| ■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 |
|
Microbial Biodeterioration of Cultural Property
Degradation by microorganisms significantly affects cultural properties, regardless of whether they are indoors or outdoors. In addition, cultural properties that have been damaged by an earthquake, tsunami, or other natural disaster are soon susceptible to biodegradation due to water damage. Surveys of the extent of damage and steps to combat it are vital. The National Research Institute for Cultural Properties, Tokyo will hold an International Symposium on the Conservation and Restoration of Cultural Property on Dec. 5 (Wed.)–7 (Fri.), 2012 in Heiseikan of the Tokyo National Museum. In addition to guest lectures, the symposium will feature 22 poster presentations on biodegradation of cultural properties and steps to counter it. The symposium provides a forum for active discussion and exchange of information by domestic and foreign researchers and individuals who work with cultural properties, so numerous attendees are expected, including individuals involved in the protection of cultural properties, researchers, and students interested in the area of cultural properties. Applications will be accepted until Oct. 20th. For details, see http://www.tobunken.go.jp/~hozon/sympo2012/. Please direct inquiries to sympo2012@tobunken.go.jp.
A scene from the photographic investigation
The right scroll of the “Twenty-Five Bodhisattvas Descending from Heaven” at Kimbell Art Museum (before repair)
(L) The same right scroll, (Middle) A color image of the backside of the same portion (horizontally reversed), (R) A near-infrared image of the backside of the same portion (horizontally reversed)
We have been performing restoration on the “Twenty-Five Bodhisattvas Descending from Heaven” (Kimbell Art Museum, Fort Worth, United States) since 2011 as Cooperative Program for the Conservation of Japanese Art Objects Overseas. This is a pair of hanging scrolls, color on silk thought to have been executed in the 14th century. All of the bodhisattvas are gold-painted and, delicate decrative pattern of gold foil applied to them, but the paintings have begun to appear dark due to the filth of aging, and a problem for conservation arose from the glue becoming loose all over the place. During this restoration, we are going to dismantle the scrolls and renew the mountaining . At present, the removal of the old first lining paper of the light scroll compretely. We can verify the ink lines of the underlying sketch and the backside coloring by looking at the other side of the silk , and we took color and near-infrared photographs to perform the required investigation for its restoration. The bodhisattvas are presented with noble features when looking at the surface of the work, but we could confirm the existence of an excellent underlying sketch with calm expressions throughout the entire work because of the gentle line drawing on the backside in comparison to the quite solid line drawing on the surface by verifying it with a near-infrared image. In addition, we were able to confirm that the backside coloring was applied as a traditional Buddhist painting colored with white and green paints from the backside of the silk canvas. These types of images can only be verified when doing a dismantling repair. We could proceed with an even safer restoration by recording both surface and the backside of the work with high-resolution pictures, and we will utilize these images as research materials in the future. We would like to continue future work while increasing consultations with the curator of the museum that own Japanese cultural properties.
An explanation of the Performing Arts Recording Studio (July 2)
Nineteen visitors from the Musashino Elderly Citizens’ Association for Life-long Education “Happy 76 Club”
On July 2, nineteen visitors from the Musashino Elderly Citizens’ Association for Life-long Education Happy 76 Club visited the Institute in order to view the work involved in the conservation and restoration of cultural properties.
They toured the Performing Arts Recording Studio in the Department of Intangible Cultural Heritage, as well as the Restoration Studio and the Chemistry Laboratory in the Center for Conservation Science and Restoration Techniques.
The staff members in charge of each section explained the work they do.
An explanation at the Reading Room (July 5)
Seven Visitors from Bunka Gakuen University, Faculty of Fashion Science
On July 5, seven visitors from Bunka Gakuen University, Faculty of Fashion Science visited the Institute in order to view work involved in the conservation and restoration of cultural properties.
They toured the Reading Room in the Department of Art Research, Archives and Information Systems, the Performing Arts Recording Studio in the Department of Intangible Cultural Heritage, and the Chemistry Laboratory in the Center for Conservation Science and Restoration Techniques.
The staff members in charge of each section explained the work they do.
An explanation at the Biology Laboratory (July 19)
Thirty-six New Staff Members from the National Institutes for Cultural Heritage
On July 19–20, thirty-six New Staff Members from the National Institutes for Cultural Heritage visited the Institute as part of their training.
They toured the Reading Room of the Department of Art Research, Archives and Information Systems, the Performing Arts Recording Studio of the Department of Intangible Cultural Heritage, and the Chemistry Laboratory and the Biology Laboratory of the Center for Conservation Science and Restoration Techniques.
The staff members in charge of each section explained the work they do.
An explanation at the Chemistry Laboratory (July 24)
Four Visitors from the Special Research Office of the House of Councilors:
On July 24, four visitors from the Special Research Office of the House of Councilors visited the Institute in order to observe Institute’s facilities.
They toured the Reading Room in the Department of Art Research, Archives and Information Systems, the Performing Arts Recording Studio in the Department of Intangible Cultural Heritage, and the Chemistry Laboratory in the Center for Conservation Science and Restoration Techniques.
The staff members in charge of each section explained the work they do.
An explanation at the Radiography Laboratory (July 31)
Thirty-five Visitors from the Ministry of Education, Culture, Sports, Science and Technology’s “Support Project for Study Programs on Radiation and its related Topics for High School Students”
On July 31, thirty-five visitors from the Ministry of Education, Culture, Sports, Science and Technology’s “Support Project for Study Programs on Radioactivity and its related Topics for High School Students” visited the Institute in order to study methods of scientific analysis on cultural properties and how X-rays are used in their research.
They toured the Radiography Laboratory, the Chemistry Laboratory and the Scanning Electron Microscope Laboratory in the Center for Conservation Science and Restoration Techniques.
The staff members in charge of each section explained the work they do.
Interview with NOMURA Mansaku, a Kyogen performer
The second research exchange between the Department of Intangible Cultural Heritage and the South Korean National Research Institute of Cultural Heritage has begun according to the agreement signed last November. Following TAKAKUWA’s research in Korea in May, Ms. Lee Myoung-Jin, a researcher from Korea, visited Japan in July, and conducted research on Kyogen for a month.
The ideas regarding intangible cultural heritage in Korea are different from those in Japan: the Korean ICH does not distinguish important intangible cultural properties from important intangible folk cultural properties, as they do in Japan.
Most performing arts in Korea can be categorized as important intangible folk cultural properties under the Japanese classification system, and also the basic idea of “what is traditional?” differs from Japan to Korea. Thus, it is necessary to learn the differences in order to compare performing arts and their protection systems. However, during her visit, Ms. Lee seems to have deepened her cognizance of the meaning of tradition in Japan while interviewing the Kyogen performer of the Izumi School.
Practice identifying insect pests that damage cultural properties
Training for Museum Curators in Charge of Conservation is intended to imbue curators with the knowledge and skills needed to conserve cultural properties. This year’s training was conducted over 2 weeks starting on July 9th, and participants consisted of 30 curators and administrators from around the country. The training curriculum primarily consisted of lectures and practice in 2 areas: (1) conservation conditions grounded in the natural sciences and (2) causes of the degradation of different types of cultural properties and steps to prevent that degradation.
“Case studies” that involved putting conservation conditions into effect in actual settings took place at the National Museum of Japanese History in Sakura city, Chiba prefecture. Participants divided into 8 groups and conducted field studies and assessments of set conditions such as temperature, humidity, and illuminance. The following day, they reported their results.
Training participants are anticipated to constitute a local nexus for conservation of cultural properties as they continue their work in museums. Application guidelines are distributed to individual facilities via municipal boards of education every February or so, so we look forward to your application.
A demonstration of Japanese painting production techniques in the basic course
A demonstration of emergency treatment of hanging scroll in the applied course
This workshop is held annually as a part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas. This year, it was held at the Asian Art Museum, National Museums in Berｌin, with the basic course, “Japanese paper and silk cultural properties,” from July 11th through 13th, and again with the applied course, “Restoration of Japanese hanging scrolls,” from the 16th through the 20th.
In the basic course, following the practical process of cultural properties from creation, through mounting, exhibition and up to appreciation, we gave lectures, demonstrations and training for materials such as paper, pigmnets, paste,and animal glue, techniques of creating paintings,and caligraphy, mounting culture and handling of those cultural properties.
In the applied course, we gave a workshop centered on practices in relation to restoring hanging scrolls using restoration techinques based on traditional Japanese mounting. We focused on the diagnosis of hanging scrolls, structure consiting of multiple paper layers of hanging scrolls, the emergency treatment and usage of traditional brushes and edged tools.
Recently, the restoration techniques based on traditional Japanese mounting have been renowned abroad, and have come to be put to use in foreign paper cultural properties. However, for many foreign conservation specialists, the techniques are learned through reference books and hearsay. Through this workshop, we would like to offer an opportunity to understand the authentic materials and techniques to as many foreign conservation specialists as possible.
Hands-on training for how to work with a total station
State of the measurement survey
An architectural survey training course began at the Ta Nei temple in Angkor as a new human resource development project based on a cooperation agreement with the Cambodian government’s Authority for the Protection and Management of Angkor and the Region of Siem Reap (ASPARA). This training course provides a combination of classroom lectures and field practices, with the goal of learning by the Cambodian staffs the basic sequence of steps for surveying architectural remains using GPS and a total station and CAD drawing. This was the first of four planned training courses through the next fiscal year. Twelve young and core staff members, who specialize in architecture and archeology, from the ASPARA, the Preah Vihear National Authority and the JASA team participated in the training, which took place for five days from July 30 through August 3. The trainees were all enthusiastically making an effort to learn the skills. The current goal is to complete an up-to-date planimetric map of the entire temple complex.
Group Photo
During the Meeting
At the request of the Agency for Cultural Affairs, the Japan Consortium for International Cooperation in Cultural Heritage participated in the First Meeting of the ASEAN Plus Three Cultural Cooperation Network (APTCCN) held from July 20–23, 2012 in Bohol, Philippines. Representatives of ASEAN countries and three East Asian countries, Japan, China and South Korea, participated in the meeting, gathering information regarding future cooperation for safeguarding cultural heritage in these countries. Until last year, this meeting was called the Networking of East Asia Culture Heritage (NEACH), but the name was changed because the current five-year plan includes broader issues, as follows:.
1. the enhancement of regional cooperation in cultural fields through the establishment of a network of experts in related tangible and intangible fields;
2. the development a sense of regional identity among the ASEAN countries, Japan, South Korea and China;
3. and the necessity of common understanding in the areas of cultural heritage management, human resources development in the cultural context, and small- and medium-sized cultural enterprises development.
The 40th anniversary of the ASEAN-Japan exchange is 2013. This meeting will be increasingly important in enhancing relations between ASEAN countries and Japan.
Certificate of appreciation presented to the Tokyo Art Dealers’ Association
Offers for donations to the Institute were received from the Tokyo Art Dealers’ Association and the Tokyo Bijutsu Club. The Tokyo Art Dealers’ Association aims to fund publication of the Institute’s research results and the Tokyo Bijutsu Club intends to fund the Institute’s research projects. We received the donations with great appreciation.
On June 11th, Shingo Rokukawa, Director of the Department of Research Support and Promotion, visited the Tokyo Art Dealers’ Association and met Katsumi Kiyoshi, the general manager of the Tokyo Art Dealers’ Association to present certificates of appreciation to Keiichi Shimojo, the director of the Tokyo Art Dealers’ Association, and Masakatsu Asaki, the president of the Tokyo Bijutsu Club.
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.
At the Performing Arts Studio
Sixteen Visitors from Kawamura Gakuen Woman’s University, Faculty of Education, Department of Social Education:
On June 28th, sixteen visitors from Kawamura Gakuen Woman’s University, Faculty of Education, Department of Social Education visited the Institute in order to view work to conserve and restore cultural heritage as part of their coursework in Museology.They toured the Library of the Department of Art Research, Archives, and Information Systems and the Chemistry Laboratory and Conservation Laboratory of the Center for Conservation Science and Restoration Techniques.The staff members in charge of each section explained the work they do.
Survey with the cherry picker. The bronzed black kite that had fallen from the pedestal is evident at the bottom right.
The damaged bronze adornment and top of the pedestal. The stone leaves blossoming from the pedestal’s center are barely restrained by a loosened bolt.
Erected on the ruins of the keep of Sendai Castle (or Aoba Castle) in 1902, the Shochuhi memorial commemorates the fallen from the Imperial Army’s 2nd Division, which was located in Sendai. As was reported in January of this year, the memorial features a black kite in bronze atop a stone pedestal close to 20 m high that was damaged by the Great East Japan Earthquake last year (evident by the fall of the bronzed black kite). Following a survey of the damage and collection of fragments in January, damaged to the top of the pedestal was surveyed and fragments were collected with a cherry picker on June 26th as part of the Cultural Property Rescue Program.
The survey and work to collect fragments included individuals from the Gokoku Shrine, Miyagi Pref., where the Shochuhi memorial is located, as well as Mitsuro MIKAMI (Miyagi Museum of Art) from the Council to Conserve Damaged Cultural Properties in Miyagi Prefecture, personnel from the Japan Institute for the Survey and Conservation of Outdoor Sculpture (a firm with experience surveying and conserving outdoor sculptures in Japan), and personnel from Hashimototen Co., Ltd. (a local construction firm). Also participating in the survey were Akio HASHIMOTO of the Department of Crafts, Faculty of Fine Arts, Tokyo University of the Arts and Chizuko YOSHIDA of the Educational Materials Office of the Faculty of Fine Arts, Tokyo University of the Arts. Work was supported by a donation from Kaikai Kiki Co., Ltd. to the National Research Institute for Cultural Properties, Tokyo to help with the Cultural Property Rescue Program.
The survey found a number of bronze fragments scattered atop the pedestal, and these fragments were collected. A survey of the remaining portion of the bronze adornment determined that one of the stone leaves was barely restrained by a loosened bolt, cracks ran through the narrow portion of the base supporting the bronzed black kite, and the bronze adornment that was perched atop the pedestal had struck the projecting cornice at the top of the pedestal before leaving a hole at the foot of the pedestal when it fell. The stone leaves that had come free were secured with bands and the top of the pedestal was covered with blue plastic tarp, but these are only stop-gap measures. If a large earthquake were to strike again, the stone leaves could fall to the foot of the pedestal. Rainwater from holes in the cornice and the damaged pedestal could seep into the pedestal and cause it to collapse. Steps to deal with the bronzed black kite that had been left where it fell at the foot of the pedestal need to be devised along with steps for the future.
Tauride Palace, venue of the World Heritage Committee
The moment when Palestine’s property was inscribed
Fireworks during the welcoming reception (Peterhof Palace)
The 36th Session of the World Heritage Committee was held from June 24th to July 6th in Saint Petersburg, Russian Federation.Prior to the Committee, the Institute summarized and analyzed documents regarding the state of conservation of World Heritage properties and the Advisory Bodies’ evaluation of nominated properties. Three staff members of the Institute joined the Committee in collecting information.
Twenty-six properties were inscribed on the World Heritage List during the session. Four properties that were slated to have their inscription deferred were instead inscribed on the list; this number was smaller than that during the previous session. Seven properties that were to be referred back to the state party for additional information were all inscribed on the List. Although there was less of a tendency for the Advisory Bodies’ recommendations to be overturned by the Committee due to changes in Committee Members as a result of elections,that tendency still remained. Three former mining sites were inscribed on the list, and all three were associated with negative aspects of history, like the spread of labor movements among miners and mining accidents. This tendency to focus on the dark side of the history remains evident.
The World Heritage Convention is said to be UNESCO’s most successful convention since it has been ratified by 190 state parties. The Birthplace of Jesus: Church of the Nativity and the Pilgrimage Route, Bethlehem was inscribed on an emergency basis during the session. Of interest is the fact that the “state party” nominating the property was Palestine. In addition, World Heritage property in Mali was destroyed by Muslim fundamentalists, highlighting the global impact of the destruction of World Heritage properties.
Since Palestine ratified the Convention last year, the United States stopped its financial contribution and Japan became the largest contributor to UNESCO. As of the current session, Japan also became a Committee Member with the right to comment freely during sessions, so Japan should be playing a larger role in future sessions. The Institute hopes to provide information to relevant organizations in Japan and to provide support such as information analysis so that Japan can contribute further to the World Heritage Committee.
Maki KANEKO, Assistant Professor in the Art History Department at the University of Kansas, who came to research and study as a visiting researcher in the Department of Art Research, Archives, and Information Systems for one year last July, gave her results presentation at the Department of Art Research, Archives, and Information Systems’s research conference on June 28, coinciding with her visit coming to an end. Ms. KANEKO has been investigating how the Asia-Pacific War and the postwar period were expressed in the work of artists, and as a very interesting problem to emerge from that investigation, she has focused on the change in the evaluations surrounding Kiyoshi YAMASHITA (1922–71), who is known for his simple collages. She presented a topic titled “The Expression of a ‘National Artist’: ‘The Kiyoshi YAMASHITA Boom’ during the Asia-Pacific War and the Postwar Period.”
Kiyoshi YAMASHITA has been spoken of as a ‘National Artist’ that can create imagery that induces a sense of innocence and idyllic nostalgia since the second time he was noticed during the postwar period in the mid-1950s. In contrast, when he first gained prominence for two years between 1938 and 1940, from around one year after the outbreak of the Second Sino-Japanese War, he was portrayed as the ‘Japanese Van Gogh,’ who exemplified a magnificent creative faculty even while having a mental disability.
Ms. KANEKO pointed out the possibility that these portrayals of Kiyoshi YAMASHITA reflected the state of the societies during each period, in that during the latter half of the 1930s a system of total war was constructed for the war, while the memories of war were brought back in various ways during the 1950s, when it was said, “it’s still not the postwar period.”
It was a very interesting experiment that tried to analyze society from how visual representations were received, extending outside of the narrow framework of “art.” Ms. KANEKO returned to her home upon finishing her research here at the end of June.
Kezurikake-like poles of the Berawan people as a decoration to welcome “VIPs”
Kezurikake-like poles of the Kayan people fashioned during slash-and-burn agriculture
This research examined customs and folk techniques related to poles found in Sarawak State, Borneo from June 27th to July 4th. These poles resemble the Kezurikake, or half-shaved sticks, found in Japan. In the Japanese Archipelago, Kezurikake are widely used as ritual implement or as decorations during Ko-syogatu, or the New Year according to the lunar calendar, or as Inau, a ritual implement of the greatest importance to the Ainu people. Although similar poles were known to be found in Borneo, there have been almost no field studies or comparative studies of these poles by experts. Thus, preliminary research was conducted in cooperation with experts from the Center for Ainu & Indigenous Studies, Hokkaido University in order to facilitate future comparative studies.
The research site provided several opportunities to talk with local residents and observe their creation of these poles. A rough outline of customs related to these poles was also obtained. The names, uses, forms, and materials of these poles differ slightly depending on the tribe. The Iban people, for example, call these poles Bungai Jaraw (Bungai means“flower”). Nowadays, these poles are typically considered a decoration to welcome “VIPs.” However, there is some evidence that these poles had greater symbolic or religious meaning since they played an important role in headhunting and during traditional festivals. More in-depth research is needed.
Plans are to study Kezurikake-like poles in countries like Borneo in order to better understanding the customs related to Kezurikake in Japan and techniques for their fabrication.
The 4th session of the General Assembly of the States Parties to the Convention for the Safeguarding of the Intangible Cultural Heritage
The 4th session of the General Assembly took place from June 4 to 8, 2012 at UNESCO Headquarters, Paris. Representing the Institute, MIYATA Shigeyuki participated in the conference. The main subject for discussion during the session was revision of the Operational Directives, which led to a more lively discussion among representatives from participating nations than takes place at a usual session. Past sessions approved the decisions of the Intergovernmental Committee, but the current session turned into a discussion, much like the Intergovernmental Committee. Revision of the way in which nominations for inscription on the Representative List are evaluated was a matter of intense debate. The question was whether to change from evaluation of nominations by the Subsidiary Body, with extensive advice from the Intergovernmental Committee, to evaluation by the Consultative Body, which is comprised of experts like those tasked with considering nominations for the Urgent Safeguarding List. In the end, the present method of nominations evaluated by the Subsidiary body was retained, with revision of recommendations from the Committee. Decisions that will greatly affect the implementation of convention were made, e.g. the maximum ceiling of files to be evaluated annually by the Committee, a long-running concern, was formally defined in the Operational Directives. Although the Assembly still has supreme decision-making ability with regard to the Convention, this session was the first to completely overturn the recommendations of the Committee, and problems with implementation of the Convention remain. In addition, the appearance of divergent opinions among different regional groups must be followed closely. Since Assembly sessions have increasingly become a forum for discussion, this trend must be followed closely in the future.
Training underway
Follow-up Training for Conservators is conducted annually to inform individuals who have completed the Training for Museum and Art Museum Conservators of the latest findings in conservation. With 80 participants in attendance, follow-up training of this year was held on July 25. As noted below, the first half of follow-up training covered efforts by the Committee to Rescue Cultural Properties Damaged by the Tohoku Earthquake and Tsunami (Cultural Property Rescue Program) thus far. The second half covered approaches to dealing with conservation conditions by Institute personnel.
・Efforts to rescue cultural properties thus far (Ken OKADA, Head of the Center for Conservation Science and Restoration Techniques)
・Severe damage to facilities handing cultural properties and systems to protect those properties by large-scale disasters (Masayuki MORI, Senior researcher)
・Conservation conditions in the film repository (Chie SANO, Head of the Conservation Science Section)
・Surveys of conservation conditions, consulting, and recommendations by the Institute (Naoto YOSHIDA, Senior researcher)
Each year, at least 10% of all individuals who have completed the training for conservators attend to follow-up training. This reflects the Institute’s hopes for better approaches to conservation conditions. The Institute will continue its efforts to accurately ascertain conservation needs in order to meet its expectations.
