| ■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 |
|
Seminar held by the Department of Art Research, Archives and Information Systems
The Department of Art Research, Archives and Information Systems held a seminar on December 22nd, 2015, where Kyoko ISHII of the Center for Conservation Science and Restoration Techniques made a presentation on the topic: “Possibility and acceptability of past refurbishing of Red and White Cotton Roses. It concerned Red and White Cotton Roses (designated as a National Treasure and owned by Tokyo National Museum), paintings signed by the Chinese court painter Li Di in the Chinese Southern Song dynasty in 1197. At the presentation, she reported on accurate depiction of details as well as her perception on inpainting added by posterity based on the results of various kinds of optical examinations using infrared rays, x-rays, etc. Based on the detailed map of damages that remain on the paintings, she also reported the possible refurbishing made by posterity. Large longitudinal bending lines exist on both paintings. Today, the paintings of white cotton roses and red cotton roses are said to be a pair of hanging scrolls. However, it can be possibly presumed from these longitudinal bending lines and inpainting that they were originally made as a picture scroll, which were then trimmed and made into hanging scrolls. Ishii further reported that the both paintings had already been recognized each as an independent painting in the early Edo period and provided with unique values added in Japan. The two large longitudinal bending lines on both paintings occur in an equal interval on each of the paintings that are different in nature from longitudinal bending lines observed in ordinary picture scrolls. Ishii’s presentation was followed by a lively discussion as to possible causes of these lines, as to a question arising on the signs on the pictures if they had been a picture scroll, etc., thus disclosing and posing a series of interesting problems.
Scene from the general discussion
The 10th Conference on the Study of Intangible Folk Cultural Properties was held on December 4th, where reports were presented and discussions were held on the topic titled “Outward-facing intangible cultural heritage―Transmission of attractiveness and external power” by four presenters and two commentators.
There have been a number of cases reported where, in the process of restoration after the Great East Japan Earthquake, the attempt taken by the severely afflicted areas to bring in “external power” has resulted in contributing to inheritance of culture. Through the attempt, I-turn & U-turn migrants, tourists, and other new groups of people who had never been involved in cultural inheritance activities in a community came to take part in those activities (expansion of successors) and came to transmit patrimonies to new audience and supporters (expansion of receivers). In this regard, when having intangible folk cultural properties “face outward” in a variety of forms, what kind of structures and methods will be needed? And, what kind of challenges and visions will there be? Discussion was exchanged this time on “external power” and inheritance of culture not by limiting the target to disaster-stricken areas, but by covering various regions across Japan that are declining because of depopulation, aging, and urbanization.
From the reports on four regions, namely Aomori, Yamagata, Hiroshima, and Okinawa and through the subsequent discussion, a wide variety of topics were posed including not only specific ones such as how to create methods and structures for transmitting attractiveness, but also how to address “tradition” and change, and what meaning it has for a region to make efforts to hand the culture on to the next generation. It was especially impressive to know that all these four regions had never relied on external power from the start in their efforts to hand down culture, but rather the successors and community people surrounding them had continued to choose their own path through numbers of discussions on the ideal way of cultural inheritance and through trials and errors. The Conference this time gathered more participants than in past years, including many who were actually engaged in cultural inheritance activities in an organization working on conservation of intangible cultural heritage. It not only indicated a rising interest in the issue of having intangible cultural heritage “face outward” but also renewed our recognition of how serious the patrimony issue is for the parties concerned.
The report of the Conference was published in March 2016 and was posted on the website of the Department of Intangible Cultural Heritage.
Stage performance at Public Lecture
On December 18th, the Department held the Public Lecture under the title of “Melody and Accent of Japanese Music―from the Medieval Period through the Early Modern Period―” (at Heiseikan Auditorium). With the focus on Noh (Noh chant; a medieval performing art) and Nagauta (long epic song; an early-modern performing art), the lecture was delivered jointly with Professor Kiyoe Sakamoto of Japan Women’s University, a Japanese language scholar, on the correspondence relation as to how Japanese language accent had its influence over the melody of songs. Then, the participants all enjoyed a stage performance of Noh chant “Matsukaze (wind blowing through the pine trees)” in which the melody of the Momoyama period was restored and a stage performance of Nagauta “Tsuru Kame (crane and turtle)”. It was clearly understood that influential relation varied by category, changed over different time periods, etc. A total of 285 participants were present. Many feedbacks were obtained, which especially mentioned that the content consisting of a lecture combined with stage performances by a Noh player and a Nagauta player was very interesting.
Demonstration of winnowing-basket making process
A seminar was held on December 22nd,2015 under the title of “Intangible Cultural Heritage and Disaster Prevention―Importance of Recording for Conservation of Traditional Techniques.” This seminar was organized under the “preparation of dynamic records for cultural properties protection” project that was governed by the National Research Institute for Cultural Properties, Tokyo as a part of the promotion program of the National Taskforce for the Japanese Cultural Heritage Disaster Risk Mitigation Network. As intangible cultural heritage specifically includes “immaterial” culture, use of recording is considered an important element for the purpose of disaster prevention/disaster reduction.
This time, with a focus on the traditional techniques especially in the radiation-affected area in Fukushima Prefecture among the disaster-affected regions of Great East Japan Earthquake, two cases were introduced using the pre-disaster and post-disaster records to show what efforts have been underway towards disaster prevention and reconstruction.
The cases introduced were “Obori-Soma Ware” of Namie Town, Fukushima Prefecture, and “Odaka Winnowing-Basket Making” of Minami-Soma City. The case of “Obori-Soma Ware” showed the reconstruction efforts that were in progress after the workshops had moved out of Namie Town after the disaster. Further, in the case of “Odaka Winnowing-Basket Making,” the current efforts to restore the technique by referring to the videos that had been recorded before the disaster were introduced. Further to explain acquisition of skill obtained in the recorded video, a part of the actual making process was demonstrated while discussion was held about importance of recording in intangible cultural heritage.
As we need to think of a wide variety of cases for disaster prevention of the intangible cultural heritage, there is no single best answer to it. Based on continuous discussion, we will keep making efforts to contribute to disaster prevention/disaster reduction of the cultural heritage.
Survey on the extent of cultural heritage damage at Aganchen Temple, Hanumandhoka in Kathmandu
Workshop on management and documentation of timber members salvaged from a collapsed temple
Survey of disaster damage condition in Khokana
A field survey was conducted in Nepal from 21 November to 8 December as a part of the “Japan’s International Contribution to Protection of Cultural Heritage” program commissioned by the Agency for Cultural Affairs, Japan. Based on results of the briefing survey that had been conducted in September on the disaster-affected cultural heritages in Kathmandu Valley of World Heritage, the survey this time conducted Kathmandu Durbar Square of World Heritage Site and Khokana Village that was listed on the Tentative List of World Heritage for its remaining historical townscape.
In the Kathmandu Durbar Square, Traditional techniques of historic buildings team carried out a “survey on the extent of cultural heritage damage” and Structural engineer team carried out “3D measurement” and “micro-tremor measurement.” Further, as a part of emergency preservation measures, with regard to appropriate management and documentation of timber members salvaged from collapsed temples,. a workshop on the classification, recordkeeping, and storage methodology was conducted with local experts to transfer this technical knowledge.
In Khokana, on the other hand, This comprehensive, in-depth survey considered the settlement space from a cultural perspective, the extent of cultural heritage damage, the historical development of urban typologies, structural impacts, including micro-tremor measurements, intangible heritage impacts, and water quality. In the case of a historical settlement that has been disaster stricken, people who are disaster victims tend to consider that “speedy reconstruction of their houses” and “inheritance of historical townscape” are two contradictory issues. In order to address this difficult challenge and contribute to developing the reconstruction plans, the survey was conducted by accurately gathering information from the perspective of cultural heritage in cooperation with Khokana Reconstruction and Rehabilitation Committee, an organization consisting of local residents who were highly-motivated to inherit their history.
We are planning to continue the survey and to feed back the fruit to the local stakeholders in a speedy manner.
2016 desk calendar (Front page)
2016 wall calendar (January page “Metal ornaments”)
The Japan Center for International Cooperation in Conservation has been carrying out surveys of the selected preservation techniques that are indispensable for preservation of cultural properties. In this endeavor, a hearing survey on working processes, situation surrounding the work, and work-related social environment has been conducted targeting possessors and possessing groups of the selected preservation techniques and also photographing/recording of actual work sites and tools used for the work have been promoted. As a part of efforts to disclose the result of and disseminate information about this survey, the 2016 calendar for overseas was produced (available in two types: desk calendar and wall calendar). This calendar is titled “Traditional Japanese Technique to Conserve Cultural Properties,” in which, based on the surveys that were carried out in FY2014 and FY2015, the following production techniques were introduced; metal ornaments, Tatara Iron Works, Japanese swords, ridge-end tiles, cypress bark roofs, handmade ramie threads, original yarns for Japanese musical instrument, Showa Village Karamushi-ori (ramie weaving), bark of hemp stalks, lacquer-tapping tools, Assam indigo, and shuttles for weaving. All the pictures were taken by Seiji SHIRONO who is a specialist staff member of the Institute’s Department of Art Research, Archives, and Information Systems. In the pictures, the right moment to clearly show the characteristics of the material and technique has been captured, producing optimal optical effects. The explanatory texts are written both in English and in Japanese. Copies of the calendar are delivered to foreign government ministries/agencies concerned with cultural properties in hopes to further deepen understanding among overseas people of Japanese culture and techniques to conserve cultural properties.
Two visitors from the National Museum of Korea, the Republic of Korea
On November 5, they visited the Institute to take a close look at our equipment to be used as a reference against new equipment they planned to purchase. The visitors toured the Center for Conservation Science and Restoration Techniques, where leading researchers explained their work.
Lecture by Deputy Director of the Center for Conservation Science and Restoration Techniques
21 visitors from the Japan Air Cleaning Association
On November 16, the members of the Association visited the Institute to extend their knowledge about cultural properties in general and learn conservation science and restoration techniques closely related to air quality environment. After attending the lecture by Deputy Director Chie Sano of the Center for Conservation Science and Restoration Techniques, they toured the Library of the Department of Art Research, Archives and Information Systems, and the Performing Arts Studio of the Department of Intangible Cultural Heritage. Leading researchers in each department explained their work
Four students from the Korean National University of Cultural Heritage
On November 17, the students visited the Institute to obtain information on folding screen painting techniques from our experts in the restoration of Japanese paintings for their reference in the investigation of the conditions of Japanese folding screens at the University, as well as in determination of their restoration approaches. They toured the Japan Center for International Cooperation in Conservation, where leading researchers explained their work.
JAL Project: Overseas Invitees Visiting the Institute
The JAL Project (Chairman of the Executive Committee: Mr. Sachio Kamogawa Director of the National Museum of Modern Art, Tokyo) was started in 2014 to invite overseas experts handling Japanese art materials (such as librarians and archivists) to Japan for a review on how Japanese art materials and related information should be provided. Director Emiko Yamanashi and Researcher Hideki Kikkawa of the Department of Art Research, Archives and Information Systems of the Institute were commissioned as members of that committee. Kikkawa visited Germany and Chez Republic to interview the invitees in advance, and was involved in training guidance and study tours of the related institutions in Japan.
On October 3 and 5, he interviewed Ms. Cordula Treimer of the Library of the Museum of Asian Art of the Berlin State Museums, and Mr. Jana Ryndova of the National Gallery in Prague jointly with Mr. Takeshi Mizutani of the National Museum of Modern Art, Tokyo, as well as toured the locations to understand how Japanese art information was handled and released.
Nine overseas experts in handling materials visited Japan from November 16 through 23 to tour the related institutions located in Tokyo, Kyoto, Nara and Fukuoka. They came to this Institute on November 18 to have discussions with our researchers after the introduction of our book materials, photos of researched works, files of modern and contemporary artists, and sales catalogs, as well as relevant projects, at the library. In response to the request from the invitees in 2014, we also organized an “Exchange Meeting with Overseas Experts in Japanese Art Related Materials” for 2015 to offer them an opportunity to interact with persons working for related institutions in Japan. Twenty-eight participants actively exchanged professional opinions in an amicable atmosphere.
On November 27, the last day of the training program, an open workshop was held at the auditorium of the National Museum of Modern Art, Tokyo. Like 2014, the invitees made proposals on the transmission of Japanese art information, which provided us with a good opportunity to reconsider how we should globally transmit information on cultural properties.
“Remarks of Old Paintings” Vol. 26, Portrait of Okamoto Zen’etsu (Source: Library of Tokyo University of the Arts)
On Tuesday, November 24, the Department of Art Research, Archives and Information Systems invited Ms. Hiroko Kato (Research Fellow of the Japan Society for the Promotion of Science) to give a presentation on her research under the title of “Updating of the Visual Arts and Iconography Led by Tokugawa Yoshimune – With a Focus on the Roles of Okamoto Zen’etsu Toyohisa.”
Tokugawa Yoshimune, the eighth shogun of the Edo Shogunate (1684-1751), is well known as an innovative yet reactionary politician. Also in the field of art, he encouraged the reproduction of Chinese masterpieces painted in the Song, Yuan and Ming Dynasties, while allowing the import of Dutch oil paintings. He also ordered the reproduction of old paintings possessed by feudal lords and the sketching of rare animals from abroad. One of the leading painters who reproduced such old paintings and made such sketches is Okamoto Zen’etsu Toyohisa (1689-1767), who served Yoshimune as a painter in the Doubou rank. Ms. Kato introduced the fact that approximately 270 painting examples called Funpon, which had been formerly owned by the Hikone Family as a descendant of Zen’etsu, were included in the “Pictorial Materials of the Itaya Family” possessed by the Tokyo National Museum. Based on the existence of these materials, Ms. Kato pointed out the possibility that Zen’etsu might have played an important role in leading visual arts and iconography by communicating the intention of Yoshimune to the Kano and Sumiyoshi Families known as long lines of great painters. These issues clarify Yosimune’s perspectives on paintings, suggesting that Yoshimune’s views affected the style of the Kano school later by way of Zen’etsu through the accumulated example paintings. After the presentation, there was an animated discussion over the roles of Zen’etsu and his relation with Narushima Douchiku as one of the close advisors to Yoshimune like Zen’etsu. We expect further discovery of works created by Zen’etsu, who actually produced a few paintings only.
The Shochuhi memorial is being restored at Bronze Studio in Tokyo (on November 7, 2015)
A bronze black kite spreading its wings is placed on its back. Referring to the pre-earthquake photos pinned on the board behind, the broken pieces are put back together one by one.
As repeatedly reported through this activity report, the Committee for Salvaging Cultural Properties Affected by the 2011 Earthquake off the Pacific Coast of Tohoku and Related Disasters having its secretariat in this Institute have provided rescue activities for numerous cultural properties damaged by the Great East Japan Earthquake in March 2011. The Shochuhi memorial standing on the site of the inner citadel of Sendai Castle (Aoba Castle) is one of them. The monument was built to console the souls of war victims affiliated with the Second Division in Sendai in 1902. Due to the earthquake, a bronze black kite installed on the stone tower about 15 m in height fell to the ground. Its broken pieces were collected and the main body has been relocated as part of the Cultural Properties Rescue Operations by the Committee. Since the completion of the Operations in 2014, the Monument has been restored as the Disaster-Affected Museum Reconstruction Project in Miyagi Prefecture. In this fiscal year, the broken black kite pieces have been transferred to Bronze Studio located in Hakonegasaki, Tokyo, and joining operations are now under way. Here, I would like to report on the restoration process of the black kite based on my visit to the Studio on November 7, 2015.
The broken black kite was delivered to Tokyo twice on June 3 and July 10. First, as a step prior to the joining process, the concrete and lead inside the largest part of the broken black kite (approx. 5.1 t) was removed. The black kite was filled with these materials to fix the rail inserted as an iron core connecting the black kite and the stone tower, as well as to balance it in weight. After the three months it took to remove them, the process to join the broken bronze pieces started on a full scale. Based on the images taken during the research before the earthquake, the pieces are being put together in such a way as to return them to their original form. Since the head and wing tips of the black kite are crushed, small pieces are being assembled like a jigsaw puzzle.
The construction of the Shochuhi memorial , on which a huge black kite weighing over 5 tons was installed on a tower 15 m in height, was really a feat of strength. According to Mr. Yuji Takahashi of Bronze Studio, the on-going restoration process has revealed the painstaking craftsmanship dedicated at that time, such as fine parts that are now produced with machines were manually processed one by one. The restoration process made us recall the time-consuming endeavors undertaken by the people involved in the construction of the Monument during the Meiji period. These piecing operations will proceed on to the next fiscal year. After the completion of all processes, the black kite will go back to Sendai. On the other hand, however, the stone tower has deteriorated due to the infiltration of rainwater. Although five years have passed since the earthquake, many challenges still remain over the conservation and restoration of the Monument. Long-term initiatives are required.
Self-portrait of Hata Shokichi. Taken in 1910
He pointed the camera lens at the mirror to shoot himself pressing the shutter. His writing on the negative tells that it was taken in Hotel Soufflot in Paris that was a favorite place to stay for Japanese intellectuals and artists.
Hata Shokichi (1882-1966), a sculptor, was a professor at the Tokyo School of Fine Arts (present Tokyo University of the Arts) and Tokyo Higher School of Arts & Technology (present Chiba University), and created commemorative medals and reliefs as a non-regular employee of the Japan Mint and Decoration Bureaus. He went to France as an overseas business trainee of the Ministry of Agriculture and Commerce between 1907 and 1910 and became the first Japanese sculptor admitted to the École nationale supérieure des beaux-arts (National School of Fine Arts) where he studied sculpture. Twelve negatives during his stay in France have been kept by his bereaved family and Mr. Fumio Hata, a grandchild of Shokichi, donated them to this Institute. The photo negatives include those of his self-portrait, him with Yasui Sotaro, Fujikawa Yuzo and other Japanese artists who were in Paris at that time. We may say that the negatives are highly precious materials that help us look at his association with other Japanese in a foreign country. We will convert these negatives into digital photos and make them available on the web.
At the Kumagaya Traditional Industry Passing Down Room (Kumapia)
On November 11 and 12, 2015, the Department of Intangible Cultural Heritage held Seminar II on Passing Down Intangible Cultural Heritage (Traditional Techniques) “Passing Down Dyeing and Weaving Techniques and Regional Involvement” jointly with Kumagaya City. In connection with the previous seminar “The People and Tools that Sustain Textile Techniques” (held on February 3, 2015), we invited experts concerned from Kumagaya City in Saitama Prefecture and Kyoto City of Kyoto Prefecture, both of which give proactive support to the conservation and utilization of “tools” essential to dyeing and weaving techniques, for this seminar. We exchanged opinions on how administration could be involved in the conservation and utilization of “tools” as elements indispensable for dyeing and weaving techniques.
On the first day, after the report on “Protection and Utilization of Tools” from a perspective of cultural heritage by Mr. Shunsuke Nakayama, Head of the Modern Cultural Properties Section of the Center for Conservation Science and Restoration Techniques of this Institute, Mr. Norihiro Oi of Kumagaya City Library gave a speech on “Protection of Kumagaya Dyeing Related Tools and Administrative Involvement,” and Ms. Naoko Kotani of the Traditional Industries Section, City of Kyoto talked about “Projects Supporting Dyeing and Weaving Techniques in Kyoto City.” At the comprehensive discussion following these presentations, opinions were exchanged vigorously over what administration could do, the importance of collaboration among people in different positions, and so forth. The audience also mentioned that it would be necessary to consider the collaboration with other “regions” with a focus on the “region” in which the technique to be passed down was rooted.
On the second day, after the lecture of “Small History of Modernization of Dyeing and Weaving in Saitama Prefecture – With a focus on Kumagaya Dyeing –“ by Ms. Kayoko Mizukami of Toyama Memorial Museum, we toured the Kumagaya Traditional Industry Passing Down Room (inside the Kumagaya city sport cultural village “Kumapia”). The long board rotary, water washer, and steaming box have been relocated with aid from the Pola Foundation for the Promotion of Traditional Japanese Culture.
This seminar, where discussions were developed based on concrete cases on dyeing and weaving techniques and the tools supporting them, provided a good opportunity for us to recognize the importance of conserving tools anew for smooth and secure passing down of traditional dyeing and weaving techniques.
The Department of Intangible Cultural Heritage will continually provide opportunities to discuss various issues surrounding traditional techniques.
Research Using Image Plate Developing Equipment
On November 10 through 12 following the first survey in August, we conducted an investigation into a pair of six-fold screens of “Birds and Flowers of the Four Seasons” (an important cultural property) at the Suntory Museum of Art. To investigate the production techniques and materials of the folding screens, we conducted research using an optical survey, fluorescent X-ray analysis, visible spectroscopy, X-ray radiography and other approaches.
As for X-ray radiography, we obtained X-ray transmission images with imaging plates. For this research, we brought the developing equipment, which is dedicated to imaging plates and were introduced to our institute in November, to the Suntory Museum of Art. Accordingly, at the site, we proceeded with the research by confirming the X-ray transmission images each time they were obtained. These images gave us a variety of information such as types and thicknesses of the coloring materials and production techniques.
We will summarize these research outcomes to publish a research report within FY 2015.
General Discussion
Inviting experts involved in the preservation and restoration of archeological and architectural heritage from five countries in Southeast Asia, the above seminar was held at our seminar room on November 13. After the experts presented their diverse technical challenges over the preservation of historical monuments or sites s in their countries, we exchanged opinions on the possibilities of new collaboration. Indonesia and Thailand, which have many practical cases on the maintenance of monuments and sites , and Cambodia, Vietnam and Myanmar, which have been introducing new technologies particularly in recent years, presented their concrete cases. This was a good opportunity for us to get a wide overview of the current state of protecting cultural properties in historical sites and monuments, museums, and so forth.
We invited Mr. Hubertus Sadirin (Advisory Expert Board on Cultural Property for the Governor of Local Government of DKI ) from Indonesia, Mr. Vasu Poshyanandana (Senior Architect of the Office of Architecture, Fine Arts Department, Ministry of Culture and Secretary-General of ICOMOS Thailand) from Thailand, Mr. An Sopheap (Head of Office of Archeology, Department of Conservation of Monuments inside Angkor Park and Archaeology Preventive, APSARA National Authority) from Cambodia, Ms. Le Thi Lien (Senior Researcher of the Institute of Archaeology of the Vietnam Academy of Social Sciences) from Vietnam, and Mr. Thein Lwin (Deputy Director General of Department of Archaeology and National Museum, Ministry of Culture) from Myanmar.
At the comprehensive discussion, active dialogue was undertaken over how to preserve unearthed remnants of ancient buildings, consistency between new and old materials used for restoration, quake-resistant measures for structures, balance between tangible and intangible values in conservation, issues on management systems and HR, etc. These tropical or semitropical countries have many similarities not only in their climatic environments, but also in challenges on factors of and countermeasures to material deterioration. This meeting worked as a good opportunity for them to reconfirm the continual information sharing and cooperation toward the further collaboration within and outside the region. Communicating with these countries closely, we would like to clarify their support needs and consider more effective approaches for cooperation.
Demonstration of lining with Japanese paper at practical session
From November 4 to 20, 2015, the International Course on Conservation of Paper in Latin America was conducted as part of the LATAM program of the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). The course was jointly organized by NRICPT, ICCROM, and Mexico’s Coordinación Nacional de Conservación del Patrimonio Cultural, Instituto Nacional de Antropología e Historia (CNCPC-INAH). It was held at CNCPC-INAH and this year was the fourth time.
There were 9 participants who are experts of conservation for cultural properties and hailed from 8 countries of Portugal, Belize, Chile, Columbia, Cuba, Mexico, Uruguay and Venezuela. The first half of the course was conducted by NRICPT. It was aimed to apply the paper conservation techniques of Japan to cultural properties overseas. Providing the lectures on the protection on cultural properties in Japan as well as the materials such as Japanese paper and adhesive, basic knowledge of the traditional mounting and restoration techniques, the practical session was implemented. The practical session was supported by the staff member of CNCPC-INAH, who had learned the traditional mounting and restoration techniques at NPICPT for several months as part of the program. Following the demonstration by the Japanese instructor, the participants experienced the basic of the traditional mounting and restoration techniques, such as cooking paste, cleaning, infill, lining and drying with karibari. In the last half of the course, the experts of conservation of cultural properties in Mexico, Spain and Argentina conducted lectures on the application of Japanese paper to the conservation in the west and so forth. Through such technical exchange, the plans are to conduct similar training sessions in the future as well in order to deepen understanding of the conservation techniques of Japan and contribute to protection of the cultural properties overseas.
FAO Used as the Venue
Deliberations
Representative from the Institute attended the 29th General Assembly of ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) held in Rome, Italy from November 18 through 20, 2015. ICCROM is an intergovernmental organization, the headquarters of which was established in Rome in 1959 following the resolution at the 9th Session of the UNESCO General Conference in 1956. Known as an advisory body to the World Heritage Committee, ICCROM has been working on the conservation of various movable or immovable cultural properties. Our Institute has been contributing to its activities particularly through training on the preservation and restoration of cultural properties using paper and Japanese lacquer.
The General Assembly of ICCROM takes place every two years. As usual, new members of the Council were elected since almost half of its members’ term of office had expired. As a result, Mr. Wataru Kawanobe of our Institute was reelected as its member. New Council members were elected from Ireland, Argentina, Iran, the Netherlands, Canada, Korea, Tunisia, Norway and Jordan, while the members of UAE and France were reelected.
From this General Assembly in 2015, a thematic discussion was held and disaster measures and reconstruction cases were introduced from the member states under the theme of “Climate Change and Natural Disasters: Culture cannot wait!” During the course, the adoption of the “Sendai Framework for Disaster Risk Reduction 2015-2030” and “Sendai Declaration” at the third UN World Conference on Disaster Risk Reduction held in Sendai in March of 2015 was also addressed with a focus. We really felt the great expectations of the member states toward Japan in these areas.
The Institute will proactively join these international meetings in order to collect global trends on the protection of cultural properties, as well as to transmit Japanese activities widely.
Students at a briefing lecture on global activities of the Japan Center for International Cooperation in Conservation
Nine students from Tokyo Gakugei University
On October 5, the students visited the Institute to foster better understanding of our latest activities, such as research on domestic and overseas cultural properties and cooperation in the safeguarding of cultural properties, for the promotion of their on-going study. Leading researchers briefed participants on their operations at the Library of the Department of Art Research, Archives and Information Systems, the Performing Arts Studio of the Department of Intangible Cultural Heritage, and the Conservation Science Section of the Center for Conservation Science and Restoration Techniques. In addition to these, at the Japan Center for International Cooperation in Conservation, global activities of the Institute were also introduced by a researcher in charge.
Audience at the seminar room
The Department of Art Research, Archives and Information Systems organized public lectures at the seminar room of the Institute on Friday, October 30 and Saturday, October 31, 2015. This lecture has been annually held for 49 years in order to widely release our accumulated research outcomes to the public. For 2015, two researchers of the Institute and two more lecturers from outside gave a one-hour lecture, respectively.
Day 1 was dedicated to “Amida (Amitabha) Triad of Ninna-ji Temple and the Belief of Emperor Uda” by Ms. Mai Sarai (Senior Researcher of the Department of Art Research, Archives and Information Systems), and “Painters in the 10th Century : Various Phases of “Japanization” from the Perspectives of East Asian Art Historyby Mr. Ryusuke Masuki (Associate Professor at Kobe University). Ms. Sarai explained iconographical features of the Amida Triad built by Emperor Uda together with their involvement with historical backgrounds of the religion centering on Emperor Uda, while Mr. Masuki studied changes in landscape paintings around the 10th century in China read from historical materials, which affected Japanese paintings.
Day 2 was for “Japanese and Chinese Found in Yosa Buson’s Paintings” by Mr. Takuyo Yasunaga (Researcher of the Department of Art Research, Archives and Information Systems) and “Looking into the Landscape Paintings of Ike no Taiga : By Means of Two Paintings of ‘Riku-en’” by Ms. Rie Yoshida (Curator of the Shizuoka City Art Museum). Mr. Yasunaga explained how Yosa Buson, a painter representing the Edo period, was aware of “Japanese” and “Chinese” styles in his expressions, which were mixed and shown in his actual paintings. On the other hand, Ms. Yoshida focused on the paintings of “Riku-en” drawn by Ike no Taika, a famous painter in the Edo period like Buson, which are based on the Chinese theory of painting but which are very unique. She also referred to how the paintings of Taiga as a Japanese “Bun-jin (literati) painter” had been established along with the styles of paintings using Japanese brushes shown in his works and the relationships with people involved in his works.
With an audience of 138 people on Day 1 and 109 on Day 2, the lectures were esteemed highly: More than 80% of questionnaire respondents answered “Satisfied Very Much” and “Satisfied in General.”
