| ■Tokyo National Research
Institute for Cultural Properties |
■Center for Conservation
Science |
| ■Department of Art Research,
Archives and Information Systems |
■Japan Center for
International Cooperation in Conservation |
| ■Department of Intangible
Cultural Heritage |
|
The 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.
During the class 1
During the class 2
On November 13, 2014, SEKI Yuji, Vice chairperson of the Japan Consortium for International Cooperation in Cultural Heritage (“JCIC-Heritage”) and a Professor at the National Museum of Ethnology, gave a lecture as part of a class on “Education for International Understanding” at Itabashi First Junior High School in Itabashi Ward, Tokyo.
Itabashi First Junior High School is home to “volunteer efforts in support of schools.” JCIC-Heritage was invited to participate in the efforts by a regional volunteer coordinator, and JCIC-Heritage responded by sending a representative to give a lecture in connection with “Education for International Understanding.” This was JCIC-Heritage’s first invitation from a junior high school. Professor SEKI, who spent his childhood in Itabashi Ward, was asked to give the lecture.
Professor SEKI’s lecture, titled “International Cooperation in Cultural Heritage,” lasted 50 minutes and was attended by 150 or so students.
In the first half of the lecture, Professor SEKI explained what cultural heritage is and he then used pictures of Japanese castles and Kabuki performances to describe tangible and intangible cultural heritage. Professor SEKI then explained why cultural heritage needs to be protected, what will happen if it is not protected, the importance of international cooperation to protect that heritage, and the forms of international cooperation in this field, and he used slides to give clear explanation.
In the latter half of the lecture, Professor SEKI talked about his experiences with international cooperation to protect cultural heritage in Peru and he showed pictures of sites in Peru.
JCIC-Heritage will continue to educate and enlighten the public about international cooperation to protect cultural heritage, and JCIC-Heritage plans to inform the public about the importance of international cooperation.
Everyone from the Getty Research Institute, listening to a general explanation of our institute in the conference room
The visitors from the Getty Research Institute were very interested in the talk on research results by HAYAKAWA Yasuhiro, Head of the Analytical Science Section
On October 22, Dr. Thomas Gaehtgens, Director of the Getty Research Institute of the American J. Paul Getty Trust, together with four staff members and 11 of the institute’s trustees, visited our institute to observe our activities. The purpose of the party’s visit to Japan was to tour historic sites and other points of interest in Kansai and elsewhere in Japan, and to carry out fact-finding relating to cultural property research.
We welcomed the party at our institute, and began by explaining our organization and other general information. Then YAMANASHI Emiko (Deputy Director, Department of Art Research, Archives and Information Systems) discussed the paintings of KURODA Seiki, who was connected with the founding of our institute. Next, HAYAKAWA Yasuhiro (Head, Analytical Science Section, Center for Conservation Science and Restoration Techniques) introduced some of the latest research results using fluorescent X-ray analysis of works such as the Chinese phoenix of the Phoenix Hall of Byodo-in temple.
Dr. Gaehtgens said that the Getty Research Institute, which conducts a diverse range of research work including disseminating information on art research, has a strong affinity with our institute, and would like to collaborate and cooperate in the future. It was decided to continue discussions on fields with potential for research collaboration.
An explanation in a restoration laboratory 2
29 participants in “The Training Session for Restores of Cultural Properties (artworks and craftworks)” organized by the Agency for Cultural Affairs, Japan.
On October 31, training session participants visited the Institute in order to view the work it does as a national center for research on cultural properties. The visitors inspected restoration laboratories, a restoration studio (urushi), and a biology laboratory 1 of the Center for Conservation Science and Restoration Techniques and a performing arts recording studio of the Department of Intangible Cultural Heritage. The staff members in charge of each section explained the work they do.
Photographing images of “Portrait of KOYA Yoshio (Man Holding a Plant)” by KISHIDA Ryusei
In the research project “Research on Modern Art in Terms of the History of Cultural Interaction” of the Department of Art Research, Archives and Information Systems, one aim is to conduct investigative research on cultural interactions, focusing on the East Asia region including Japan.
As part of that work, an optical investigation was carried out on October 16 for two oil paintings by KISHIDA Ryusei held by the National Museum of Modern Art, Tokyo: “Portrait of KOYA Yoshio (Man Holding a Plant)” (1916), and “An Apple Exists on Top of a Pot” (1916).
This investigation was carried in out only for works from the period when KISHIDA Ryusei was strongly influenced by European classic painters such as Albrecht Durer. Its purpose was to verify not only the design, but also the details of the picture surface such as technique and expression.
The smooth surface seen in classic European art was obtained by layering, using techniques such as tempera and oil painting, but KISHIDA Ryusei originally picked up these techniques from reproduction plates, and thus it is important to observe works from that time to determine whether he understood the techniques, and to further explicate the history of reception. The photography went beyond just shining uniform light onto the picture surface to enable visualization of the brush strokes of the painter and the current status of surface. Light was also projected at an acute angle from the left side of the work to enable understanding of the unevenness of the surface due to oil painting (photographer: SHIRONO Seiji, Artificer, Department of Art Research, Archives and Information Systems). Reflected near-infrared photography was also carried out at the same time. From the images obtained through this photography, it was possible to confirm that there were no traces of repainting, fumbling or other difficulties, and that the image of the painting was quite settled by the time the painting was executed.
This optical investigation was made possible through the cooperation of the National Museum of Modern Art, Tokyo and the restorer SAITO Atsushi, and we would like to express our deep gratitude for their help. The results of this research will be published in The Bijutsu Kenkyu with the (provisional) title: “The Realistic Expression of KISHIDA Ryusei and the Formation of his Image as a ‘Poor Man’ artist: Focusing on His Recuperation Period in Komazawa Shin-machi.”
Scene of lecture
Over the two days October 31 (Friday) and November 1 (Saturday) of this year, the public lectures organized every fall by the Department of Art Research, Archives and Information Systems were held at 1:30 p.m. in the underground seminar room. The general title for the lecture series was “Dialogue between Objects and Images.” These lectures are held to raise awareness of the public about some of the general knowledge obtained through our day-to-day research on cultural properties. This year marked the 48th time these lectures have been held.
At the first session, TSUDA Tetsuei, Head of the Art Research Materials Section, gave a talk entitled “The Concept and Function of Ichiryu Sōshō Keizu (Illustrated live of succession in Bukkoji community of Shinran’s School),” and this was followed by a presentation by Dr. ITO Daisuke, professor of Graduate School of Nagoya University, entitled “Two Principles of Beauty in Pictures of the Insei Period―The Rise of Portraits.” There was fair weather on the day of the lecture, and it was attended by 108 people.
At the second session, SHIOYA Jun, Head of the Modern/Contemporary Art Section, spoke on the topic “The Shochuhi Memorial in Sendai―Toward Recovery from the Disaster.” After this was a lecture by KAWATA Akihisa, Professor, Chiba Institute of Technology, entitled “Representations and Realities.” During the talk by Mr. SHIOYA, he asked Mr. TAKAHASHI Yuji, who was actually engaged in the restoration work, to take the podium and give a report. Unfortunately, the day of the lecture was rainy and cold, but nevertheless there were 55 attendees.
Based on figures from a questionnaire survey conducted on both days, 91.7% of attendees were satisfied on the first day, and 83.7% on the second day.
Photos for production of Kane no Ne (“Sound of a Bell,” 1924) by SHINKAI Taketaro
From the recently donated documents relating to SHINKAI Taketaro. In order to produce Kane no Ne, Taketaro asked ABE Insai, who he always relied on to cast his own work, to pose as a model. The photographs of the model, taken from various angles, have survived.
Search result for Kane no Ne (“Sound of a Bell”) from the database of glass dry plates relating to SHINKAI Taketaro
SHINKAI Taketaro (1868–1927) learned sculpture in Europe, and produced many notable works such as Yuami (“Bathing,” 1907, an important cultural property). He is known for making a major contribution to the modernization of Japanese sculpture. As noted in our activity report for November of last year, SHINKAI Takashi, grandson of Taketaro, has donated to our institute a set of glass dry plates primarily featuring Taketaro’s works. Recently he also donated a set of documents relating to Taketaro, including his notebooks, and photos/documents relating to his sculpture production. These documents are mentioned in the book SHINKAI Taketaro (Tohoku Shuppan Kikaku, 2002, in Japanese) written by TANAKA Shuji (Associate Professor in the Faculty of Education and Welfare Science, Oita University), who arranged these donations, and they are known to be important documents for elucidating the productive activities of Taketaro. Taking the recent donation as an opportunity, we plan to ask TANAKA to describe these materials in The Bijutsu Kenkyu, our institute’s journal of art studies. The documents also contain the notebooks of HIRAKO Takurei (1877–1911), a scholar of Buddhist art from the Meiji period who was close to Taketaro, and in the future we hope to examine these materials not only from the perspective of the history of modern Japanese sculpture, but also the history of Buddhist art.
The glass dry plates donated last year have been digitized, and we have begun releasing them as a database on the institute’s home page (http://www.tobunken.go.jp/materials/sinkai). This site was produced by OYAMADA Tomohiro, Research Assistant, Department of Art Research, Archives and Information Systems. It showcases digital images of 182 glass dry plate photographs of the works of Taketaro, and paintings in the Nanga style by the father and son artists HOSOYA Fuo and Beizan under whom Taketaro studied in his home region of Yamagata. The database can be searched with text strings such as the names of specific pieces. It contains images of representative works of Taketaro as well works which are no longer extant. We hope you will make use of this resource.
The lecture at the Cathedral Hostry
The Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC) is located in the small town of Norwich in Norfolk County, about 2 hours by car north of London. Founded by the Sainsburies in 1999, the SISJAC is readily familiar to specialists in Japanese art history and archeology as a site for research into Japanese arts and culture.
In July 2013, the SISJAC and the National Research Institute for Cultural Properties, Tokyo (NRICPT) initiated a Project to Establish a Platform for Research into Japanese Arts. This Project gathers information in English on Japanese art exhibitions in the US and Europe and books and sources on Japanese art. The NRICPT previously made its Database of Literature on Cultural Properties, a collection of information related to Japanese art, publicly accessible. However, this information is solely from Japan. In the future, information gathered by the SISJAC will be included in the NRICPT’s database, and a system will be created to allow the NRICPT’s database to be searched for information on Japanese art in Japan and overseas.
To promote this Project, SARAI Mai of the Department of Art Research, Archives, and Information Systems spent 10 days at the SISJAC from October 9 (Thurs.) to October 20 (Mon.), 2014. Ms. SARAI and staff members of the SISJAC verified information that had already been collected and they verified procedures for work to make that information publicly available.
During her stay, Ms. SARAI delivered a lecture on “Buddhist Wooden Sculptures in the Early Heian Period: From a Standpoint of Syncretisation of Shinto with Buddhism.” The lecture took place on October 16 (Thurs.) as one of the lectures that SISJAC hosts on the third Thursday of every month. Close to 80 citizens of Norwich listened to the lecture on Buddhist wooden sculptures during the Early Heian Period in a lecture hall in a cathedral near the SISJAC. After the lecture, members of the audience asked a number of questions, demonstrating a heightened interest in Japanese art.
“Kaido-kudari” by the Kyogen actor SATO Tomohiko
On October 18, a 9th public lecture took place at the Department of Intangible Cultural Heritage of the National Research Institute for Cultural Properties, Tokyo. The lecture was held in Heiseikan of the Tokyo National Museum. The topic of the lecture was “Michiyuki as Popular Songs: The Origins and Spread of Noh and Kyogen songs with a focus on ‘Kaido-kudari.’” Michiyuki, or a song describing sceneries seen along a journey, have long captured people’s hearts and have become popular songs. Led by a lecture by OKADA Mitsuko of the Osaka Institute of Technology, the public lecture dealt with how Michiyuki influenced Soga (ballads popular among nobles, samurai, and Buddhist priests that were popular in the Kamakura Period), Noh and Kyogen songs, and Michiyuki that have been passed down until today. In the third portion of the public lecture, SATO Tomohiko (an Izumi-style Kyogen actor) and ASAKURA Toshiki (a Hoshu-style Noh actor) performed chants and komai (lit. small dances), which were well received by lecture attendees.
