| ■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 |
|
The Presentation
The Department of Art Research, Archives and Information Systems organizes research seminars to be conducted not only by staff from the Tokyo National Research Institute for Cultural Properties, but also external researchers for presentations and research exchange. At the seminar in November, Mr. EGAITSU Michihiko, Deputy Director of the Yamaguchi Prefectural Museum of Art, gave a presentation titled “Study of HASEGAWA Tōtetsu.”
Regarding HASEGAWA Tōtetsu, records of the IWASA Family Genealogy show that the younger brother of IWASA Matabei’s eldest son, Katsushige, was adopted by HASEGAWA Tōhaku, called himself HASEGAWA Tōtetsu Setsuō, and painted sliding doors in the azalea room of Edo Castle. It had previously been thought that he was the same person as “Tōtetsu Sakyō Setsuzan” in the HASEGAWA Family Genealogy and that “HASEGAWA Tōtetsu,” who was described in Ryūjō Hikan as the painter of the azalea room of Edo Castle.
Although Tōtetsu’s work “White Plum Blossoms Screen” (owned by the Minneapolis Institute of Art) is well known, there are few other existing examples and documents, and he was a painter whose work is largely unknown. In this presentation, Mr. EGAITSU presented many works that are considered to be by Tōetsu, such as “Willow and Camellia Screen” which bears the signature “by HASEGAWA Totetsu,” or based on the latest research findings, and presented new documentary information, such as the fact that HASEGAWA Tōtetsu’s name appears as one of the “accompanying members” of Shōjūraikōji temple in the temple historical document “Raikōji Yōsho,” and that his name is also recorded as a poetic immortal artist in the “On miya Zōei-ki” (Record of the Construction of the Shrine) of Usa Hachiman Shrine in Bizen Province, and discussed HASEGAWA Tōtetsu’s artistic career. In the question and answer session following the presentations, many researchers participated, including commentators Mr. TODA Hiroyuki (Imperial Palace Museum of the Imperial Collections) and Mr. HIROMI Nobuhiko (Idemitsu Museum of Arts), as well as Mr. MIYAJIMA Shinichi, who has made numerous contributions related to our understanding of HASEGAWA Tōhaku, and a lively research discussion was held.
Research on a hand scroll at the Kuboso Memorial Museum of Art, Izumi
Research on The Yamazaki Bridge
The Kuboso Memorial Museum of Arts, Izumi, located in Osaka Prefecture, is owned by the Izumi Municipal Government and opened in 1982. It has a collection of Japanese and Oriental antique art, and is engaged in various cultural promotion activities, including exhibitions. In January 2024, the Tokyo National Research Institute for Cultural Properties signed a memorandum of understanding for joint research with the Kuboso Memorial Museum of Arts, Izumi, and is conducting research on the museum’s collection of artworks.
In March 2024, an optical survey was conducted on the Kamakura period hand scrolls “The Tale of Ise” and “Komakurabe Gyoko Emaki” (both designated as Important Cultural Properties). In November 2024, optical research was also conducted on hanging scrolls such as “Yamazaki Bridge” and “Shrike in barren tree” (both Important Cultural Properties). In particular, this survey, we investigated whether we could record images that would make the inscription at the bottom of “Yamazaki Bridge” easier to distinguish, and also photographed the materials and techniques used to express “Shrike in barren tree,” a well-known excellent ink painting by MIYAMOTO Musashi. Based on the results of this research, we will carry out joint research and will continue to make the results known through exhibitions and educational outreach activities at Kuboso Memorial Museum of Arts, Izumi.
Students, viewing the collection of books at the library of TOBUNKEN.
On Nov 26, 2024, a group from the Tokyo University of the Arts visited the TOBUNKEN Library of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
The students, led by Prof. KATAYAMA Mabi, took a tour guided by Mr. TASHIRO Yūichirō, Researcher of the Department of Art Research, Archives and Information Systems of the Institute’s collection of books, which have been collected since 1930. This tour focused particularly on the “URITATE (Japanese-style auction) catalog” collection, which holds significant value for research on the history of crafts. Mr. TASHIRO provided explanations, incorporating insights from his own research, to help deepen the understanding of the URITATE (Japanese-style auction) catalog as a resource.
Our Archives Section* is responsible for providing information about materials related to cultural heritage and creating an environment that enables their effective utilization. A distinctive feature of our institute is the parallel progression of these efforts with the daily investigative research conducted by our researchers, forming two integral pillars of our activities.
We hope that the invaluable materials of our institute, which are of significant value on a global scale, will be utilized by students who will shape the future, contributing to a deeper understanding of cultural heritage and the advancement of research with a long-term perspective.
*The Archives Section provides usage guidance for undergraduate students, graduate students, museum staff, etc. If you are interested, please apply after reading the guidance
(https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html
(Japanese only)).
Lecture by Ms. OSAKA Yukiko
Lecture by Mr. KAWASHIMA Tadashi
The Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) plans a “Public Lecture” to be held every fall, inviting a wide audience from the public to hear researchers present their research results. The 58th Public Lecture, “Look at Form, Read Form” was held in the TOBUNKEN seminar room on November 1 and 2, 2024.
On the first day, lectures were presented titled “The Relationship between Search and Keywords in Databases” by Mr. OYAMADA Tomohiro (Chief Researcher of the Department of Art Research, Archives and Information Systems) and “Digital Archives in the Age of AI: Toward Preservation, Inheritance, and Utilization of Culture” by Ms. OSAKA Yukiko (Research Fellow of the Center for Global Communications (GLOCOM)), showing the future possibilities of digital archiving of cultural properties.
On the second day, the lectures were “History of Appreciation of Korean Ceramics: The Formation of Collections in Korea,” presented by Mr. TASHIRO Yūichirō (Researcher of the Department of Art Research, Archives and Information Systems) and “History of Appreciation of Chinese Ceramics: Acceptance and Transition of Chinese Ceramics in Japan in Modern Times,” presented by Mr. KAWASHIMA Tadashi (President of Mayuyama & Co. Ltd. and Director of the Tokyo Art Dealer Association). These lectures introduced the changing values of Korean and Chinese ceramics.
There were 139 participants from the public attending on both days, and we received a positive reaction from the audience: about 90% of the feedback questionnaire responses were “very satisfied” or “relatively satisfied.”
A scene from the gallery talk (October 26)
A scene from the symposium (November 10)
A photo exhibition entitled “Practices of Daily Life as Living Heritage in Sudan” ran from October 5 to November 17 at the Tobacco and Salt Museum (Sumida Ward, Tokyo). The exhibition was co-organized by the Tobacco and Salt Museum and the KAKENHI project “Heritage studies for realization of cultural diversity and peacebuilding in post-conflict countries” (Principal Investigator: Mr. ISHIMURA Tomo, Director of the Department of Intangible Cultural Heritage), supported by the Tokyo National Research Institute for Cultural Properties, in cooperation with the Embassy of the Republic of Sudan in Japan.
The exhibition featured twelve photographs, including those provided by Mr. IMANAKA Ko (Japan International Volunteer Center (JVC) Sudan Office), Mr. KANAMORI Kensuke (Graduate School of Asian and African Area Studies (ASAFAS), Kyoto University), Mr. HORI Jun (journalist, Representative of 8bitNews) and Prof. Mohamed Adams Sulaiman (Sudan University of Science and Technology), as well as photographs from the collections of the British Museum, Tokyo National Museum, and the Embassy of the Republic of Sudan in Tokyo. Among them, the photographs provided by Prof. Mohamed Adams Sulaiman are particularly valuable, capturing the daily life of Sudan in the midst of armed conflict. We would like to express our sincere gratitude to him.
A gallery talk was held on October 26, during which Mr. ISHIMURA provided information on the exhibited works, and Mr. KUMAGAI Kentaro (cyanotype blueprint artist) (note 1) gave a talk on the relationship between gum arabic and Sudan, since gum arabic is an essential ingredient for blueprints.
A related symposium was held on November 10. The first half was a panel discussion, where Mr. AOKI Zen (Tobacco and Salt Museum), Mr. KANAMORI, Mr. HORI, Ms. SEKIHIRO Naoyo (Kyoto City Archaeological Research Institute), and Mr. SHIMIZU Nobuhiro (Hokkai Gakuen University) gave talks on site, Mr. IMANAKA and Mr. SAKANE Koji (Global Peacebuilding Association of Japan, former Chief Representative of JICA Sudan Office) gave a talk online, Mr. Ali Mohamed Ahmed Osman Mohamed (Chargé d’affaires, Embassy of the Republic of Sudan in Japan) gave a video message, and Mr. ISHIMURA acted as a moderator. In addition, a young Sudanese man living in Japan contributed with a comment for the panel discussion.
In the second half of the event, there was a performance by a Sudanese dance group led by REIKA, including Reika, Miyuki, Yoko, Reiko Miho, Akiko, and Yoko (stage names). During the final song, the audience also joined in dancing the Sudanese dances. The event was a great success, with eighty participants.
A book written by the panelists of this symposium, “Aspiring to Sudan’s Future – eyewitnesses of revolution, coup and conflicts” (edited by SEKIHIRO Naoyo and ISHIMURA Tomo, published by Akashi Shoten, 2024) was available at the museum shop during the exhibition.
Finally, we would like to thank Dr. Julie Anderson (British Museum), Mr. Mohammed Nasreldein (University of Tübingen), and Mr. Ali Mohamed Ahmed Osman Mohamed for their cooperation in making this exhibit possible.
Note 1: Cyanotype blueprinting is a photographic method invented in the 19th century that produces a monochrome, blue-colored print. The prints were often used to copy mechanical and architectural drawings. Although they are rarely used for practical purposes today, they are often considered as artworks for their unique expression.
The 60th Autumn Conference of the Korean Society for Conservation Science for Cultural Heritage
A presentation by a participant
A delegation from the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) participated in the 60th Autumn Conference of the Korean Society for Conservation Science for Cultural Heritage, held on November 8-9, 2024, at the International Convention Center of Jeonbuk National University in Jeonju, Korea.
At this year’s conference, a joint presentation was made by representatives from Japan and Korea in a special session, “Disaster Prevention and Preventive Conservation of Cultural Heritage Against Climate Change.” In the session, presentations by representatives from Japan by Mr. KOZUMA Yosei, Director of Cultural Heritage Disaster Risk Management Center, TATEISHI Toru, the Museum of the Imperial Collections, Sannomaru Shozokan, and Ms. HAGA Ayae, Researcher of the Center for Conservation Science. In addition, in the poster session, Mr. CHIBA Tsuyoshi, Researcher of the Center for Conservation Science, reported on the preservation of aviation materials in Japan, comparing it with designated cultural properties in Korea and discussing the challenges of the Japanese system.
In this special session, after a discussion on how the country and the administration should respond to rescue cultural properties in the event of a disaster, reports were made on changes in the damage situation, for example damage caused by termite species, in response to actual temperature increases in individual regions. The Japanese representatives reported on the preservation of materials damaged in the Great East Japan Earthquake, and on an investigation into volatile components that can emanate from cultural properties resulting from the damage to the materials, and the impact on the materials.
Responding to disasters does not only involve predicting and preventing damage, but also sharing information on a wider range of countermeasures and broadening knowledge, which will enable flexible responses and create a system with high resilience against disasters. We hope to continue such joint exchanges between Japan and Korea in the future, so that we can work together to take steps toward better cultural property preservation.
The opening ceremony of the Scientific Symposium, featuring distinguished participants gathered on the stage
A view of the Historic Center of Ouro Preto (a UNESCO World Heritage Site inscribed in 1980)
A representative from the Institute attended the 2024 Annual General Assembly of the International Council on Monuments and Sites (ICOMOS AGA) and its Scientific Symposium, held from November 13 to 15, 2024, in Ouro Preto, Brazil. Founded in 1965 following the adoption of the 1964 International Charter on the Conservation and Restoration of Monuments and Sites (the Venice Charter), ICOMOS is an international, independent organization (NGO) composed of experts and academics dedicated to heritage conservation. With over 10,000 members worldwide, ICOMOS serves as an advisory body to UNESCO, renowned for their mission on evaluations of the condition of World Cultural Heritage sites.
This year’s Scientific Symposium, themed “Revisiting the Venice Charter: Critical Perspectives and Contemporary Challenges,” commemorated the 60th anniversary of the Venice Charter’s adoption. The event featured active discussions on the current state and prospects of heritage conservation, centered around four keynote speeches and four roundtable sessions. A key point of the discussions was the acknowledgment that the Venice Charter has become outdated in the 21st century, as heritage conservation increasingly intersects with pressing social issues such as climate change, migration, and inequality. As a result, the Ouro Preto Document was adopted as an outcome of the Symposium, with a strong recommendation for establishment of a new international charter to replace the Venice Charter.
The Tokyo National Research Institute for Cultural Properties will continue to gather and compile information on the safeguarding of cultural heritage overseas and attend international conferences like this in the future as well.
A field study on conservation and restoration
A presentations at an international symposiums
The Japan Center for International Cooperation in Cultural Heritage is conducting a joint research project on the conservation and restoration of mural paintings on the interior walls of St. Michael’s Church (Keşlik Monastery) in Cappadocia, Turkey, in cooperation with a local specialized institutions and universities. Last year, a research plan was prepared based on field surveys, and after deliberations by the Ministry of Culture and Tourism of the Republic of Turkey and an expert committee, the project was officially approved for implementation.
From October 25 to November 9, 2024, we visited the site and conducted on-site research in collaboration with the Nevşehir Conservation and Restoration Research Center. The research focused on strengthening the detached plaster layers and removing soot stains from the surface of the mural paintings, among other conservation and restoration methods. Effective approaches were identified for both, and based on these results, a conservation and restoration plan were developed. Additionally, on November 6, we participated in an international symposium on this project held at Cappadocia University, where we presented a report on the objectives and progress of the project.
This joint research project has grown into an international project led by the Tokyo National Research Institute for Cultural Properties, with participation from specialized institutions and universities in Turkey, as well as experts from Europe. It aims not only at academic research but also at activities that will be useful to many people involved in the conservation and utilization of cultural heritage.
Information leaflet (front)
Scene of the seminar
Since 2018, the Japan Center in Conservation has been hosting the World Heritage Seminar, which aims to transmit information and facilitate exchange of opinions about the world heritage system. In FY 2024 the seminar, titled as “The Soft Edges of World Heritage: Buffer Zone and Wider Setting,” focused on the periphery set up around the property to provide its adequate protection. There were 84 participants, mainly representatives from local governments all over the country at the meeting, held on November 25, 2024, at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
After the introduction provided by Mr. KANAI Ken, Head of the Resource and Systems Research Section of the Japan Center for International Cooperation in Conservation, who explained the purpose of the seminar, Mr. SUZUKI Chihei (Agency for Cultural Affairs) made a report under the title of “Trends on World Heritage,” on the discussions held and decisions made at the 46th World Heritage Committee meeting held in New Delhi in July, 2024. Then, Mr. MATSUDA Akira (University of Tokyo) and Mr. MATSUURA Kazunosuke, Associate Fellow of the Japan Center for International Cooperation in Conservation then each gave lectures, titled “The Spread of the Concept of Heritage on the Periphery of World Heritage Sites” and “The Buffer Zone and Wider Setting in Italy: Spread of Heritage Value Based on the Landscape Protection,” respectively. Next, Mr. SATO Yoshihiro (University of Iwate), Mr. KIDO Masayuki (Shiga Prefecture) and Mr. SHODA Michihiko (Fukuoka Prefecture) presented case reports titled, respectively, “The Buffer Zone and Wider Setting in Hiraizumi,” “The Buffer Zone and Wider Setting as Inscription of Hikone Castle on the World Heritage, List” and “The Notion of Wider Setting in HIA: from a Case Study of Munakata-Okinoshima and a Lecture of WHSMF.” Thereafter, all speakers discussed the desirable situation of Outstanding Universal Value, an institutional question in Japan to support the World heritage protection and the future of the World heritage system.
Through these lectures, case reports, and discussion, it was clarified that the wider setting introduced recently by UNESCO, though it is difficult to define, could be approached from both material and immaterial aspects, and recognized by a framework that combines protection and valorization. Moreover, we could reaffirm the huge difficulty in managing the periphery of World heritage sites under the current Japanese legislative system. TOBUNKEN will continue to conduct research on the international heritage protection system, including the theme that emerged from the seminar.
Koryū Sōka Kuden Hisho (held by the Tokyo National Research Institute for Cultural Properties)
Chinese books published during the Ming dynasty, known as Ming editions, were swiftly imported into Japan and profoundly influenced Japanese culture from the Muromachi period through the Edo period. A notable example is Ping Shi (『瓶史』), authored by Yuan Hongdao (袁宏道) in 1600, during the 28th year of the Wanli reign. Ping Shi was brought to Japan by at least 1629 (Kanei 6), and during the late Edo period it was enthusiastically embraced by the literati, leading to the establishment of numerous Sōka (Minimalist flower arrangement) schools. This influence is evident in the successive publications of ikebana-related texts from the 18th century onwards, such as Honchō Heishi Nageire Kishinonami (1750), Heika Anshū Fū Heiwa (1785), and Heishi Kokujikai (1809, 1810).
However, the details of Ping Shi’s reception in the earlier 17th century remain unclear. At the 6th seminar held by the Department of Art Research, Archives, and Information Systems on October 29, 2024, Ms. ONO Mayumi, Head of the Japanese and East Asian Art History Section of the Department of Art Research, Archives and Information Systems, presented her findings on the influence of Yuan Hongdao’s Ping Shi during the early Edo period. Her presentation, titled “The Reception of Yuan Hongdao’s Ping Shi in Early Edo Japan: Introducing FUJIMURA Yōken’s Kadōsho,” shed light on this underexplored history. Ms. ONO introduced a newly discovered kadōsho (flower arrangement manual), Koryū Sōka Kuden Hisho, which reveals that FUJIMURA Yōken (1613–1699) revered Yuan Hongdao. Yōken not only embraced the principles of Ping Shi, but also founded a distinct school of Sōka. A prominent tea master of the 17th century, Yōken served as the head of the Gofuku merchant house Jūniya in Kyoto and worked for the TŌDŌ family. He studied Chinese classics under MIYAKE Bōyō (1580–1649) and trained in tea ceremony under the Yabunouchi and Enshū schools before becoming a disciple of SEN Sōtan (1578–1658). Known for his excellence in Chinese poetry and his diverse tea practices, Yōken also demonstrated exceptional skill in flower arrangement. The session featured valuable commentary from Associate Professor YAMAMOTO Yoshitaka of the National Institute of Japanese Literature, who provided insights into Ping Shi.
Yuan Hongdao’s philosophy of flowers—emphasizing that placing a single branch in a vase is akin to immersing oneself in nature—resonated deeply with Edo-period sensibilities. The Seminar fostered discussions among experts from various fields about how this philosophy was received and evolved into different schools of ikebana during the Edo period. Building on these discussions and the textual analysis of Koryū Sōka Kuden Hisho, future research will continue to delve into the nuanced reception and development of Ping Shi within Japan’s ikebana traditions.
Orientation for ARLIS/NA Japan Study Tour (October 21)
Visit of related facilities (TOBUNKEN, October 21)
Discussion at the symposium “International Collaboration in Art Archives and Libraries” (October 22)
The Art Libraries of North America (ARLIS/NA), founded in 1972, is an organization of more than 1,000 librarians, visual archivists, curators, faculty, students, artists, and others specializing in art and architecture. ARLIS/NA conducted a study tour in Japan for the first time, with 16 members visiting Japan. As part of the tour, an international symposium entitled “International Collaboration in Art Archives and Libraries” was held on October 22, 2024, jointly hosted by ARLIS/NA and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
In the first part of the symposium, Mr. KOBAYASHI Yoshiyuki, Senior Librarian, Digital Information Department, National Diet Library, introduced “Japan Search: National Platform of Digital Archives,” and Mr. KIKKAWA Hideki, Head of Modern/Contemporary Art Section, Department of Art Research, Archives and Information Systems, introduced the modern and contemporary art archives held at TOBUNKEN. In Part II, “ARLIS/NA: Case Studies of Japan-related Collections,” Mr. Dan Lipcan of Peabody Essex Museum (read by Ms. YASUDA Seira of Boston Architectural College), Ms. Emily Matthews of the University of Illinois, Ms. Alexandra Austin of Pratt Institute, and Ms. Elizabeth Smart of Brigham Young University Library, and visual artist Ms. Angela Lorenz introduced Japan-related materials from their institutions and other content and activities closely related to Japan. The discussion was led by Ms. YAMANASHI Emiko, Director of the Chiba City Museum of Art and Visiting Researcher at TOBUNKEN, and was followed by a lively exchange of information among the 70 participants, including ARLIS/NA members and experts from Japan.
The study tour also included visits to related institutions, namely the University Library of the Tokyo University of the Arts, the Research and Information Center of the Tokyo National Museum, the Research Library of the National Museum of Western Art, the National Diet Library, the Art Library of the Museum of Contemporary Art Tokyo, the Aizu Museum, the Central Library and The Waseda International House of Literature (The Haruki Murakami Library) at Waseda University, tand he Art Library of National Museum of Modern Art, Tokyo. We are especially pleased to have visited the Art Library of the National Museum of Modern Art, Tokyo. We would like to take this opportunity to thank the persons in charge at each of these institutions for their hospitality. We hope that this symposium and the visits to related institutions will provide an opportunity for mutual exchange between ARLIS/NA members and professionals working with cultural properties in Japan.
Performance by Mr. ICHIRYUSAI Teikitsu
Talk show featuring Mr. ICHIRYUSAI Teikitsu (right) and Mr. IJIMA Mitsuru
On October 3, 2024, a symposium entitled “Tokyo National Research Institute for Cultural Properties’ Recording Project for Performing Arts (Kodan): In Memory of Master ICHIRYUSAI Teisui” was held in the seminar room of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
The Department of Intangible Cultural Heritage has been conducting projects to record performances of intangible cultural properties, mainly classical performing arts, selecting genres and repertoires that are rarely performed to the public. From 2002 to 2020, we have filmed and recorded 145 performances of kodan(storytelling) by ICHIRYUSAI Teisui (1939-2020), a holder of the Nationally Designated Important Intangible Cultural Property “Kodan” [individually certified].
The symposium began with an opening remark by Mr. ISHIMURA Tomo, director of the Department of Intangible Cultural Heritage, and then featured a lecture by Prof. IMAOKA Kentaro from the Musashino Art University, entitled “On the Establishment of the Kabuki Play ‘Kanjincho’ and its Relationship with Kodan.” There was also a screening a film of ‘Kimura Nagatonokami no Kannin Bukuro,’ an episode from “Nanba Senki,” performed by ICHIRYUSAI Teisui and recorded at the performing arts studio in the institute on May 26, 2015. Afterwards, Mr. ICHIRYUSAI Teikitsu, a disciple of ICHIRYUSAI Teisui, performed the play “Kanjincho,” followed by a talk show entitled “About Master ICHIRYUSAI Teisui,” featuring Mr. ICHIRYUSAI Teikitsu and Mr. IJIMA Mitsuru, a visiting researcher of TOBUNKEN.
These recordings of ICHIRYUSAI Teisui’s performances will soon be available to view (with a few exceptions) at the TOBUNKEN library. An announcement will be made on our website when these become available.
The Department of Intangible Cultural Heritage will continue to record classical performing arts that are rarely performed, and make them available to the public in an appropriate manner, in an effort to contribute to the preservation of intangible cultural properties.
Recording scene of ‘Manzairaku,’ the bugaku performance
Recording scene of ‘Ryo-oh,’ the bugaku performance
On 30 September and 1 October 2024, a series of experiments was conducted to simultaneously measure audiovisual data, physiological data (such as respiration), and motion capture data during multi-person performances of gagaku, Japanese court music, as part of the joint research project “Dance and Instrumental Performance: Embodied Communication in Gagaku Practice,” led by Dr. KAMATA Sayumi, Researcher of the Department of Intangible Cultural Heritage. The project involves collaboration with the University of Tokyo, J. F. Oberlin University, Kobe University, Riken, and Durham University, and is supported by a Mishima Kaiun Memorial Foundation 2024 Academic Research Grant.
Traditional performing arts often require performers in different roles to coordinate their expressions; however, this coordination is not merely mechanical. To explore how this is achieved from multiple perspectives, the experiment had two main objectives: (i) to record elements that cannot be captured by video or audio alone, such as breathing and fine movements; and (ii) to gather insights from the performers about their specific awareness and coordination during their instrumental or dance roles. With the cooperation of a total of 13 performers, two representative pieces, ‘Manzairaku’ and ‘Ryo-oh,’ were recorded in both the bugaku (with dance) and kangen (instrumental only) styles. These pieces were chosen for their significance in the gagaku repertoire and their contrasting performance styles.
The data collected, both quantitative (audiovisual, physiological, motion capture) and qualitative (interviews), will be analyzed in detail to understand the interaction between performers. Although the research is in its early stages, it is expected to contribute to the development of diverse methodologies for documenting and preserving traditional performing arts.
Investigation of flood damage in Barbar temple
Symposium on Al Faw Archaeological Area
The Japan Center for International Cooperation in Conservation sent a research team to Bahrain and Saudi Arabia to take part in investigation and discussion of the preservation of cultural heritage in early October.
A tripartite memorandum of agreement had been signed among the Bahrain Authority for Culture and Antiquities, the Tokyo National Research Institute for Cultural Properties, and the Institute for the Study of Ancient Civilizations and Cultural Resources at Kanazawa University. Together they launched a research center to promote archaeological studies in Bahrain and cultural heritage preservation projects in collaboration. The purpose of this visit was to investigate the current preservation conditions of cultural heritage that had been damaged by heavy rain in the beginning of this year. In Qalat al Bahrain, collapse of the outer walls of the fort by water damage and serious bending of the ceiling beams made from palm trees were recognized, and the site was temporarily closed to the public. Additionally, soil erosion was recognized in a well thought to be the most sacred part of the Barbar temple, and several stones were inclined or moved by the water flow. Effects on the cultural heritage due to increasing annual precipitation is becoming more serious year by year across the Middle East. We proposed to periodically monitor the progression of deterioration in comparison with the past situation, and discussed immediate countermeasures to reduce flood damage.
We attended a symposium held in Riyadh that focused on the Al Faw Archaeological Area in Saudi Arabia, which had just been newly inscribed on the UNESCO World Heritage List in September 2024, and then visited the archaeological site. Excavation has been completed only by a few percentages, as the Al Faw Archaeological site is large and complex, mainly composed of a pre-Islamic caravan city, and also includes an area of ritual practice and numerous mound tombs from the Bronze Age. We also had a meeting with the Heritage Committee of the government of Saudi Arabia, and agreed to continue discussions on a partnership to promote site management and research for a future public opening of the Al-Faw Archaeological Area.
Training in Photogrammetry
Peace Park Tour VR in the Hiroshima Peace Memorial Park
Experiencing AR content at the Ichijodani Asakura Family Site Museum
The Japan Center for International Cooperation in Conservation held a workshop and study tour, titled, “Workshop on 3D Digital Documentation of the Cultural Heritage and Its Application” and “Study Tour on the Utilization of AR, VR, and Digital Contents in Japanese Museums and Archaeological Sites,” in Japan on October 21-30, 2024 as a part of the Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage sponsored by the Agency of Cultural affairs. This is an advanced program following a basic technical workshop held in Bahrain in December 2023. Seven researchers who were invited from five different counties, Bahrain, Kuwait, Saudi Arabia, Oman, and Egypt, attended an advanced technical lecture and hands-on program, and received on-site training in flying unmanned aerial vehicles (UAVs) for wide-area surveys of archaeological sites and historical buildings. Furthermore, a study tour to find examples of usage of 3D digital documentation in Japan was conducted.
The aim of holding this invitational program in Japan is to provide opportunities to learn about various usage and applications in the areas of historical education, museum exhibitions, and open-site museums in addition to implementing 3D digital documentation in the fields of archaeology or historical buildings. The following examples were introduced: digital content, such as a digital chronicle of the Japanese fine arts produced by the Tokyo National Museum and National Center for the Promotion of Cultural Properties; a 3DDB Model Viewer, which is a twin digital project sponsored by the National Institute of Advanced Industrial Science and Technology; and the “Museum of the Street,” which is a unique program to provide touchable exhibitions reproduced from 3D digital data of real museum objects. Moreover, we visited and experienced the “Peace Park Tour VR” at Hiroshima Peace Memorial Park; Otsuka Ohmi Ceramic Co., Ltd., a factory producing replicas of cultural properties; and augmented reality (AR) and virtual reality (VR) contents merged with an on-site exhibition of archaeological remains and reconstructed streetscape in the Ichijodani Asakura Family Site Museum.
Since it was seen that each country has different main objectives to implement 3D digital documentation, more practical cooperation programs to respond to each need will be considered in the future.
Implementation of pack method using inorganic restorative materials
Before and after conservation and restoration
The Tokyo National Research Institute for Cultural Properties has been conducting research titled “International Research on Technology for the Conservation and Restoration of Cultural Heritage” since the fiscal year 2021. Last year, a research survey was conducted on the trowel paintings at the earthen storehouse of the former Kina-Saffron-Shu-Honpo in Nagaoka City, Niigata Prefecture. The research focused on removing contaminants such as dust, as well as identifying appropriate conservation and restoration methods for damaged areas, such as peeling and flaking, with the aim of establishing effective techniques. This research was commissioned by the government of Nagaoka City. Building on this, from 26 September to 16 October of this year, a follow-up study was conducted with the cooperation of European experts. The goal was to develop methods for reinforcing and restoring the colored layers and plaster layers, as well as techniques for retouching the decoration.
In the past, synthetic resin-based materials were used for the repair of damaged areas of these trowel paintings. However, due to the high temperature and humidity in summer and heavy snowfall during the winter, the materials had deteriorated significantly over time. At times, the restoration materials themselves contributed to the deterioration of the trowel paintings. To improve this situation, we considered introducing durable inorganic restoration materials. For the retouching, we adopted a coloring method that not only preserves the dignity of the mural, which will soon be 100 years old, but also harmonizes with the overall appearance of the entire trowel painting storage.
The conservation and restoration methods for the trowel paintings established through this series of research surveys mark the first such case in Japan from the perspective of cultural heritage preservation studies. While it will be necessary to evaluate the effectiveness of the results based on future monitoring, it can be said that a significant step forward has been made toward improving the current condition.
said that a significant step forward has been made toward improving the current condition.
Discussion by presenters
The watercolor painting Koropokkuru no Mura (“The Village of Koropokkur”) (1907, Tokyo National Museum) by OTA Tōu was created based on the latest findings of anthropology at the time. On September 6, a study session was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on this work, which was on display in a thematic exhibition, “A Centennial Memorial: Kuroda Seiki and the Pioneers of Modern Japanese Painting” (August 20 – October 20) at Tokyo National Museum. The panelists were Ms. YOSHIDA Akiko (a researcher of the Department of Art Research, Archives and Information Systems, in charge of the exhibition), KURATA Aiko (University of Tokyo), Mr. SHINAGAWA Yoshiya (Tokyo National Museum), and Ms. SASAKURA Irumi (Hokkaido Museum of Northern Peoples), who discussed the work in turn from the perspectives of art history, cultural resources studies, archaeology, and cultural anthropology.
Koropokkuru no Mura was painted as a depiction of the living conditions of “prehistoric people” set in Japan 3,000 years ago, as stated on the reverse side of the painting. It is known that OTA relied on the theories of anthropologist TSUBOI Shogoro, referred to archaeological artifacts and other materials available at the time, and carefully sketched the area around Omori Kaizuka (a shell mound) to prepare the painting. OTA intended to exhibit this work in the “Fine Arts” category of the Tokyo Industrial Exposition in 1907, but was denied entry in that category, and the work was exhibited as “Educational and Academic” material in the end.
In a respective presentation, Ms. YOSHIDA first introduced an overview of this work, and after analyzing the trend of award-winning paintings in the art category at the Tokyo Industrial Exposition, she inferred why Koropokkuru no Mura was not recognized as a work of art at the time. Next, Ms. KURATA, who discussed Koropokkuru no Mura in her recent book Gako no Kindai (“Professional Painters in the Modern Era”) (University of Tokyo Press, 2024), in Chapter 8, “‘Japanese Antiquity’ in the 40’s of the Meiji Era (1907-1912)” (pp. 309-331) discussed relationships between this painting and theories of TSUBOI Shogoro, and the position of the painting at the Tokyo Industrial Exposition. Next, Mr. SHINAGAWA analyzed the scene in the painting from an archaeological perspective, as a reproduction of an actual ancient site. He also introduced how the work was collected by the Tokyo National Museum. Next, Ms. SASAKURA pointed out that the tools, clothes, and dwellings depicted in the work have elements in common with those of the northern peoples, and pointed out possible sites and materials that OTA may have referred to through the work of TSUBOI. Finally, a discussion ensued with questions and comments from the audience.
This session was a new attempt to examine this painting, which has been marginalized between artworks and academic materials, from cross-disciplinary perspectives that received a great response from the audience. reports on the results by each presenter will be published in “The Bijutsu Kenkyu (The Journal of Art Studies)” in a future edition.
Examples of Gallery Yamaguchi Papers: Gallery Guide (山304), Print works by NOMIYAMA Gyoji (山185), OKAMOTO Atsuo / Jan van Munster (山043) Note) The figures in parentheses are call numbers.
Examples of Gallery Yamaguchi Papers: Architectural Sculpture Monument by TATEHATA Kakuzo (山147), Photographs of works by Hotel New Otani, Tama Art University, Riccar Building, and National Institute of Technology, Oita
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that a catalog of “Gallery Yamaguchi Papers” is now available on our website.
The Gallery Yamaguchi, a gallery specializing in contemporary art, was established in March 1980 on the third floor of the Yamato Building in Ginza 3-chome, between Matsuya Department Store and Showa Street, and was managed by YAMAGUCHI Mitsuyko (1943-2010). In an era known as the “rush to open art museums,” the gallery mainly presented solo exhibitions of young Japanese artists in their 30s and 40s who would lead the next generation of artists, mainly featuring large-scale abstract paintings and sculptures. It is also known as a gallery that has produced outdoor sculptures and environmental sculptures for plazas and parks on commission. In response to the growing scale of contemporary art works, in April 1991, the gallery moved into the SOKO Gallery premises, which opened in Shinkiba, Tokyo, as the “Gallery Yamaguchi SOKO.” In August 1995, these two galleries were consolidated and moved to the Kyobashi 3-chome Keiei Building. This became one of the most important galleries in this period, contributing greatly to the spread of contemporary art in Japan by holding exchange exhibitions with overseas galleries as part of its international exchange activities.
The Gallery Yamaguchi Papers cataloged here were donated to the Tokyo National Research Institute for Cultural Properties through the intermediary SASAKI Shigeo (1931-2024) when the gallery closed in 2010 following the passing of the gallery’s manager, and consists of some 570 files, with a total length of approximately 9 meters. Among them are files on artists containing documentation such as photographs and press releases, as well as gallery management documents, which may provide important facts that were not previously available to the media such as newspapers and magazines of the time.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to facilitate the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
• Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Archives (documents) information can be found at the bottom of this page. the Gallery Yamaguchi Papers are accessible in our library.
• Gallery Yamaguchi Papers
https://www.tobunken.go.jp/joho/japanese/library/pdf/archives_GalleryYamaguchi.pdf
SASAKI Shigeo (December 21, 2018, TOBUNKEN)
Part of the artist's files: UEMAE Chiyu
Part of the artist's files: ‘A（ア）’ line artist
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that the database “Materials Donated by SASAKI Shigeo’s Contemporary Art Document Center (Artists’ Files)” became available on our website on September 25, 2024.
SASAKI Shigeo (1931-2024) began collecting art works in the 1960s while working at a city bank, and also collected materials on contemporary art from the mid-war period onward. After his retirement, he opened the Contemporary Art Document Center in 1994 in a room of his house, where he provided museum curators and researchers with access to his collection of various materials to support their research and other activities. As an art collector, he visited galleries in Tokyo and had a network of gallery owners and other collectors. One of the characteristics of this collection is that it was actively collected with the archival function of the Contemporary Art Document Center.
In 1997, the Institute received approximately 450 cardboard boxes of materials from this group to supplement the collection of materials in the field of contemporary art, which it had not been able to fully collect until then. Since then, we had received regular deliveries of materials until 2018. We had published a “CD of the Catalogue of SASAKI Shigeo’s Contemporary Art Document Center” (2002) and a “CD of Gallery-related Data of the Catalogue of Materials Donated by SASAKI Shigeo’s Contemporary Art Document Center” (2006), and have provided other information to researchers as well. The release of this database reflects the latest state of organization and allows us to provide this information via our website for more convenient access.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to enable the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
◆Database “Materials donated by the Contemporary Art Resource Center led by SASAKI Shigeo (artist files)
https://www.tobunken.go.jp/materials/sasaki_artistfile
◆ Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Stucco decoration on the ruins
Survey scene at the archaeological site
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.
As part of these activities, we visited the Roman ruins of Somma Vesuviana in Italy on September 6 and 7, 2024. This site, located on the north side of Mount Vesuvius, has been investigated since 2002 by an excavation team led by the University of Tokyo, which has so far discovered remains of buildings thought to have been founded around AD. As a result of various investigations, there is a strong possibility that these buildings were a villa of Augustus, the first emperor of the Roman Empire, as described in historical records.
During this visit, we focused on the stucco decorations that remain among the ruins, conducted preliminary research on the materials, techniques, and coloring used, and prepared a research plan. In this plan, we also mentioned the possibility of deepening our study on modern methods of conservation and restoration of the decorative gateway, where stucco decorations and wall paintings remain, with a view to preserving and utilizing the remains.
We will continue to deepen our understanding of the structure and characteristics of stucco decoration through comparative research on stucco decoration techniques and materials for archaeological sites of the Greek and Roman periods, and continue our research on their conservation and restoration methods and site management.
