| ■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 |
|
Field in Grez by KURODA Seiki
The Institute of Art Research opened in 1930 with an endowment bequeathed by Western-style painter KURODA Seiki and later became the National Research Institute for Cultural Properties, Tokyo. To inherit Kuroda’s will, the National Research Institute for Cultural Properties, Tokyo has placed stress on the study of Japanese modern art. Field in Grez (canvas, oil, 29.2×51.4 cm) by KURODA Seiki was donated to the Kuroda Memorial Hall upon the condition that it be exhibited there. On May 6, TANAKA Atsushi, SHIOYA Jun, SHIRONO Seiji, and YAMANASHI Emiko of the Department of Art Research, Archives, and Information Systems studied and photographed the work. The work depicts a rural landscape with 2 piles of straw in a vast grass field and a red flower in grass in the foreground. The signature,“S.K.”, is at the bottom right. The year the work was painted is not written, but the imagery and style indicates the work was done in Grez-sur-Loing while KURODA was studying in France. It is thought to date to around 1890, when KURODA sought to have his work entered in the Salon. The piles of straw evoke an association with Jean-François Millet, whom KURODA admired. The work has been passed down by the family of NOMURA Yasushi (1842–1909), who served as ambassador to France from 1891 to 1893 and supported KURODA’s painting in France. The work sheds light on NOMURA’s friendship with the painter. Plans are to publish the study’s results and exhibit the work in the Kuroda Memorial Hall.
Study and photography of Taima-dera Temple’s “Backboard” Mandala
The Taima Mandala is a pictorial depiction of Japanese Pure Land Buddhism showing primarily the Pure Land Paradise of Amida based on the Commentary on the Meditation Sutra by the monk Shandao from Tang Dynasty China. The work has been passed down by the Taima-dera Temple in Nara, leading to its name. The work is massive, extending more than 4 meters in width and height. Scenes in the mandala are depicted by weaving, i.e. figured brocade, rather than pictures painted on silk canvas, as was normally the case. A recent view has posited that the work may have been produced in Tang Dynasty China in the 8th century. Nevertheless, the work has unquestionably deteriorated over a span of 1200–1300 years. The state and extent of the original figured brocade that remained had not been fully ascertained. The Institute’s Department of Art Research, Archives, and Information Systems conducted a joint research project on the mandala with the Nara National Museum last year when the museum hosted a special exhibition entitled Taima-dera Temple.
The Taima Mandala was kept affixed to the back of a board in a miniature shrine atop a dais in the mandala hall of Taima-dera Temple. However, the mandala had severely deteriorated by the Edo Period, so paper was placed on top, water was applied, and the fabric of the mandala was detached to that it could be refashioned into a hanging scroll. This hanging scroll was studied last December. Some of the fabric remaining on paper that was used to detach the mandala during the Edo Period has been kept by Saikou Temple in Kyoto as the Mandala “Imprint on Paper.” The remaining woven fabric that has not peeled away from its original backing, known as the “Backboard” Mandala, has survived. Together with the Nara National Museum, SHIRONO Seiji and SARAI Mai performed high-resolution imaging of the Mandala “Imprint on Paper” at the Department of Art Research, Archives, and Information Systems on May 28 of last year. On May 29, SHIRONO Seiji and KOBAYASHI Tatsuro participated in a study involving macro-photography of the “Backboard” Mandala in Taima-dera Temple’s mandala hall. Portions of the original figured brocade on the Mandala “Imprint on Paper” were not readily discernible, but the fabric itself was found to remain. Because of the physical constraints on site, the scope of the study of the “Backboard” Mandala was somewhat limited, but the original figured brocade was found to have survived. The Taima Mandala was poorly understood, but the current study has helped to ascertain its true state.
The Department of Art Research, Archives, and Information Systems conducted a regular conference on May 28 (Tues.). This conference was entitled Issues with the Pictorial Biography of Prince Shotoku in 6 Scrolls in the Collection of Shi-tenno-ji Temple. The conference featured presentations from TSUCHIYA Takahiro (Tokyo National Museum) and MURAMATSU Kanako (Ryukoku Museum), who comprised the team that surveyed A Pictorial Biography of Prince Shotoku.
The conference covered Shi-tenno-ji temple’s A Pictorial Biography of Prince Shotoku in 6 scrolls (an Important Cultural Property). The work was commissioned by (at the behest) of AJARI, a priest at the Ida Bessho (a remote religious facility away from the main temple) in year 3 of the Genko Era (1323) and painted by an individual named TOTOMI Hokkyo of an atelier (studio) in the Southern Capital (Nara), according to writing on the back of the work. These aspects mark the piece as important among the many works on Prince Shotoku produced after the early 14th century. The writing on the back of the piece had been considered as-is since it was first printed out some 30 years ago. However, YONEKURA Michio (emeritus researcher at the National Research Institute for Cultural Properties, Tokyo), a member of the team that studied the actual work, indicated that the writing is not original. Mr. YONEKURA presented the view questioning what is written along with images of the writing (Mr. YONEKURA was absent that day, so Mr. TSUCHIYA made the presentation in his stead). Afterwards, Mr. TSUCHIYA showed detailed images of the painting and he offered his own doubts about the rather vague grounds for considered the work a Painting of the Southern Capital (school). Mr. TSUCHIYA announced that there was ample room for additional consideration of whether or not that style of work actually existed at the time. Ms. MURAMATSU indicated the iconic relationships in a number of other versions of the Pictorial Biography of Prince Shotoku, and she noted their significance in surviving versions of the Pictorial Biography of Prince Shotoku. Although the work is noteworthy for the exceptional way in which it was crafted, it has not been fully discussed. Perhaps this conference will spur further study of the work.
Burning off brush to prepare fields to grow ramie
Following events in April, Mr. Chae Won LEE of South Korea’s National Research Institute of Cultural Heritage visited Japan as part of Research Exchanges between Japan and South Korea in relation to the Safeguarding and Preservation of Intangible Cultural Heritage. Mr. LEE studied selected conservation techniques, which are techniques for conservation of cultural properties. The Village of Showa, Fukushima Prefecture grows ramie (Boehmeria nivea) and extracts its fiber to supply the material to make Ojiya crepe and Echigo linen, which are important intangible cultural properties. The study coincided with karamushi-yaki, or burning off of brush to prepare fields to grow ramie during shoman (the 8th of 24 solar terms in the traditional Japanese calendar when crops ripen/bloom around May 21st or so). This coincidence allowed Mr. LEE to see an important growing process firsthand. In addition, group interviews regarding ramie were conducted to hear the perspectives of administrators and conservators and the perspectives of others, facilitating a more extensive discussion of the significance of ramie growing to the Village of Showa and systems to conserve selected conservation techniques. Results of the research exchanges, which lasted 2 weeks, were presented at a seminar that highlighted differences in Japanese and Korean perceptions of Selected Conservation Techniques (no such framework exists in South Korea). The seminar also highlighted ways to safeguard cultural properties.
Joint survey in Fugoppe Cave
The Center for Conservation Science and Restoration Techniques has studied the conservation of cultural properties outdoors as part of Research on the Effects of Environmental Pollution on Cultural Properties and the Development of Restoration Techniques. This international research project has been conducted jointly with the National Research Institute of Cultural Heritage, South Korea. As part of the project, seminars are held annually by both institutions so that researchers from both countries can interact more closely with their counterparts.
This year, a seminar was held on May 21 (Tues.) in a basement meeting room at the National Research Institute for Cultural Properties, Tokyo. Presentations were given by 4 personnel from the National Research Institute of Cultural Heritage, South Korea: Sa Dug KIM, Sun Myung LEE, Tae Jong LEE, and Yu Gun CHUN. Presentations were also given by KUCHITSU Nobuaki, NAKAYAMA Shunsuke , and MORII Masayuki of the National Research Institute for Cultural Properties, Tokyo. The conservation of cultural properties outdoors was discussed. The following day, a joint survey was conducted in Hokkaido. The status of the display and conservation of petroglyphs in the Fugoppe Cave (Town of Yoichi) and Temiya Cave (City of Otaru) was studied. Conservation of the Bangudae Petroglyphs in Ulsan is a current topic in South Korea. Korean researchers asked numerous questions about topics such as display lighting and facilities maintenance. The conservation of petroglyphs in Japan proved informative.
An explanation in the Biology Laboratory (April 15)
Eighteen Visitors from the Meiji University Museum Friendship Society “Meiji University Museum Naito family document study group”
On April 15, eighteen members of the Meiji University Museum Friendship Society “Meiji University Museum Naito family document study group” visited the Institute in order to observe the Institute’s facilities.
They toured the Library of the Department of Art Research, Archives, and Information Systems and the Conservation 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.
KURODA Seiki in Formal Attire (Photo: OGAWA Kazumasa, July 1914, in the collection of the National Research Institute for Cultural Properties, Tokyo [donated by KANEKO Mitsuo])
The Department of Art Research, Archives, and Information Systems held its first seminar of 2013 on April 30. Research presentations were given on Hananokage (Illustrious Portraits), a Private Photography Magazine for Nobles, and Letters from OGAWA Kazumasa to KURODA Seiki. Presentations were made by SAITO Yoichi (Tojo Historical Museum, City of Matsudo) and OKATSUKA Akiko (Edo-Tokyo Museum, Tokyo) along with TANAKA Atsushi.
Starting off, Mr. SAITO described results of his previous studies of Hananokage (published from 1903 to around 1908), a private photography magazine published by former daimyo (feudal lords) such as TOKUGAWA Yoshinobu and TOKUGAWA Akitake, i.e. Meiji-era nobles. Based on his studies, Mr. SAITO deduced that 4 volumes of Hananokage were published each year. Mr. SAITO focused on 5 editions published between March 1907 and March of the following year that featured Photography Critiques of submitted photographs authored by KURODA Seiki and photographer OGAWA Kazumasa (1860–1929). Based on these Photography Critiques, Mr. TANAKA appraised KURODA as an artist and OGAWA as a photographer, and Mr. TANAKA also described KURODA’s views on “photography.” Letters addressed to KURODA Seiki curated by the Institute include letters (7) from OGAWA Kazumasa. Ms. OKATSUKA is studying OGAWA based on these letters, and she described the relationship between KURODA and OGAWA. She also described the world of Meiji photography based on OGAWA’s relationship to nobles of the period. Plans are to publish the results of this research in vol. 411 of Bijutsu Kenkyu (The Journal of Art Studies) (scheduled for publication in Nov. 2013) and in subsequent volumes.
the Omoigawazakura workshop
This year marks the second year of Research Exchanges between Japan and South Korea in relation to the Safeguarding and Preservation of Intangible Cultural Heritage. The Department of Intangible Cultural Heritage conducted exchanges with South Korea’s National Research Institute of Cultural Heritage. In April, researcher Ms. Gyeong Soon HWANG of South Korea’s National Research Institute of Cultural Heritage visited Japan, where she studied Yuki-tsumugi in Ibaraki and Tochigi Prefectures. Since Yuki-tsumugi was inscribed on UNESCO’s 2010 Representative List of the Intangible Cultural Heritage of Humanity (Representative List), efforts have made to conserve the technique through culture, industry, and tourism. The study of Yuki-tsumugi included group interviews with conservators, administrators, and other personnel, and the study also enhanced discussion of the basis for preserving Yuki-tsumugi. Results of the research exchanges, which lasted 2 weeks, were presented at a seminar. The seminar highlighted differences in Japanese and Korean policies regarding and views of intangible cultural heritage.
Science for Conservation is a research bulletin published by the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation. Every article in Science for Conservation since its first volume has been converted into PDF format, and these articles are now available via the Center for Conservation Science and Restoration Techniques’ website (http://www.tobunken.go.jp/~ccr/pub/cosery_s/consery_s.html). All 4 papers and 22 reports featured in vol. 52, the bulletin’s latest edition, have now been uploaded. A pamphlet and 3 posters on biodeterioration and pest control are also available online, so feel free to have a look. (http://www.tobunken.go.jp/~ccr/pub/publication.html#002).
Copies of many publications are distributed to relevant institutions. In order to provide useful information a larger number of personnel working to conserve cultural properties, however, plans are to actively make those publications available online.
Director-General Kamei, receiving a certificate of appreciation from Commissioner for Cultural Affairs
Ceremonial Photograph with those honored (Director-General Kamei, back row left)
On March 25, 2013, an appreciation ceremony was held at the Institute’s Seminar Hall. The ceremony honored individuals and organizations that cooperated with or were involved in efforts to rescue and restore cultural properties damaged by the Great East Japan Earthquake. KONDO Seiichi, Commissioner for Cultural Affairs, presented a certificate of appreciation to the Institute for its two years of service as Secretariat of the Committee for Salvaging Cultural Properties Affected by the 2011 Earthquake off the Pacific Coast of Tohoku and Related Disasters since April 2011.
An explanation in the Performing Arts Recording Studio (March 8)
Four Visitors, including HANZAWA Shigenobu, former Chief Senior Specialist for Cultural Properties of the Agency for Cultural Affairs On March 8, four visitors, including HANZAWA Shigenobu, former Chief Senior Specialist for Cultural Properties of the Agency for Cultural Affairs, visited the Institute in order to observe Institute’s facilities. They toured the Library of the Department of Art Research, Archives, and Information Systems, the Performing Arts Recording Studio of the Department of Intangible Cultural Heritage, the Conservation Laboratory of the Center for Conservation Science and Restoration Techniques, and the Japan Center for International Cooperation in Conservation. The staff members in charge of each section explained the work they do.
Front cover of “YOKOYAMA Taikan’s Yamaji”
Display boards on Research on YOKOYAMA Taikan's Yamaji in the Institute’s entrance lobby
This spring, the Department of Art Research, Archives, and Information Systems published volume 6 of the Archive of Art Studies, entitled “YOKOYAMA Taikan’s Yamaji.” The Department of Art Research, Archives, and Information Systems started publishing the Archive of Art Studies in 2002. This volume summarizes the results of 3 years of research on YOKOYAMA Taikan’s Yamaji conducted jointly with Eisei Bunko. In the past, individual research reports were made available via the Institute’s website, but the full nature of that research has now been revealed to the public thanks to the cooperation of a number of individuals.
Vol. 6 of the Archive of Art Studies features Yamaji (painted in 1911) in Eisei Bunko’s collection and a variant of that piece, Yamaji (painted in 1912), in the collection of the National Museum of Modern Art, Kyoto. This volume assembles information on the individual pieces based on their restoration and analysis of the pigments used as well as textual information regarding the pieces, such as critiques when they were presented and a description of their provenance. Reliable articles based on surveys of the pieces and other materials have been authored by ARAI Kei (Tokyo University of the Arts), OGAWA Ayako (Tokyo National Museum), SATO Shino (Yokoyama Taikan Memorial Hall), TAIRA Yuichiro (Tokyo University of the Arts), TAKEGAMI Yukihiro (Association for Conservation of National Treasures), NOJI Koichiro (Nerima Art Museum), HAYASHIDA Ryuta (Kumamoto Prefectural Museum of Arts), MIYAKE Hidekazu (Eisei Bunko), and SHIOYA Jun, who were involved in restoring and studying the pieces. Hopes are that this case study of research on a single work will, like previous volumes of the Archive of Art Studies, contribute to future studies of art history. Vol. 6 is available from Chuo Koron Bijutsu Shuppan. Please see the website below for details.
http://www.chukobi.co.jp/products/detail.php?product_id=635.
In conjunction with the publication of this volume, display boards describing Research on YOKOYAMA Taikan’s Yamaji were exhibited in the entrance lobby on the first floor of Institute starting on March 28. The display boards provide an overview of the research with a focus on images of Yamaji in Eisei Bunko’s collection (the same images are featured in Vol. 6). Thanks to high-resolution images taken by SHIRONO Seiji of the Institute, visitors to the Institute will be able to see for themselves the ingredients of the pigments used in Yamaji.
Recording of Mr. SATO Tomohiko
There are two main schools of Kyogen, the Izumi and the Okura. Kyogen performances and scripts of the two schools differ. In fact, traditions can differ even within the same school. There are three traditions within the Izumi school: Kyogen Kyodosha (Nagoya), the NOMURA Matasaburo Family (now residing in Nagoya), and the NOMURA Manzo and NOMURA Mansaku families (originally from Kanazawa). The Department of Intangible Cultural Heritage has studied Kyogen performances. As part of that research, SATO Tomohiko of Kyogen Kyodosha was recorded performing Hanago. Hanago is a piece primarily in the form of a ballad. Hanago is a naraimono, or a piece requiring special skills that one is not authorized to perform until reaching a certain age.
“Science for Conservation” is the research bulletin of the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation of the National Research Institute for Cultural Properties, Tokyo. The latest edition, Vol. 52, was published on March 26, 2013. This edition features 4 papers and 22 reports on the latest findings from various projects by the Institute, such as research to conserve damaged cultural properties and results of studies of steps to combat biodegradation of the Kitora Tumulus. Starting with Vol. 1, every edition of Science for Conservation is available in PDF format on the Institute’s website (http://www.tobunken.go.jp/~ccr/pub/cosery_s/consery_s.html).
Keynote lecture
The 2012 General Assembly of the Japan Consortium for International Cooperation in Cultural Heritage was convened on March 15th. The Secretariat General reported on Consortium projects in 2012 and projects planned for the coming year. This was followed by the 12th Seminar, which started with a keynote lecture by Jean Wee, Director, Preservation of Monuments Board, Ministry of Community, Culture, Youth and Sports, Singapore, entitled “International Cooperation-OMNI-Logue: Your voice is Mine.” Afterwards, four other lectures described recent trends in the safeguarding of cultural heritage with a focus on international conferences that mainly took place last year.
FUTAGAMI Yoko, Head of the Research Information Section of the Department of Art Research, Archives, and Information Systems, National Research Institute for Cultural Properties, Tokyo, described deliberations concerning inscription of sites in accordance with the World Heritage Convention. Ms. FUTAGAMI also described inscription of a Palestinian site on the World Heritage List. NISHIBAYASHI Masuo, Ambassador in charge of Cultural Exchange and Ambassador in charge of Arctic Affairs, reported on the Closing event of the World Heritage Convention 40th Anniversary celebrations, held in Kyoto last year, and one of its outcomes, named Kyoto Vision. Mr. NISHI Kazuhiko, Associate Specialist for Cultural Properties of the Agency for Cultural Affairs, provided an overview of events in Toyama and Himeji held in conjunction with the celebrations’ Closing event. Mr. NISHI also described the Toyama Proposal on Heritage and Sustainable Development and the Himeji Recommendations. MIYATA Shigeyuki, Director of the Department of Intangible Cultural Heritage of the National Research Institute for Cultural Properties, Tokyo, reported on deliberations concerning inscription of files on the Representative List of the Intangible Cultural Heritage of Humanity. Mr. Miyata also mentioned recent remediation of the regional gap in inscriptions and conduct of the 7th Session of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage.
The topic of international trends in protecting cultural heritage is usually brought up at seminars annually and attendees always number more than 50 people. Information on recent trends is greatly needed. The Japan Consortium for International Cooperation in Cultural Heritage will continue its efforts to share information through seminars .
Movement of the bronzed black kite of the Shochuhi memorial (Feb. 7, 2013)
Erected on the ruins of the keep of Sendai Castle (or Aoba Castle), the Shochuhi memorial was erected in 1902 to commemorate the fallen from the Imperial Army’s 2nd Division, which was located in Sendai. The Shochuhi memorial is currently under the care of Gokoku Shrine, Miyagi Prefecture. As was previously reported (Jan. and June, 2012), the black kite in bronze that sat atop the memorial’s stone pedestal fell as a result of the Great East Japan Earthquake. With its Secretariat in the National Research Institute for Cultural Properties, Tokyo, the Committee to Rescue Cultural Properties Damaged by the Tohoku Earthquake and Tsunami worked to rescue the memorial as a cultural property. Bronze fragments that were scattered around and atop the pedestal were previously collected. The bronzed black kite had been left as it was for a prolonged period, but it was finally moved this February.
Work started on February 4 and was supervised by Bronze Studios and Sekiho, which have previously worked to restore outdoor sculptures. A 4.5×4 m bed of steel plates was placed on the ground in front of the east side of the Shochuhi memorial. On February 7, a 25-t all-terrain crane lifted the bronzed black kite and placed it atop the bed of steel plates. A covering was then fashioned from corrugated plastic panels, and all work was completed on February 9. Snow occasionally fell during the work but was cleared. Luckily, lifting of the bronzed black kite was marked by good weather on the 7th; lifting proceeded as relevant personnel and members of the local media looked on. Movement will allow inspection inside the broken neck of the black kite statue. The head of the statue was found to be joined to the body by a mortise-and-tenon joint and an inscription was found to read “Head joined October 4, 1902/At the Tokyo Fine Art School/ In Commemoration of this Date.” Such discoveries are important to the study of the Shochuhi memorial. Like previous work to rescue the Shochuhi memorial, movement of the bronzed black kite was carried out thanks to donations to the Institute from Kaikai Kiki Co., Ltd. (President: MURAKAMI Takashi) to help with the Cultural Property Rescue Program.
Movement of the bronzed black kite under cover will prevent damage to broken areas by rain for the time being. Nevertheless, the bronzed black kite was damaged extensively by the fall, e.g. its left wing broke off, so it is far from its majestic visage prior to the disaster. Other threats have yet to be dealt with, such as bronze adornments atop the pedestal falling off and complete collapse of the pedestal due to penetration by rainwater. Future steps must be taken to conserve this rare memorial from the Meiji Era.
Presentation of results of an optical study of AI-MITSU’s Landscape with an Eye
On February 26, OTANI Shogo (Senior researcher, National Museum of Modern Art, Tokyo) delivered a presentation entitled “AI-MITSU’s Landscape with an Eye” at a seminar of the Department of Art Research, Archives, and Information Systems. The work’s creator, AI-MITSU (born: ISHIMURA Nichiro, 1907–46), left behind a body of work through his unique sense of shapes and steadfast use of oil paints. As a painter, AI-MITSU is an essential part of Japan’s history of Western-style painting from the 1930s to 40s. Among his numerous works, Landscape with an Eye is not merely a result of surrealism in modern Japanese art; rather, the piece is renowned for its unique depiction of the fantastic amidst darkening times.
The Department of Art Research, Archives, and Information Systems previously conducted optical studies with the National Museum of Modern Art, Tokyo through a research project on Research on the Use of High-Resolution Digital Images and Comprehensive Research on Modern and Contemporary Art in January and April 2010. Full-scale color images and near-infrared reflectance images from those studies will be exhibited on the second floor of the Institute.
A participant in the optical study of AI-MITSU’s Landscape with an Eye, OTANI presented the results of his research, which builds on study and discussion of the images obtained. OTANI’s presentation brought up several issues. Although AI-MITSU’s work is generally considered to be typical of surrealist painting in Japan, numerous questions remain, e.g. what specific impact did the work have and what was AI-MITSU trying to depict? Near-infrared reflectance imaging and near-infrared transmittance imaging were done, allowing a glimpse into the process AI-MITSU used to produce the work. The comprehensive presentation discussed a single work from multiple perspectives. It reviewed the work in terms of the motivation behind its creation and its motifs and depictions in light of the imaging information and it confirmed the work’s place in art history via remarks on and assessments of the work thus far.
During the Conference (speech by FUJIWARA Takumi)
Over the past few years, white LED technology has progressed dramatically. Improved color rendering and increased variation in color temperatures have reached the level where installing white LEDs as lighting for exhibitions can be considered. Such lighting requires color reproduction and creation of various lighting effects. That said, many museum staffs have expressed concerns about the effects of such lighting on materials, differences between objects viewed under that lighting and under conventional lighting, and whether power consumption can be reduced commensurate with the costs of installation. Given the need to share information on the development of white LEDs and the current state of exhibit lighting, a conference on reducing energy use in museums was held on Feb. 18, 2013.
The Conference featured respective talks by two experts on development of LED technologies and two curators from art museums that installed white LEDs as exhibit lighting. One expert on the development of LED technologies, FUJIWARA Takumi, President of Light Meister Co., Ltd., discussed the basic principles of white LEDs and the latest technological trends. The other expert, MIYASHITA Takeshi of CCS Inc., talked about the development of new type of white LEDs, stimulated by violet LED, which emit light that is closer to natural light than that emitted by conventional white LEDs. MIYASHITA also talked about the installation of those LEDs in museums. The Yamaguchi Prefectural Art Museum installed white LEDs as exhibit lighting a while back. KAWANO Michitaka of the Art Museum described exhibits and staging that fully capitalized on the features of LED light sources, such as control of color temperatures. TAKANASHI Mitsumasa of the National Museum of Western Art described reduced energy use based on measurements. In addition, TAKANASHI described the characteristics of white LEDs from the perspective of someone who is constantly in contact with artworks, i.e. differences between oil paintings viewed under that lighting and under conventional lighting.
Over the past few years, production of energy-inefficient incandescent bulbs has gradually diminished and halted as a step to combat global warming. In addition, the Minamata Convention on Mercury, which is expected to be adopted globally this October, is expected to dictate reduced production of products containing mercury after 2020. Continuing to use fluorescent lighting may no longer be limited. Installation of alternative lighting is inevitable for facilities handling cultural properties. Reflecting this fact, the Conference was attended by 130 individuals from around the country. The question-and-answer portion covered a range of topics, from issues concerning materials conservation such as elimination of ultraviolet radiation and temperature changes to issues concerning color temperatures and staging. In order to deal with issues raised during the Conference and to meet the needs of relevant personnel, we will continue to gather the latest information on organic electro-luminescence, the next generation of lighting to follow white LEDs, and we will continue to study and assess that lighting from the perspective of conservation. We will also convey the needs of museums and art museums to lighting developers and facilitate the use of these light sources as exhibit lighting.
A trainee cleaning a metal object
The Japan Center for International Cooperation in Conservation has undertaken a four-year training project since 2011. As part of the project, a series of workshops will be held covering “documentation,” “excavations,” “conservation,” and “site management.”
The fourth workshop, a “Training Workshop on Conservation of Archaeological Objects and Documentation of Excavated Objects,” was held jointly with the Institute of History and Cultural Heritage, the National Academy of Sciences, Kyrgyz Republic from February 8 to 14, 2013. A total of eight young Kyrgyz trainees participated in the workshop.
During the workshop, trainees received practical training in “pottery reconstruction,” “metal conservation,” and “pottery drawing” using archaeological objects that were excavated during the 3rd workshop in the summer of 2012.
The Japan Center for International Cooperation in Conservation plans to conduct various workshops to protect cultural heritage in Central Asia next year as well.
Interview with members of the National Commission of Culture and the Arts
Interior of San Agustin Church, a World Heritage Site
Callao Cave on the northern part of the island of Luzon
The Japan Consortium for International Cooperation in Cultural Heritage surveyed the cultural heritage of Myanmar from February 14th to the 25th. The main goal of the survey was to explore current and future developments in international cooperation to preserve cultural heritage in the Philippines by visiting sites firsthand and determining the Philippines’ specific requirements for cooperative efforts. Sites such as churches and houses from the Spanish colonial period as well as prehistoric shell mounds and rock art were visited along with museums and libraries. Survey members gathered information and interviewed relevant personnel.
Results of the survey indicated that the public needs to be increasingly aware of the need to protect many historic buildings and archaeological sites as cultural heritage. That said, educational institutions involved in protecting cultural heritage are lagging, so personnel need to be promptly trained. Cooperation with local authorities is a key aspect of protecting cultural heritage, and provision of that protection depends on local politics.
Interviews indicated that the Philippines wishes Japan to help foster academic cooperation between the countries and train Filipino personnel with an eye toward increased public awareness of cultural heritage and cooperation in Asia. Japan needs to capitalize on its previous cooperative efforts in Asia and provide support with an eye toward cooperation with other Asian countries. Such steps are essential to determining ways to protect the cultural heritage of the Philippines.
The year 2013 is the 40th Year of ASEAN-Japan Friendship and Cooperation, and Japan is expected to cooperate more with the region. In order to explore the nature of cooperation Japan can provide with regard to preserving cultural heritage, plans are to determine what support Japan can provide while continuing to gather information and coordinate with relevant institutions.
