Participation in the Exploratory Committee on Local Performing Arts Projects: Efforts of the Intangible Cultural Heritage Information Network

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 Conditions for Conservation of Cultural Properties held

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).

Workshop on conservation of archaeological metal objects in the History Museum of Armenia

Presentations by Japanese experts at an international seminar

　The Japan Center for International Cooperation in Conservation (JCICC) conducted the 3^rd international workshop at the History Museum of Armenia from January 15^th–21^st and also 5^th domestic workshop at the Museum from January 24^th–25^th. 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 15^th and 16^th. 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 21^st. 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.

Survey of Meiku Shoukei (Views of Famous Places) in the collection of the National Gallery of Armenia

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.

4^th Training Course in Architectural Surveying at the temple of Ta Nei in Cambodia

Total Station survey of control points for photogrammetry

Using software to create a 3D photo model

　The 4^th Training Course in Architectural Surveying at the temple of Ta Nei in Angkor, Cambodia was conducted over about a week from January 17^th to 24^th. This program began last year, and the 4^th 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 1^st 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.

Acceptance of donations

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.

Participation in the 8^th session of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage

Baku, the site of the session

Discussion by the Intergovernmental Committee

　The 8^th 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.

Survey of the activities of the Tsukigase Society for the Preservation of Narazarashi (bleached linen)

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.

The 18^th Local Training Course for Museum Conservation was conducted

Training underway 1

Training underway 2

Guided tour of the systems to manage conservation conditions at Yamanashi Prefectural Museum

　The 18^th Local Training Course for Museum Conservation was conducted at Yamanashi Prefectural Museum to provide personnel involved in materials conservation at museums and archives in Yamanashi Prefecture with a basic knowledge of conservation. The training was done at December 11^th and 12th and that was co-organized by the Institute and the Museum Kai Network. The training had 41 attendees from Yamanashi Prefecture.
　As a general outline, a lecture entitled “An Introduction to Conservation Conditions” (SANO Chie, Head of the Conservation Science Section) covered basic principles of and recent trends in materials conservation. This was followed by lectures on “Temperature and Humidity,” “Light and Lighting” (YOSHIDA Naoto, Senior researcher), “Climate Control” (SANO Chie), “Pest Control” (SATO Yoshinori, researcher in the Biological Science Section), and “Practical Methods for Conservation of Folk Objects and Artifacts” (KITANO Nobuhiko, Head of the Technical Standards Section). Folk objects and artifacts are kept primarily by smaller museums, but these museums truly lack the facilities and systems to manage those objects. Training accounted for the fact that many of the attendees would be from smaller museums.
　After the lectures, Yamanashi Prefectural Museum graciously permitted inspection of its facilities. Systems to manage conditions at the museum were explained in detail by curator Takahiko KUTSUNA. Mr. KUTSUNA provided great assistance with regard to the conduct of this training.
　A survey after training yielded numerous comments that the training was productive as well as requests to learn more about specific steps to take in accordance with conditions at specific institutions. We at the Institute greatly value communication with attendees after training as a way to meet the needs of conservators.

UNESCO/Japan Funds-in-Trust Project, “Support for Documentation Standards and Procedures of the Silk Roads World Heritage Serial Transnational Nomination Dossier within the Framework of the Silk Roads World Heritage Serial and Transnational Nomination”: Uzbek Workshop and Sub-Regional Closing Meeting

Trainees creating 3D images based on photographic surveys

　Five countries in Central Asia and China have been involved in various efforts to nominate cultural heritage sites along the Silk Roads as World Heritage Sites in 2014. To support these efforts, the Japan Center for International Cooperation in Conservation (JCICC) has participated in UNESCO/Japan Funds-in-Trust Project, “Support for Documentation Standards and Procedures of the Silk Roads World Heritage Serial Transnational Nomination Dossier within the Framework of the Silk Roads World Heritage Serial and Transnational Nomination”: Uzbek Workshop and Sub-Regional Closing Meeting for 3 years since 2011 and JCICC has conducted various training workshops in countries in Central Asia.
　This workshop marks the final training workshop. The workshop was conducted from December 1^st to 3^rd in Tashkent, Uzbekistan at the UNESCO Office in Tashkent. Training covered Photographic Surveys of Cultural Heritage Sites. Fourteen young experts participated in the training.
　Once the training workshop concluded, We attended the sub-regional closing meeting of the project that took place in Tashkent on December 4th and 5th. The meeting reviewed the training program conducted by the National Research Institute for Cultural Properties, Tokyo and the University College London in countries of Central Asia. Representatives from different countries asked that training be conducted in the future as well. They specifically asked that training related to Surveys of Historical Buildings, Preservation of Sites, and Management of Cultural Heritage be conducted.

Facility visit in November

An explanation gave to the visitors in a chemical science laboratory.

A group of 5 visitors from the Korea National University of Culture Heritage
　The group visited the Institute on November 18^th to examine the Institute’s preservation and restoration facilities to learn about case studies of international collaboration. The visitors were shown round a chemical science laboratory at the Center for Conservation Science and Restoration Techniques as well as the Japan Center for International Cooperation in Conservation with the staff explaining the work conducted at these facilities.

Donation of photographic plates related to SHINKAI Taketaro

Image of Resolve by SHINKAI Taketaro (created in 1907, no longer extant) from a photographic plate

　SHINKAI Taketaro (1868–1927) studied sculpture in Europe and he presented works such as Bathing (an important cultural property created in 1907). SHINKAI is known as a sculptor who contributed significantly to the modernization of Japanese sculpture. SHINKAI Takashi, grandson of SHINKAI Taketaro, donated a set of photographic plates through TANAKA Shuji (Associate Professor in the Faculty of Education and Welfare Science, Oita University). The plates feature SHINKAI’s works and Nanga (Southern School paintings) by HOSOYA Fuo and his son HOSOYA Beizan whom SHINKAI studied under in his home prefecture of Yamagata. SHINKAI himself was asked to take the photos. The plates also include images of works that are no longer extant, such as Resolve, which won first prize at the Tokyo Industrial Exhibition in 1907. SHINKAI’s photographic works are valuable materials that relate the history of modern Japanese sculpture. SHINKAI Takezo, Taketaro’s nephew, posthumously compiled photos by his uncle, and these photos joined the Institute’s collection prior to World War II (they can be viewed in the Library). The donated plates were used to produce the photos compiled by SHINKAI Takezo. Plans are to make copies of all of the images featured in the plates and include them in digital archives on the Institute’s website.

8^th Conference on the Study of Intangible Folk Cultural Properties held

A general discussion underway

　The 8th Conference on the Study of Intangible Folk Cultural Properties was held on November 15^th. The Conference covered “Passing down Techniques: Traditions and Their Use,” and the central theme of the Conference was folk techniques, which the national government began designating in 2005.
　　A system of national designation to preserve folk performing arts and manners and customs has been in operation since 1975. Although preservation of these practices has been amply discussed in the past, there has been limited awareness of the concept of folk techniques and a system to designate them. Moreover, performing arts and festivals essentially fall under practices or events that are out of the ordinary while folk techniques basically fall under routine practices, so a number of people make their living performing these techniques. Thus, these techniques are more susceptible to social and environmental changes.
　 Given this reality, the Conference featured reports and a discussion of current issues encountered in efforts to preserve folk techniques and what types of preservation efforts are feasible. The Conference featured 2 individuals who are working to preserve nationally designated folk techniques and 3 individuals who have worked to preserve craft techniques in Tokyo prior to the system that nationally designated folk techniques. After these individuals delivered presentations, they were joined by 2 commentators to participate in a discussion.
　Reports and the discussion highlighted various issues such as the reduced demand for folk techniques (products), the breakdown of specialization, the shortage of raw materials, and the lack of individuals to carry on techniques. There is no magic bullet to resolve the difficulties in carrying on traditions, but the Conference emphasized the fact that concerned parties in different positions need to discuss issues and share information.
　The Conference also emphasized the need for coordination that bridges the divide between production sites and compartmentalized government administration. The Department of Intangible Cultural Heritage hopes to share and disseminate information by assembling examples of efforts in different areas.
　Plans are to publish a report on the conference’s proceedings in March 2014.

A Study on Conservation of Painted Panels on the Outer Walls of the Yomeimon Gate of the Nikko Toshogu Shrine

On-site study of painted wall panels of the Yomeimon Gate

Positioning of a device for X-ray imaging

　As part of the Study of Traditional Techniques and Materials Used in Cultural Properties, the Center for Conservation Science and Restoration Techniques is currently conducting a study in line with restoration of the paint pigments on the Yomeimon Gate of the Toshogu Shrine. Large Panels with a Relief Sculpture of a Peony Design that were created in 1796 are currently installed on panels on the east and west walls of the Yomeimon Gate. According to historical documents, however, the walls had contained paintings produced by a technique known as “tung oil sprinkled with Makie” in much earlier years, such as 1688 and 1753. During restoration of these Panels in 1971, the east wall was removed, revealing a painting of 3 Zebra Finches Perching atop a Japanese Plum Tree on a Crag with Bamboo Grass that is thought to have been produced in 1753. The painting was studied by the Department of Conservation Science at the time. In addition, X-ray imaging at the time also revealed a painting of Nesting Cranes in a Pine Tree atop a Crag with Bamboo Grass beneath the panels on the western wall. However, the wall panel overlaying it was not removed, so the actual painting was not visible. The current study removed the overlaying panel on the western wall in order to restore its paint. Its removal revealed the painting beneath for the first time in 218 years or so. However, the painting had deteriorated markedly, as was evident from its discoloration and peeling. Thus, the Center examined the painting’s materials and its deterioration in cooperation with the Nikko Toshogu Shrine and the Association for the Preservation of the Nikko World Heritage Site Shrines and Temples in order to prevent further deterioration. In addition, X-ray imaging was done so that researchers in the history of painting could verify that traces of paintings from earlier periods were beneath the painting (Photos 1 & 2). Results of this study will help to reveal the state of paint pigments that have adorned the Yomeimon Gate since the Nikko Toshogu Shrine was completed in 1636. Results will also help to maintain the works in somewhat better condition.

International course on Paper Conservation in Latin America conducted

A demonstration of infilling techniques

　International training in Paper Conservation in Latin America was conducted jointly by the Institute, ICCROM, and INAH (Mexico’s National Institute of Anthropology and History) as part of the ICCROM-LATAM Program (conservation of cultural heritage in Latin America and the Caribbean). Training took place at the INAH from November 6th to 22th and was attended by 9 experts in conserving cultural properties from 8 countries: Argentina, Uruguay, Ecuador, Spain, Brazil, Puerto Rico, Peru, and Mexico.
　Training sought to provide attendees with basic knowledge of traditional Japanese paper, adhesives, and tools. It also sought to enhance attendees’ understanding of Japanese mounting and restoration techniques by having them practice reinforcing, infilling, and lining using actual Japanese paper, adhesives, and tools. The first half of the training consisted of lectures by Japanese experts on materials and tools used in mounting and restoration techniques and then practice by the attendees. In the latter half of the training, lecturers from Mexico, Spain, and Argentina with experience conserving works using mounting and restoration techniques described how Japanese materials, tools, and techniques were actually used to restore cultural properties in Europe and the US, and then attendees practiced those techniques. Given the likelihood that Japanese mounting and restoration techniques will be used to conserve cultural heritage in different countries, plans are to conduct similar training sessions in the future as well.

Project to support the World Heritage Serial and Transnational Nomination of the Silk Roads (a UNESCO/Japanese Funds-In-Trust project): Personnel training in the Republic of Tajikistan

Practice surveying a cultural heritage site (the Hulbuk site)

Documentation practice using CAD

　The Japan Center for International Cooperation in Conservation (JCICC) has been commissioned by UNESCO to provide support for nomination of World Heritage sites in Central Asia along the Silk Road. Since 2012, JCICC has conducted a series of training workshops on documentation of cultural heritage in Central Asia and the Republic of Tajikistan.
　Following a workshop in 2012, a second training workshop was conducted jointly with the Ministry of Culture of the Republic of Tajikistan. The workshop took place from November 7 to 14, 2013. Training during the workshop took place on-site at the Hulbuk site, a medieval fortified town nominated as a World Heritage site. On-site training was conducted by experts from Japan, and training consisted of surveys using equipment (total stations), documentation using CAD, analyses using GPS and GIS.
　Trainees participating in the second workshop were 9 young Tajik experts. Of these experts, 2 were from the National Museum of Antiquities, 2 were from the Institute of History, Archaeology and Ethnography of the Academy of Sciences, 1 was from Historical and Cultural Reserve “Hissar”, 3 were from the Hulbuk Museum, and 1 was from the Kulob Museum. Through intensive lectures and practice over a period of about a week, participants planned and implemented surveys to document sites and they learned specialized processes used to analyze the survey results. Participants also learned how to use survey equipment and GPS devices that had been donated for use in the project. This experience and the equipment that was provided will help participants who completed the training to study, safeguard, and document cultural properties in their country. JCICC plans to conduct various training workshops to safeguard the cultural heritage of Central Asia in the future as well.

28^th General Assembly of the International Centre for the Study of the Preservation and Restoration of Cultural Properties (ICCROM)

Deliberations at the General Assembly meeting

　From November 27 to 29, 2013, Director General KAMEI Nobuo, KAWANOBE Wataru, and SAKAINO Asuka of the Institute attended the 28^th General Assembly of ICCROM in Rome, Italy. The decision to found ICCROM was made at the 9^th UNESCO General Conference in 1956. This intergovernmental organization has been headquartered in Rome since 1959. ICCROM works to conserve a wide range of cultural heritage, both movable and immovable. The Institute has specifically helped with these efforts by conducting training in the conservation of paper and laquerware.
　The General Assembly meets biennially. At this meeting of the General Assembly, 13 new members of ICCROM’s Council were elected to replace members who had completed their terms. Serving Council members from 12 countries (United Arab Emirates, Algeria, Canada, South Korea, Greece, Guatemala, Sweden, China, Tunisia, Japan, Brazil, and France) have been joined by newly elected Council members from the US, India, Egypt, Switzerland, Sudan, Spain, Tanzania, Chile, Germany, Bahrain, the Philippines, Belgium, and Mexico. The meeting of the General Assembly also reiterated to Member States the need for ICCROM to improve its finances. Japan’s monetary contribution is second only to that of the US, and Japan is cognizant of the severity of this problem. Hopes are that the new Council will consider specific approaches so that ICCROM can continue its activities in the future.

Facility visit in October

Visitors given a presentation in a chemical science laboratory

Staff gave an explanation to visitors in a demonstration recording room

Staff gave an explanation to visitors in a restoration laboratory

Visitors were given a presentation at the Japan Center for International Cooperation in Conservation

A group of 14 visitors from Chulalongkorn University in Thailand
　The group visited the Institute on October 7^th to learn about the latest techniques which is used in the preservation of traditional Japanese buildings and structures. They were given a tour of a chemical science laboratory the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation, where the staff explained the work carried out by these two Centers.

A group of 17 visitors from the Cultural Properties Science at the Department of Education, Tokyo Gakugei University
　The group visited the Institute on October 7^th to be given a tour round the cultural properties preservation and restoration facilities. The visitors were shown round a library in the Department of Art Research, Archives and Information Systems, a demonstration recording room in the Department of Intangible Cultural Heritage and a chemical science laboratory at the Center for Conservation Science and Restoration Techniques with the staff explaining the work undertaken in these facilities.

A group of 36 visitors from the “Integrated Pest Management (IPM) for Museums—Working Together with Local People” Museum Revitalization Support Project organized by the Agency for Cultural Affairs
　The group visited the Institute on October 11^th to be given a tour round the cultural properties preservation and restoration facilities. The visitors were shown round a biological science laboratory and restoration laboratory at the Center for Conservation Science and Restoration Techniques, where the staff explained the work carried out in these facilities.

A group of 14 visitors from Kanazawa University
　The group visited the Institute on October 18^th to learn about the current state of international collaboration in the field of cultural properties conservation and about the latest developments in preservation and restoration techniques. The visitors were shown round a chemical science laboratory at the Center for Conservation Science and Restoration Techniques as well as the Japan Center for International Cooperation in Conservation with the staff explaining the work conducted at these facilities.

The 8^th public lecture by the Department of Intangible Cultural Heritage on Oral Recordings of Kamigata Rakugo from the Early Showa Period

Leaflet for the 8th public lecture by the Department of Intangible Cultural Heritage

　 Following the public lecture it offered last year, the Department of Intangible Cultural Heritage offered another public lecture on materials in the Institute’s collection. The lecture sought to inform the broader general public of the existence of materials that the Department had assembled for research purposes.
　The lecture discussed long-playing records (LPs) from Nitto Records (the Nitto Gramophone Company). Nitto Records was a record label established in Osaka, and the company sold LPs in the early Showa period (the 1920s). The LPs recorded sound in a different format than that used in typical records, hampering the ability of present-day listeners to listen to the LPs.
　Nitto Records’ LPs feature KATSURA Harudanji the first [note: multiple generations of rakugo (Japanese comic storytelling) performers often adopt stage names derived from their master’s name, hence “the first”, “the second,” etc.], TACHIBANAYA Kakitsu the second, and SHOFUKUTEI Shikaku the second (SHOFUKUTEI Shokaku the fifth), who were rakugo performers typical of the pre-war Kamigata style (from Osaka and surrounding areas). Some of the performances by these performers are found only on Nitto Records’ LPs, and the recorded performances are very interesting in terms of their execution. During the 8th public lecture, attendees took whatever time was available to listen to excellent performances of Kamigata rakugo from the early Showa period.

Conservation of the Early Islamic Wall Painting Excavated in the Republic of Tajikistan

Checking the fractured shapes of the wall painting fragments (excavated at the Khulbuk site in Tajikistan)

　From September 19^th to October 14^th, conservation works were conducted at the National Museum of Antiquities of Tajikistan to the wall painting fragments excavated from the Khulbuk site. These wall painting fragments are assumed to have been produced in the early Islamic period. Since a limited number of wall paintings of this era have been found, this wall painting is very important from historical and art historical points of view in Tajikistan. NRICPT has been earnestly conserving the wall painting fragments since 2010.
　The wall paintings were excavated in fragments. When conservation work initially began, paint layers and the white plaster layer as a ground were extremely fragile. In the previous projects, the work such as consolidating the paint layers, jointing broken fragments together, and attaching a new backing had been carried out. This year, artificial renders imitating earthen plaster were applied on the backs of wall painting fragments for further stabilization.
　By this operation, the fragments in the various thicknesses were standardized to the same thickness, and it allowed the surface height of the fragment consistent for exhibition. Moreover, the defective and joint parts of fragments were filled with gypsum-based grout. The filling surface of the fragments was painted regarding the color balance of the whole painting which consequently made the image easier to see. In the future, plans are to explore ways to safely exhibit the fragments at the National Museum of Antiquities of Tajikistan.
　Part of this conservation project was undertaken with a Sumitomo Foundation Grant for the Preservation and Conservation of Foreign Cultural Properties.