Optical study of the Nissokan doors at the Phoenix Hall of Byodoin Temple

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.

Study of the Koshikijima no Toshidon visiting-deity event in Kagoshima Prefecture

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.

Sixth study meeting held on traditional restoration materials and synthetic resins

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.

Agency for Cultural Affairs project to invite artists and experts in cultural properties from overseas welcomes a Deputy Minister of the Armenian Ministry of Culture and organizes a seminar

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.

Technical survey on safeguarding of cultural heritage in Myanmar: Field study mission dispatched

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.

Seminar on bio-degradation of stone monuments in Cambodia, and training on site measurement

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.

Study of conservation of movable cultural properties in the United States

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.

An optical study of Kasuga Gongen Genki E [“Legends of Kasuga Shrine”] in the collection of the Imperial Household Agency

　Kasuga Gongen Genki E is a massive work from the dawn of the 14^th 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.

An optical study of the Taima Mandala

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 8^th 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.

7^th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage

7^th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage

　The 7^th 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 6^th 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 7^th 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 7^th 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.

7^th Public lecture of the Department of Intangible Cultural Heritage

7^th 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.

Report on the “36^th International Symposium on the Conservation and Restoration of Cultural Property Microbial Biodeterioration of Cultural Property: Recent Topics on the Investigation of and Countermeasures for Biodeterioration of Outdoor/Indoor Properties and Disaster-affected Objects”

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 36^th 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.

Symposium held on “Wandering Cultural Heritage: 10 Years of the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property”

The symposium underway

A panel discussion

A speech by Massimiliano Quagliarella of Italy’s Carabinieri (national military police)

　The Japan Consortium for International Cooperation in Cultural Heritage hosts a symposium each year for the general public. This year, the symposium was held at Heiseikan of the Tokyo National Museum on December 1, 2012. The symposium was entitled “Wandering Cultural Heritage: 10 Years of the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property” (sponsor: Japan Consortium for International Cooperation in Cultural Heritage, Agency for Cultural Affairs, Japan).
　This year marks the 10-year anniversary of Japan’s ratification of the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. The symposium introduced Japanese efforts to safeguard cultural properties from illegal exportation and importation pursuant to the Convention and the current state of those efforts, and also described efforts overseas.
　A report on Japan’s national efforts was given by SHIOKAWA Tatsuhiro, Director of the Office for International Cooperation on Cultural Properties, Agency for Cultural Affairs while a report on local efforts was given by Superintendent TSUJIMOTO Tadamasa, an officer of the Nara Prefectural Police Department who deals with crimes against cultural properties. Speaking on the current state of trafficking in cultural properties, KURITA Isao, an art dealer and owner of the Gandhara Antiques specialty shop, described the root of the problem of trafficking in cultural properties in countries where those properties are trafficked from. Foreign examples were described by a member of Italy’s Carabinieri (national military police), Massimiliano Quagliarella, Head of Operations, Carabinieri Cultural Heritage Protection. Quagliarella described safeguarding of cultural heritage by the Carabinieri as well as actual cases of art forgery and detection of illegal exports. Active discussions developed after all of the presentations, with panelists joined by IGARASHI Kazushige Deputy Director of the Enforcement Division, Customs and Tariff Bureau, Ministry of Finance.
　Although the problem of safeguarding cultural heritage is seldom brought up, this problem is actually a familiar one. Examining this problem, the symposium was well-received by members of the general public who were in attendance. The Japan Consortium for International Cooperation in Cultural Heritage will continue to make opportunities to further understanding for the general public about problems related to cultural heritage.

Myanmar’s cultural officers invited and seminar held

A meeting at the National Research Institute for Cultural Properties, Tokyo

　As part of the Project for International Contribution in Protection of Cultural Heritage (experts’ exchange) commissioned by the Agency for Cultural Affairs, Japan, officers from the Ministry of Culture of the Republic of the Union of Myanmar were invited to visit Japan from December 10 to 14. Invitees were 5 Ministry personnel specializing in archaeology, conservation, cultural anthropology, and fine arts such as U Thein Lwin, Deputy Director General of the Ministry’s Department of Archaeology, National Museum and Library. Invitees stayed in Tokyo and Nara, where they exchanged opinions with personnel at the Tokyo and the Nara Institutes, toured museums, and visited sites of archeological excavation as well as repair works of historical buildings. On December 11, a seminar entitled “Protection of Cultural Heritage in Myanmar: Current Situation and Issues” was held at the NRICPT’s seminar hall. Invitees delivered such presentations on archeological surveys, site preservation, and history and the current state of museums in Myanmar, sharing information by responding to questions from the audience. This invitation program provided the latest information on the protection of Myanmar’s cultural heritage and it fostered mutual understanding towards future cooperation. The same project plans to dispatch field study missions, in cooperation with the Nara Institute, in the 3 areas of architecture, art and crafts, and archaeology from the end of January to early February, in order to ascertain the direction of future Japanese cooperation in the protection of Myanmar’s cultural heritage.

Facility Tour，November

An explanation at the Chemistry Laboratory (November 1)

Twenty-nine participants in training session for restorers of cultural properties hosted by the Agency for Cultural Affairs

　On November 1, twenty-nine participants in training session for restorers of cultural properties hosted by the Agency for Cultural Affairs visited the Institute in order to view work involved in the conservation and restoration of cultural properties.
　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, and the Conservation Laboratory, the Chemistry Laboratory and the Scanning Electron Microscope Laboratory of the Center for Conservation Science and Restoration Techniques.
　The staff members in charge of each section explained the work they do.

Study and photography of a Painting of the Thousand-armed Kannon (a National Treasure) in the collection of the Tokyo National Museum

High-resolution image photography of a Painting of the Thousand-armed Kannon (a National Treasure)

　As part of the “Study on Digital Imaging of Cultural Properties” research project of the Department of Art Research, Archives, and Information Systems, high-resolution images of a Painting of the Thousand-armed Kannon (a National Treasure) in the Tokyo National Museum were taken November 1. This photography was in accordance with a “joint study” between the Institute and the Tokyo National Museum and follows the study of a Painting of the Akasagarbha Bodhisattva (also a National Treasure) last year. The current images were taken by the Institute’s SHIRONO Seiji with the assistance of TAZAWA Hiroyoshi and OKIMATSU Kenjiro of the Tokyo National Museum. KOBAYASHI Tatsuro and EMURA Tomoko were also involved in the project. A Painting of the Thousand-armed Kannon (a National Treasure) is a typical Buddhist painting from the Heian Period. Buddhist paintings from the Heian Period display delicate beauty in subtle features that distinguish these works in the history of Japanese paintings. Thus, observing the subtle features displayed is crucial. The current images surpass what is visible with the naked eye. Beauty unique to Buddhist paintings from the Heian Period is apparent in the painting’s subtle features. In the future, the Institute will jointly examine the information obtained with specialists from the Tokyo National Museum.

Report on the 35^th International Symposium on the Conservation and Restoration of Cultural Properties published

Report on the 35^th International Symposium on the Conservation and Restoration of Cultural Properties

　A report on the 35^th International Symposium on the Conservation and Restoration of Cultural Properties, “Traditions and Continuation of Textile Techniques: Current Status of Research and Conservation,” was published at the end of November. The symposium was held from September 3–5, 2011 and featured presentations by domestic and foreign experts from various disciplines such as textile makers, restorers, curators, and researchers. The report features all of the reports by those experts in order to share the topics discussed at the symposium with a larger audience and encourage further discussion. Plans are to make a PDF version of the report available on the website of the Department of Intangible Cultural Heritage.

Workshops on the Conservation and Restoration of Japanese Lacquer Works in the framework of the Cooperative Program for the Conservation of Japanese Art Objects Overseas

Introduction to traditional Japanese lacquer materials and techniques (workshop I )

Practicum on pressing using a wooden box (workshop III）

　The Japan Center for International Cooperation in Conservation conducted workshops on the Conservation and Restoration of Japanese Lacquer Works at Museum of the East Asian Art, Cologne, Germany from November 2 to 16. The workshops were held as part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas with cooperation of the museum.
　The workshops targeted students, researchers, curators, conservators, and restorers and were attended by a total of 19 people from 11 different countries including the U.S. and Australia as well as European countries such as Sweden, Portugal, and the Czech Republic.
　The lectures covered concepts of restoration, materials, damage, survey techniques, and case studies of restoration of lacquer works, while practica consisted of exercises related to various types of conservation and restoration techniques, such as facing, cleaning, consolidation, and pressing of urushi lacquered films. Both the lectures and the practica were very well-received.
　Based on an idea of Dr. Schlombs, the director of the Museum of the East Asian Art, the museum enhanced exchanges with workshop participants through a tour guided by Dr. Rosch, the vice director.
　Japanese lacquer works have been exported since the 16^th century and have been stored in museums, art museums and palaces all over the world. Workshops should help participants gain knowledge and learn techniques to keep these lacquer works safe and pass them down to future generations.

The 26^th Study Meeting on the Conservation of Modern Cultural Heritage, “Conservation and Restoration of Goryosha, Japanese Imperial Carriages”

A presentation with technical drawings

　“Goryosha,” Imperial carriages, refers to special railway cars and automobiles used by Japanese Emperors and other members of the Imperial family. Since railways were introduced in Japan in the Meiji Period, the imperial carriages have been created. The first Imperial carriage is considered to have great cultural and artistic value, therefore, it has been designated as an Important Cultural Property. However, information on the object was not readily available. Thus, the Center for Conservation Science and Restoration Techniques held a study meeting entitled “Conservation and Restoration of Goryosha, Japanese Imperial Carriages” in the Institute’s basement seminar hall on November 30, 2012.
　The imperial carriages are said to be “moving works of art and craft” or “distillations of the culture of the Meiji Period.” They were specifically made for the Imperial family to use by employing the latest technologies and techniques at that time, so their furnishings and other features are extraordinary and remarkable. The carriages currently on display are 6 at the Railway Museum and 2 at the Museum Meiji-Mura. However, visitors are only able to look at their furnishings and exquisite interior decoration details through glass. At the study meeting, firstly, a specialist of industrial heritage talked about the technical aspects of the Imperial carriages and the development of the railways in Japan. Secondly, curators of the 2 museums preserving and displaying the Imperial carriages presented the characteristic furnishings and interiors of the objects. They also revealed approaches to and difficulty with daily maintenance and the way to display. Then, 2 conservators who worked to restore the Imperial carriages on display at the Railway Museum talked about actual restoration work done on the objects. It was worthy of special mention that an expert of industrial cultural heritage from Taiwan reported the Imperial carriages that were produced and left in Taiwan under Japanese rule between 1895 and 1945.
　The study meeting focused on not only the technical viewpoint of conserving railway cars, but also their cultural value in terms of the history of art and craft. The meeting had over 53 attendees and ended with a lively question and answer session with the presenters.

Survey of Japanese artworks in Armenia and Georgia

The History Museum of Armenia & the National Gallery of Armenia

Survey in the Georgian National Museum

　The Japan Center for International Cooperation in Conservation surveys Japanese artworks in collections of art museums overseas and it provides those institutions with advice and information on relevant research. The Center also conducts cooperative conservation programs for artworks that urgently or desperately need to be conserved. In countries far removed from Japan where the climate, environment, racial makeup, and religion differ considerably, seeing the state of Japanese artworks instills in one the vitality of cultural properties, despite their fragile composition. In November 2012, KAWANOBE Wataru, KATO Masato, and EMURA Tomoko surveyed Japanese artworks in the Republic of Armenia and Georgia. Both countries were once part of the Soviet Union, and 2012 marked the 20^th anniversary of their establishing diplomatic relations with Japan. However, this survey was the first on-site survey of Japanese art by personnel from the Institute.
　Japanese artworks in the History Museum of Armenia, the National Gallery of Armenia, and the Charents House-Museum were surveyed. These museums have ukiyo-e (woodblock) prints from the late Edo Period and early modern to modern craftworks. That said, some of the works are not properly identified since their title or date of production is unclear. The Center provided advice and information regarding these works. Additionally, the state of conservation of cultural properties in the Matenadaran (the Mesrop Mashtots Institute of Ancient Manuscripts) and the National Library was also studied.
　In Georgia, Japanese artworks primarily in the National Museum were surveyed. The National Museum has armaments from the Edo Period, such as armor and swords, as well as Japanese artworks like ukiyo-e paintings, pottery, and textiles. The museum was found to have 2 silk hanging scrolls, “Carps” by TACHIHARA Kyosho (1786–1840), a painter from the late Edo Period, and “Mt. Fuji” by TAKASHIMA Hokkai (1850–1931), a painter active during the Meiji Period. Both works have been damaged by time and need extensive restoration. The first step, however, is to gather detailed information about these artworks and then coordinate the future programs with the museum staff.