| ■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 |
|
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.
The optical study of the Nissokan doors (two panels)
The Phoenix Hall of Byodoin Temple, where the temple’s principal image is enshrined, has two doors at its entrance the rear corridor, featuring Nissokan illustrations intended to evoke Paradise. The door on the right-hand side depicts mountains with buildings in their midst, including a Buddhist temple, while the images on the left door include the expansive sea and the setting sun above the horizon. While naturally the passing years have caused many parts of the paintings to peel off and a number of repairs were made by later generations, in light of the tough environment in which they were placed the original pictures can be said to have survived the years well. These are very important paintings in that they are rare examples of full-fledged paintings remaining from the mid-Heian Period. In September 2012, as requested by Byodoin Temple the National Research Institute for Cultural Properties, Tokyo conducted an optical study focusing chiefly on the paint remaining under the sliding locks that had been installed atop the pictures in later years, since those locks had just been removed.
This more recent study focused chiefly on the outer frame of the doors, a part of the Nissokan doors not previously subjected to full-fledged optical study. Parts of the frames are decorated with patterns that from their materials are thought to be original. From January 8 through January 10, 2013, Seiji SHIRONO and Tatsuro KOBAYASHI of the Planning and Information Department took high-resolution color images, fluorescence images, and infrared images of the Nissokan images themselves along with other subjects including fragments of the Jobonjoshozu doors of the Phoenix Hall, preserved in the Hoshokan, and parts of the ceiling panels. Yasuhiro HAYAKAWA of the Center for Conservation Science and Restoration Techniques used fluorescence X-ray analysis to study the materials used in the frame patterns. After study of the data obtained, plans call for reporting the data to the Byodoin and then announcing it publicly in the future.
Prior to this study, the Nissokan doors were moved to the Hoshokan, a museum facility equipped with an environment resembling that of the interior of the Byodoin, and they will be preserved and made available for public viewing in this facility. Plans call for installation of new doors with reproductions of the Nissokan paintings inside the Phoenix Hall, and this optical study, like its predecessor, is likely to contribute greatly to the process of preparing these reproductions.
A presentation during the study meeting
A Toshidon revealing its face
I conducted a study of the Toshidon event held on New Year’s Eve on Shimo-Koshikijima Island in the city of Satsumasendai, Kagoshima Prefecture, in which deities are said to visit bringing good luck. Koshikijima no Toshidon was named an Important Intangible Folk Cultural Property of Japan in 1977, and in 2009 it was added to the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.
The Toshidon deities are said to visit on the evening of December 31, riding headless horses. Children of ages three through eight come out to meet them in the living rooms of their homes. The deities emerge from the darkness accompanied by low, groaning voices saying “Oruka, oruka” (“Is anybody there? Is anybody there?”) and the sound of a hand bell, appearing in the corners of the living room and questioning the children. They both scold and threaten the children for the bad things they have done over the year and praise them for the good things they have done, along with having children show off their own talents such as singing, dancing, or multiplication tables and praise them for how they do. Lastly, they admonish the children to be good and give them large rice cakes called toshimochi, before disappearing.
This is a deeply frightening experience for small children, and some run away in tears, but after successfully completing the questions and answers they seem relieved, feeling as if they have accomplished something. I also was impressed by the way other family members too are moved to tears, perhaps as a result of thinking about the children’s growth. People in the local community consider the Toshidon an educational event for children, and it probably could be said that in one aspect this event has continued to the present day thanks to the way this meaning of the event, easy to understand in contemporary society, has been discussed and shared in the community.
However, it is a fact that there are many issues regarding the continuation of this tradition. The biggest problem is the low birth rate, as only four of the six designated Toshidon conservation associations conducted the event this year. Even in the Teuchi Motomachi conservation association, which I accompanied on its rounds, only five homes were visited this year compared to a number of 10 homes up until a few years ago, and two of these five were grandparents’ homes where grandchildren were visiting for the holiday.
Another major issue is how to balance the tradition with tourism. Since the Toshidon being named an Intangible Cultural Heritage of Humanity in 2009, the Motomachi conservation association has actively accepted researchers and other visitors coming to view the event. This year, the group was accompanied by about 15 onlookers, including myself. As the Toshidon becomes well-known in Japan and around the world and attracts the interest of many people, this provides significant motivation to the local community to continue the tradition and also serves as a tourism resource. However, at the same time I sensed that an important issue in the future would be that of how to preserve and balance its significance and atmosphere as a religious observance and ritual.
A presentation during the study meeting
A general discussion during the study meeting
On Thursday, January 24, the Center for Conservation Science and Restoration Techniques held a study meeting in a seminar room at the Research Institute on the theme of deterioration and repair of paint and other coloring materials in architectural cultural properties, one subject involved in traditional restoration materials. The content of this study meeting could be described as a continuation of the third study meeting held in FY2009, on current conditions and issues in study and repair of lacquers in architectural cultural properties, and the fifth in FY2011, on study and repair of traditional paints in architectural cultural properties. Historically, paint and other coloring materials such as those on the exteriors of architectural cultural properties have been subjected to repeated repair because they are liable to material degradation and bio-degradation in Japan’s climate.
This study meeting provided the latest information on various issues related to these matters, from the individual perspectives of conservation and restoration science (paint and coloring materials and biology), structural repair sites, and administrative guidance. First, KITANO Nobuhiko of the Technical Standard Section discussed deterioration of paint and coloring materials, and then KIGAWA Rika, head of the Biological Science Section, identified topics related mainly to insect damage at the Shrines and Temples of Nikko World Heritage Site and mold damage at Kirishima-Jingu shrine, as examples of biodegradation of materials including paints and coloring, as well as examples of responses to such damage. Next, SHIMADA Yutaka of the Cultural Properties Division in the Department of Guidance of the Kyoto Prefecture Board of Education reported on examples of repairs to the paint and coloring of Iwashimizu Hachimangu Shrine and to the paint of the Phoenix Hall of Byodoin Temple, and HARASHIMA Makoto of the technical office of Itsukushima Shrine reported on an example of repairs to the paint of the main building of Itsukushima Shrine. Lastly, TOYOKI Hiroyuki, Architecture and Other Structures Division, Agency for Cultural Affairs, described an overview of the fundamental concepts behind repairs to paint and coloring materials currently conducted by the Agency. The meeting was well received by participants, who showed high levels of interest in the content of its themes because they were directly related to repair of paint and coloring materials.
A presentation in the seminar (Deputy Minister Samuelyan at left)
The National Research Institute for Cultural Properties, Tokyo invited to Japan Ms. Arev Samuelyan, Deputy Minister of the Ministry of Culture of the Republic of Armenia, over the 10-day period from January 10 through January 18 2013, under the framework of an Agency for Cultural Affairs project to invite to Japan artists and experts in cultural properties from overseas.
During the first half of her visit to Japan, the Deputy Minister Samuelyan energetically visited spots including the backyards and exhibits of the Tokyo National Museum and the National Museum of Western Art as well as conservation sites of historic architectures in Kyoto and Nara, such as Kiyomizu-dera temple, exchanging opinions with experts. At a seminar on the subject of conservation of cultural properties in the Republic of Armenia and Japanese cooperation with such efforts held by the National Research Institute for Cultural Properties, Tokyo on January 16, she presented on the current state of protection of cultural properties in Armenia. Representatives from Japan presented on the subjects of a survey report on the Republic of Armenia (by the Japan Consortium for International Cooperation in Cultural Heritage), a project on human-resources development and technical transfer for conservation of archaeological metal objects under a framework of the program of “networking core centers for international cooperation on conservation of cultural heritage” funded by the Agency for Cultural Affairs (by the Japan Center for International Cooperation in Conservation), propagation of Armenian architectures to other countries in the vicinity of Armenia, and a workshop on conservation of textiles at the History Museum of Armenia (by the Japan Foundation). The event provided excellent opportunities for networking among organizations and researchers related to Armenia as well as informing the general public about Japan’s cooperation in protecting Armenia’s cultural properties. In addition, on January 17 Ms. Samuelyan made a courtesy visit to Commissioner for Cultural Affairs Seiichi Kondo, expressing gratitude for Japan’s cooperation in conservation of cultural properties and asking for continued support in the future.
This invitation served as an opportunity for building even closer ties in the existing cooperative relationship between the two countries as well as promoting cooperation and exchange projects between Japan and Armenia in a variety of fields, not just the protection of cultural properties.
Taking measurements at a wooden temple
An example of a highly damaged temple building
Visiting a metal casting workshop
Survey at the National Museum in Yangon
As part of the Project for International Contribution to Protection of Cultural Heritage (Experts’ Exchange) conducted by the National Research Institute for Cultural Properties, Tokyo under commission by the Agency for Cultural Affairs, a mission of experts was dispatched to Myanmar from January 26 through February 3. This mission, made up of 17 members in total, comprised three teams to study the fields of architecture, arts and crafts, and archaeology, respectively. The National Research Institute for Cultural Properties, Tokyo was responsible for the fields of architecture and arts and crafts, while the Nara National Research Institute for Cultural Properties was responsible for archaeology. Intended to make clear future directions of action for cooperation provided by Japan to Myanmar in regard to safeguarding of cultural heritage, the survey was able to advance smoothly with the accompaniment and assistance of the responsible staff members from the Department of Archaeology, National Museum and Library of the Myanmar Ministry of Culture.
Together with checking the state of damage and key factors affecting conservation of brick monuments in Bagan as well as wooden monasteric buildings in Mandalay and other areas, the architecture team’s activities also included interviews with concerned staff of local agencies and craftsmen, to identify issues related to future conservation and restoration. These activities revealed such as the fact that full-fledged structural repairs had not been conducted in a long time and activities such as keeping basic records concerning the state of conservation were not being conducted to a sufficient extent.
The arts and crafts team conducted surveys and interviews on the state of conservation, storage and exhibition, as well as training of human resources involved in conservation and restoration, for mural paintings , metal objects, lacquerwares, and books and sacred documents. It did so by visiting national museums and libraries, temples, schools, and workshops in Yangon, Bagan, and Mandalay. While they observed signs of the knowledge obtained through overseas training and other efforts being put to use in Myanmar, it also was clear that sufficient conservation and restoration measures were not being taken, due to shortages of materials and equipment and to underdevelopment of related systems.
The mission also gathered basic information on Myanmar’s system for protection of cultural heritage through activities including meeting with the Ministry of Culture in the capital city of Naypyitaw. While it was clear that there were shortages in areas such as the technologies and human resources needed to conserve and restore cultural heritage in each field, the motivation of those in Myanmar to improve the situation was high, so that it is expected that technology transfer and human-resources development through projects such as joint research and training would be highly effective as assistance.
Seminat on conservation of stone monuments in Angkor
Second measurement training at the Ta Nei site
Since 2001, the National Research Institute for Cultural Properties, Tokyo has jointly conducted studies and research on conservation of cultural properties made of stone, with its main field being the Ta Nei site in Angkor, Cambodia, together with the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA). This seminar, with the participation of experts from Japan, Cambodia, Italy, and South Korea who had taken part in these studies, included presentations on subjects such as taxonomical research on lichens, quantitative and qualitative research on physical changes in stone materials, and research on the relationship between the environment and living organisms, as an overview of research that had been conducted up to that point to monitor and control the living organisms that flourish on stone surfaces. It also featured exchange of opinions on improving site conservation in the future.
Also, the second training onarchitectural measurementwas held at the Ta Nei site from January 10 to 18. A total of 11 trainees, including two new participants from the APSARA, split into three teams to check the plans prepared in the first training in July of last year and to continue the measurement work using total stations, largely completing the plan of the central part of thetemple.
Continuation of research cooperation, including transfer of technology and human-resources development are planned, while further studying how the results of these efforts can be put to use in conservation of Angkorsites.
Materials from American institutions involved in conservation of cultural properties
The Freer Gallery of Art
The Japan Center for International Cooperation in Conservation carries out studies and research concerning the systems for conservation of cultural properties in each country around the world. As one such project, currently it is studying the state of conservation of movable cultural properties in the United States. While the U.S. is home to numerous museums of history and art and holds many of the world’s movable cultural properties, it has no government agency that specializes in the protection and management of cultural properties. Management of cultural properties is left to their owners, and management and regulation at the federal level is not very strong except in emergencies such as major natural disasters. Under these circumstances, management, restoration, and exhibition of moveable cultural properties in the U.S. is handled on an individual basis, in accordance with the management policies of each museum and with the wishes of the properties’ owners.
While thinking on cultural properties differs considerably between Japan and the U.S., at the same time the U.S. is home to numerous art museums that hold collections of Japanese art. In addition, the Center’s Cooperative Program for the Conservation of Japanese Art Objects Overseas, begun in 1991, has restored more than 250 works of art at 24 art museums across the United States. Thus, the Center has close ties with American art museums. Accordingly, from January 26 through February 3, 2013 Tomoko EMURA and Asuka SAKAINO conducted a study in Washington, D.C. to ascertain in a systematic way the state of the conservation of movable cultural properties in the United States. They conducted a number of interviews focusing chiefly on key organizations conducting comprehensive activities to protect cultural properties, including the Federal Emergency Management Agency (FEMA), the National Park Service of the Department of the Interior, the Library of Congress, the American Institute for Conservation (AIC)/Foundation of the American Institute for Conservation (FAIC), the American Alliance of Museums (AAM), and the nonprofit Heritage Preservation. They also studied the state of management of the collections of history and art museums. In particular, they learned about the collection management rules and the state of restoration of works at the Freer Gallery of Art. America’s oldest national art museum, the Freer Gallery opened in 1923 and holds numerous works of art from East Asia, including Japan.
This study showed that one of the reasons cultural properties in the U.S. are conserved appropriately despite the lack of strict regulations is because of cooperation among individual organizations and personnel along with effective functioning of bottom-up decision-making. Future plans call for advancing more practical study and research looking at the history museums playing central roles in each region of the U.S. and at museums holding works of Japanese art.
Kasuga Gongen Genki E is a massive work from the dawn of the 14th century consisting of 20 scrolls in total featuring paintings by TAKASHINA Takakane, head of the court atelier, at the behest of SAIONJI Kinhira, Minister of the Left at the time. All of the scrolls have survived. The work is extremely valuable in terms of the history of Japanese paintings, and it features a style that is unrivaled in its elaborateness and resplendence. Currently curated by the Imperial Household Agency, the work is being completely disassembled and restored as a part of a 15-year plan that began in 2004. As part of joint research with the Imperial Household Agency, the National Research Institute for Cultural Properties, Tokyo has optically studied and photographed the work prior to restoration. As of last year, 12 scrolls of the 20 total scrolls had been studied.
This year, high-resolution digital photography of scroll 4 and scroll 15 was done with visible light, fluorescence, and 2 types of infrared waves (reflected and transmitted). Photography took place from December 3 to 6, 2012 and involved SHIRONO Seiji, KOBAYASHI Koji, and KOBAYASHI Tatsuro from the Institute’s Department of Art Research, Archives, and Information Systems. From December 10 to 20, HAYAKAWA Yasuhiro of the Center for Conservation Science and Restoration Techniques used X-ray fluorescence of the 2 scrolls to collect data on paints.
Use of the reams of data that have been obtained thus far will be examined with the Imperial Household Agency once conservation and restoration are complete.
Study and photography of the Taima Mandala
The Taima Mandala is a pictorial depiction of the teachings 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. Vast numbers of works depicted the same images even in later ages and can be found around the country, but the basis for these works is the Taima Mandala, which the Institute studied. The massive work has been designated a National Treasure and extends more than 4 meters in width and height. The work is thought to have been produced in the 8th century, though some believe it to have been produced in Tang China while others think it was produced in Nara. A major feature of this key mandala is that scenes are depicted by weaving, i.e. figured brocade, rather than pictures painted on silk canvas, as was normally the case. However, the work has unquestionably deteriorated over a span of more than 1000 years. Massive restoration in the Kamakura and Edo periods only just managed to keep the work intact. Scenes are apparent as a result of patching that was done during those periods, but the ground weave has been severely damaged. The extent of original figured brocade that remained and the features of that brocade were somewhat unclear.
The mandala had long been out of public view, but the mandala was slated for exhibition during a special exhibition, Taima-dera Temple, by the Nara National Museum starting on April 6 of this year. Prior to exhibition, the Institute’s Department of Art Research, Archives, and Information Systems conducted an optical study of the mandala from December 17 to 21, 2012 at the Nara National Museum as part of a joint research project with the Nara National Museum. SHIRONO Seiji, KOBAYASHI Koji, SARAI Mai, and KOBAYASHI Tatsuro of the Department of Art Research, Archives, and Information Systems participated in the study. A railed platform was crafted for extensive photography. The work was placed on the platform and then photographed with a high-definition digital camera. The total surface of the work was divided into close to 150 segments, allowing viewing of the extremely elaborate weaving of the mandala. High-definition digital images were taken with visible light, and sections were photographed in greater detail with fluorescence and infrared light. During the study, macro-photographs were taken on portions where the original figured brocade appeared to have survived. Very few portions were found to have the original weave of the figured brocade, providing a key springboard for future studies. This study also helped to facilitate exhibition of the work at the Nara National Museum.
7th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage
The 7th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage was held at UNESCO Headquarters in Paris from December 3 to 7, 2012. The session was attended by 2 experts from the Institute, MIYATA Shigeyuki of the Department of Intangible Cultural Heritage and FUTAGAMI Yoko of the Department of Art Research, Archives, and Information Systems. Grenada had planned to host the session but withdrew in August due to fiscal reasons. Uncharacteristically, the session was held at the UNESCO Headquarters in Paris. UNESCO’s own fiscal predicament resulted in a number of complaints about logistics, e.g. only limited copies of session documents were available and there was no video streaming of events at the second venue.
During the session, 4 nominated files were inscribed in the “List of Intangible Cultural Heritage in Need of Urgent Safeguarding,” 27 were inscribed in the “Representative List of the Intangible Cultural Heritage of Humanity,” and 2 safeguarding practices were registered as “Best Safeguarding Practices.” Nachi no Dengaku [a religious performing art performed at the Nachi fire festival] had been nominated by Japan for the Representative List but a preliminary review by the Subsidiary Body led to the nomination being referred back to the Submitting State. State members of the Committee deemed the nomination to have satisfied the criteria for inscription, so Nachi no Dengaku was ultimately inscribed. This situation was not unique to Japan. Many nominations were inscribed despite being referred back to the Submitting State. A guideline of 1 nominated file per country has essentially been instituted. To limit the overall number of files to evaluate, Committee Members are scrutinizing each nomination rather carefully. Last year’s 6th session of the Intergovernmental Committee for the Safeguarding of the ICH and the June session of the General Assembly of the State Parties to the Convention for the Safeguarding of the ICH had been marked by a rift in opinions. In contrast, the 7th session featured few sharp disagreements between Committee Members. The session consistently featured a generally accommodating atmosphere. Because of regional divisions, countries in Africa had submitted few nominations, but proposals from those states increased considerably during the 7th session. Capacity building has taken place in the region since the Convention for the Safeguarding of ICH took effect, and those efforts appear to have finally come to fruition. For the first time, Japan has been chosen as a member of the Subsidiary Body to evaluate nominations for inscription on the Representative List in 2013. Given this opportunity, the Department of Intangible Cultural Heritage hopes to capitalize on its expertise in order to help with the Subsidiary Body’s evaluations.
7th public lecture
On December 8, the Society to Preserve Yamaguchi’s Sagi School was invited to present a public lecture at the Heiseikan. The lecture was entitled “Carrying on Yamaguchi’s Sagi school of Kyogen (traditional Japanese comic theater): Recordings in the Department of Intangible Cultural Heritage of the National Research Institute for Cultural Properties, Tokyo.” The Department of Performing Arts, the predecessor of the Department of Intangible Cultural Heritage, began recording the Yamaguchi’s Sagi school of Kyogen in 1958. The performer is now deceased, and the recording features many pieces that are no longer passed on. While enjoying and analyzing these pieces, attendees discussed the future preservation of Yamaguchi’s Sagi school of Kyogen. Attendees also enjoyed Miyagino and Busu, both of which have been passed on. The Sagi School is a style that disappeared from central Japan during the Meiji Era, and its pieces are seldom performed in Tokyo. Attendees expressed great thanks for this meaningful opportunity.
Keynote speech by Dr. Piero TIANO from Italy
Poster presentations
Growth of microbes causes substantial deterioration of cultural properties, regardless of whether they are outdoors or indoors. Memories of the Great East Japan Earthquake are still fresh. The effects of water damage can soon lead to microbial deterioration of cultural properties that have been damaged by a disaster like an earthquake or tsunami. Surveys to ascertain the extent of damage and countermeasures against that damage are crucial. Thus, the Center for Conservation Science and Restoration Techniques hosted a symposium on the Microbial Deterioration of Cultural Properties at Heiseikan of the Tokyo National Museum from December 5 (Wed.)–7 (Fri.), 2012. Different departments of the Institute take turns hosting a symposium each year, and this year’s symposium marked the 36th International Symposium on the Conservation and Restoration of Cultural Properties.
The opening day of the symposium featured two keynote speeches by foreign experts, followed by a session on the biodeterioration of disaster-damaged cultural properties. The second day of the symposium featured a session on the biodeterioration of stone monuments and wooden structures outdoors. The final day of the symposium featured sessions on techniques to ascertain biodeterioration of cultural properties indoors and environmental factors for deterioration. The 3 days of the symposium featured 15 lectures as well as 23 poster presentations by presenters from Japan and abroad. The symposium encouraged an active discussion among the 232 participants (421 participants in total). The symposium was attended by numerous foreign experts from countries such as Italy, France, Germany, Canada, China, and South Korea. Symposia on the specific topic of microbial deterioration of cultural properties are seldom seen, and many of the experts from Europe who attended did so at their own expense. The symposium was truly an international symposium, allowing a substantial exchange of information. Sincere thanks are extended to the presenters and participants who enthusiastically collaborated with the Center for Conservation Science and Restoration Techniques.
