| ■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 |
|
Harvested Japanese wisteria is buried in the ground before the week of the vernal equinoctial ends
Working dwarf bamboo
On January 24, efforts to preserve and pass on a technique to make winnowing fans from Japanese wisteria (nationally designated as an Intangible Folk Cultural Property) were surveyed. This technique has been passed down in the Kizumi area of the City of Sosa, Chiba Prefecture.
Winnowing fans are an essential tool for everyday life since these fans are used to carry items and separate grain from chaff. These fans are also ceremonial implements that are used in festivals and annual events. These fans are thus an essential part of life. Three techniques to make these winnowing fans have currently received national designation as an Intangible Folk Cultural Property (folk technique). One of these techniques is practiced in the Kizumi area of the City of Sosa, where winnowing fans continue to be made using Japanese wisteria and dwarf bamboo. Winnowing fans from the Kizumi area are light, sturdy, and extremely flexible, and these fans were widely used throughout the Kanto region. The heyday for the making of winnowing fans was from the Taisho Period to the mid-1950s, when the Kizumi area and surrounding areas produced 80,000 winnowing fans annually. However, changes in the social climate and the spread of plastic baskets and baskets from China have resulted in a sharp decline in current demand for the winnowing fans.
The Kizumi Society to Preserve the Making of Winnowing Fans was formed to pass on the technique to make winnowing fans in the Kizumi area. Starting in 2010, the Society has conducted a class to pass down the technique and the Society has worked to foster individuals who will continue to pass on the technique. The class is held monthly. Local individuals who wish to pass down the technique act as teachers, and they work tireless to collect materials for the winnowing fans, work those materials, make the fans, and put on demonstration sales at local festivals. Students attending the class vary in age; some wish to start making the winnowing fans after mandatory retirement, some are learning how to make winnowing fans while working bamboo professionally or semi-professionally, and some are local organic farmers. Regardless of who they are, the students are passionate about learning. Some of the students are residents of the Kizumi area while others attend monthly from places such as the Town of Yokoshibahikari and the City of Kamogawa. The class on January 24 had several dozen students who learned about harvesting Japanese wisteria and dwarf bamboo and then treating and working those materials.
The demand for many folk goods has declined sharply due to changes in the social climate and the spread of materials and tools that can be used to mass produce items at a low cost. Circumstances continue to hamper the passing down of folk techniques. If those techniques are no longer needed by society, how will values change? Is there a point to passing down those techniques and if so how? Numerous communities are facing these issues.
The survey found that residents of the Kizumi area have created a place and an atmosphere where people can learn how to make winnowing fans and they have taken in outsiders who are interesting in learning how to make those items. The residents do this as part of their own life’s work, as a hobby, or as practitioners of an art. The survey revealed evidence of a new relationship emerging in which people are no longer forced make winnowing fans as an occupation, as they were in the past. Instead, people have decided themselves that they want to make winnowing fans. As the evidence indicated, this approach may constitute a new model with which to pass down techniques. This approach is possible because values are more diverse today, so people have the option of reexamining traditional culture and seeking to return to a life more in tune with nature.
A discussion of the safeguarding cultural heritage with representatives from ICHHTO
A mosque in Isfahan where tiles have been replaced over a period of 17 years
From January 7 to 23, the Japan Center for International Cooperation in Conservation (JCICC) conducted a field survey on the safeguarding of cultural heritage in Iran. The survey included 9 World Heritage sites in Iran. The survey was conducted in order to determine the current state in which Iranian cultural heritage is safeguarded and to explore the possibility of future international cooperation in this regard.
As of 2015, Iran is a cultural colossus with 17 World Heritage sites. A tour of cultural heritage sites such as Persepolis and Naqsh-e Jahan Square in Isfahan was conducted in cooperation with Iran’s Cultural Heritage Handicrafts and Tourism Organization (ICHHTO). JCICC personnel were able to hear directly from site managers about site preservation and restoration efforts and current issues regarding the safeguarding of cultural heritage.
In Tehran, JCICC personnel talked with Dr. M. TALEBIAN, the vice president of ICHHTO. JCICC personnel described projects by the Institute and they discussed the nature of future efforts to safeguard cultural heritage with Dr. TALEBIAN based on their inspection of cultural properties at different sites in Iran. In addition, JCICC personnel visited Iran’s Research Institute for Cultural Heritage and Tourism (RICHT), a leading research institute in Iran. JCICC personnel toured the RICHT and discussed cultural heritage with RICHT personnel.
Through the UNESCO Japanese Funds-in-Trust, Japan has previously provided support for restoration of the Chogha Zanbil ziggurat and the Arg-e Bam site that were ravaged by an earthquake in 2003. Thus, Iran has already engaged in cultural exchanges with Japan. The hope is that such efforts will foster greater cooperation between Japan and Iran and allow joint studies and conservation efforts with Iran in the future.
An explanation on using dry rubbings to document marks left by woodworking
The third session of training in conservation of wooden structures
From January 13 to 23, a training session was conducted at the Bagaya Monastery in Innwa and at the Mandalay branch of Myanmar’s Department of Archaeology and National Museum (DoA). Major topics of the training were survey methods to trace the history of modifications in building structures from the period of initial construction and applied building techniques. Trainees were 10 personnel from the DoA, an associate professor from the Technological University (Mandalay), and a graduate of the university as an observer. Some trainees used CAD images when they presented the results of surveys conducted in groups. Trainees appeared to be quite adept at sketching plans in comparison to when they started the training. Such evidence of trainees taking the initiative and the effectiveness of continued training is truly a joy to behold.
Work underway at pagoda No.1205
A survey of and training in the conservation of mural painting at brick temple ruins
From January 19 to 26, emergency steps were taken to preserve collapsing portions of mural painting at pagoda No. 1205 and conditions indoors and the state of damage to the pagoda’s roof were surveyed. These efforts began last year. The survey of the roof corroborated the assumption that damage was due to rain leakage and termite nests. Plans are to explore effective countermeasures to deal with these problems in cooperation with personnel from the DoA. In addition, training on surveying and documenting restoration of mural painting was conducted at the Bagan Archeological Museum. Trainees were 5 experts in mural painting restoration from the Bagan and Mandalay branches of the DoA. Surveying and documentation are seldom done during restoration efforts in Myanmar, so this training should teach attendees about basic surveying and documentation techniques and impress upon them the importance of those steps.
Materials analysis using X-ray fluorescence (Bagaya Monastery)
A survey of lacquer materials and techniques
From January 15 to 23, surveys on lacquerware in Myanmar were conducted in Mandalay, Monywa, and Bagan. In Mandalay, a portable X-ray fluorescence analyzer was used to ascertain the traditional materials in and techniques used to produce lacquer materials and glass mosaics found in wooden buildings such as the Shwe Nan Daw Monastery. In the suburbs of Monywa, interviews were conducted regarding collection of lacquer ingredients. Results of that survey furthered understanding of the characteristics of lacquer produced in Myanmar, which differs from that produced in Japan. In Bagan, the collection of the Lacquerware Museum was surveyed and lectures on materials analysis were provided to personnel from the Lacquerware Technology College and the Lacquerware Museum. The fact that trainees have a greater understanding of the need to and ways to preserve lacquerware is evident in ongoing cooperation between Japan and Myanmar.
Five members from the Juming Museum (Taiwan)
On December 1, personnel from the Juming Museum visited the Institute to inspect about the research activities of and the collection of art materials and management of digital archives by National Research Institute for Cultural Properties, Tokyo. The visitors discussed research efforts with researchers in the Department of Art Research, Archives, and Information Systems in detail.
Five members from the New Taipei City Library in Taiwan
On December 19, personnel from the New Taipei City Library visited the National Research Institute for Cultural Properties, Tokyo to visit its facilities. The visitors inspected a library of the Department of Art Research, Archives, and Information Systems. Researchers in a library and the Archives Section explained the work they do.
The front cover of “Reconsidering ‘Form’”
From January 10 (Fri.)–12 (Mon.), 2014, the Department of Art Research, Archives, and Information Systems held the 37th International Symposium on the Conservation and Restoration of Cultural Properties. The title of the symposium was “Reconsidering ‘Form’: Towards a More Open Discussion” and the symposium featured presentations mostly by Institute staff members who study tangible cultural properties. The tone of the symposium was set by asking fundamental questions such as what is an object’s “form” and why do we consider “form,” and the symposium covered methodological approaches to “form.” Thus, the symposium was attended by researchers who study the intangible such as noh drama and waka poetry. The symposium attempted to highlight different perceptions of “form” in different disciplines. Artists also took the podium to describe their perspective of creators of works and they candidly talked about their perceptions in relation to the act of creating a work. This was a fresh perspective for researchers who seek to delve into a work starting with its “form.”
Research presentations and the discussion that took place at this international symposium were consolidated into a report that was published on December 17, 2014. This proceedings is being sold by Heibonsha and is available at book stores. For details, please check out the following webpage.
http://www.heibonsha.co.jp/book/b186659.html
Diary of IMAIZUMI Yoshihiko
IMAIZUMI Yoshihiko (1931–2010) is an individual who supported post-war avant garde art both implicitly and explicitly. Seeking to become a painter, IMAIZUMI began by writing critical essays for publications like the magazine Work & Critique in the 1950s. In 1958, he participated in the inaugural issue of the magazine Keishō (Form) (later renamed Kikan, or Organ). Through Keishō, IMAIZUMI interacted more with young avant garde artists at the time. The artists he met became lecturers at the art school known as Bigakkō (Art School) that the publisher Gendaishicho started in 1969. IMAIZUMI was involved with Bigakkō from its inception. In 1975, Bigakkō broke from Gendaishicho, and IMAIZUMI joined the School’s board to help run the School.
Materials in IMAIZUMI’s collection that were related to Bigakkō were exhibited at an exhibit entitled “Anti-Academy” at the John Hansard Gallery at the University of Southampton in 2013. During the current survey, KIKKAWA Hideki and KAWAI Daisuke, Associate Fellows in the Department of Art Research, Archives, and Information Systems, examined materials consisting of a diary, photographs, books, magazines, and correspondence. This survey took place with the help of IMAIZUMI’s wife Eiko, who was referred to the Institute by SHIMADA Yoshiko, one of the individuals who planned the “Anti-Academy” exhibition. The materials were found to include a relatively large amount of correspondence with and documents regarding artists who later taught at Bigakkō such as NAKAMURA Hiroshi, a fellow graduate of the Art Department of Nihon University known for his reportage painting, AKASEGAWA Genpei, who met IMAIZUMI at a round-table discussion on “Keishō” and who went on trial for the “1000 Yen Note” incident (IMAIZUMI was one of the key figures who helped to support AKASEGAWA during his trial), KIKUHATA Mokuma, a key member of the avant-garde art group known as the Kyūshū-ha, and MATSUZAWA Yutaka, the pioneer of conceptual art in Japan.
In addition to materials related to these artists, IMAIZUMI’s collection also includes a detailed diary he wrote from around 1960–1962. IMAIZUMI’s collection includes valuable records from the time when Japanese avant-garde art was at its peak. Plans are to continue studying post-war art by examining these materials in detail.
The JAL Project During a tour of the Institute
The JAL Project (Head of the Executive Committee: KAMOGAWA Sachio, the Director of the Museum of Modern Art, Tokyo) seeks to invite specialists dealing with Japanese artworks overseas (such as librarians and archivists) to visit Japan. The Project also seeks to foster a network of specialists in Japanese artworks. In addition, the Project seeks to reconsider the way in which information on and documentation of Japanese art is provided based on feedback from specialists who have visited Japan as part of the Project. The Project started this year. TANAKA Atsushi, Assistant Director General of the Institute, and KIKKAWA Hideki, an Associate Fellow of the Institute, were tapped to join the Executive Committee of the JAL Project. Mr. KIKKAWA has met with potential invitees in their home countries, he provides them with training guidance, and he accompanies them during their tours of institutions in Japan.
Ann ADACHI-TASCH is one of the invitees the JAL Project. Ms. ADACHI-TASCH served as the program coordinator for the C-MAP global research initiative of the Museum of Modern Art (MoMA) in New York. MIZUTANI Takeshi (a member of the Project’s Executive Committee and a librarian at the Museum of Modern Art, Tokyo) and Mr. KIKKAWA toured MoMA QNS and the EAT with Ms. ADACHI-TASCH on November 12.
Seven specialists were invited to visit Japan, and these visitors received training at institutions in Tokyo, Kyoto, and Nara starting on December 1. On December 3, the specialists visited the Institute, where they were given an overview of the Institute and its project to create an archive of cultural properties. The specialists examined library materials, photographs of studied artworks, and artist files . And then They exchanged information with researchers from the Institute. The specialists offered suggestions such as enhanced content in Romanized Japanese to facilitate dissemination of information overseas and allowing open access to photographs from studies. On the final day of training (December 11), an open workshop was held in the lecture hall of the Museum of Modern Art, Tokyo. This workshop provided a good opportunity to gain a fresh sense of what information on cultural properties is desired in the US and Europe.
A general discussion during the conference
The 9th Conference on the Study of Intangible Folk Cultural Properties was held on December 5. The topic of the conference was “Local Identity and Folk Performing Arts: Relocation/Resettlement and Intangible Cultural Heritage.” The Great East Japan Earthquake re-emphasized the fact that intangible cultural heritage such as folk performing arts is a way for a place to maintain its local identity. What role could folk performing arts play when communities are forced to relocate to higher ground or settle elsewhere because of an earthquake? To answer this question, this conference featured detailed presentations citing 4 examples of relocation or resettlement from around the country.
The first example concerned the role and current status of folk performing arts that settlers brought with them when they settled Hokkaido. The second example concerned the state of “hometown associations” that natives of different islands and regions of Okinawa organized in Tokyo and the role that folk performing arts serve for these associations. The third example concerned the characteristics of believers in Pure Land Buddhism who migrated from Hokuriku to Fukushima Prefecture during the Edo period. The last example concerned folk performing arts that were discontinued as a result of depopulation in Yamanashi Prefecture; in fact, these arts are being practiced again by migrants to urban areas. The presentations were followed by a general discussion that delved deeper into the topic of folk performing arts based on the examples provided. Plans are to publish a report on the conference in March 2015.
A commemorative photo of a goodwill visit with the Director General of the Institute
Visitors from the University of the South Pacific receive an explanation at the Folk Museum of Higashimurayama
This year, a project on safeguarding the cultural heritage of the Oceania island countries was implemented as part of the Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project. Fiji is a key country collaborating with the project, and 3 researchers from the Pacific Centre for Environment and Sustainable Development of the University of the South Pacific were invited to visit Japan. Joeli VEITAYAKI, Semi MASILOMANI, and John Kaitu’u from the Pacific Centre for Environment and Sustainable Development visited Japan on December 15 and concluded a memorandum of understanding (MOU) on scholarly exchanges and exchanges with the Institute. Until their departure on December 21, the researchers participated in various field studies and scholarly exchanges.
On December 16, a Workshop on the Cultural Heritage of the South Pacific was held at the Institute, and opinions regarding cultural heritage were discussed in relation to sustainable development in the South Pacific and Japan. On December 17, a field study of the landscape and cultural heritage of satoyama woodlands was conducted near the City of Higashimurayama, Tokyo. On December 18, a survey on the use of cultural heritage was conducted in Chiba Prefecture’s Boso-no-Mura Museum. From December 19–21, the researchers visited Okinawa where they toured the Oceanic Culture Museum and learned about the cultural landscape in Bise (the Town of Motobu, Kunigami District). One of the visitors remarked that “Japan is a model of development in the Pacific region in the sense that it retained its culture as it developed.” Additional scholarly exchanges with the university are anticipated in the future.
A lecture on painting materials and techniques as part of the basic course
Practice with urgent repair of a hanging scroll as part of the applied course
This workshop on the Conservation of Japanese Artworks on Paper and Silk is conducted annually as part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas. This year, the workshop was held at the Asian Art Museum, National Museums in Berlin, with the basic course on “Japanese paper and silk cultural properties” taking place from December 3–5 and the applied course on “Restoration of Japanese hanging scrolls” taking place from December 8–12.
During the basic course, attendees received lectures, demonstrations, and practice with the components that comprise a cultural property (paper, paste, animal glue, and pigments), the techniques of creating Japanese paintings and calligraphy, aspects of mounting, and handling of hanging scrolls. The course was attended by 20 restorers, curators, and students from overseas.
The applied course included a workshop primarily on practice restoring a hanging scroll using traditional mounting and restoration techniques. Attendees received lectures on the structure of a hanging scroll (which consists of multiple layers of paper and cloth), decisions regarding restoration of those scrolls, and handling traditional brushes and knives. Attendees also received practice performing urgent repairs. This course was attended by 15 restorers and curators.
Over the past few years, Japanese mounting and restoration techniques have garnered attention from specialists restoring cultural properties overseas. These techniques can be used on foreign paintings and books. This workshop provided an opportunity for attendees to actually encounter mounting and restoration materials and techniques firsthand. Through these efforts, we hope to increase the understanding of tangible cultural properties such as paintings and books as well as the techniques for making Japanese paper and mounting and restoration techniques that can help to preserve those items.
Rinzin Penjore, Director of the Department of Culture, Ministry of Home and Cultural Affairs of Bhutan (l.) and KAMEI Nobuo, Director General of the Institute (r.),Workshop attendees (at the grounds of the National Library)
Workshop attendees (at the grounds of the National Library)
A final mission was sent to Bhutan from December 20 to 24 to conclude the Networking Core Centers Project for the Conservation of Traditional Buildings in the Kingdom of Bhutan. This project started in 2012 commissioned by the Agency for Cultural Affairs, Japan. A workshop was jointly organized with the Department of Culture, Ministry of Home and Cultural Affairs of the Kingdom of Bhutan to sum up the project. The project sought to determine how to properly conserve traditional rammed earth buildings such as houses and to improve their ability to withstand earthquakes. Results of the studies of construction technique and structure of the buildings over the last 3 years were presented by both Bhutanese and Japanese members. The personnel involved also discussed prospects for future works that the Bhutanese side need to undertake. The workshop was co-chaired by the Director of the Department of Culture (the direct counterpart in this project) and the Director General of the Institute. The workshop was attended by relevant personnel from the Division for Conservation of Heritage Sites of the Department of Culture as well as personnel from the Department of Disaster Management of the Ministry of Home and Cultural Affairs, the Department of Engineering Services of the Ministry of Works and Human Settlement, the Bhutan Standards Bureau, and the National Library of Bhutan.
The architectural study team conducted field surveys of about 60 houses and temples as well as ruins, abandoned villages, and new rammed earth building sites. Information on traditional construction techniques (including techniques to reinforce structures) was compiled based on the findings of those surveys and interviews with craftsmen. Standardized format for investigation and tentative building typology were reported during the workshop. The structural study team conducted materials tests, micro-tremors measurement and destructive load tests to overcome structural vulnerabilities stemming from earthquake damage. Based on the results, basic techniques for assessment of structural strength and simulations of structural analysis were presented. In addition, a medium to long-term road map was proposed to see what steps could be taken to continue those surveys in the future and also if those surveys would lead to the formulation of guidelines to determine structural stability. In the meantime, existing buildings are being lost. Methods of preserving those buildings were also discussed.
These joint surveys over the past 3 years are merely the prelude to understanding traditional construction techniques in Bhutan, and Bhutan has a long way to go in assessing the historical value of those structures and establishing techniques to properly preserving them. Bhutan is faced with the loss of its tangible and intangible cultural heritage due to natural disasters such as earthquakes and torrential rains as well as a mounting wave of urbanization. We hope Japan is able to assist Bhutan in safeguarding its cultural heritage, and to continue assisting the people of Bhutan in the future as well.
Mr. NAKAMURA, Director of the Tokyo Art Dealers’ Association (l.), and Mr. KAMEI, Director General of the Institute (r.)
Mr. MITANI, President of the Tokyo Art Club (l.), and Mr. KAMEI, Director General of the Institute (r.)
Offers for donations to the Institute were received from the Tokyo Art Dealers’ Association (Director: NAKAMURA Jun) and the Tokyo Art Club (President: MITANI Tadahiko). The Tokyo Art Dealers’ Association aims to fund publication of the Institute’s research results and the Tokyo Art Club intends to fund the Institute’s research projects.
We received the donations with great appreciation on November 5 at the Tokyo Art Club. KAMEI Nobuo, Director General of the Institute, presented a certificate of appreciation to both Mr. NAKAMURA, Director of the Tokyo Art Dealers’ Association, and Mr. MITANI, President of the Tokyo Art Club.
We are glad both organizations are aware of our activities and we are most grateful for their donations. We look forward to using these donations to fund our activities.
Discussion of “Washi”
The Committee in session
The Ninth Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage was held at UNESCO Headquarters in Paris November 24–28, 2014. The session was attended by 4 personnel from the Institute. These staff members gathered information on the state of the Convention for the Safeguarding of the Intangible Cultural Heritage.
During the session, 34 elements of intangible cultural heritage were inscribed on the Representative List of the Intangible Cultural Heritage of Humanity (the Representative List). The inscribed elements included “Washi, craftsmanship of traditional Japanese hand-made paper.” “Sekishu-Banshi,” which was already inscribed on the Representative List, was joined by “Hon-minoshi” and “Hosokawa-shi.” This was the first time that a State Party had added elements to inscribed intangible cultural heritage. On the day the decision was made, there were numerous Japanese news media at the session. Like the nomination of “Washoku” last year, this year’s nomination also included the word “Wa (which means “Japanese”),” and this may explain the heightened in interest in the nomination.
That said, there were instances when State Parties that nominated elements for inscription on the Representative List or that reported on the status of elements inscribed on the Representative List were criticized by other State Parties for including elements of those parties. Indicative of the relations between states, such conflict is probably unavoidable. The inscription of an element on the Representative List does not imply exclusivity or ownership of that element by the nominating State Party, and an element need not exhibit originality or uniqueness with respect to similar elements. These facts must be publicized both at home and abroad.
As UNESCO’s Secretariat reported, most of the nomination files that State Parties submitted to propose elements for inscription on the Representative List had missing or incorrect information and had to be sent back to the nominating State Party. This was due to lack of experience with document preparation as well as an imperfect system for documenting intangible cultural heritage that should be protected. State Parties should avoid seeking merely to inscribe an element on the Representative List. Support is needed to create a framework for identification and protection of differing intangible cultural heritage. This is, after all, the initial goal of creating a nomination file. Japan can play a role in providing this support.
Study meeting at the seminar hall
The Modern Cultural Properties Section of the Center for Conservation Science and Restoration Techniques held a study meeting “Conservation and Restoration of Western Paper” which took place in the Institute’s seminar hall on November 21 (Fri.). During the study meeting, lectures were given by YASUE Akio, former dupty librarian of the National Diet Library and current contract lecturer at Gakushuin University; YOKOSHIMA Fumio, senior managing director of Preservation Technologies Japan Co.; OGASAWARA Atsushi, chief technician at Shugo; Alejandra Odor CHÁVEZ, head of the Conservation Department of the Mexican National Archives; and Anne Frances MAHEUX, head of Conservation of Art on Paper, Maps, and Manuscripts at the Library and Archives Canada. Mr. YASUE lectured changes in approaches to paper documents preservation from the perspective of archives. Mr. YOKOSHIMA presented mass deacidification. Mr. OGASAWARA described issues arising in his current conservation of notes. Ms. CHÁVEZ talked about degradation of iron gall inks and techniques to cope with that problem. Ms. MAHEUX described a conservation technique using a material known as gellan gum to treat acidic paper and iron gall inks. The lecturers were persuasive, keeping the audience in rapt attention, since they introduced their professional experiences. The atmosphere of the study meeting was enthusiastic, and there were more attendees than expected, with more than 129 in attendance.
Analyzing the colorants in “INO Maps”
Colorants in survey maps by INO Tadataka (1745–1811) in the University Library of the University of Tokushima (known as the “INO Maps”) were studied scientifically as part of the Project to Authenticate the “INO Maps” in the University Library of the University of Tokushima (Director: FUKUI Yoshihiro, Library Director). This Project seeks to conduct a full-fledged study of the “INO Maps,” and colorants in the maps were scientifically investigated at the Library over a 4-day period starting on November 25, 2014. The “INO Maps” are the first Japanese maps based on a precise scientific survey. The maps have features of an early modern painting since they graphically depict terrain, mountains and rivers, and buildings in color. The current study used X-ray fluorescence spectroscopy and visible reflectance spectroscopy, both of which are non-destructive methods of analysis. These techniques yielded data with which to identify the pigments and dyes used. These data are currently being analyzed.
The current study examined “Coastal Maps” (3 sheets), “Coastal Maps of Bungokuni” (3 sheets), and “The Draft Map of Japan’s Coasts” (4 sheets). All of these maps were created based on surveys conducted between 1800 and 1816, so they have scholarly value in their own right. Those maps also offer a precious glimpse into the process leading up to the final version of the “INO Maps” known as “The Complete Survey of Japan’s Coasts.” In addition to colorants analysis, this project examined the quality of paper used and the techniques used to produce survey maps. The results of these studies should yield important findings regarding the creation of the “INO Maps.”
The outside of the meeting site
The General Assembly in session
Representative from the Institute attended the 18th General Assembly of the International Council on Monuments and Sites (ICOMOS) that took place from November 9 to 14, 2014 in Florence, Italy. In light of the 1964 International Charter on the Conservation and Restoration of Monuments and Sites (the Venice Charter), ICOMOS was founded in 1965 as an international NGO to safeguard and conserve cultural heritage. ICOMOS has over 10,000 members worldwide, and is known for its work reviewing world heritage nominations as an advisory body to UNESCO.
The General Assembly meets every 3 years to elect the Executive Committee and to hold an international symposium. At this Assembly, Gustavo ARAOZ was reelected as President and KONO Toshiyuki, a Professor at Kyushu University, was chosen as one of the 5 Vice Presidents. In addition, an international symposium “Heritage and Landscape as Human Values” was held. The symposium featured a wide range of presentations on issues that countries commonly encounter when safeguarding heritage, such as topics related to sustainability through traditional knowledge and community-driven conservation. The year in which the General Assembly met also marked the 50th anniversary of the adoption of the Venice Charter and the 20th anniversary of the adoption of the Nara Document on Authenticity (the Nara Document). A panel featuring personnel involved in the adoption of these documents discussed the events leading to their adoption and subsequent developments after their adoption.
The Institute will continue to gather and compile information on the safeguarding of cultural heritage overseas by attending international conferences like this in the future as well.
Practice preparing wheat starch paste
A demonstration of attaching a backing
A 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 LATAM program seeks to conserve cultural heritage in Latin America and the Caribbean. The Course on Conservation of Paper in Latin America was jointly organized by the Institute, ICCROM, and Mexico’s Coordinación Nacional de Conservación del Patrimonio Cultural, Instituto Nacional de Antropología e Historia (CNCPC-INAH). The course was conducted from November 5 to 30 at the CNCPC-INAH, and the Course was attended by 9 experts in restoring cultural properties who hailed from the 8 countries of Spain, Cuba, Colombia, Ecuador, Brazil, Peru, Argentina, and Mexico.
The course sought to provide attendees with basic knowledge and proficiency with regard to traditional Japanese paper, adhesives, and tools so that this knowledge and proficiency could be used to help conserve cultural properties in the attendees’ home countries. The first half of the course consisted of lectures by Japanese experts on materials and tools used in mounting and restoration techniques and then practice by the attendees. This year’s course focused on creating a work environment that provided safety during restoration work, work preparations, acquiring tools, and cleanup. During the second half of the course, lectures were given by experts from Mexico, Spain, and Argentina who had completed the Institute’s International Course on Conservation of Paper. These lecturers described actual examples in which they had used Japanese techniques to restore cultural properties in the West. Afterwards, attendees practiced using those techniques. Given the likelihood that Japanese mounting and restoration techniques can be used to conserve cultural heritage in other countries, plans are to conduct similar training sessions in the future as well.
Ryukyu indigo (indigo paste)
Making a bamboo screen
Applying borders (chirimawari, the region between the plaster wall and surrounding woodwork) as part of the plastering process
Following on from last month, the Japan Center for International Cooperation in Conservation is continuing to investigate of Selected Conservation Techniques. The center conducts interview surveys with technique holders, asking about topics such as their work process, the situation surrounding their work, and their social environment, and takes photographic records of them at work, their tools, and other items. In November 2014, surveys and documentation activities were conducted regarding Ryukyu indigo production in Okinawa, production of sukisu bamboo screens for papermaking in Ehime, and a sakan (plaster work) in Tokyo were studied and recorded.
Ryukyu indigo differs from other types of indigo plants on the main island of Japan. The processes of cultivating and manufacturing Ryukyu indigo also differ substantially from those used in indigo dyeing with tade-ai (Chinese indigo). Mr. INOHA Seisho is a holder of Selected Conservation Techniques, and Mr. NAKANISHI Toshio who is carrying on INOHA’s techniques. Mr. NAKANISHI explained that recent typhoons and inclement weather have affected the growth of Ryukyu indigo. Mr. NAKANISHI also described the process of manufacturing indigo.
Ms. IHARA Keiko is a member of the National Society to Preserve Tools and Techniques Used to Produce Japanese Paper by Hand who lives in Ehime. Ms. IHARA is also certified as a traditional craftsperson by Ehime Prefecture. Ms. IHARA talked about the current state of sukisu screen production, procurement of bamboo strips and silk thread to make those screens, and the difficulty of training a successor.
The company Nakashimasakan was working at a site in Tokyo where a traditional building was being restored. Part of sakan (plaster work) done by the company was photographed. Relating sakan (plaster work), Japanese wall, National Cultural Property Wall Technical Preservation Meeting is certified as a group holder of Selected Conservation Techniques.
Cultural properties obviously need to be preserved, but the materials and techniques used to craft those cultural properties also need to be preserved. The research materials from this study will be compiled. In addition, plans are showcase some of these materials overseas. A calendar with visually stunning images could be used to highlight the nature of Japan’s cultural properties, how those cultural properties are created, and materials and techniques that need to be preserved.
