| ■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 |
|
A scene from the online workshop (May 29, 2024)
An online workshop entitled “Reunion, Rehabilitation, and Revitalization: International Online Workshop for Safeguarding Intangible Cultural Heritage and Living Heritage in Sudan” was held on May 28 and 29, 2024. This workshop was part of the Grant-in-Aid for Scientific Research, “Heritage studies for realization of cultural diversity and peacebuilding in post-conflict countries,” a project led by Dr. ISHIMURA Tomo, Director of the Department of Intangible Cultural Heritage, Tokyo National Research Institute for Cultural Properties (TOBUNKEN). The workshop was organized by the Department of Intangible Cultural Heritage, co-organized by the Safeguarding Sudan’s Living Heritage (SSLH) project of the UK, and supported by the Department of International Relations and Organizations, National Corporation for Antiquities and Museums (NCAM) in Sudan.
Sudan has been embroiled in armed conflict since April 2023, the National Museum and the National Ethnographic Museum in the capital Khartoum have both been closed, and experts involved in the protection of cultural heritage have been forced to either flee the country or evacuate to relatively safe areas within the country. However, despite these difficult circumstances, Sudanese experts have continued their activities to protect cultural heritage. For example, our counterpart, Dr. Amani Noureldime (former Director, National Ethnographic Museum and current Director, International Relations and Organizations, National Corporation for Antiquities and Museums (NCAM), Sudan), has evacuated to a relatively safe area in Sudan and has been working with local residents to protect cultural heritage based at a museum in that area. In addition, the UK’s SSLH project is planning to start a project to safeguard traditional culture in cooperation with local Sudanese experts, also based at a museum in a relatively safe area of Sudan.
The purpose of this workshop was to connect experts engaged in various activities both inside and outside Sudan, share information, and hold discussions on ways to overcome this difficult situation. The agenda was as follows:
Day 1 (May 28)
Opening remarks (Mr. SAITO Takamasa, Director General, Tokyo National Research Institute for Cultural Properties)
Introduction (Dr. ISHIMURA Tomo, Director, Department of Intangible Cultural Heritage)
Towards a National Strategy and Plan Aimed at Uniting Performers, Heritage Bearers, Activists, and Civil Society Institutions to Preserve, Rehabilitate, and Revitalize Sudan’s Intangible Cultural and Living Heritage (Dr. Ismail Ali El Fihail, Director, House of Heritage, Khartoum/ICH UNESCO Accredited Facilitator)
Current Trends of the UNESCO Convention for Safeguarding Intangible Cultural Heritage (Dr. ISHIMURA Tomo, Director, Department of Intangible Cultural Heritage)
Cultural Heritage and Disaster Risk Management (Prof. MASUDA Kanefusa, Ritsumeikan University/ICOMOS-ICORP)
Safeguarding Sudan’s Living Heritage Project Inside and Outside Sudan (Dr. Helen Mallinson and Mr. Michael Mallinson, Mallinson Architects and Engineers/SSLH)
Traditional Buildings in Sudan as Living Heritage (Dr. SHIMIZU Nobuhiro, Hokkai Gakuen University, Dr. ISHIMURA Tomo, Director, Department of Intangible Cultural Heritage, and Ms. SEKIHIRO Naoyo, Kyoto City Archaeological Research Institute)
Day 2 (May 29)
Keynote Speech: Museum Policies and Objectives in Sudan under the Current Situation (Dr. Ghalia Garel Nabi, Director General, NCAM)
Impacts on Cultural Heritage in War Situation: Case study (Gaziera Museum) (Dr. Amani Noureldaim Mohamed, Director, Department of International Relations and Organizations, NCAM)
Community Engagement and Heritage Protection During the Wartime Case of Jebel El-Barkal World Heritage Site and Marawi Land Museum Evacuation Northern State, Sudan (Dr. Sami Elamin, Director, Northern State Antiquities Office, and Resident Manager, Jebel El-Barkal World Heritage Site)
Community Engagement and Heritage Protection in Shiekan Museum (Dr. Amani Yousif Bashir, Director, Shiekan Museum)
Discussion, facilitated by Prof. Intisar Soghayroun (Expert/Head of Research Unit, the Institute of Arabic Manuscripts, ALESCO) and Dr. Julie Anderson (British Museum)
Commentator: Dr. Abdelrahman Ali (UNESCO Expert/ former Director General, NCAM)
Concluding remarks by H.E. Ali Mohamed (Ambassador of the Republic of the Sudan in Japan)
Some of the experts who participated via the internet from Sudan struggled with poor connectivity. Nevertheless, it was a great achievement that so many experts were able to gather together online, even in the difficult circumstances of armed conflict.
Sudan is still in the midst of armed conflict, and we are unable to travel there to carry out our activities. However, we will continue to consider the kinds of international cooperation we can provide to safeguard Sudan’s cultural heritage, even if we are outside of Sudan.
Conducting an on-site inspection.
The bell tower of Okariden Hall.
On May 15, 2024, we visited Nikko Toshogu Shrine to inspect the “humidity-controlled warm-air treatment” facilities for the bell tower of Okariden Hall. Traditional gas fumigation for insect extermination has become difficult to continue due to safety and environmental concerns. This new treatment is a method to exterminate insects that damage the wood of structures, such as pillars and beams, by heating the wood to high temperatures (around 60℃). By controlling the humidity during the treatment to maintain a constant moisture content in the wood, it is possible to raise the temperature inside the wood without significantly affecting its physical properties. The new method is therefore expected to be a means to replace gas fumigation.
To date, the research team, consisting of the Association for the Preservation of the Nikko World Heritage Site Shrines and Temples, Kyoto University, Total System Laboratory, Kansai Electric Power Co., Inc., KANSO Technos Co., Ltd., and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), has conducted three verification treatments on actual buildings. In addition to evaluating the insecticidal effects and impact on the structures, considerations were also given to environmental impacts such as noise and energy consumption. As a result, the humidity-controlled warm-air treatment was established as a practicable new method for insect extermination in wooden structures.
Last year, for the first time on a designated cultural property, the treatment was carried out at the Gohotendo Hall of Rinnoji Temple. This time, it was conducted at the bell tower of Okariden Hall, marking the second case for a designated cultural property. Going forward, we aim to promote this method as the new standard for insect extermination in wooden structures.
Search using morphological features as key words
In April 2024, a new function, “Cultural Property Pest Search” (https://www.tobunken.go.jp/ccr/pest-search/top/index.html) was launched on the TOBUNKEN website. This function helps users to identify cultural property pests when they are found.
There are many different types of cultural property pests, and it has been difficult for people who are not insect specialists to identify them. However, these pests become apparent, and there was a need to develop a tool to assist with their identification on the spot. In response to this need, this search page has been created to enable anyone to easily identify the cultural property pests.
The “Cultural Property Pest Search” page is a web-based content search engine that can be browsed from a smartphone, so that cultural property pests can be examined immediately at the site where they are found. The search algorithm is based on morphological information such as the shape and color of the insect, which can be determined on the spot, so even if users are not familiar with insects, they can intuitively examine the pest. In addition to information on morphology and ecology, the pages returned for each pest contain many photographs from various angles for easy comparison with the insects found. The pages also contain useful information for research on cultural property pests, such as genetic information and related papers.
As of May 2024, the “Cultural Property Pest Search” content lists 30 of the 150 known major species of cultural property pests. We will continue to expand the database to include more species in the future.
Survey at Sakteng village
Devastating remains of a manor house (Phongmey Nagtshang)
Since 2012, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been continuously engaged in research on vernacular houses in Bhutan, in collaboration with the Department of Culture and Dzongkha Development (DCDD), Ministry of Home Affairs, Royal Government of Bhutan. The DCDD promotes a policy of preserving and utilizing vernacular houses by integrating them into the legal protecting framework of cultural heritage, while TOBUNKEN supports the initiative from academic and technical aspects.
We conducted the first field survey for FY 2024 from May 11 to 23. For this purpose, three staff members of TOBUNKEN and two external experts from Japan were dispatched. Together with two DCDD officials, we surveyed mainly stone masonry houses in two eastern Dzongkhags (provinces): Trashigang and Trashiyangtse.
The current survey area included three villages that we had visited from April to May 2023 for the supplemental survey, in addition to three villages that were new for us.
In the Kheni village of Trashiyangtse Dzongkhag, where we visited first, we completed a detailed survey on all of five houses considered as very old in the village, including measurement taking and interviews with the residents of the houses. For three of the houses that had been surveyed last year, supplemental surveys were conducted. The other houses were also fully surveyed.
Next, at Merak and Gengo villages in Merak Gewog of Trashigang Dzongkhag, we conducted a supplemental survey on one house and new surveys on six other houses. All of these houses are single-story buildings with main entrances on the gable side. Many of them have a living room with partial wooden outer walls at the front side of the attic level. This building type is peculiar to these areas in which transhumant ethnic minorities live. In the survey on such regionally-unique-style houses, we identified 67 houses across Merak village, and revealed that around half of the houses, especially those in the center of the village, were in this style.
We then visited Sakteng Gewog of Trashigang Dzongkhag for the first time, where the same ethnic group lives. We confirmed that a similar style of houses to that of Merak existed there. However, as some of those houses were surrounded by stone fences with gates, the scenery inside the village was very different. We conducted detailed surveys of five houses in total in both adjacent Sakteng and Tengma villages. We managed to collect valuable examples, including small houses built totally of wood and water mills for producing flour. The living area of the same ethnic group expands to the neighboring Northeastern region of India. We are informed that houses of similar styles exist there, in which we are very much interested.
Additionally, we surveyed two old houses of feudal lords in Phongmey village in the same Dzongkhag. Both of them were no longer in use. One of them was severely damaged with largely deformed stone walls and in a risky condition. There is concern that such case can rapidly increase due to the depopulation in countryside. Even though it is difficult to take immediate conservation measures, it is at least required to grasp and document the locations and current situations of these old houses.
The surveys were conducted with the support of a JSPS Grant-in-Aid for Scientific Research (B) “Vernacular Stone Masonry Houses of Bhutan: A Study on the Architectural Characteristics and the Suitable Approach for Protection as Cultural Heritage” (Principal Researcher: TOMODA Masahiko).
Conference program
Scene from the venue, “Convent of Fuligno”
Perugino (real name: Pietro Vannucci) was one of the leading painters of the Italian Renaissance. He left behind numerous works of art, including a mural painting in the Sistine Chapel of the Vatican, and was a master of the young Raffaello, who praised him as a “God-Like Painter.” In 2023, the 500th anniversary of Perugino’s death, numerous exhibitions and symposia were held in Italy and abroad.
Joining with this commemoration, the Tokyo National Research Institute for Cultural Properties, in collaboration with Elio Conti Historical Studies Association, the National Research Council of Italy Institute of Heritage Science, the Superintendence of Archaeology, Fine Arts and Landscape for the metropolitan city of Florence and the provinces of Pistoia and Prato, and the University of Applied Sciences and Arts of Southern Switzerland, organized the international conference, “Perugino and Florence,” held over two days, May 14 and 15, 2024, at the “Cenacolo di Fuligno” (‘Convent of Fuligno’) in Florence. The conference brought together experts from the fields of art history, conservation, and other fields, to reassess the value of this great painter through presentations on his work. We also gave a presentation on an interdisciplinary technical study of the two remaining mural paintings in Florence, and discussed future conservation, restoration, and maintenance methods.
In the future, in cooperation with local experts, ways of improving the conservation of Perugino’s painting of the Last Supper, which is now in a museum in the former Convent of Fuligno in Florence, will be carried out through scientific research and other means.
The Seminar
Witt Library, the Coutauld Institute
Ms. MAIZAWA Rei, Head, Archives Section of the Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), stayed as a visiting researcher at SISJAC, located in Norwich, East of England, from October 2023 to February this year, as detailed in the link below.
https://www.tobunken.go.jp/materials/ekatudo/2059896.html
During her stay, she conducted lectures and a gallery talk at the Sainsbury Centre of the University of East Anglia（UEA）and the University of London The School of Oriental and African Studies (SOAS). She also conducted research on the British Museum’s collection of Japanese art and visited museums, galleries, libraries, and other facilities with archival institutions in the UK.
At the 1st seminar of the Department of Art, Research, Archives and Information Systems, held at TOBUNKEN on April 30, 2024, Ms. MAIZAWA reported on the research and inspections she had conducted in the UK. She presented explanation regarding an image digitization project currently ongoing at the Witt Library of the Courtauld Institute of Art, and about an inspection she had conducted of a conservation workshop at the Bodleian Library, University of Oxford, with photographs. YASHIRO Yukio (1890-1975) had visited the Witt Library as a reference for the creation of Bijutsu-Kenkyūjo (a predecessor of TOBUNKEN). The library holds about 2.2 million photographs, reproductions, and cuttings of paintings, drawings, and engravings. A team of 200 volunteers is working on digitization of the large amount of material, and stands as an example that provides clues for future management of TOBUNKEN, which also holds a wide range of materials. She also looked into how some museum programs are being managed in the UK, highlighting some of the projects for older people run by the National Liverpool Museums and the Dulwich Picture Gallery. She visited 28 of museums and galleries, 10 of which have libraries and archive facilities. Many important issues were presented that serve as reference for us, such as digitization and ensuring the accessibility of materials and the role of cultural institutions in an ageing society, which led to a lively exchange of views in a question-and-answer session after she presented her report.
Screenshot of the painted silk database user interface
Digital microscope photograph
Silk has been a traditional support material for Japanese and other Eastern paintings since the Tang Dynasty in China, which corresponded to the Heian period in Japan. Silk has been used mainly in clothing in East Asia from ancient times to the present. Although ancient silk clothing is rarely preserved, due to consumption, examples of painted silk have been handed down in better condition. Painted silk works can be compared in terms of their woven structure and fiber shape, as most of them were plain woven. The study of the woven structure and fiber form (composed of silk thread) of painted silk is an important research issue, not only for art historical research, but also for the history and transition of materials and techniques.
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN), established a “Memorandum of Understanding (MOU) of the Joint Research on the Composition of Silk Painting Supports and Other Textiles Used in Artworks” with the Tokyo National Museum in 2019. As a part of the research, photography and measurement of silk paintings is being conducted using a digital microscope (HiRox RH-2000), focusing on works in the Tokyo National Museum’s collection.
We are pleased to announce that a database of the results of this project is now available as the “Tokyo National Museum Digital Research Archives,” in cooperation with the Infomatics Division of the Tokyo National Museum, accessible through the website below.
https://webarchives.tnm.jp/infolib/meta_pub/G0000002221214GK
The database contains images of important works such as the National Treasure “The Bodhisattva Fugen,” “The Biography of the Traveling Preacher Ippen,” and “Red and White Cotton Rosemallow” by Li Di, as well as images of the woven structure and the measured data of the fiber shape. We plan to add more works to the database in the future. We will use this database to promote research on works and material techniques.
The presentation
YAMAGUCHI Hōshun (1893-1971) was a representative Nihonga (Japanese-style painting) painter during the Showa period (1926-1989) in Japan. He actively worked and exhibited his paintings at Teiten (exhibitions held by the Imperial Academy of Fine Art) before WWII and Nitten (Japan Fine Arts Exhibitions) after WWII. He learned painting from MATSUOKA Eikyū at the Tokyo Fine Arts School (Tokyo University of the Arts, today), and worked as a member of Shinko Yamato-e-kai, an association of the painters who learned from MATSUOKA. His artworks, deeply colored landscape paintings based on traditional Yamato-e techniques, such as Nachi Mountain, One of the Three Main Shrines of Kumano, prized by the Imperial Fine Arts Academy in 1926 and now owned by the Museum of the Imperial Collections, Sannomaru Shozokan, attracted much attention. However, around 1930, his style began to shift to Kachōga, paintings of birds and flowers with light and refreshing colors. Mr. SHIOYA Jun, Special Research Chair of the Department of Art Research, Archives and Information Systems, discussed this change of his style that took place in the early Showa period before WWII at a Seminar held on March 7, 2024, titled YAMAGUCHI Hōshun and Yamato-e – from the Viewpoint of Neoclassicism.
Through the words of YAMAGUCHI Hōshun, we can understand that he grasped Yamato-e painting as an expression based on very objective viewpoints. At the same time, he highly recognized artworks by painters of the so-called neoclassicism style (members of the Nihon Bijutsuin) such as YASUDA Yukihiko and KOBAYASHI Kokei. His early Kachōga paintings were done in similar styles as seen in their artworks. We believe that, at that time, YAMAGHCHI pursued reality based on his classic style skills and knowledge, while he also learned from Eastern-style paintings beyond Yamato-e as did YASUDA and KOBAYASHI.
Ms. RYU Risa, Vice President and Senior Curator of Hoshun Yamaguchi Memorial Hall joined this seminar as a commentator and talked about YAMAGUCHI’s activities. After her talk, a discussion among participants was conducted, including those who came from outside of TOBUNKEN. I was especially impressed with one point: YAMAGUCHI’s principle was to paint whatever he saw and felt as it is, and this did not change even after WWII. This principle was continued by his pupils and remains even now.
The 11th seminar (A)
The 11th seminar (B)
HARA Rokuro (1842-1933) was a collector who exemplified the Meiji period. HARA was born in Tajima Province (present-day Hyogo Prefecture), became the retainer of the Tottori clan because of his achievements in Meiji Restoration activities, studied abroad in the United States with assistance from the Meiji government, and studied banking in England. After returning home, he became famous as a banker and devoted himself to public work. On the side, he protected and collected old and valuable works of art. The Hara family maintains the greater part of that outstanding collection, and the Foundation Arc-en-Ciel, a public interest incorporated foundation, was established in 1977, and exists under that status today.
Today, the Hara family’s collection, donated to the foundation, is on display at Hara Museum ARC (Gunma Prefecture) whose main focus is on contemporary art. The unveiling of contemporary art begun at the Hara Museum of Contemporary Art (Shinagawa, Tokyo), for which the Hara family residence was renovated and opened as a museum in 1979. The Hara Museum in Shinagawa was regrettably closed in 2021, and because of the closing, the cultural properties left behind at the site were re-examined. Works newly discovered at this time totaled more than 100 items, and these works that appeared for the first time were donated to the foundation.
Among the newly discovered works, we had the opportunity to examine two wild horse paintings, which were related to the wall and panel paintings that originally adorned the Nikko-in Guest Hall at Mi′idera temple. At the 11th seminar held on March 26, 2024, Ms. ONO Mika, an associate fellow of the Tokyo National Museum, took on the subject of “New developments in the Hara Rokuro collection: using research on the wall and panel paintings that originally adorned the Nikko-in Guest Hall at Mi′idera temple as an opportunity,” and presented an overview of the Hara Rokuro collection and reported on its present and future prospects. Next, Ms. ONO Mayumi, Head of Japanese and the East Asian Art History Section of the Department of Art Research, Archives and Information Systems, took on the subject of “The wild horse paintings appearing for the first time: beginning with their relation to the wall and panel at the former reception hall of the Nikko-in Temple,” and reported on the formative features of those paintings. During a question-and-answer session, the placement of the wall and panel paintings and the attribution of their artists were discussed, and the Hara Rokuro collection also attracted a high level of interest.
Using the above as an opportunity, we hope to have a bird’s-eye view of the entire Hara Rokuro collection and move toward new academic research based on Hara Rokuro and the significance of his preservation of old works of art.
Removed fixed shelves.
Newly installed electrically operated bookcases
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) maintains materials, including books and photographs collected by TOBUNKEN’s departments and centers, mainly in the TOBUNKEN Library. The library itself consists of a reading room and stack rooms; however, the aforementioned materials can be accessed by external researchers at the Library, which is open three days a week.
Almost 24 years have passed since TOBUNKEN moved to its current building in 2000. During these years, TOBUNKEN has continuously been collecting materials through its research activities, including books and photographs,. Furthermore, it has recently had more opportunities to receive donations of archives from the collections of ex-employees and related researchers. Through these activities, the Library has been able to accumulate many more materials and enhance the quality of those materials. At the same time, we foresaw that the bookshelves would be overflowing in the near future. Therefore, we reconstructed the bookshelves as part of a framework entitled “Projects to expand archive stacks and optimize the storage environment.”
In 2022, the fixed bookcases in over a quarter of the floor space of the second-floor stack room were replaced with the electrically operated bookcases. During this recent reconstruction, which was started on January 11, 2024, the fixed bookshelves in the remaining three-fourths were so replaced. After removing the materials from the fixed bookshelves, removing the bookshelves, laying rails for new bookshelves, setting-up the new electrically operated bookshelves, and placing the materials onto the new shelves, the renovation was completed on March 27. The space that was previously home to 16 fixed bookshelves (1,900 shelves; 1,615 m in total) now accommodates 29 new electrically operated bookshelves (3,500 shelves; 2,975 m in total), with almost double capacity.
We apologize for any inconvenience that resulted from the Library’s temporary closure during the reform. We continue our work to collect, pass down, and utilize materials valuable for research and conservation of cultural properties. We hope that the TOBUNKEN archives can serve your research activities well.
Photography is an effective tool for investigating cultural properties, because it can record objects in an instant. However, before photography became widespread, the only way to record subjects was through handwritten notes and sketches. Notes and sketches, which take more time than photographs, are often records of only some elements or characteristics of the subject. It may be said that they are incomplete records. However, records in which only selected elements are characterized are useful for understanding what characteristics of a cultural property the recorder found to be of value, or in other words, why that cultural property has been preserved to this day. Such records can be said to be valuable resources.
We have already reported the details of IMAIZUMI Yusaku’s (1850-1931) “Kijishu,” which is one of such handwritten research records (https://www.tobunken.go.jp/materials/ekatudo/216397.html), and the first volume has been published on the website of the Tokyo National Research Institute for Cultural Properties (今泉雄作『記事珠』 :: 東文研アーカイブデータベース (tobunken.go.jp)). For publication, the full text was transcribed as text data for search functionality. In addition, since things that were obvious to IMAIZUMI are not described, we have added annotations to the extent possible and have also provided links to related information published on the Internet.
The transcribed text has been set to be displayed vertically on the user’s browser so that it can be easily compared with the original text. We have made every effort to ensure that the image and vertically written text can be viewed at the same time, but some line breaks may be misaligned. We will continue to conduct layout and technical verification in preparation for the release of vertically displayed documents.
Cross-search using ColBase
Since its establishment in 1930, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has continuously investigated and collected materials on many cultural properties. In recent years, we have been digitizing images taken during surveys and materials collected, and making them available on our website. For example, the images taken at the time of the establishment of TOBUNKEN were in black and white, making it impossible to convey the colors of the cultural properties. However, the images that retain their former appearance are valuable and interesting and can inform us as to how the cultural properties were preserved and how they were restored by comparing them with their current appearance.
TOBUNKEN has started collaboration with Japan Search, a national platform for aggregating metadata of digital resources of various fields, and ColBase, a service that enables multi-database searches of the collections in the four national museums, The Museum of the Imperial Collections, Sannomaru Shozokan , and two research institutes, to make this information more readily available. TOBUNKEN will continue to work on adding collaborated databases and registering data from time to time, so we hope that you will compare our data with the various data held by other institutions while conducting your research.
A tour, guided by Mr. KIKKAWA Hideki
On March 21, 2024, a group from the National Museum of the Annals of the Joseon Dynasty, Korea (Pyeongchang, Gangwon-do) visited the TOBUNKEN Library of the Tokyo National Research Institute for Cultural Properties.
The museum, an institution under the Cultural Heritage Administration, Korea, opened in November 2023 and mainly holds historical materials, including 75 volumes of the Odaesan Edition of the Annals of the Joseon Dynasty (UNESCO’s Memory of the World) and 82 volumes of the Royal Protocols of the Joseon Dynasty.
The group, including Mr. Daehyun Kim (administrative officer), took a tour, guided by Mr. KIKKAWA Hideki, Head, Archives Section of the Department of Art Research, Archives and Information Systems and 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. Furthermore, both institutions exchanged opinions on the current situation and issues surrounding material preservation and archive projects based on common ground regarding the preservation and utilization of materials.
One of the missions of the Archives Section is to provide information on cultural properties to experts and students, as well as to create an environment for the effective use of such materials. This is no exception for overseas experts and students. We hope that the materials of our institute, which are highly valued even by international standards, will be widely utilized and contribute to the development of research on cultural properties that are the common heritage of all humankind.
Note: 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)).
A group photo of the symposium participants
For the purpose of discussing science for cultural heritage and building new research collaborations between France and Japan, a symposium titled “French-Japanese Workshop on Material Sciences for Cultural Heritage” was held on March 13 in 2024 in the seminar room of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). The seminar was co-organized by the Embassy of France in Japan, the National Center for Research and Restoration in French Museums, the Foundation of Science for Cultural Heritage, and TOBUNKEN.
The program of the symposium consisted of five sessions: ceramic, paper, wood, painting, and environment/sustainable conservation. On each topic, lectures were provided by French and Japanese researchers, followed by discussions. Also, a lively panel discussion followed the five sessions and went beyond a summary of the symposium to include future prospects for the sciences for cultural heritage (Participants: 61, including 8 French researchers).
A closed roundtable meeting was held on March 14 with participation of all the speakers and moderators of the symposium. Fruitful discussions were held for establishing new research collaborations concerning sciences for cultural heritage between French and Japanese experts.
Workshop venue
This seminar was jointly held by the National Center for the Promotion of Cultural Properties and Tokyo National Research Institute for Cultural Properties with the aim of gaining a common understanding of the specialized survey and evaluation methods used for the conservation environment for cultural properties, as well as of the materials and tools used in improving storage environments or providing safe storage.
The 7th meeting, titled “Sustainable Environmental Management in Consideration of Global Warming” was held on March 1, 2024, in a conference room of the National Center for the Promotion of Cultural Properties. Dr. MIZUTANI Etsuko, a researcher with the Cultural Heritage Disaster Risk Management Center, joined in an international workshop, “Changing Climate Management Strategies Workshop” held in Melbourne, Australia, in August 2023. She shared the contents of the workshop, identified issues in this seminar, and held discussions. She talked about the outlook of the workshop, held in response to the global climate change crisis, which has increased the worldwide need to conserve and utilize cultural heritage in more sustainable ways. Lectures, practical training, and discussions were held on the issues and solutions to be implemented in museums around the world. In particular, in a lecture on the historical background of management of the conservation environment for cultural heritage, changes to the guidelines for the temperature and humidity of conservation environment were shown as essential for promoting sustainable management strategies in the future. At the same time, a lecture was held on risk assessment and monitoring methods for cultural heritage, and on the last day, there were reports and discussions about individual cases; thus, it was a very dense workshop.
While participating in the workshop, Dr. MIZUTANI presented the participants with an issue concerning the impact of global warming on the conservation environment, and raised the subject of management of the conservation environment, and how to proceed with management strategies in Japan. There were five curators in charge of conservation or experts in conservation science at the venue in person, and 12 such persons participated in the seminar online, and these participants posed various questions related to the fundamentals of the conservation environment.
This seminar was a good opportunity to learn about overseas trends in environmental management for the sustainable preservation of cultural properties, and to reconsider how to deal with global warming and management of the conservation environment in Japan.
Seven-story stone pagoda at Kandani Shrine
Survey of similar cases for the conservation and restoration of stone cultural properties in Europe
Stone is a material that mankind has utilised for cultural life since ancient times. It has a wide range of uses, including as tools, building materials, and sculptures, many of which are classified as stone cultural heritage and have been handed down through conservation efforts. Although the definition of stone as cultural heritage differs between Japan and the rest of the world, various efforts have been made to conserve and restore stone materials around the world. In particular, Europe, known as having had ‘stone culture’ as opposed to Japan’s ‘wood culture,’ has been leading the world in advanced research and studies, and the results of these studies can be used for the conservation of stone cultural heritage in Japan.
Many stone cultural heritage objects are conserved outdoors, as they are more durable than timber in terms of hardness and stability. Therefore, they are often subject to deterioration and loss due to external factors such as weather, natural disasters, and the surrounding environment, and it is necessary to take measures from a variety of perspectives when considering their conservation. This is why it is important to look at many examples, share the problems with experts in each field, and carry out research to find solutions.
On February 16, 2024, we visited Kandani Shrine in Sakaide City, Kagawa Prefecture, to conduct a survey for the conservation of the seven-storey stone pagoda standing on the shrine grounds. The stone pagoda, built of lapilli tuff, is in a very poor state, with the base eroded by rainwater, and cracks and losses are visible. The situation was shared with European experts, and on March 1, 2024, we held meeting in Florence with Italian national conservators of cultural properties regarding a survey of similar examples and a research plan.
In the future, we will engage in research that will lead to improvements in the current state of conservation and restoration of stone cultural properties in Japan.
Hall of the Five Hundred in Palazzo Vecchio
Comparative study of marble sculpture and clay statues using 3D
The Japan Centre for International Cooperation in Conservation is 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 this project, we visited Florence from February 26 to March 2 and from March 10 to March 12, 2024, to carry out a survey of a statue by the late Renaissance and Mannerist sculptor Giambologna, ‘Florence triumphant over Pisa,’ in collaboration with the Superintendency of Archaeology, Fine Arts and Landscape for the metropolitan city of Florence.
This work, which is currently on display in the Hall of the Five Hundred in Palazzo Vecchio facing Piazza della Signoria, was originally created as a prototype for a work in marble, and a marble work based on it is on display at the National Museum of the Bargello. In this study, the shapes of the two pieces were compared using 3D scanning as part of the verification of the production technique. In the future, the research will move on to focus on the internal structure, which is important for the production of the clay statues.
There are many clay statues existing in Japan and overseas, but surprisingly, methods for their conservation and restoration have not yet been established. We will continue our activities with the notion that relevant research surveys will lead to the development of conservation and restoration methods.
Investigation of the condition of mural paintings in a church using a checklist
Discussions with local experts
In Istria, located in the northwestern part of Croatia, numerous mural paintings were painted in churches from the Middle Ages to the Renaissance. Although there are as many as 150 such paintings in Istria, there are serious problems with their maintenance and management. To improve this situation, the Japan Centre for International Cooperation in Conservation is conducting a research project to establish a method for documenting the state of conservation in cooperation with the Ministry of Culture and Media of the Republic of Croatia, the Historic and Naval Museum of Istria, and the University of Zagreb.
From March 4 to 8, 2024, we visited the site, prepared a checklist for the conservation status of the mural paintings, and conducted an implementation test on two churches located in the center of the Istrian Peninsula, with the aim of ensuring that experts engaged in the conservation and maintenance of the mural paintings would be able to efficiently utilize the information. As a result, we were able to obtain accurate information in a short period of time and confirmed that the information could be used to develop a policy for the future conservation of the murals paintings.
In the future, we will discuss the content of the checklist items to make it more complete and aim to build a digital archive through repeated implementation tests.
Interview at the Spanish Cultural Heritage Institute
Interview at the Andalusian Historical Heritage Institute
The Japan Center for International Cooperation in Conservation has been collecting and translating foreign laws and regulations on the protection of cultural properties in various countries since FY 2007, and has so far published 28 volumes. The project aims to contribute to Japan`s international cooperation and to provide a reference for reevaluating Japanese protection systems in the field of cultural properties. In this regard, we conducted a field survey in Spain, the next target country, from March 19 to 28, 2024.
Spain used to have a nationally centralized protection system, but since the 1980s, authority has been diverted to the states (comunidad autónoma). Due to its vast territory and cultural diversity, there are differences in protection from state to state. In recent years, many states have enacted legislation regarding cultural landscapes, industrial heritage, and intangible heritage. The Spanish-designated cultural properties, denominated “Bien de Interés Cultural,” are just a tip of the iceberg of “Bien de Patrimonio Historico,” identified by state Institutes for Historic Heritage. Notable is that the last category, mostly not designated, is in some way protected by local urban planning.
Through this survey, we were able to get a glimpse of the protection of cultural properties in Spain, hardly introduced to Japan until now. Actually, the state protection of cultural properties is obliged to comply with Spanish national and state laws, of which we plan to conduct research in FY 2024 and FY 2025, respectively. Since some state protection systems are well-organized, we can reconsider using such laws as reference for reevaluation of the protections of cultural properties in Japan.
Protection work of the Terrace on the West Embankment of the East Baray
Site inspection by the ad-hoc experts
The excavation of the Terrace on the Embankment at the easternmost end of Ta Nei Temple was reported in a previous article. As a continuation of that report, here we summarize the protection work on the terrace that was carried out from March 8 to 29, 2024.
This terrace was built from the top to the east slope of the west embankment of the “East Baray,” one of the huge reservoirs that characterize the Angkor Monuments. Therefore, it was an urgent task to protect the laterite stones from being washed away during the rainy season, especially those that were situated on the sloping terrain. First, four stones that had been moved from their original position and were structurally unstable were re-positioned. The perimeter of the stones on the slope was also reinforced with a compacted lime-mixed earth mortar, known as ‘lime mortar.’ The excavated area on the top of the embankment was also backfilled, particularly around the perimeter of the terrace, where there is concern about movement due to rainwater. Further work will be carried out in the future to cut down trees around the terrace, which is one of the factors causing the collapse of the structure.
From March 14 to 15, an international meeting of ICC-Angkor/Sambor Prei Kuk was held, at which each team reported on their restoration projects. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA) jointly reported on the progress and future plan for the conservation of Ta Nei Temple. Prior to this meeting, on March 8, ICC ad hoc experts responsible for providing technical recommendations on each restoration project visited the site. The future restoration and maintenance policy, including the restoration of the east and west entrances to the Central Tower, which is scheduled to be carried out in 2024, was explained at the site, and the plan was approved.
