| ■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 |
|
Imaging a Painting of Samantabhadra
The Department of Art Research, Archives, and Information Systems has conducted joint studies of Buddhist paintings from the Heian Period with the Tokyo National Museum. These studies seek to precisely image paintings in the museum’s collection and explore aspects of their production in further detail than that offered by observation with the naked eye. A Painting of Akasagarbha (a National Treasure) and a Painting of the Thousandarmed Kannon (also a National Treasure) were previously studied. This year, a Painting of Samantabhadra (a National Treasure as well) was imaged on March 26, 2014. This work is one of the most acclaimed Buddhist paintings from the Heian Period. The images obtained will be examined by the Department of Art Research, Archives, and Information Systems and researchers from the Tokyo National Museum, and the painting’s significance to art history will be studied in the future.
Homepage of the online version of Mizue
The Department of Art Research, Archives, and Information Systems conducts a monthly seminar to share information on relevant research. A seminar entitled Research on and Development of an Internet Version of Mizue: Prospects for the Digital Publication of Art Historical Resources and Art Archives began at 2 PM on March 25, 2014. During the seminar, presentations were given by TSUDA Tetsuei, Head of the Art Research Materials Section, KIKKAWA Hideki, an Associate Fellow at the Institute, MARUKAWA Yuzo, Associate Professor of the National Museum of Ethnology, and NAKAMURA Yoshifumi and YOSHIZAKI Mayumi of the National Institute of Informatics. The presentations covered Mizue, an art journal that was first published in 1905. The journal subsequently suspended publication in 1992, it resumed publication in 2001, and it then suspended publication again in 2007. Since this journal has been published for almost a century, it has had a profound effect on art in modern Japan, and it clearly has documentary value. Moreover, volumes prior to volume no. 90, which were published in the Meiji Era, are hard to obtain and few institutions have those assembled volumes in their collections. Accordingly, issues of the journal are treated as valuable written works by the Institute. At the same time, there was a growing call for the journal to be made publicly available. Since most of the copyrights to articles and other pieces in the volumes published during the Meiji Era had expired, the Department of Art Research, Archives, and Information Systems and the Center for Research and Development into the Informatics of Association of the National Institute of Informatics drew on their extensive know-how to jointly research and develop a way to make those issues available internet. This project started in 2011 and lasted 3 years. With Mizue serving as a test case, this joint research and development looked at one possible way of publishing information on cultural properties primarily in text format. This effort was originally part of a Department of Art Research, Archives, and Information Systems research project on General Research regarding the Publication and Utilization of Research on Cultural Properties. The seminar on March 25 was conducted for the Department of Art Research, Archives, and Information Systems to internally share information regarding the results of this research and development. The internet version of Mizue that resulted from joint research and development has been made publicly available as Mizue from the Materials Archive of the National Research Institute for Cultural Properties, Tokyo. Please feel free to have a look (http://mizue.bookarchive.jp/).
Survey of a traditional meeting house in Kiribati
Dancing at a traditional meeting house in Tuvalu
As part of Japan’s International Contribution to the Conservation of Cultural Heritage (expert exchanges) commissioned by the Agency for Cultural Affairs, Japan, a Survey of the Current State of Cultural Heritage that is Likely to be Affected by Climate Change was commissioned by the Japan Center for International Cooperation in Conservation. The survey was conducted from February 18th to March 5th. The areas surveyed were the 3 Oceanic nations of Kiribati, Tuvalu, and Fiji. These nations are threatened by rising sea levels due to climate change.
The capital and outlying islands of Kiribati and Tuvalu were visited, and the current state of cultural heritage, which includes traditional dances, folk techniques, traditional architecture, and sacred sites, was surveyed. Damage due to rising sea levels was noted. Surveyors talked with administration officials and chieftains on outlying islands. Both countries face real problems in terms of the deterioration and disappearance of cultural heritage as well as the erosion of the country itself due to rising sea level. Sustainable intangible cultural heritage helps to maintain a people’s identity even if they are forced to emigrate overseas; representatives from both countries were cognizant of this fact. One example of cultural heritage is the large meeting houses that are found in villages in both countries. Various observances, such as religious rites and dances, are performed at these meeting houses. The culture related to these meeting houses is intangible and their architecture and building techniques and materials are closely linked to various elements, such as nature. These buildings represent the survival of that culture. At the University of the South Pacific in Fiji, surveyors exchanged opinions with researchers in relevant fields. This survey was significant in terms of considering the future of the cultural heritage of Oceanic island nations.
The 2nd conference
Together with cooperating organizations, the Department of Intangible Cultural Heritage operates the 3/11 Reconstruction Assistance: Intangible Cultural Heritage Information Network [note: the Great East Japan Earthquake struck on March 11, 2011]. The 2nd conference on the Network was held March 5, (Wed.), 2014 in a conference room in the Institute’s basement. This conference follows the 1st conference that took place in March of last year when the Network was created. Attendees shared information and exchanged opinions on restoration of intangible cultural heritage damaged by the Great East Japan Earthquake.
Attendees (37 individuals) spanned a range of fields, from researchers and administration officials to individuals working in affected areas, support organizations, religious representatives, and members of the media. The latter half of the conference featured a report by guest speaker Kei TANAKA (the Tsumugu Project) and a report by Takeshi ABE (Tohoku Institute of Filmed Cultural Properties). Discussion primarily concerned documenting intangible cultural heritage in affected areas.
“Documenting” intangible cultural heritage is a term that encompasses several aspects. Aims of the 2nd conference included: (1) documenting intangible cultural heritage to facilitate its continuation, (2) documenting intangible cultural heritage that can no longer be handed down, (3) documenting intangible cultural heritage to encourage its transmission to children and young people, and (4) documenting intangible cultural heritage to highlight its widespread existence. The creation of this new Network is anticipated to prove effective in achieving these aims by documenting intangible cultural heritage. Nevertheless, conditions differ in each of the areas affected by Great East Japan Earthquake. The 2nd conference affirmed the approach of fully ascertaining the needs of these areas and then restoring intangible cultural heritage.
An experiment to remove radioactive dust
Course on measurement of radiation levels
The nuclear accident at TEPCO’s Fukushima Daiichi nuclear power plant resulted in repositories in the towns of Futaba, Okuma, and Tomioka in Futaba County being contaminated with radioactive material. Cultural properties that were rescued from these repositories have ultimately been stored in a temporary repository at Mahoron, the Shirakawa Branch of the Fukushima Cultural Property Center.
In order to improve storage conditions, the Center for Conservation Science and Restoration Techniques is continuing a study in cooperation with curators at Mahoron. From March 25–26th, temperature and humidity were measured and levels of surface contamination on some rescued cultural properties were measured. Most of the items were found to be free of contamination by radioactive material. Wrapping on some of the items that had slight levels of contamination was replaced, and dust was removed and items were cleaned with a conservation vacuum cleaner. Measurements of radiation levels before and afterwards indicated that the cleaning was effective. In addition, curators who will manage rescued cultural properties received a course on methods of measuring surface contamination and they learned procedures for performing those measurements. Mahoron plans to successively measure and record surface contamination on all rescued cultural properties.
As part of a research project on General Research regarding the Utilization of Research on Cultural Properties, KAJIYA Kenji (Hiroshima City University) and UESAKI Sen (Keio University Art Center) were invited to attend a seminar on archives of modern art in Japan and the US on February 25th. Also present at the seminar was KIKKAWA Hideki, an Associate Fellow in the Department of Art Research, Archives, and Information Systems. The seminar took place in the Institute’s seminar hall.
The first portion of the seminar featured individual presentations. Citing the example of the letters of Clement GREENBERG, Mr. KAJIYA described his use of archival institutions in the US (such as the Smithsonian Institution’s Archives of American Art, the Getty Research Institute, and MoMA) from the perspective of an art historian. Mr. UESAKI used the Sogestsu Art Center’s database of ephemera to describe the thoughts of an archivist. Mr. KIKKAWA sought to provide an introduction to archive materials as a librarian by citing an example of notes made by the artist NAKAMURA Hiroshi. In the second portion of the seminar, a discussion took place based on the individual presentations that had been given. During the discussion, similarities and differences in how the presenters viewed archives from their individual perspectives became apparent. The Seminar had 95 attendees, which included personnel not affiliated with the Institute. Experts actively exchanged opinions during the event. The seminar provided a good opportunity to reconsider Archives that are Instrumental to Art Studies.
A hand drum unearthed at the Baba Minami site (Photo: Kyoto Prefecture Research Center for Archaeological Properties)
An earthen hand drum which had been found at the Baba Minami site in the City of Kizugawa, Kyoto Prefecture was studied. Until this hand drum was unearthed in 2008, the only ceramic hand drum in Japan was the tricolored drum in the Shosoin (the treasure house of the Todaiji temple in Nara). It is clear that they were used in the almost same time, in the late of 8th century. The discovery of this hand drum has great significance in terms of the history of musical instruments. The reconstructed drum is described in a 2010 report and in an article by Ms. MATSUO in the bulletin of the Kyoto Prefecture Research Center, but the descriptions differ. Ms. MATSUO explained the reason for this discrepancy. Examination of the drum indicated that different reconstruction techniques may have been used in the report and in the article by Ms. MATSUO. Plans are to study the drum further and compile theories on ancient ceramic hand drums.
Seminar underway 1
Seminar underway 2
The Great East Japan Earthquake of March 2011 was accompanied by the nuclear accident at TEPCO’s Fukushima Daiichi nuclear power plant, which resulted in the release of large amounts of airborne radioactive iodine and cesium. Potential contamination to cultural properties by these radioactive isotopes is a concern. In order to ascertain the current extent of contamination to facilities handling cultural properties and cultural properties in Fukushima Prefecture, to establish techniques to measure surface contamination attached on cultural properties, to define criteria for moving cultural properties, and to explore decontamination techniques, the National Research Institute for Cultural Properties, Tokyo conducted a Study of Measures to Prevent/Mitigate Radioactive Contamination to Cultural Properties in conjunction with the National Institutes for Cultural Heritage, the National Museum of Art, the Japanese Council of Art Museums, the Fukushima Prefectural Board of Education, and cultural facilities in Fukushima Prefecture. The study was conducted over a 2-year period from 2012–2013. A Seminar on Measures to Prevent/Mitigate Radioactive Contamination to Cultural Properties was held on February 12, 2014 to report the overall findings of that study.
The study was led by ISHIZAKI Takeshi, Deputy Director General of the Institute. On February 12, Mr. ISHIZAKI explained the gist of the study, and HIGAKI Shogo (the University of Tokyo) delivered a lecture on behavior and hazard of airborne contaminants. ITO Kyo (Fukushima Prefectural Museum of Art) then provided a helpful description of actions in museum after accident at power plant. Afterwards, SANO Chie and KITANO Nobuhiko (both from the Center) reported on activities of the Working Group on Measures to Prevent/Mitigate Radioactive Contaminants to Cultural Properties (the seminar had 36 attendees who were not affiliated with the Institute).
Two documents that were distributed at the Seminar were Risk Management for Museums: Focusing on Steps to Deal with Dust Contaminated by Radioactive Isotopes(02/10/2014 Draft) and Basic Concepts of Decontamination of Cultural Properties (02/10/2014 Draft). These documents are available on the Institute’s website (in Japanese).
Training underway (Restoration of tomb mural paintings is being described)
As part of the Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project in 2013 commissioned by the Agency of Cultural Affairs, 2 conservators of mural paintings from the Ministry of Culture of the Republic of the Union of Myanmar were invited to visit Japan from February 3 to February 7. During the first half of the visit, the restorers took part in training to restore mural paintings. This training took the form of a tour of a restoration studio that restores Japanese paintings and books, lectures on mural paintings restored in Japan, and lectures on materials and techniques used to restore mural paintings in Japanese tombs and practice using those materials and techniques. During the second half of the visit, the restorers viewed mural paintings in temples in Kyoto and Nara. During the tour, the restorers observed the mural paintings they had heard about in lectures close up, and restoration materials and techniques used in Japan and Myanmar were actively discussed. The visitors’ strong drive to restore mural paintings in Myanmar was apparent. Conducting similar training in the future and inviting conservators of mural paintings from Myanmar should buttress cooperation between Japan and Myanmar with regard to restoring mural paintings.
Basic lecture on protecting cultural properties
Surveying the Bagaya Monastery in Innwa
As part of the Networking Core Centers for International Cooperation on Conservation of Cultural Heritage Project commissioned by the Agency for Cultural Affairs, Japan, the first session of training in conservation of wooden architecture took place in Mandalay and Innwa from February 4th to 12th. The training focused on wooden monastery buildings from the Konbaung Dynasty since these traditional buildings have yet to be adequately safeguarded in Myanmar. Training covered topics germane to proper conservation of those buildings, such as basic surveys, recording and sketching the building, and formulation of conservation management and restoration plans. Training is intended for young to mid-career staff of the Department of Archaeology and National Museum of the Ministry of Culture, Myanmar, and plans are to conduct 5 training sessions in total over a period of 3 years. The first training session had 11 trainees. After receiving basic lectures on architectural history, conservation history, and systems of protecting cultural properties, the trainees sketched and surveyed the layout of the Bagaya Monastery in Innwa as preliminary steps towards a building survey.
Japan has amassed a wealth of expertise and experience conserving and restoring historic wooden structures, but Myanmar’s traditional building techniques and patterns have not been adequately studied. Many questions remain. How were ancient buildings designed and built and systems of measurement were used? With these questions in mind, the training sessions seek to historically reappraise wooden architecture in Myanmar through surveys conducted with the trainees. The trainees are highly motivated, and they should gain needed expertise and insight through future training sessions.
Young Kirgiz experts restoring and reconstructing a clay pot
The Japan Center for International Cooperation in Conservation (JCICC) has conducted training workshops on Documentation, Excavation, Conservation, and Site Management in the Kyrgyz Republic since 2011. This program was commissioned by the Agency for Cultural Affairs, Japan in order to safeguard the cultural heritage of Central Asia.
From February 10 to 15, 2014, the JCICC jointly conducted its 6th workshop, a Training Workshop on Conservation of Excavated Objects, with the Institute of History and Cultural Heritage of the National Academy of Sciences, Kyrgyz Republic.
During the workshop, trainees brought in archeological objects that had been excavated in the Kyrgyz Republic. Guided by experts, the trainees conserved these objects. A new element was added to the workshop in which trainees practiced Creating Replicas of Archeological Objects.
The 6th workshop was attended by 8 young Kirgiz experts who had attended all of the previous workshops. In addition, Professor Kubatbek TABALDIEV of Kyrgyzstan-Turkey Manas University brought students with him to observe the workshop. The workshop ended a great success.
The JCICC plans to continue conducting various training workshops in the future in order to safeguard the cultural heritage of Central Asia.
Seminar on the Current Situationand Issues Concerning the Protection of Cultural Heritage in Myanmar
Imashirozuka Tomb Park
Three personnel from the Department of Archaeology and National Museum of the Ministry of Culture, Myanmar were invited to visit Japan from February 17 to 22. On the 18th, a seminar was held at the National Research Institute for Cultural Properties, Tokyo to follow-up on last year’s Seminar on the Current Situation of and Issues Concerning the Protection of Cultural Heritage in Myanmar. In addition, the visitors from Myanmar viewed different categories of cultural heritage in the Kanto and Kansai regions (such as buildings, artworks and handicrafts, historic sites, and districts for preservation of important traditional buildings). The visitors also heard from and talked with staff who are in charge of conservation and management of each site.
During the Seminar, 3 representatives from Myanmar delivered presentations primarily on efforts to safeguard cultural heritage that they were involved in. The representatives described the progress of excavations and the state of site conservation in ancient Pyu cities, plans for site management of Beikthano-Myo and public education campaigns, and restoration and repair work at the Bagaya Monastery in Innwa, and the representatives also furnished a number of photographs. Representing Japan were 3 experts from the National Research Institute for Cultural Properties, Tokyo and Nara. The Japanese experts described the progress of cooperative projects between Japan and Myanmar and prospects for the future. The seminar also featured an active question-and-answer session.
During their tour of cultural heritage facilities in Japan, the representatives from Myanmar visited the Tokyo National Museum, the Archaeological Park of Otsuka and Saikachido, the Yokohama History Museum, Ninna-ji Temple, Horyu-ji Temple, the Nara National Research Institute for Cultural Properties, the Site of Heijo Palace, the Miyama District for Preservation of Important Traditional Buildings in the City of Nantan, Kyoto Prefecture, the Imashirozuka Tomb and Museum of Ancient History, and Remains of the Shin-ike Haniwa (clay figure) Production Site. The visitors gained a better understanding of the current safeguarding of Japan’s cultural heritage.
A lion dance outside temporary housing (Konori region, Town of Onagawa, Miyagi Prefecture)
Together with cooperating organizations, the Department of Intangible Cultural Heritage operates the 3/11 Reconstruction Assistance: Intangible Cultural Heritage Information Network [note: the Great East Japan Earthquake struck on March 11, 2011]. The Department of Intangible Cultural Heritage gathers information on intangible cultural heritage in areas stricken by the earthquake and it is involved in providing assistance to restore that heritage. As part of these efforts, the Department of Intangible Cultural Heritage coordinates with the Arts and Culture Consortium for Reconstruction, which consists of the Agency for Cultural Affairs, Japan, arts organizations, and companies.
On January 29, 2014, a meeting of the Exploratory Committee on Local Performing Arts Projects was organized by the Consortium in the City of Sendai. The meeting was attended by Hiromichi KUBOTA of the Department of Intangible Cultural Heritage. Since local performing arts (folk performing arts) are a major part of the role that culture and arts play in reconstruction, the Exploratory Committee met to explore future activities in relation to local performing arts. The meeting was attended by representatives from relevant organizations such as the Japan Folk Performing Arts Association, the Association for Corporate Support of the Arts, and the Board of Education of the Town of Otsuchi. Individual proposals were discussed.
Three years have now passed since the earthquake, and circumstances related to the restoration of local performing arts are changing. The Exploratory Committee affirmed its intent to develop new approaches to the restoration of those performing arts in light of current circumstances.
Conference on Conservation Conditions
To mark the third year of Research on Conditions for Conservation of Cultural Properties, a research project of the Center for Conservation Science and Restoration Techniques, a conference was held on January 27 (Mon.), 2014 based on results of research thus far. The conference covered the topic of Predicting Pollutant Concentrations and Assessing Air and Climate Remediation Technologies in 3 areas: (1) devising testing techniques to select suitable materials for use in places where cultural properties are stored, (2) examples of air and climate control via prediction of pollutant concentrations based on data from material emissions testing of interior finishing materials, and (3) elevation of concentrations of pollutant gases when raising temperature settings in museums to reduce energy use and various techniques to reduce those concentrations. Many of the attendees were aware of actual issues such as construction of new buildings and renovation of and addition to existing ones, building of new exhibit stands, and selection of display materials. Attendees eagerly asked questions about topics such as methods of ventilation, materials selection, specific responses, methods of measuring pollutant gases, and methods of identifying sources of pollution. Proposals were also offered on topics such as establishing standards for selection of products and whether or not to work on drafting a manual on air purification (93 of the conference attendees were from outside the Institue).
Presentations by Japanese experts at an international seminar
The Japan Center for International Cooperation in Conservation (JCICC) conducted the 3rd international workshop at the History Museum of Armenia from January 15th–21st and also 5th domestic workshop at the Museum from January 24th–25th. This project was a part of the Networking Core Centers for International Cooperation on Conservation of Cultural Heritage Project commissioned by the Agency for Cultural Affairs, Japan.
During the international workshop, the international seminar was held on the 15th and 16th. In addition to Armenian experts, 7 experts on the metal conservation were invited to Armenia from 6 countries including Japan, Georgia, Iraq, Kazakhstan, Kyrgyzstan, and Russia. Armenian archeologists researching on the Armenian archaeological metal objects were invited for the lectures. The attendees discussed the topic of “Preventive Conservation.”
The attendees gave presentations on the study of Armenian metal objects as well as on the present situation of museums and preventive conservation in their own countries. These seminars helped to exchange of information and establish networks. The seminars were followed by the lectures and the practical training provided by Japanese experts to 7 Armenian experts and 6 experts from the 5 countries such as Georgia, Iraq, Kazakhstan, Kyrgyzstan, and Russia. It lasted for 3 days ending on the 21st. Attendees learned about the environmental control in museums, integrated pest management (IPM), and the methods of materials testing for the exhibition and storage.
The domestic workshop for Armenian experts had 7 attendees. Attendees established plans for the exhibition of the metal objects that had been conserved in the previous workshops and they began to prepare for the exhibition.
The next workshop will cover the topic of exhibition in museums. Plans are to present the achievement throughout this project by holding the exhibition.
Meiku Shoukei (National Gallery of Armenia)
Partial Meiku Shoukei (Nagoya City Museum)
The National Research Institute for Cultural Properties, Tokyo has continually surveyed Japanese artworks in collections overseas. However, the fact that there are Japanese artworks in collections in the Caucasus region, a region ranging from the Black Sea to the Caspian Sea, has only recently come to light. In November 2012, the Japan Center for International Cooperation in Conservation conducted surveys of Japanese artworks in Armenia and Georgia and the Center determined the location of these artworks. The Center deemed that more detailed surveys were needed, so with a grant from the Foundation for Cultural Heritage and Art Research a survey was scheduled for 3 days starting on January 15, 2014. TSUDA Takako, a curator from the Nagoya City Museum, assisted the survey in regard to ukiyo-e (paintings and woodblock prints for popular consumption). Meiku Shokei in the National Gallery of Armenia (denoted here as the version in Armenia) consists of 29 prints of scenes that are each 8.1 cm high and 11.8 cm wide. As Ms. TSUDA explained, the version in Armenia is based on illustrations from the first volume of Meiku Shoukei, printed from woodblocks and published in 1847. Meiku Shoukei was done by ODAGIRI Shunko, an artist and feudal retainer of the Owari Domain. The work was done entirely by hand, from planning to painting and publishing. The work compiles kanshi (Chinese-style poems), waka (Japanese poems), and haikai (playful poems) that weresolicited from different places and that relate to scenic sites around Nagoya along with original paintings. Authors of the poems are listed at the end of the work. Compared to Meiku Shoukei in the collection of the Nagoya City Museum, the version in Armenia is a revised version of the work that includes explanations of each scene at the top of each print. The version in Armenia was apparently purchased by the National Gallery from an individual collector in 1937, though the work has remained in its collection without any information on its name, artist, or year of production. Interesting questions are how these block prints of famous places ended up in Armenia and how Japanese artworks are received overseas. Plans are to consolidate survey details into a report to help spur future research.
Total Station survey of control points for photogrammetry
Using software to create a 3D photo model
The 4th Training Course in Architectural Surveying at the temple of Ta Nei in Angkor, Cambodia was conducted over about a week from January 17th to 24th. This program began last year, and the 4th training course marks the final course. Trainees were 9 Cambodian young staff members specializing in architecture or archeology from the Authority for the Protection and Management of Angkor and the Region of Siem Reap (ASPARA), the National Authority for Preah Vihear (NAPV), and JAPAN-APSARA Safeguarding Angkor (JASA, a team combining the Japanese Government Team for Safeguarding Angkor and the ASPARA Authority).
The topics of the last course were surveys of large trees on the site and photogrammetry. Trainees completed the site plan that had been started during the 1st course, as well as learned new techniques to record various elements of the site as preparation for future site management including creation of risk maps of this site. Using Total Station and dedicated software for photogrammetry to create 3D photo records of walls with carvings and scattered stones. Through these works, we also discussed the topic of how to use this kind of information to manage the site in the future. On the final day of the course, each trainee gave a presentation on his or her findings, and trainees smiled as they received certificates for completing the 2 years program.
Ta Nei is one of the important sites in Angkor that has received little intervention until now, and many issues remain regarding the site management. This program has imparted basic survey skills to Cambodian staff managing the site and it represents the first step in helping them preserve the site for future generations. The training courses in architectural surveying are now finished, but plans are to continue providing technical assistance and to continue research exchanges.
NAKAMURA Jun, Chairman of the Tokyo Art Dealers’ Association (left) and KAMEI Nobuo, Director
MITANI Tadahiko, President of the Tokyo Art Club (left) and KAMEI Nobuo, Director General of the Institute (right)
Offers for donations to the Institute were received from the Tokyo Art Dealers’ Association (NAKAMURA Jun, Chairman) and the Tokyo Art Club (MITANI Tadahiko, President). 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. On December 24, we gratefully received the donations at the Tokyo Art Dealers’ Association.
We are glad that both organizations are aware of our activities and are most grateful for their donations. We look forward to using these donations to fund our activities.
Baku, the site of the session
Discussion by the Intergovernmental Committee
The 8th session of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage met in Baku, Azerbaijan from December 2 to 7, 2013. Three researchers from the National Research Institute for Cultural Properties, Tokyo attended the meeting to examine trends related to the Convention for the Safeguarding of the Intangible Cultural Heritage (the UNESCO’s 2003 Convention).
In the Intergovernmental Committee, State Parties are most interested in discussion of elements to inscribe on the Representative List of the Intangible Cultural Heritage of Humanity (the Representative List). During the session, discussion by the Intergovernmental Committee resulted in 25 elements being inscribed on the Representative List. Five of these, including “Washoku, traditional dietary cultures of the Japanese, notably for the celebration of New Year,” concerned cuisine. Inscription of Washoku was a topic of conversation in Japan. The items to be inscribed on the Representative List are cultural activities or traditions related to cuisine, but few people may be aware that what was inscribed on the list is not Japanese food (i.e. ways to prepare Japanese dishes) but is actually Japanese cuisine (i.e. Japanese dining culture).
Another important topic was the ceiling of the number of files nominated for discussion. There had been a ceiling of 60 files a year that could be discussed by the Intergovernmental Committee, but the decision was made to lower that ceiling to 100 files in total for 2 years. Japan has long provided legal protection to intangible cultural properties, and Japan has numerous elements it wishes to nominate. Japan has adopted an approach of nominating a group of elements like Washi (Japanese paper), which it nominated this year. However, States Parties that have already inscribed a number of their elements on the Representative List are often asked to refrain from making nominations. In the future, Japan will probably be unable to vastly increase the number of its nominations. However, the aim of UNESCO’s 2003 Convention is to recognize diversity in intangible cultural heritage and protect that heritage through the inscription of various elements on the Representative List. Thus, countries must identify their intangible cultural heritage and they must accurately discern and document the properties of that heritage, but some countries are lagging in those efforts. Thus, Japan has ample latitude with which to make the principles of UNESCO’s 2003 Convention a reality by having Japanese experts provide support to countries around the world.
Putting the warp on the loom
A tool to wind the thread that will become the weft
The Department of Intangible Cultural Heritage gathers information about traditional craft techniques and it studies those techniques. Riyo KIKUCHI of the Department of Intangible Cultural Heritage conducted a survey of the activities of the Tsukigase Society for the Preservation of Narazarashi (Tsukigase is a village in Nara Prefecture).
The word “sarasu” (which is where –sarashi in Narazarashi comes from) originally meant “to bleach,” and bleached hemp or cotton cloth is called “sarashi.”
Narazarashi is fabric made from hemp. Narazarashi is a “speciality” of Nara that was mentioned in the Wakan Sansai Zue (1712) and Bankin Sugiwaibukur (1732). These descriptions noted that “the best hemp has to be from Nanto (lit. the Southern Capital and another name for Nara),” and gained a national reputation during that era. Other descriptions mentioned that hemp from Nara could be distinguished from hemp from other regions when it was procured as a raw material. These descriptions provide a glimpse into aspects of the division of labor at the time.
Techniques that have been handed down in an unbroken line since those times are being passed down by members of the Tsukigase Society for the Preservation of Narazarashi even today. The raw material to make Narazarashi is now hemp from the Iwashima region in Gunma Prefecture. A framework to obtain raw materials is also found in other regions such as Echigo, where a hemp fabric known as Echigo linen is made. Dyeing techniques are not simply several local techniques. These techniques are underpinned by a number of people; straying from the passing down of those techniques is inconceivable. Greater attention should also be paid to the materials and tools that are essential to the passing down of crafts.
This survey has spurred renewed consideration of the importance of community in preserving traditional techniques.
