| ■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 |
|
Presentation on a restoration project in The Museum, Meiji Mura
Presentation by a researcher from the chemistry section of the German Museum of Technology
On February 10th, the Center for Conservation Science and Restoration Techniques hosted a study meeting on “Use of Oil-based Paints in Modern Architecture in Japan” in the Institute’s basement seminar hall. Oil-based paints were used in modern buildings from Meiji to Showa period. In recent attempts to restore these buildings, a frequently encountered problem has been the difficulty of identifying materials in paints. Even if they are identified, the original paints are often hard to obtain, so other materials have to be employed to repaint. Under this situation, specialists from the Agency for Cultural Affairs, museums – from both curatorial and science sections –, and a private company, met to discuss how the modern buildings, i.e. current cultural properties, were painted at that time, how those paints can be identified, why oil-based paints are hard to obtain now, and the steps that can be taken to solve these problems. Presentations were made concerning techniques to identify materials in paint samples and the difficulties in oil-based paints includes the historical background that they became obsolete because of their slow drying property. The speakers were actively engaged by the audience of 45, making the study meeting a meaningful one.
Conference in session
Opening remarks by Takashi ISHIZAKI
In the summer of 2011, electricity users served by Tepco and Tohoku Electric Power were asked to reduce power use (from 9 AM to 8 PM) by 15% from peak levels in 2010. How would museums and art galleries that handle important cultural properties survive? And what problems would they face as a result? The Center for Conservation Science and Restoration Techniques held a conference to review temperature and humidity settings in the exhibition and storage spaces of museums and art galleriess with a supplemental focus on “Reducing Energy Use in Museums and Art Galleries” (the event took place on February 17 (Fri.), 2012 in the Institute’s basement seminar hall and had 66 attendees).
A Survey on Measures Taken to Reduce Museums’ Power Consumption in the Summer of 2011 was conducted from December 2011 to January 2012 with the cooperation of curators who had completed training for museum curators in charge of conservation. Results of the survey were summarized by Chie SANO. In most museums or art galleries, curators seek to avoid changing environmental conditions in storage rooms. At institutions that change the temperature of their galleries, the visitors experience discomfort and their stay in the galleries tends to be short. In some instances, insects and mold infestation and , odors are increased, and metal objects are corroded. In addition, there are concerns about a lack of temperature and humidity control resulting from changes in environment control settings.
Mr. Osamu FUKUNAGA of the National Art Center, Tokyo discusses views on temperature and humidity settings at art museums. Cultural properties vary widely, lending institutions have different views, and local climates, building structures and designs, and curating vary. These facts preclude the establishment of uninform criteria for exhibition conditions, but communication to reach an agreement on those conditions is crucial, as Mr. FUKUNAGA noted. Ms Mitsue NAGAYA reported on controlling conditions following closure of a special exhibition gallery to reduce daytime power consumption in the summer of 2011. Ms NAGAYA presented examples of items that were kept in good condition through nighttime climate control.
Takeshi ISHIZAKI reported on current trends and approaches overseas with regard to temperature and humidity settings to conserve cultural properties. ISHIZAKI cited reports of experiments on the extent of deformation in mock specimens intended to ascertain the effect of changes in humidity on the components of cultural properties. ISHIZAKI also indicated the extent of brief fluctuations in a well-controlled environment and he provided examples of research into an approach that allows some fluctuations in accordance with seasonal changes (temperatures are adjusted but humidity is constant).
Last, Mr. Takashi MATSUO of the Shimizu Institute of Technology described the latest energy-saving technologies used in office buildings. Mr. MATSUO new techniques being tested in relatively large areas to efficiently use energy, such as utilizing shade and reducing peak energy use in conjunction with neighboring areas.
New methods of controlling temperature and humidity by allowing temperature adjustments at a constant humidity or allowing greater fluctuations must be carefully assessed to determine if they truly have no effect on cultural properties, and assessments must be repeated, discussed, and understood by all relevant personnel. The Conference on “Reducing Energy Use in Museums Considering Environments for Conservation of Cultural Properties” provided a valuable opportunity to see the steps in risk management: new information on risk assessment is now available, and risk communication, or how that information is evaluated and shared among stakeholders, is becoming evident.
Photography in practice
The Japan Center for International Cooperation in Conservation conducted workshops on conservation of archaeological metal objects at the History Museum of Armenia from late January to early February 2012. From January 24 to February 3, 2012, a training workshop with documentation as its theme was conducted for 10 younger Armenian experts of the History Museum of Armenia and other organizations. The workshop included lectures like “occupational health and safety,” “museums and conservation,” “metals science,” and “science and analytical techniques in relation to cultural properties” as well as practice with “photography,” “condition check,” “optical studies using microscopes,” and “elemental analysis using handheld XRF analyzers.” In addition to covering selection of appropriate methods of conservation treatment, the workshop covered the establishment of a network of domestic experts and study of the techniques for fabricating bronze objects.
From February 7th to the 11th, an international workshop on the conservation of archaeological metals was held. In addition to the 10 young Armenian conservation experts, attendees included several Armenian archaeologists and scientists who study archeological metals in Armenia and international metals conservators/experts from Georgia, Iran, and Romania. Attendees gave presentations on the study of Armenian metals and on the state of museums and conservation in their own countries. The workshop helped to foster the exchange of information and establish networks.
We will begin practical conservation treatments such as corrosion removal in the next mission. Plans are to perform elemental analysis after conservation and study techniques for fabrication of objects in greater depth.
Trainees studying pottery
The Japan Center for International Cooperation in Conservation plans to undertake a four-year training program from 2011 to 2014. Under this program, a series of workshops covering documentation, excavations, conservation, and site management will be held in the medieval fortified town of Ak Besim in the Chuy Valley, Kyrgyz Republic. This program has been commissioned by the Agency for Cultural Affairs, Japan and aims to train young experts in Central Asian countries in the protection of cultural heritage in Central Asia.
This year, two workshops on the documentation of cultural heritage were planned. The first workshop, which covered archaeological surveys, was conducted last October.
The second workshop was held at the Institute of History and Cultural Heritage, National Academy of Sciences, Kyrgyz Republic from February 4 to 10, 2012. A total of eight Kyrgyz trainees participated in the workshop and keenly studied archaeological objects such as pottery, stone tools, and clay figurines. They also practiced rubbing techniques and photography and they visited a traditional pottery workshop in Bishkek to study pottery production.
Such workshops should help to protect cultural heritage in Central Asia in the future.
Interview at the Ministry of Culture
Bagan archaeological site
The Japan Consortium for International Cooperation in Cultural Heritage surveyed the cultural heritage of Myanmar from February 22nd to the 28th. The main goal of the survey was to explore current and future developments in international cooperation to preserve cultural heritage in Myanmar by visiting sites firsthand and determining Myanmar’s specific requirements for cooperative efforts. Sites such as temples in Bagan and wooden structures in Mandalay were visited along with museums and libraries. Survey members gathered information and interviewed relevant personnel.
Results of the survey indicated that cultural heritage sites in Myanmar are deteriorating overall. Systems for protection are inadequate, and heritage sites are in danger. Tourists to Bagan have increased sharply from last year, and the current tourism infrastructure is reaching the limits of its capacity. In addition to site protection, sustainable development is also a problem given urban conditions and disparities in income levels. In addition, museums have a serious lack of conservation and research facilities.
In line with changes in Myanmar in recent yearst, the country will need even more support from Japan and the rest of the international community in every area, including the protection of cultural heritage. Such support projects will need to be coordinated in the future. Plans are to extensively discuss the future forms of Japan’s cooperation to preserve cultural heritage with relevant institutions.
In the Executive’s Meeting Room
Nine Visitors from the Arab Republic of Egypt, Including His Excellency Mr. Mohamed Ibrahim Ali Said, State Minister for Antiquities, and His Excellency Mr. Hisham El-Zimaity, Ambassador Extraordinary and Plenipotentiary to Japan:
On January 20, nine visitors, including Mr. Mohamed Ibrahim Ali Said, Egypt’s State Minister for Antiquities and Mr. Hisham El-Zimaity, Egypt’s Ambassador to Japan, visited the Institute in order to pay a courtesy call on the director of the Institute and to view the Institute’s laboratories. They toured the Conservation Laboratories and the SEM Laboratory of the Center for Conservation Science and Restoration Techniques, and the Restoration Studio of the Japan Center for International Cooperation in Conservation. The staff members in charge of each section explained the work they do.
The Shochuhi memorial before the disaster.
The Shochuhi memorial after the disaster. The black kite in bronze that was perched atop the pedestal has fallen beak first to the foot of the pedestal.
A number of cultural properties were seriously damaged by the Great East Japan Earthquake last year. Within its Secretariat in the National Research Institute for Cultural Properties, Tokyo, the Committee to Rescue Cultural Properties Damaged by the Tohoku Earthquake and Tsunami has been involved efforts to rescue cultural properties in regions like coastal areas hit by the tsunami. As of January, the Committee worked to rescue the Shochuhi memorial (Gokoku Shrine, Miyagi Pref.) 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 memorial features a black kite in bronze with its wings outstretched atop a stone pedestal close to 20 m high. The recent earthquake caused extensive damage and left the memorial in a pitiful state, causing the black kite at the top to fall to the foot of the stone pedestal and breaking its left wing. During work in January 22nd and 23rd, bronze fragments that could be collected by hand were collected by personnel in conjunction with individuals from the Gokoku Shrine. Future steps like movement of the bronzed black kite itself were also discussed.
The Shochuhi memorial was crafted on commission by the Tokyo Fine Art School (now the Tokyo University of the Arts). Masao KAWABE designed the memorial, Ichiga NUMATA crafted the original of the black kite adornment, and Sanshiro SAKURAOKA and Shinobu TSUDA cast the black kite in bronze. In other words, the memorial brought together the cream of the Fine Art School. The plaque in the center of the stone pedestal is inscribed “Shochu” [summoning the spirits of the loyal fallen] as was written by Prince KOMATSU Akihito. Conveying heroism, this plaque was exempted from metal requisition during the War. How will the damaged plaque be salvaged and will it be passed on to future generations? Numerous difficulties, such as raising funds, are anticipated, but the memorial is a valuable cultural property. With this in mind, we at the Institute fervently hope to return the plaque as a new symbol of the spirit of recovery.
A daghdghan, or wooden amulet hung around the neck to protect domestic animals and children from the “evil eye”
Wooden spoons
Research was conducted on intangible culture in Armenia. The Japan Center for International Cooperation in Conservation has implemented international projects to primarily conserve tangible cultural properties in the countries of the Caucasus and West Asia. In January 2012, Migiwa Imaishi of the Department of Intangible Cultural Heritage conducted a basic study of intangible cultural heritage in those countries in order to explore the potential for international research exchanges and cooperation in the field of intangible cultural heritage. As part of the study, Imaishi conducted documentary research by visiting several museums, including the History Museum of Armenia and the National Museum of Ethnography and History of the Liberation Struggle of Armenia. Imaishi talked with ethnologists and also studied the current state of research and transmission of culture in Armenia. Ethnologists acknowledge that much of the “traditional culture” of Armenia was lost during the period of Soviet rule, but pieces of culture are remembered and continued to this day. Indigenous beliefs and customs that have fused and coexisted with Christian beliefs and customs are particularly interesting. One example involves eating manners and customs. There are various customs regarding salt and the use of special salt containers (such as pots shaped like a woman or bird) that remain culturally important. Likewise, each member of a family used to have his or her own wooden spoon, just like Japanese have their own chopsticks, so spoons symbolized each member of the family. The Dovlat, a deity of the home, was also said to dwell in spoons. Spoons are also said to authorize the rights of housewives and had many magical uses, just like ladles and chopsticks in Japan. The potential for studies or research exchanges in some form must be explored in concert with local researchers.
Mold growing on areas painted oyster shell white
An on-site exposure test with a fungicide
As part of a commissioned study on Development of Techniques to Prevent Color Paint Peeling at Kirishima Shrine and Work to Implement Those Techniques, the Center for Conservation Science and Restoration Techniques has studied biological deterioration of traditionally painted areas of Kirishima Shrine. Traditional painting techniques used organic substances such as animal glue and are usually susceptible to biological deterioration by microbes like mold. If mold grows, it can seriously mar a building’s appearance. Moreover, mold degrades the proteins in animal glue that serve as a binder, causing pigments to separate from the painted surface. Metabolites also cause pigments to discolor and dissolve. As a result, the physical deterioration of painted areas accelerates.
Kirishima Shrine has suffered damage, i.e. extensive growth of mold, in areas that were painted traditionally with oyster shell white paint or ochre paint including walls of breezeways, the covered stone stairway, and the worship hall. This year, a microbiological study was conducted to identify the mold responsible and ascertain the impact of that mold on painted areas. Temperature and humidity changes on-site were also monitored and an exposure test with fungicides was also conducted to help devise optimal control measures.
Environmental measurements revealed that the Shrine’s air temperature is lower than the air temperature of level ground and the Shrine has a relatively high relative humidity of about 70% as an annual average. The Shrine was found to have an environment conducive to the growth of indigenous microbes. During the on-site exposure test with fungicides, several agents were found to have fungicidal action, but some of the fungicides chemically reacted with the white paint and could lead to deterioration. One hundred and thirty-three fungal strains have been isolated from damaged areas. These strains were grouped based on colony morphology and analyzed phylogenetically and physiologically. Results indicated that 3 groups had highly prevalent fungal strains (i.e. they had the most strains isolated). These groups are presumed to play a major role in microbial deterioration of traditionally painted areas of Kirishima Shrine. Plans are to perform a more detailed analysis of the isolated strains and continue exploring measures to prevent and control microbial deterioration of areas with traditional oyster shell white paint and ochre paint in conjunction with exposure test results.
The older part of Padang affected by the earthquakes
Workshop on recovery process in Padang
Visit to a disaster area in Kesennuma, Miyagi Prefecture
The historical district of the City of Padang, West Sumatra was seriously damaged by earthquakes occurring off the coast of West Sumatra in September 2009. Since November of that year, the National Research Institute of Cultural Properties, Tokyo, has continued to support the recovery process of damaged cultural heritage sites in the district. This year, field studies were undertaken by Japanese experts, and a local workshop focusing on the topics of earthquake-resistant construction, disaster countermeasures, and risk management was conducted from January 4th to 13th, 2012 within the framework of emergency programs by the Japanese Agency for Cultural Affairs. Afterwards, Indonesian experts were invited to Japan from January 19th to 25th. Proposed restoration efforts are based on Japan’s own experiences following the March 11th, 2011 disaster in Tohoku.
At the workshop, examples of efforts to restore damaged cultural heritage sites in Japan were presented, and earthquake countermeasures and townscape preservation of the the historical district were discussed on-site. In addition to surveys of restoration of damaged historical buildings and townscapes, field studies proposed seismic retrofits based on basic structural surveys and those studies examined the architecture of traditional townhouses. Indonesian experts who were invited to Japan were able to talk with personnel actively working on restoration and earthquake countermeasures on-site in affected areas like Tohoku. This series of programs helped to clarify issues with reconstruction of damaged cultural heritage sites in Padang two years after the earthquakes. Further cooperation is needed for more specific action plans so that valuable historical heritage sites are not lost.
Participants of the workshop
Government Palace, Ulaanbaatar
Four experts from the National Research Institute for Cultural Properties, Tokyo (NRICPT) were dispatched to Mongolia from January 21 to 27, 2012 as a part of the Networking Core Centers Project commissioned by Japan’s Agency of Cultural Affairs.
On January 24th and 25th, workshops to draw up the management plan for Amarbayasgalant Monastery were held under the joint auspices of NRICPT, Nagoya University and the Ministry of Education, Culture, and Science of Mongolia (MECS). During the discussion, the protection of cultural heritage was considered along with the Land Law and the system of administrative courts. Accordingly, a written proposal to MECS and the Selenge Aimag (province) office was drafted. This proposal mentions establishment of a working group to include the Monastery on the World Heritage List and to draft a management plan, clarification of problems with the current regulations on protected areas, and efforts to obtain the understanding of local residents. NRICPT seeks to closely coordinate and cooperate with relevant bodies to bring the proposal to fruition.
On January 26th, representatives of the NRICPT, Nagoya University, and the National Police Agency of Mongolia discussed the matter of illicit export and import of cultural properties. Representatives of the Police Agency explained national policies, systems, and criminal cases related to this topic. Representatives of the NRICPT informed them of cases of illegal mining and graffiti at the sites of Serven Khaalga and Rashaan Khadin Khentii Aimag, Mongolia.
Sample screen from the integrated database
Report on a Study of Architectural Pigments at Byodoin’s Phoenix Hall: With Particular Focus on Blues by the Cultural Properties Division, Kyoto Prefectural Board of Education (Papers of TANAKA Ichimatsu). This report is from an August 10, 1955 meeting of the Byodoin Phoenix Hall Restoration Committee. This document was discovered during this attempt to create a database and appears to feature the first instance of the term “substituted azurite blue.”
On December 20th, the Department of Art Research, Archives, and Information Systems held an interim meeting on a study funded by a Grant-in-Aid for Scientific Research entitled R&D to Preserve and Utilize Past Reports on Artwork and Types of Image Data: Passing on the Views of Art Historians (principal researcher: Atsushi Tanaka). The Institute is a repository for materials used in its previous projects and reports, photos, and other items donated by the families of former Institute officers. The Department is encouraging the preservation and utilization of these items as research materials. The Department is also encouraging the study and utilization of related materials that had been overlooked in previous art history research. The materials include items that are easily categorized and stored, like printed publications, as well as handwritten notes and sketches, handouts from meetings and conferences, 35-mm slides, and 16-mm film. Organizing these items is difficult, and such items are treated less than reverentially by organizations such as art museums, museums, libraries, and universities. Such items are also extremely rare. The study on R&D to Preserve and Utilize Past Reports on Artwork and Types of Image Data was scheduled to last 4 years starting in 2009, and this year marks the third year of the study. Members of the Department of Art Research, Archives, and Information Systems and visiting researchers have divvied up the voluminous materials and are organizing them and converting them into digital formats. The interim meeting described which materials were assigned to certain individuals in certain categories, to wit:
EMURA Tomoko is studying Kogabiko (Notes on Old Paintings) during the Showa Period: Using the Papers of TANAKA Ichimatsu in Future Research, SARAI Mai is studying the Papers of KUNO Takeshi, MIKAMI Yutaka (Wako University, visiting researcher in the Department) is studying Documents on Modern Art: Assembling Art Gallery Circulars and Catalogs and Topics for the Future, NAKANO Teruo (visiting researcher) is studying the Papers of YANAGISAWA Taka, WATADA Minoru is studying the Papers of TANAKA Sukeich, and TANAKA Atsushi is studying the Papers of TANAKA Toshio.
There are various databases for each category of material, preventing a full archiving of these cultural properties. To resolve this problem, basic data from the papers of TANAKA Ichimatsu, KUNO Takeshi, and UMEZU Jiro were integrated into a database of books, exhibition catalogs, art journals, original photos, and other items currently in use at the Institute. A simulation was performed with the resulting database (about 635,000 records in total). The database allows simultaneous searches of research materials in various formats and it highlights multiple trends in research. The database will provide new directions for specialized archives. Numerous issues must be dealt with so that the database can serve as a more accurate information-gathering tool, but hopes are to create an archive of cultural properties that can be utilized in various fields of study.
Yokoyama Taikan’s Yamaji (Eisei Bunko collection), Imaging of the back of the painting
As reported last October, the Department of Art Research, Archives, and Information Systems is conducting joint research with Eisei Bunko on Yokoyama Taikan’s Yamaji (the Mountain Path) as part of a research project entitled Documentary Research on Cultural Properties. Taikan’s Yamaji in Eisei Bunko’s collection was exhibited at the 5th Bunten Art Exhibition (sponsored by the Ministry of Education) in 1911 and is an important work that inaugurated new forms of expression in Japanese painting with its vivid strokes. After the piece was studied last fall, it was restored by one of the Kyushu National Museum’s conservation facilities. The mounting was dismantled, the cover was removed, and the back side of the painted silk cloth was visible, occasioning a second survey on December 9th with the aid and cooperation of the Museum and the Association for Conservation of National Treasures, which supervised the restoration. Looking at the picture through the thin silk cloth from the back revealed a process of manufacture that was not apparent from the front. The piece’s characteristic brownish tint to represent leaves in fall appears to have been dotted on later on, but the survey of the back of the piece revealed that the color was applied in an earlier stage of the piece’s production.
The current survey team included MIYAKE Hidekazu of Eisei Bunko; HAYASHIDA Ryuta of the Kumamoto Prefectural Museum of Art, which curates Yamaji; ARAI Kei and TAIRA Yuichirou of the Tokyo University of the Arts, both of whom were on the previous survey team; and SHIRONO Seiji and SHIOYA Jun of the Institute. Mr. SHIRONO took high-resolution images of the back of the painting. Such an imaging survey of a piece during its restoration is rare. The back of the painting is not visible unless the painting is removed from its mounting, so images of the back provide extremely valuable information.
Survey of species of organisms on stone surfaces and environmental conditions
Signing of the memorandum of understanding
In December 2011, the Institute conducted a field survey of the Angkor Complex. The memorandum of understanding between the Nara National Research Institute for Cultural Properties (Nara Institute) and the Authority for Protection and Management of Angkor and the Region of Siem Reap (APSARA National Authority) was also renewed.
Efforts at the Angkor Complex seek to clarify environmental conditions suited to preserving stone monuments. Biodeterioration of stone is a common problem in the area, and different species affect stone surfaces differently. However, few organizations are studying the relationship between the condition of stone and the environment and species of microorganisms, and this includes taxonomic studies. The Institute has been studying the relationship between environmental conditions and species of moss, lichen, and algae that grow on stone to quantitatively and qualitatively evaluate their effect on stone surfaces. The current survey included specialists in the taxonomic study of lichen from Japan and South Korea, and specialists in plant ecology and biodeterioration of cultural property from Italy. The survey was conducted at sites with different environmental conditions such as the Ta Nei Temple which has been previously surveyed, and several other temples like Ta Keo, Ta Phrom and Bayon. Researchers are now analyzing the information obtained from the field survey. Institute researchers have been monitoring the surface conditions of stone samples taken from a nearby quarry and left at Ta Nei and they have been following up on past attempts at conservation efforts.
Following the field survey, the Institute renewed a memorandum of understanding with the APSARA National Authority on joint research at the Angkor Complex. Previously, both the Tokyo and Nara Institutes each signed an MOU with the APSARA National Authority, but the current MOU was signed by all three organizations so that the Tokyo and Nara Institutes will be able to cooperate more closely with each other in the same area. The signing ceremony was held at the Headquarters of the APSARA National Authority in Siem Reap and was attended by Mr. KAMEI Nobuo (the Director General of the Tokyo Institute), Mr. INOUE Kazuto (Deputy Director General of the Nara Institute), and H.E. Bun Narith (President of the APSARA National Authority). The Institute will study restoration preparations at the West Prasat Top, where repair work is planned.
Eten-raku, popular since the Kamakura period, is now known as Gagaku music performed at wedding ceremonies or as a Kuroda-bushi of Japanese folk songs. Though Gagaku was originally instrumental music, the melody of Eten-raku is a favorite among the Japanese. Eten-raku features varied verses. These are known as Eten-raku Ima-yo.
Noh plays achieved success with Zeami in the early Muromachi period and sometimes set up a climactic scene by adopting the essence of other performing arts. For example, the play “Ume-gae” has a Gagaku musician’s wife as its heroine and features Eten-raku Ima-yo verses before the heroine dances as she recalls her past. The chanting melody has changed so much that it does not sound like Eten-raku anymore, but restoring the melody of the Momoyama Period should bring out the melody of Eten-raku. Ume-gae was performed publicly by Tessen-kai of the Kanze school in December and featured the melody of Eten-raku Ima-yo, which was restored with the cooperation of Dr. Takakuwa of the Department of Intangible Cultural Heritage. Study of old Noh performances by Dr. Takakuwa has shown that exchanges of the music from different genres, such as Gagaku and Noh, are evident on-stage.
Presentation
Overall discussions
The 6th Conference on the Study of Intangible Folk Cultural Properties was held on December 16th, 2011 with “Intangible Cultural Heritages in Post-earthquake Reconstruction” as its theme.
After the huge earthquake in March, various efforts have been made to preserve the culture and cultural properties of disaster-stricken areas. However, the reality is that issues with and information concerning the intangible culture and cultural properties of stricken areas were not adequately shared. Thus, the Department of Intangible Cultural Heritage planned to continue to work on this theme. For the first year, the Department sought to clarify conditions in devastated areas and to share information. Five experts who were working in the Tohoku area before the earthquake or who are providing logistical support to or helping with reconstruction efforts were invited to give lectures at the conference. Two commented from the respective standpoints of academia and administration.
Various subjects were raised and discussed from various standpoints thanks to comments from various individuals. Interestingly, the theme of the conference was the earthquake but the actual issues raised preceded the earthquake, such as how to safeguard folk culture, how to deal with a lack of individuals to carry on traditions of techniques and shrinking communities, systematic problems involved in managing intangible cultural heritage, and the force and essential significance of folk performing arts, religions, and beliefs. An extremely unusual event, the earthquake and subsequent tsunami had distorted everyday life and revealed what is essential. One of the invited speakers was from Fukushima, which is struggling with a nuclear power plant accident. Although Iwate, Miyagi, and Fukushima Prefectures are all labeled disaster-stricken areas, conditions in Iwate and Miyagi differ vastly from those in Fukushima. There has been little talk of Fukushima’s reconstruction. As the speaker reiterated, nuclear power is a force that had never been fully controlled by humans and was now present in a form completely divorced from the local culture.
Plans are to disseminate and share information by covering issues concerning the stricken areas and restoration. The lectures and discussions at the conference should be published in March.
Temple remains where large pools of water still remain (mud caked to walls indicates the maximum height of flooding)
Excavated remains completely under water
The bottom of a mural damaged by flooding
Through a program commissioned by the Agency for Cultural Affairs, flood damage to the ancient city of Ayutthaya was surveyed by 2 successive missions on November 28–December 3, 2011 and December 18–23, 2011. Extremely heavy, continual rainfall starting in September caused massive flooding in Ayutthaya and Bangkok, a fact that was also widely reported in Japan. The Ayutthaya ruins, a World Cultural Heritage site, were extensively flooded as well. Concerned about the effects of flooding on the site’s conservation, the Thai Government asked for Japan’s assistance via the UNESCO Office in Bangkok. The decision was then promptly made to provide emergency assistance by having experts conduct a field survey.
Two experts in measures to counter water damage and conservation of cultural heritage were sent to conduct the first survey, and 6 experts in conservation science, murals, architecture, and photography were sent to conduct the second survey. The extent of damage to major sites was determined firsthand together with experts from the Fine Arts Department of the Thai Ministry of Culture and the Japanese Agency for Cultural Affairs.
The surveys indicated that flooding was considerable and that some murals were soiled with mud, salt deposits had emerged in places, mud had been deposited on brick foundations, and an exhibition of excavated archaeological remains was submerged. However, generally speaking, direct damage to ruins was limited and most of the damage was relatively minor. Nevertheless, deterioration and deformation of brick stupas and prasats due to aging were observed everywhere. The survey results reaffirmed the importance of continual monitoring and conservation efforts based on a medium- to long-term plan in order to mitigate damage in the event of a disaster. Exploring ways to assist the Fine Arts Department in these efforts is a subject for the future.
Interview at the Bahrainian Ministry of Culture
Qalat Al Bahrain and associated museum
Burial mounds
The Japan Consortium for International Cooperation in Cultural Heritage surveyed the cultural heritage of Bahrain from December 16th to the 23rd. The main goal of the survey was to explore current and future developments in international cooperation to preserve cultural heritage in Bahrain by visiting sites firsthand and determining Bahrain’s specific cooperation requirements. Sites such as archeological sites primarily consisting of burial mounds built around 2200 BC and Qalat Al Bahrain (on the World Heritage List) were visited along with the Bahrain National Museum and historical district in Muharraq. Survey members gathered information and interviewed with concerned personnel. As a result, the survey indicated the need for joint research on maintenance and management after excavations or inscription on the World Heritage List. The survey also indicated the need for long-term technical cooperation in conservation science and training of personnel to safeguard and restore buildings. Plans are to determine the future forms of Japan’s cooperation by consulting with relevant institutions.
In the Restoration Laboratory
14 participants of the Kyushu National Museum’s “Project to Encourage Active Use of Museums”:
On November 10, fourteen participants in the Kyushu National Museum’s “Project to Encourage Active Use of Museums” visited the Institute to view research activities related to conservation of cultural properties in order to facilitate the implementation of integrated pest management (IPM) at their individual facilities. The participants toured the Restoration Laboratory, Fumigation Laboratory, and Biology Laboratory of the Center for Conservation Science and Restoration Techniques and the Restoration Studio of the Japan Center for International Cooperation in Conservation. The staff members in charge of each section explained the work they do.
In the Image Laboratory
Four visitors from the National Research Institute of Cultural Heritage, South Korea:
On November 15, four visitors from the National Research Institute of Cultural Heritage, South Korea visited the Institute as part of a conservation project. The visitors toured the Image Laboratory of the Department of Art Research, Archives, and Information Systems and the Restoration Laboratory and Chemistry Laboratory of the Center for Conservation Science and Restoration Techniques. The staff members in charge of each section explained the work they do.
