustainable maintenance and management system that will contribute to the conservation and utilization of the wall paintings.
Statue of Saint Zanobi
X-ray imaging of the statue
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in a research survey on stucco decoration and clay statues under the research project “Technology for the Conservation and Restoration of Cultural Heritage” program.
From November 8 to 12, 2025, we visited Florence to conduct research and present our findings on the clay statue groups created by late Renaissance and Mannerist sculptors Pietro Francavilla and Antonio di Annibale Marchissi. These sculptures were originally produced as elements of a temporary façade erected at the Santa Maria del Fiore Cathedral in 1589 to celebrate the wedding of Grand Duke Ferdinando I de’ Medici of Tuscany and Christine of Lorraine. After the temporary structure was dismantled, the works were placed for a time along the nave walls inside the cathedral. In the nineteenth century, they were moved to the attic space on the northeastern side of the cathedral dome, where they remain today under the care of the Opera di Santa Maria del Fiore.
In the recent results briefing, we shared within our research team the findings obtained through the non-destructive investigations conducted to date— including photographic documentation using visible, infrared, and ultraviolet light, X-radiography, fiberscope exploration, and 3D measurements. These investigations enabled us to identify key structural features, such as the multi-layered composition centered on clay and the design based on the modularization of individual components. We also confirmed traces of surface finishes and gilding, providing important clues to the original production processes of the works. Going forward, we plan to gradually shift toward micro-destructive analyses involving limited sampling—conducted under appropriate ethical standards and with full consideration for conservation science— to obtain detailed information that cannot be adequately captured through non-destructive methods alone. Through this approach, we aim to clarify the correlation between the works’ structural characteristics and their deterioration mechanisms, and ultimately contribute to the development of appropriate conservation and restoration strategies.
Furthermore, this study aims to clarify both the universality of stucco decoration and clay statue traditions—elements that have been transmitted across regions and historical periods—and the diversity of their technical developments. As an interdisciplinary endeavor that spans art history, conservation studies, materials science, and cultural heritage studies, the project depends fundamentally on the international exchange of knowledge and collaborative research. Moving forward, we intend to strengthen our partnerships with specialists around the world and deepen interdisciplinary dialogue, thereby advancing our work in a steady and informed manner as we strive to open new frameworks for understanding within the field of cultural heritage research.
Scene from the poster presentation
Posters on display
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in a project called the “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts”—part of a project headed by the Agency for Cultural Affairs, the “TAKUMI Project,”—since the 2022 fiscal year. On October 3, 2025, at the 29th annual training session organized by the Association for Conservation of National Treasures (ACNT), a key deliverable of this project was presented as a poster presentation highlighting the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts).
ACNT is a group of specialists dedicated to the conservation and restoration of cultural properties, particularly fine arts and crafts such as paintings, calligraphies, books, documents, and historical materials. As of the 2025, ACNT had ten member studios with approximately 140 registered specialists. ACNT is certified as the preservation organization for mounting and restoration techniques, which are nationally designated as “Selected Conservation Techniques.” Many technicians and specialists from across the country participate in its annual training session, with 376 attending in the 2025 fiscal year.
On the presentation day, Mr. ASAKA Hiroshi (Museum of the Imperial Collections, Sannomaru Shozokan) and Mr. WATADA Minoru (First Cultural Properties Division, Agency for Cultural Affairs) delivered lectures on the appreciation and preservation of portraits and ink paintings. Alongside reports of restoration cases by member studios, TOBUNKEN participated in the poster presentation under the title “On the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts): Project Report of the Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” (presenters: Ms. YAMANAGA Naomi, Mr. OYAMADA Tomohiro, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko from the Department of Art Research, Archives and Information Systems). The presentation included details on research procedures, database structure, scope of content, outlook and challenges, and methods of use.
At the venue, numerous questions and comments were received from restoration technicians, museum personnel, and graduate students studying cultural property restoration. Furthermore, valuable information was obtained on restoration records that have become increasingly difficult to inherit in recent years for various reasons. These insights will be fed back into the project, ensuring ongoing resource development of restoration records and effective operation of the database.
Exhibition honoring the Giuseppe Tucci Collection (Museo delle Civiltà, Rome)
Research room of the Historical Archives of the Italian Chamber of Deputies
Exterior view of the Alinari Foundation for Photography
The Department of Art Research, Archives and Information Systems conducts investigations on Japanese art materials and the historical documents that reveal their historical context. In October 2025, we carried out field research in Italy, visiting institutions in Rome and Florence to examine related materials.
In Rome’s EUR district, we visited the Museo delle Civiltà (Museum of Civilizations), which houses collections formerly belonging to the National Museum of Oriental Art and the Luigi Pigorini National Museum of Prehistory and Ethnography. At the museum’s Arti e Culture Asiatiche (Asian Arts and Cultures) department, we met with Dr. Pierfrancesco Fedi to conduct object-based research and consult on the museum’s holdings. Our discussion included valuable exchanges of information concerning the Giuseppe Tucci Collection—the foundation of the museum’s Asian holdings—and the Pigorini Collection, which incorporates works from the collection of Vincenzo Ragusa and KIYOHARA Tama.
We also visited the Archivio Storico della Camera dei Deputati (Historical Archives of the Italian Chamber of Deputies), located in Rome’s Rione Pigna district, and met with the Director, Paolo Massa. During the meeting, we were able to confirm the existence and location of primary sources related to cultural exchanges and artistic diplomacy between Japan and Italy during the Mussolini regime. These documents are invaluable records that illuminate the realities of cultural administration within Italo-Japanese diplomatic relations and offer crucial evidence for understanding the intersection between cultural policy and political intent in that period.
The Historical Archives of the Chamber of Deputies was established in 1848 during the Kingdom of Sardinia to support parliamentary activity. After moving to the Palazzo Montecitorio in 1865, the archives served as the intellectual foundation of the legislature for more than a century. The archives were opened to the public in 1988, and in 2007 the Polo Bibliotecario Parlamentare (Parliamentary Library Center) was established to coordinate services with the Senate Library. The documentary heritage of the Chamber of Deputies comprises original records produced and acquired by the Chamber since 1848, as well as private papers related to parliamentary politics. Digitized inventories, photographic archives, and portions of digital collections can be accessed through the archive’s website (https://archivio.camera.it/).
In Florence, we visited the Fondazione Alinari per la Fotografia and met with its Director, Dr. Claudia Baroncini. The foundation inherits the legacy of the company Fratelli Alinari—Italy’s first photographic studio established in the nineteenth century—and is dedicated to the preservation of its photographic heritage and the promotion of a culture of photography. The foundation is currently preparing to open a museum and makes its holdings accessible online. Many photographs donated to TOBUNKEN in 2023 by the family of MORIOKA Ryūzō were produced by Fratelli Alinari, and the art-historical photographs collected by YASHIRO Yukio are also known to be linked with a photographer who belonged to the studio. During our meeting, we introduced TOBUNKEN’s photographic archives and ongoing research activities, and exchanged information concerning potential collaboration.
[On Materials of MORIOKA Ryuzo https://www.tobunken.go.jp/materials/ekatudo/2059906.html] .
Through this trip, we gained a renewed appreciation for the Italian understanding of archives not merely as repositories of documents, but as “sacred spaces for the preservation of memory.” This perspective is essential for treating cultural properties as a form of shared knowledge and offered us valuable insight into the relationship between the sharing and responsibility of knowledge within cultural heritage research.
Scene from Mr. KAWASHIMA's presentation
Scene from Mr. YAMGUCHI's presentation
Scene from the Q&A session (left: Mr. KAWASHIMA Tadashi; right: Mr.YAMAGUCHI Katsura)
Among the important book collections held by the National Research Institute for Cultural Properties, Tokyo, is that of uritate mokuroku (sale catalogues). These catalogues were booklets produced and distributed for the purpose of selling artworks owned by private individuals or distinguished families through uritatekai (sealed-bid sales). The Institute currently holds a total of 2,532 such catalogues published from the late Meiji period through the Showa period. This constitutes the largest collection of its kind among public institutions in Japan and is used on a daily basis for provenance research and other art-historical investigations.
In these uritatekai, artworks were traded through a unique bidding system mediated by facilitators and fudamoto (agents responsible for handling bids). This system differed significantly from auctions in which prices are driven upward through openly competing bids, and was instead grounded in traditional Japanese commercial practices. Today, however, while the catalogues themselves are frequently consulted, the institutional background and operational realities of the sales system are not always fully understood, and cases in which uritatekai are mistakenly equated with Western-style auctions are not uncommon. The Japanese art market has developed and evolved within a distinctive framework of transactions different from those of Europe and North America. To provide researchers with an opportunity to understand these mechanisms and deepen their comprehension of related materials, the 7th Research Meeting of the Department of Art Documentation and Archives, entitled “Understanding the Mechanisms of the Art Market,” was held on October 9.
The meeting was moderated by Mr. TASHIRO Yuichiro (Department of Art Documentation and Archives), who also organized the event. First, Mr. KAWASHIMA Tadashi (Chairman, Tokyo Art Dealers Association; President and Representative Director, Mayuyama Ryusendo) delivered a lecture entitled “On Uritate and Kokankai (Exchange Sales),” in which he explained the characteristics of the Japanese-style art market. This was followed by a presentation entitled “On Auctions” by Mr. YAMAGUCHI Katsura (President and Representative Director, Christie’s Japan), who introduced the Western model of the art market. Through these presentations, the structural differences between the Japanese and Western art markets emerged clearly. A question-and-answer session was held afterward, making the meeting a valuable opportunity for researchers to learn about the mechanisms of the art market, an area with which they rarely have the chance to engage in depth.
Art-historical research is not sustained solely by the knowledge of professional researchers such as museum curators and university faculty members. It is hoped that the Research Meetings of the Department of Art Research, Archives and Information Systems will continue to provide opportunities to incorporate diverse perspectives and to acquire insights broadly beneficial to scholarly research.
(Reference)
Uritate Mokuroku Digital Archive:
https://www.tobunken.go.jp/japanese/uritate.html
Reservation for dedicated terminals:
https://www.tobunken.go.jp/joho/japanese/library/application/application_uritate.html
Figure 1
Training room of the Gangneung Danoje Educational Training Center (equipped with musical instruments and costumes for training)
Figure 2
Theater associated with the Gangneung Danoje Educational Training Center
Figure 3
Dissemination Performance of Hahoe Byeolsingut Mask Dance Drama performance, fully occupied (temporary space, as the theater is under construction)
Figure 4
The outcome presentation held on the last day (at the Intangible Cultural Heritage Bureau of the Korea Heritage Service)
The Department of Intangible Cultural Heritage of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting research exchanges with the Korea Heritage Service (formerly the Cultural Heritage Administration) of the Republic of Korea since 2008. As part of this project, we conduct human resource exchanges by mutually dispatching researchers for research. In 2025, Ms. MAEHARA Megumi, Head of the Intangible Cultural Properties Section, conducted research in Korea on the theme of “Systematic Approach to Promoting Traditional Performing Art Training and Education Without Reliance on Heredity.”
Like Japan, Korea is experiencing a declining birthrate. This situation can impact the transmission of traditional performing arts to the next generation. Considering this circumstance, the research at this time focused on the activities of preservation societies for traditional performing arts in Korea and the “National Intangible Cultural Heritage Training” system, in which universities selected by the government participate in nurturing successors for traditional performing arts and others.
Gangneung Danoje festival (selected as the National Intangible Cultural Heritage of Korea: formerly 13th National Important Intangible Cultural Property) held in the Dano festival on the Lunar calendar and Hahoe Byeolsingut Mask Dance Drama (selected as the National Intangible Cultural Heritage of Korea: formerly 69th National Important Intangible Cultural Property), in which dancers wearing wooden masks perform welcoming dances for deities of villages, are both listed on the Representative List of the Intangible Cultural Heritage of UNESCO. Both preservation societies of these traditional performing arts have educational training centers and performance spaces (Figures 1, 2, and 3), and conduct performances and exhibitions for their dissemination, establish various curricula to nurture successors, and hold presentations of their activity outcomes at their centers. Furthermore, Gyeongsang National University, Chonnam National University, and the Korea National University of Cultural Heritage, which were selected in the “National Intangible Cultural Heritage Training” system, make efforts to organize training for potential successors of traditional performing arts and craft techniques as a part of the university education, exploring ways to collaborate with preservation societies, though they are different organizations.
We recognized that we can learn a lot from these environments and systems to pass down traditional performing arts in Japan. Obviously, the participants face various challenges: how to manage an academic career while performing art skills, problems of over-tourism, how to build comprehensive collaborative relationships, and so on. We believe that Japan shares these challenges. We will make efforts to find ways to contribute to the transmission of traditional performing arts in Japan while further understanding traditional performing arts of Korea.
We thank the members of the Intangible Heritage Bureau of the National Heritage Service of the Republic of Korea for their heartfelt support from the research to the outcome presentations on the last day of the research trip (Figure 4).
Survey of brush making
Lecture at Fudenosato Kobo
Although a wide range of tools and raw materials are used in the preservation and restoration of cultural property, fine arts, and crafts, many are at risk of being discontinued in the future due to a lack of skilled successors and increasing difficulty in securing the necessary materials. In response to this situation, the Center for Conservation Science, Department of Intangible Cultural Heritage and Department of Art Research, Archives and Information Systems at Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in commissioned research on “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” as part of the project of the Agency for Cultural Affairs, “Support for the Management of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts.” This article introduces a field survey of brush making in Kumanocho, Hiroshima, held on October 21, 2025.
Brushes have been used for a long time traditionally in Japan as tools of painting and drawing, as well as for the preservation and restoration of cultural property. Makiefude brushes in particular are used for the preservation and restoration of lacquerware crafts, and there are not many craft artisans who can make them. For the project to reproduce the Hatsune Furnishings from the Tokugawa Art Museum’s Collection, brushes that could faithfully reproduce the intricate and exquisite techniques were needed.
For this survey, we visited Fudenosato Kobo and Hakuhodo Company, Limited. We were able to gain an overview of the history and techniques of making brushes in Kumano. A craft artisan carefully removed any hair that was damaged or facing the wrong direction at each step in the brush-making process and selected suitable hairs from a variety of types with diverse characteristics to produce the best possible brushes for a user. On observing this, we gained appreciation for the effort of craft artisans.
Like other traditional techniques, the brush-making industry also faces difficulties in procuring tools and raw materials. For example, hair is among the most important materials for brush-making, along with ramie threads for binding the base of the brush, combs for the refinement of hair condition during each process, and high-quality bamboo for the brush handle.
Over a long period of time, Hakuhodo Co., Ltd., and Mejiro Institute of Urushi Research and Restoration have established direct relationships with users and creators through interactive communication. Thanks to this, hope for improved procurement of the needed materials is beginning to appear little by little. Going forward, the Agency for Cultural Affairs and TOBUNKEN will join the relationship and make efforts to expand the network of raw materials producers.
Participants at the opening ceremony
Lecture on basic chemistry using molecular models
Practical session on waste solvents and their disposal
Since FY2021, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been offering training sessions that provide the scientific information necessary for cultural property restoration. These sessions incorporate insights gained from our research at TOBUNKEN. The program is designed for specialists with restoration experience in cultural properties, museum materials, library materials, and so on, and is intended for professionals with extensive practical field experience.
The fifth iteration of the training was held over three days from September 30 to October 2, 2025, with 16 participants in attendance. The lectures, which included practical sessions, covered the fundamental scientific knowledge considered essential for cultural property restoration. Researchers from TOBUNKEN delivered lectures on the essential chemistry required for cultural property restoration, including adhesion and adhesives, the science of paper and its deterioration, responses to biological issues, and the necessary precautions when using and disposing of laboratory equipment and chemicals.
In response to requests from conservators, we developed a more practical and field-applicable curriculum. Despite the limited time available, participants were highly engaged in proposing scientific approaches to real-world challenges, networking, and sharing information. Post-event surveys revealed positive feedback, with many participants rating the program as “extremely beneficial.” We also received specific requests for scientific insights to be applied in future restoration work. Taking these opinions into account, we plan to continue offering similar training programs on an ongoing basis.
Participants after the opening ceremony
Since FY2019, the Center for Conservation Science of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has put effort into training programs related to restoration treatments for cultural properties, inviting international specialists and implementing these programs in collaboration with partner institutions. Until last year, the workshops had been co-organized with the National Center for Art Research, Japan (NCAR). This year, the National Museum of Western Art (NMWA) was also added as a partner, making it a three-institution collaborative initiative.
The theme of this year’s program focused on “frames,” which, much like hyōsō (mounting) in East Asian paintings, have long played an essential role in the display and protection of paintings. Despite their close connection with artworks, the importance of frames has yet to gain sufficient recognition in Japan, and information on their conservation practice remains scarce. In light of this situation, Ms. BARROW Yukiko, Senior Conservator at the Victoria and Albert Museum (UK), was invited as the instructor for a three-day workshop titled “History, Technique and Conservation of Picture Frames,” held from October 29 to 31, 2025.
The morning lecture sessions took place in the seminar room of TOBUNKEN, where participants (67 in total) received a wide-ranging introduction, from the history and production techniques of frames to contemporary conservation approaches in the UK. In the afternoon, the venue shifted to the Conservation Studio of NMWA, where 15 selected participants engaged in hands-on training in gilding, toning, cleaning, and other conservation techniques currently practiced in the UK.
On November 1, an associated lecture titled “The History and Conservation of Picture Frames in Britain and Japan” was held. Ms. Barrow spoke on the history of frame conservation and the work of conservators in the UK, while Ms. NAKAE Kana, Curator at the Tokyo Metropolitan Art Museum (MOT), gave a lecture on the history of Western-style frames in Japan. The event was attended by 69 participants.
This workshop, marking the first collaborative effort among the three institutions, offered an integrated opportunity to study both the theoretical and practical aspects of frame history and conservation. The program proved highly fruitful and is expected to contribute to the future advancement of conservation and restoration practices in Japan.
Further details about the workshop and the lecture are available at the link below.
https://ncar.artmuseums.go.jp/reports/collections/conservation/workshop/post2026-3066.html
UAV surveying on Filaka Island
Participants working on 3D model creation
The Japan Center for International Cooperation in Conservation held a workshop, titled, “Workshop on Unmanned Aerial Vehicle (UAV) Surveying of Archaeological Sites” in Kuwait on October 10-17, 2025, as a part of the Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage sponsored by the Agency of Cultural affairs. This workshop built upon previous workshops conducted in Bahrain and Japan, focusing specifically on large-scale surveying of archaeological sites such as cities and fortresses.
This training program was conducted in collaboration with the National Council for Culture, Arts and Letters (NCCAL), Department of Antiquities and Museums, and Kuwait University. A total of 15 experts from the institutions and the Kuwait National Museum participated. Participants received lectures on UAV, GNSS (Global Navigation Satellite System), and 3D digital documentation techniques, and then worked on creating 3D models of archaeological sites using sample data. Additionally, on Failaka Island in eastern Kuwait, all participants conducted UAV surveys of archaeological sites of the Hellenistic period. Using the captured data, they created 3D models and learned how to utilize the data for studies and how to perform large-scale surveys of archaeological sites.
Not only Kuwait, but other Gulf countries possess numerous cultural heritage sites. However, there is concern over a shortage of personnel to document and preserve this cultural heritage. It is hoped that learning such efficient methods will help resolve some of these challenges.
Practice of 3D photogrammetry at the burial mounds in Janabiyah
The Japan Centre for International Cooperation in Conservation of Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and Bahrain Authority for Culture and Antiquities (BACA) co-organized a workshop for 3D digital documentation at Bahrain National Museum from 28th to 30th October, 2015. This series of workshops was started from a request from BACA, which has been promoting the introduction of 3D digital documentation techniques to the field of conservation of cultural heritage. As previous workshops had been held in Bahrain and Japan, this time the workshop focused on the ‘3D documentation of built heritage’ for intermediate-level practitioners, welcoming 13 experts of cultural heritage, 11 from Bahrain and 2 from UAE.
On the first day of workshop, lectures were held regarding the documentation methods and utilisation examples of 3D digital documentation for built heritage. After the lectures, the participants tried to document a building by themselves using 3D photogrammetry and Lidar on smartphones at the Fakhro House in the World heritage site, the ‘Pearling path.’ On the second day, participants practiced the documentation with 3D laser scanning in the exhibition room of Bahrain National Museum in the morning, and documentation with 3D photogrammetry and RTK-GNSS of the burial mounds in Janabiyah in the afternoon. The third day’s topic was 3D data utilization. The participants learned methods to create contents for an online digital museum utilising the 3D data of the exhibition room of museum that they had documented by themselves on the previous day. They also learned to create 3D models of the burial mounds in Janabiyah with photogrammetry, and published the models on the digital twin platform ‘3D DB viewer,’ which was co-developed by The National Institute of Advanced Industrial Science and Technology and Nara National Research Institute for Cultural Properties.
The participants showed high motivation in applying these technologies in their daily practice in their respective fields of expertise such as archaeology and architecture, and expressed a willingness to learn further advanced methods. We would like to continue organising these opportunities for knowledge sharing in response to their needs.
This workshop was organized as a part of the project for Exchanges in International Cooperation for Conservation of Cultural Heritage funded by the Agency of Cultural affairs.
The ICOMOS Scientific Symposium 2025 was held at Lumbini Buddhist University in Nepal from 15th to 19th October, with the participation of the author from the Japan Centre for International Cooperation in Conservation.
In Nepal, in September 2025, political unrest had suddenly arisen, and as protests against the government escalated, central governmental buildings and foreign-owned luxury hotels were set on fire. However, the establishment of an interim government brought early stabilisation of the situation, and the ICOMOS annual general assembly and scientific symposium proceeded as scheduled in Nepal.
The ICOMOS Scientific Symposium 2025 was composed of three main sub-theme sessions, Conflict, Disaster, and Peace, with participants from various countries giving presentations. In the session on Conflict, participants from regions with ongoing conflict made presentations reporting the destructive damage to cultural heritage. Additionally, this year marked 10 years since the Gorkha earthquake, and events related to post-earthquake reconstruction were organised in Kathmandu. While the issues surrounding cultural heritage are becoming more complex and expanding, the importance of having such an international communication platform for expert exchange was strongly stressed, especially for regions facing difficult situations that cannot be resolved within their own communities alone.
During this trip, discussions regarding the joint survey for the preservation and utilization of historic houses in Kirtipur were also carried out. This joint survey aims to explore various methods and to establish processes for the preservation of historic houses in Old Kirtipur, and a pilot case study of a historic house and a comprehensive survey for taking inventory of existing historic houses in Old Kirtipur were conducted so far.
In Kirtipur as well, the municipality faced a severe situation during the protests in September; the city hall was set on fire and valuables such as office computers became targets of plunder. While the outlook remains uncertain until the country regains its administrative functions, we, survey team members, the mayor of Kirtipur, and local communities held dialogues on what we can do during such political unrest. On the other hand, through our survey activities so far, the connections among the Nepalese experts, who have shown willingness to conserve and preserve historic houses, are expanding, which is bringing the emergence of a new network that seeks to begin taking action independently rather than waiting for administrative support.
Scene from the seminar
The front cover of the leaflet
In 2024, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) signed a memorandum of understanding for collaborative research with the Kuboso Memorial Museum of Art, Izumi, and is conducting research on artworks in the museum’s collection.
The painting “Yamazaki Bridge” depicts the extraordinary story of how the principal deity of Hōshōji Temple, the Eleven-Faced Kannon Bodhisattva, transformed into an old man and built the bridge, located between present-day Ōyamazaki Town, Otokuni District, and Yawata City, where the Katsura River, Uji River, and Kizu River converge to form the Yodo River in Kyoto Prefecture. The work blends the dramatic miraculous tale of the bridge’s construction with depictions of the common people involved in its construction against the landscapes of Mt. Tennōzan and Mt. Otokoyama, and Hōshōji Temple.
This painting has garnered attention not only in art history study, but also in history and Japanese literature. Although the subtle details and auspicious inscriptions on the painting have become difficult to read due to aging, we have conducted two optical surveys to maximize the information available on the painting. At this seminar, Ms. EMURA Tomoko gave a presentation titled “Optical Survey of the Yamazaki Bridge Painting,” and Mr. KAWADA Masayuki, director of the Kuboso Memorial Museum of Art, Izumi, spoke as a commentator about the research history and issues of the Yamazaki Bridge Painting.
A leaflet on the Yamazaki Bridge Painting, published in March 2025, will soon be made available in the Tokyo National Research Institute for Cultural Properties repository. Furthermore, we plan to create digital content and publish it online to enable more researchers to view the high-resolution images. We hope that the results of this collaborative research will be widely utilized and deepen understanding of the work.
Scene from the seminar
Scene from the seminar
On September 16, 2025, the fifth seminar of the Department of Art Research, Archives, and Information Systems was held. Two presentations were given, deepening discussion on the canon and transmission of the Kano school from multiple perspectives.
Dr. MIZUNO Yuji (Associate Professor, University of Tsukuba) gave a presentation titled “Images of Confucius in the Tan’yū Style: On the Canon of Iconography,” in which he examined the significance of the pictorial style established by Kanō Tan’yū, which became widely accepted as a canonical model in early modern Japanese painting. While the Tan’yū style exerted strong influence across many genres, its role in Daoist and Buddhist figure painting—especially depictions of Confucius—has received relatively little scholarly attention.
Tan’yū formalized and refined the established medieval image of Confucius, reconstructing it into a new canonical prototype. His imagery spread widely to Confucian temples and domain schools throughout Japan, becoming a canonical image suited to ritual and educational contexts. Drawing on entries from the Kōyō Nikki (Official Diary, 1844), Dr. MIZUNO showed that the Tan’yū-style Confucius image was regarded as an institutional canon. He also noted that local versions often incorporated individual interpretations or decorative variations, showing that the canon was not rigidly fixed but dynamically transformed through both inheritance and adaptation. Furthermore, in the late Edo period, references to Wu Daozi’s style and medieval prototypes re-emerged, indicating a diversification within the canon beyond the Tan’yū model.
Next, Ms. ONO Mayumi (Head, Japanese and East Asian Art History Section) presented “A Study of Kanō Tsunenobu’s Waka Compositions.” Kanō Tsunenobu (1636–1713), patriarch of the Kobikichō branch of the Kano family, was an accomplished painter and an active waka poet. Records of poetry gatherings and existing anthologies reveal that his waka practice expanded his network among daimyō and cultured elites, contributing to the social standing of the Kano family. By exploring the relationship between his poetry and painting, Ms. ONO re-evaluated Tsunenobu as both painter and poet, highlighting his multifaceted creativity.
Through these presentations, the dynamic transformation of the Kano-school canon across time and region was underscored. The seminar provided a valuable opportunity to advance Kano-school studies through the dual perspectives of canon and individuality.
Some of the donated books
Our library has recently received a donation of books formerly owned by the late KIRA Fumio (1941–2022), a distinguished researcher in the field of ceramic history.
KIRA began his career as an editor after joining Zayuho Kankōkai, a publishing house specializing in art publications, where he worked under Saitō Kikutaro. While participating in the editing of major series such as The Complete Works of World Ceramics (1975–, 22 vols.) and The Complete Works of World Art: Oriental Art (1997–, 18 vols.), he conducted extensive field research around the world, advancing both editorial production and ceramic-historical research in parallel.
Among his wide-ranging achievements, he left particularly notable contributions to research on Southeast Asian and Korean ceramics. In 1984, he was among the first to report to Japan on the ceramic wares excavated in Mae Sot, Tak Province, in northwestern Thailand—finds that would later be recognized as highly significant in the study of Southeast Asian ceramic history. He served for many years as an executive committee member of the Oriental Ceramics Society of Japan and received the 20th Koyama Fujio Memorial Prize in 1999.
With the cooperation of his bereaved family, and as part of the project “Bibliographical Research on Japanese Oriental Art History [シ02],” in January 2025, researcher TASHIRO Yuichiro conducted a survey of the books remaining in KIRA’s home in Kagawa. The institute has received a selected portion of these materials, consisting primarily of foreign-language publications concerning Southeast Asian and Korean ceramics. Some of these volumes are not held by any other library in Japan, making this institute the sole holding institution.
Taken together, these resources are expected not only to support research in ceramic history, but also—when viewed in a broader perspective—to serve as Japan’s only available scholarly sources for deepening the understanding of this aspect of Asian culture. As a core institution for cultural heritage research in Japan, it is our hope that, rather than pursuing short-term results alone, we may preserve and pass down the scholarly legacy accumulated by our predecessors from a long-term viewpoint, thereby contributing meaningfully to Japan’s foundation of knowledge.
We would like to take this opportunity to express our heartfelt gratitude to the KIRA family for donating these academically invaluable materials.
Scene of the seminar (photo by Mr. YAMASHITA Yoshihiko)
Newly created dance performance “Dance of Mother-of-Pearl Doors, Pleasure of Japan and Thailand”
Explanation by an expert of FAD about the tools and materials using real objects
On September 10, 2025, the Fine Arts Department (FAD) of the Ministry of Culture of Thailand held an academic seminar titled “Ratchapradit Fine Arts: Connecting the Two Countries Through Mother-of-Pearl Inlay Art” at Wat Ratchapradit. Ms. FUTAGAMI Yoko, head of the Cultural Properties Information Section in the Department of Art Research, Archives and Information Systems, participated in the seminar.
Wat Ratchapradit is a first-grade royal temple established by King Rama IV. The doors and windows of its ordination hall feature lacquered panels crafted in Japan during the period of the temple’s establishment. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) provided technical support for the restoration of the panels and conducted research on them. The temple has also provided financial support for a study by the institute, with the objective of on-site preservation of the panels following their restoration.
The seminar began with opening remarks by Mr. Phnombootra Chandrajoti, the Director General of FAD. In the morning, Part One, titled “Preserving and Creating Art: A Heritage of Two Lands,” was held. During this section, monks from the temple and FAD experts presented on the restoration project for the door panels at Wat Ratchapradit. From the Japanese side, Ms. FUTAGAMI presented the concept of the panels’ restoration and study project. In the afternoon, Part Two, titled “From Integration to Creative Inspiration: Expanding for the Future,” was held. During this session, FAD experts presented outlines of an investigation conducted in June 2025 on the on-site preservation of the door panels after restoration and an investigation from November 2024 in northern Thailand on lacquering materials. TOBUNKEN experts participated in both investigations. From the Japanese side, Mr. YAMASHITA Yoshihiko, a lacquering expert and researcher, presented on the unique mother-of-pearl inlay with underpainting technique used for the door panels. Ms. FUTAGAMI presented the results of an investigation conducted in Japan in June 2024 regarding traditional materials, in collaboration with FAD.
On the same day, several events related to Japanese lacquered door panels were held at Wat Ratchapradit. The event featured an exhibition of real objects and informative panels detailing the techniques and materials used, a newly created dance performance titled “Dance of Mother-of-Pearl Doors, Pleasure of Japan and Thailand” performed by dancers from FAD, and Japanese food offered in food booths. Participants enjoyed all of these events. For the author, the seminar was also a good opportunity to share information about our activities with various Thai stakeholders.
Discussion in Session 3
Meditation at Jingwansa
ISHIMURA Tomo (author) of our institute participated in the 2025 World Forum for Intangible Cultural Heritage, an international forum held in Seoul, the Republic of Korea, on September 17th and 18th. This international forum is held annually by the National Heritage Service of the Republic of Korea and the International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region (ICHCAP). The forum was held at Jingwansa, a Buddhist temple located north of downtown Seoul. The opening ceremony featured a demonstration of a Buddhist ritual called “Suryukjae,” and traditional vegetarian cuisine was served for lunch. After the forum on the final day, participants also had the opportunity to try meditation.
This year’s theme was “Exploring Economic Activities of Intangible Cultural Heritage,” and discussions focused on the economic aspects of intangible cultural heritage. The forum consisted of a keynote speech by Mr. Ahmed Eiweida, followed by Session 1, themed “Exploring the Economic Value of ICH,” Session 2, “Community-Based Economic Activities and Sustainable Development,” Session 3, “Ethical Commercialization of ICH,” and a special session, “Local Perspectives: Economic Practices of Intangible Cultural Heritage in Korea.” Experts from around the world (Singapore, Timor-Leste, Hong Kong, Nepal, India, Indonesia, Malaysia, Botswana, the Philippines, Japan, and the Republic of Korea) participated as presenters and/or moderators.
The author gave a presentation in Session 3 titled “Protecting while promoting: Two designation systems for traditional crafts in Japan.” In Japan, there are two designation systems for safeguarding craft techniques: the Important Intangible Cultural Properties designation system under the Ministry of Education, Culture, Sports, Science and Technology’s “Law for the Protection of Cultural Properties,” and the designation system of Traditional Crafts under the Ministry of Economy, Trade and Industry’s “Act on the Promotion of Traditional Craft Industries.” The former primarily aims to protect craft techniques, while the latter primarily aims to promote them. While the two systems may appear contradictory by their names, they rather complement each other and contribute to the survival of craft techniques.
In the discussion part of in Session 3, issues surrounding intangible cultural heritage and intellectual property rights were also discussed. Concerns were expressed, particularly about intangible cultural heritage falling out of the hands of communities and into a state of over-commercialization and decontextualization. Regarding traditional crafts in Japan, the author spoke about the risk of inexpensive counterfeits being imported from abroad. The author also mentioned a case in which a foreign celebrity had previously attempted to use the name “Kimono” for a brand she designed, which sparked strong criticism from Japan. The relationship between intangible cultural heritage and artificial intelligence (AI) was also mentioned during the discussion, an issue that the author felt has not yet been sufficiently discussed in Japan overall.
The slogan “utilizing cultural properties” has been around for a long time in Japan, but participating in this forum reaffirmed that balancing preservation and utilization remains an important issue. It also gave me an opportunity to think about the possibility of further increasing the value of cultural properties/cultural heritage by having communities take an active role in preserving and utilizing them.
