| ■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 |
|
Opening of the World Heritage Committee
The 35th World Heritage Committee was held at UNESCO Headquarters in Paris from June 19 to 29. The Committee was originally to be held in Bahrain, but the venue was changed two months prior due to anti-governmental protests in Arab countries. Unlike usual committee meetings, no opening ceremony was conducted and there were no excursions to sites. There appeared to be fewer participants than usual because the Committee limited the number of delegates from parties other than Committee Members.
The Committee placed 25 properties, including 3 natural, 1 mixed, and 21 cultural heritage properties, on the World Heritage List. The Advisory Bodies (ICOMOS and IUCN) had recommended the inscription of 12 items, but this number doubled as a result of discussion among the Committee Members. There are four levels of recommendations from the Advisory Bodies, and second from the lowest is “deferral of inscription.” Ten properties that had been deferred were inscribed on the List. The lowest level of recommendation is “not to inscribe” a property, and the recommendation was made to not inscribe the architectural work of Le Corbusier, which includes the National Museum of Western Art. However, the Committee decided instead to defer inscription. Since last year, recommendations from the Advisory Bodies have tended to be overturned by the Committee, and this year that tendency was even stronger. State Parties to the World Heritage Convention have complained about the lack of transparency in the process of finalizing recommendations from the Advisory Bodies, but some Committee Members said that the flood of decisions disregarding the opinions of specialists would damage the credibility of the Convention.
Political conflicts also emerged regarding properties that had already been inscribed or that were to be inscribed on the List. As an example, the Preah Vihear Temple located on the Cambodian-Thai border was inscribed on the World Heritage List in 2008. Since the inscription, armed conflicts have erupted between the two countries because of the unclear border demarcation near the temple. During the Committee session, Thailand announced its intent to withdraw from the World Heritage Convention because they were unsatisfied with the lack of information on plans to manage the site and the lack of transparent decision-making. Opposition arose as to whether to discuss or to avoid discussing issues involving Kosovo and Serbia and Israel and the Arab states.
Ogasawara Islands and Hiraizumi, both properties nominated by Japan, were inscribed on the World Heritage List. During the discussion, the chairperson of the Committee expressed condolence to the victims of the recent earthquake and tsunami. The inscription of these properties should have a beneficial effect on the recovery of stricken areas.
Survey underway at the Cincinnati Art Museum
Japanese antiquities located overseas serve to introduce Japanese culture, but these items are suffering from aging and differences in weather and climate, preventing many of these works from being displayed. Thus, the Cooperative Program for the Conservation of Japanese Art Objects Overseas seeks to preserve these works in a consistent state so that they can be put on display. Prior to last year, the program was a project of the Center for Conservation Science and Restoration Techniques, but starting this year the program is being managed by the Japan Center for International Cooperation in Conservation. From the standpoint of restoration, the program studies and repairs artwork in conjunction with art history researchers from the Department of Art Research, Archives, and Information Systems. Last year, we surveyed museums in the US, Australia, and Europe with Japanese paintings in their collections in order to ascertain the latest conditions. Twenty-five institutions responded to questions regarding whether or not they had works in need of restoration and how they conserved and restored works at their institution. Based on their responses and a list with images of the works, program experts consulted the curating institution with regard to how works were viewed in terms of art history, what works needed restoration and what works needed immediate restoration, and what the institution had done in response. This year, we conducted our survey at 2 art museums in the US. On June 24, we surveyed 6 hanging scrolls and 6 folding screens at the Cincinnati Art Museum (Ohio), and on June 27, we surveyed 3 hanging scrolls and 5 folding screens at the Kimbell Art Museum (Texas). This year marked the program’s first visit to the Cincinnati Art Museum, which was founded in 1881 and is one of the oldest art museums in the US. The Cincinnati Art Museum is a major art museum in the Midwest with a collection of about 60,000 pieces. The Museum’s collection primarily contains Western art, but the Museum also has a collection of Japanese art, and many of the pieces are unknown in Japan. The study has occasioned technical exchanges, and the program will continue to encourage consultation with relevant personnel and curators.
Ikat weaving in the studio of Moriyama Torao, a second–generation crafter of Kurume Ikat
This study examined techniques of crafting Kurume Ikat, which is designated an important intangible cultural property, by visiting members of the Society to Preserve Ikat from June 27th to 28th. Ikat is a decorative fabric woven with a weft and warp that are dyed differently depending on the pattern. The picture shows how ikat is woven by adjusting the weft and warp in order to create certain patterns on the cloth. Kurume Ikat also uses araso, a hemp fiber, to prevent dyeing of the weft and warp. Manufacture of this araso is a selected preservation technique and is thus nationally protected. Plans are to conduct additional studies of these techniques firsthand and their preservation.
Hut on a cliff where young cormorants are caught in flight.
A young cormorant of suitable age for use in fishing
This study examined techniques of catching Japanese cormorants (an intangible folk cultural property of Hitachi City) in Jyu-o Town, Ibaraki Prefecture from June 7th to 8th. Most of the wild Japanese cormorants used in cormorant fishing, a traditional fishing technique now found mainly in western Japan, are caught here in Jyu-o Town at a little hut located on a precipitous cliff facing the Pacific Ocean. Both the technique and the present status of its transmission were studied. The hut had been affected by the collapse of the cliff due to the huge earthquake in March but had been repaired by cormorant catchers before the spring cormorant season starts (from the end of April to the middle of May). In all, 11 cormorants were caught and sent to fishing sites around the country. Plans are to visit the site again in the autumn cormorant season and to study the techniques firsthand.
Lecture underway
On June 27, a follow-up training course was conducted for individuals who had completed training for conservators. The course sought to instruct participants in the latest findings with regard to onservation environment. Under the subheading the Nature of Future Measures to Avoid Biodeterioration, the session included the following 3 lectures:
– Efforts in the event of biodeterioration (Sano Chie, Head, Conservation Science Section )
– Certification, from the Japan Institute of Insect Damage to Cultural Properties, for agents used in conservation (Miura Sadatoshi, Visiting Researcher, Director, Japan Institute of Insect Damage to Cultural Properties)
– The process of combatting biodeterioration via travelling exhibitions (Kigawa Rika, Head, Biological Science Section)
In light of the reality of the vast damage to cultural properties done by the tsunami that accompanied the Tohoku earthquake, Ms. Kigawa gave a lecture on the subject of Initial Efforts to Rescue Cultural Properties. Participants were then given a demonstration of the “Squelch Drying technique,” which was one of the initial efforts used to preserve water-damaged paper materials.
The training session had 88 participants. Attendees represented close to 15% of the individuals who had completed training for conservators over the last 30 years or so. The Center was pleased to see such good attendance, and this turnout impressed upon us at the Center the need to continue improving ourselves by offering even better sessions in the future.
Conclusion of the Agreement and the Memorandum of Understanding
Our institute concluded an agreement with Ministry of Culture of the Republic of Armenia and a memorandum of understanding with the History Museum of Armenia on June 24, 2011 at the Ministry of Culture in Yerevan, the Republic of Armenia.
The agreement covers comprehensive cooperation in the field of the conservation of cultural heritage in the Republic of Armenia. The agreement seeks to train Armenian experts on cultural heritage through joint projects and workshops at home and abroad. The memorandum of understanding agrees to cooperation in the training of experts in the conservation and study of metal artifacts kept by the History Museum of Armenia.
The Japan Center for International Cooperation in Conservation plans to begin efforts pursuant to the agreement and memorandum of understanding in the autumn of 2011.
Conclusion of the Agreement
On June 27, 2011, the National Research Institute for Cultural Properties, Tokyo (NRICPT) and Institute of History and Cultural Heritage, Academy of Science of the Kyrgyz Republic concluded an agreement and memorandum of understanding to protect Cultural Heritage in Kyrgyz.
NRICPT will conduct a training program and a program on conservation of cultural heritage with the Institute of History and Cultural Heritage and jointly organize a symposium with the Institute.
This autumn, NRICPT plans to conduct a program to train Kyrgyz personnel in documentation, excavation, conservation, and maintenance of historical sites in the medieval town of Ak Besim along the Chu River.
The 1st Conference of the Department of Art Research, Archives, and Information Systems was held on May 11, 2011. Presenters and their topics were as follows:
・ Takahiro Tsuchiya (Research Division, Curatorial Research Department, Tokyo National Museum)
A Pictorial Biography of Prince Shotoku in the Metropolitan Museum of Art
This presentation was based on A Pictorial Biography of Prince Shotoku in 2 scrolls in the Metropolitan Museum of Art in NY. This piece had not been fully studied despite its significance. Mr. Tsuchiya compared the piece to similar imagery in the 2 scrolls of Okura-ji temple and the 6 scrolls of Shi-tenno-ji temple. Examining specific details with regard to imagery, setting selection, and arrangement revealed similarities to and differences from the piece in the Metropolitan Museum and indicated elements common to scrolls of Tachibana-dera temple and Zuisen-ji temple. A Pictorial Biography of Prince Shotoku has led to a number of varied works, and the presentation touched on issues such as the piece’s relation to other works, the atelier (studio) at Shi-tenno-ji temple, and large-sized medieval depictions of ancient tales.
The presentation’s large audience included Kanako Muramatsu (Ryukoku Museum) and visiting researcher Masahiko Aizawa (Seijo University). After the presentation, there was an active discussion of topics like the piece’s relationship to scrolls of the Seikado Bunko Art Museum, the era when the piece was produced, and establishment and continuation of imagery in depictions of ancient tales.
The 2nd Conference of the Department of Art Research, Archives, and Information Systems was held on May 25 (Wed.), 2011. A presentation was made by Matthew P. Mckelway, associate professor at Columbia University in NY, entitled The Largest Rakuchu-Rakugai-zu Screen: Conditions During and Deduced Eras of Its Production. Rakuchu-Rakugai-zu (Grand View of Kyoto) on an Eight-fold Screen (private collection) recently made news when exhibited at Nagoya City Museum’s exhibit entitled Momoyama: Time of Transformation (Aug. 25–Nov. 7, 2010). The presentation started off by recounting the piece’s background from when it appeared at auction at Christie’s in 1990. The presentation meticulously discussed the era when the piece was produced and conditions under which it was produced by comparing the piece to works with similar content and in similar styles. After the presentation, attending researchers from the Institute and from other organizations engaged in an active and frank exchange of opinions. The Eight-fold Screen is likely to be highlighted both in history and in art history in the future. This presentation and discussion provided an unparalleled opportunity for experts to share essential information and identify problems.
Yokoyama Taikan’s Yamaji (in The National Museum of Modern Art, Kyoto), X-ray fluorescence analysis
This study represents joint research on Yokoyama Taikan’ s Yamaji with Eisei Bunko that took place as part of a Department of Art Research, Archives, and Information Systems 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 work was studied last fall, a variant of Yamaji in The National Museum of Modern Art, Kyoto was studied on May 29. Following the work that was exhibited at Bunten, the variant was painted by Taikan for Hara Sankei, a well-known Yokohama industrialist and avid collector of artwork. A letter of thanks from Taikan for receipt of payment addressed to Sankei dated February 6, 1912 remains. With the cooperation of Ogura Jitsuko of The National Museum of Modern Art, Kyoto, the current study by Miyake Hidekazu of Eisei Bunko, Shioya Jun of the Institute, and Arai Kei, Taira Yuichirou, and Ogawa Ayako (Tokyo University of the Arts) used near-infrared reflectance photography and X-ray fluorescence analysis to examine paints in the piece. A study of the Bunten piece last fall revealed that Taikan actively used modern pigments. Taikan was found to use modern pigments in the piece that was formerly in the Hara Sankei Collection. Although this piece had the same motif as the Bunten piece, some of its colors differed due to the use of different pigments. The Bunten piece is current being repaired and plans are to study it again when it is unveiled.
Discussions at the Conference
An international conference organized by the Folklore Society of Korea was held on May 12th as part of efforts to designate Naganeupseong Folk Village (Suncheon City) as a world heritage site. Experts from various disciplines related to cultural properties such as history, folklore, and architecture and administration officials involved in protecting cultural properties participated in the conference. Mr. Miyata Shigeyuki from Japan was invited to give a lecture on “The present state of designation of intangible world heritage in Japan.” Naganeupseong Folk Village is not merely an amusement park but it is a place where people reside. Participants shared the perception that approaches to assessing such a “living” heritage as both tangible and intangible are essential. There was also great interest in how Japan deals with intangible properties. The Department of Intangible Cultural Heritage plans to actively participate in such exchanges of opinion and publicize its experiences findings from Japan.
Demonstration of the squelch drying technique
Discussion during the meeting
Spurred by the Project to Rescue Cultural Properties Damaged by the Tohoku Earthquake and Tsunami (Project to Rescue Cultural Properties), the National Research Institute for Cultural Properties, Tokyo will provide logistical support via its Secretariat located in Tokyo and coordinate with the Agency for Cultural Affairs and other relevant institutions and organizations. A specific series of emergency measures must promptly be established (in a manual) to rescue damaged cultural properties in a variety of potential situations. When cultural properties are damaged by water from a tsunami, water damage, salt damage, and biological deterioration due to microorganisms (e.g. mold) should be limited as much as possible. Efforts should also be made to devise responses using materials and infrastructure available on-site in order to facilitate subsequent restoration of those properties. Several types of efforts should be explored. Information should be shared with relevant individuals, institutions, and organizations involved in rescuing those properties and information should be provided to the site of the disaster. As a first step, a conference to share information was held on May 10, 2011 at the National Research Institute for Cultural Properties, Tokyo. The topic of the conference was Expanding Choices in Initial Efforts to Rescue Damaged Cultural Properties: Limiting Biological Deterioration as Much as Possible and Preparing for Later Restoration.
This conference featured issues raised by Isamu Sakamoto, who was actively involved in efforts to rescue damaged cultural properties on-site during the Northern Sumatra earthquake, Toshiharu Enomae, who studied the incidence of mold on paper immersed in seawater, and Hiromi Tanimura, who studied use of the squelch drying technique as a way to rescue damaged cultural properties during recent floods in Europe. Experts in various fields were invited to comment, notes on initial responses for different materials were provided, and views were presented. In addition, the conference featured a demonstration of the squelch drying technique and sample paintings immersed in salt and salt water. Thanks are expressed to the experts who participated and to the 161 attendees who participated in the enthusiastic discussion throughout. Hopes are that this information will prove of some use at rescue sites.
Materials from the conference were made available at the National Research Institute for Cultural Properties, Tokyo website http://www.tobunken.go.jp/~hozon/rescue/rescue20110510.html on May 17.
Occupational health and safety training
Conclusion of an agreement on full-fledged cooperation
The Japan Center for International Cooperation in Conservation is continuing to assist with the Project for the Conservation Center of the Grand Egyptian Museum implemented by the Japan International Cooperation Agency (JICA).
Occupational Health and Safety Training was conducted at the Conservation Center from April 27 (Thurs.) – May 5 (Thurs.), 2011. Professor Fumiyoshi Kirino of the Tokyo University of the Arts and Akira Fujisawa of the National Research Institute’s Japan Center for International Cooperation in Conservation were sent to the Center by JICA to serve as instructors. Egyptians have no chance to study occupational health and safety at institutions of higher education that teach conservation and restoration of cultural properties, and Egyptian experts often have doubts about their health and safety during their everyday work. The knowledge and skills they need have been determined from previously implemented training, leading to the current training program. Training was warmly welcomed, and trainees have often asked for repeated instruction. The goal is to provide everyone working at the Conservation Center, from restoration experts to cleaning personnel, with a shared awareness of health and safety through periodic training.
In addition, 3 individuals from the National Research Institute participated in the phase 2 study (full-fledged cooperation) to formulate a detailed plan that JICA implemented from May 27 (Fri.) – June 4 (Sat.). With the written cooperation of experts, JICA consulted Egyptian representatives about the potential for future cooperation based on the phase 2 human resources development plan coordinated by the National Research Institute. As a result, JICA promised Egyptian representatives that it would assist with the teaching and training of experts working at the Conservation Center, and the early stages of full-fledged cooperation began after this July. Accordingly, the National Research Institute plans to cooperate more effectively with JICA.
The Reports on Preservation and Utilization of Intangible Folk Cultural Properties
The Reports on Preservation and Utilization of Intangible Folk Cultural Properties was published and distributed to interested persons and organizations. This report is based on a 5-year (2006–2010) project on intangible folk cultural properties that was conducted in parallel with the study and collection of data on folk techniques. The report includes three papers regarding preservation and utilization of intangible folk properties; “A study of folk techniques and a report of results,” “Publicizing and international exchange of intangible folk cultural properties—15 years of the International Festival of Folk Performing Arts,” and “An essay on organizations transmitting folk performing arts—The present state of the hozon-kai.” A PDF version of the document in its entirety will be made available on our website.
Front and back cover of Science for Conservation, Vol. 1. The bulletin has faded somewhat after about 47 years, but its format has changed little.
Science for Conservation is a bulletin that reports the results of our study and research regarding conservation of cultural properties primarily from a scientific perspective. The bulletin has been published since it came out in 1964, and Vol. 50 came out at the end of March this year. The bulletin’s history certainly reflects the history of the conservation science in Japan. When Vol. 1 came out, the belief that conservation of cultural properties required scientific perspectives and techniques was little known for the most part. Thus, the term Conservation Science was almost unknown. The term is now widely known thanks to the unceasing efforts and struggles and the passion for conservation of cultural properties on the part of our predecessors. We continue their work, and Science for Conservation will continue to strive to encourage the recognition of this science as a beneficial and essential field of academia.
A limited number of copies of Science for Conservation are printed, so the bulletin is only distributed to relevant institutions. Thus, every article will be available on the Internet in PDF format, starting with Vol. 1. If you are interested, feel free to have a look (http://www.tobunken.go.jp/~hozon/hozon_pdf.html); we welcome your interest in our activities.
Survey of artifacts in the History Museum of Armenia
The Japan Center for International Cooperation in Conservation began Cooperation to Safeguard Cultural Heritage in the Countries of the Caucasus as part of the Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project commissioned by the Agency of Cultural Affairs. This year, the program will operate out of the History Museum of Armenia and teach and train personnel in conservation and restoration of metal and textile artifacts.
The Republic of Armenia has a number of materials that are extremely valuable historically but cannot encourage research and conservation and restoration as expected due to the lack of financial resources, personnel, educational institutions, and information. The country craves foreign assistance to teach and train personnel in the area of protecting cultural properties.
A preparatory team was sent to the country from April 3 (Sun.) – 13 (Wed.), 2011. The team consulted with officials of the Ministry of Culture (which oversees museums), it inspected the History Museum of Armenia’s conservation and restoration facility and repository, and team members talked directly with conservation and restoration experts working there about specific details on research cooperation.
As a result, preparations are currently underway to conclude an agreement and memorandum of understanding with Armenian representatives. Preparations are also underway to begin workshops and joint projects regarding conservation and restoration and scientific study of the metal and textile artifacts in the History Museum of Armenia.
From left to right: Takayanagi, Head at the Management Section; Tanaka, Director of the Department of Research Programming; Kamei, Director General; Asaki, President of Tokyo Bijutsu Club; Shimojo, Director of Tokyo Art Dealers’ Association; Yoshida, President of Mitosachi-Shokai Co., Ltd.
Offers for donations to the Institute were received from the Tokyo Art Dealers’ Association and the Tokyo Bijutsu Club. The Tokyo Art Dealers’ Association aims to fund publication of the Institute’s research results and the Tokyo Bijutsu Club intends to fund the Institute’s research projects.
On March 4, Director General Kamei Nobuo visited the Tokyo Art Dealers’ Association, located at Shinbashi, Minato-ku, and met Shimojo Kei’ichi, the director of the Tokyo Art Dealers’ Association and Asaki Masakatsu, the president of the Tokyo Bijutsu Club. The two representatives talked with our Director General on a wide range of issues ranging from recent topics of cultural properties to painting tools. They also expressed their hopes for our research activities during the course of the conversation. Following the conversation, Director General Kamei presented a certificate of appreciation to each representative.
We are glad both organizations are aware of our activities and we are most grateful for their donations. We look forward to putting these donations in funding our activities.
Atsushi Tanaka’s keynote speech on the topic of “Creation and Evaluation—An Examination Focused on ‘Woman with a Balloon’ by Tetsugoro Yorozu.”
The discussion session
Having already been held at the Tokyo National Research Institute for Cultural Properties (Tobunken) on February 27, 2011, the Japan-South Korea Symposium on “The Dynamics of Interaction between Objects and People—‘Evaluation’ in Art History,” organized to mark the publication of the 30th Issue of “Art History Forum” and the 400th Issue of “Art Studies (the Bijutsu Kenkyu),” was held again on March 12, 2011 in the Audiovisual Room of Ewha Womans University Museum in Seoul.
The Symposium began with a keynote speech by Atsushi Tanaka, Director of the Department of Art Research, Archives, and Information Systems at Tobunken, on the topic of “Creation and Evaluation—An Examination Focused on ‘Woman with a Balloon’ by Tetsugoro Yorozu.” This was followed by the same speakers as at the Symposium held in Tokyo: Minoru Watada (Department of Art Research, Archives, and Information systems, Tobunken) on “Landscape Scroll Paintings—A Reevaluation of Sesshu Toyo”; Chang Chin-Sung (Seoul National University) on “The Fallacy of Love—An Evaluation and Narrative of Jeong Seon”; Tomoko Emura (Department of Art Research, Archives, and Information Systems, Tobunken) on “The Expressionist World of Early Edo Period Fuzoku-ga (Genre Paintings)”; Moon Jung Hee (Center for Art Studies, Seoul) on “Shitao, as Viewed in Terms of Modern Personality-focused Evaluation.”
Although the Symposium in Seoul was held on the day after the Great East Japan Earthquake of March 11, 2011, when people were anxious about the destruction caused by the earthquake, the number of people attending the Symposium was so high that there were not enough seats for everyone; it was even more of a success than the Toyko Symposium. There was a discussion session chaired by Professor Jeong Gang-tak (Dongguk University) during which the speakers answered questions on their presentations, and the differing attitudes towards art history research in Japan and South Korea were discussed, making this a discussion session truly befitting an international symposium seeking to build bridges across national boundaries.
Compilation of Dated Inscriptions on Japanese Paintings - 15th Century
Department of Research Programming has published the Compilation of Dated Inscriptions on Japanese Paintings – 15th Century (A5, 720 pages) to report results of its 5-year research project “Documentary Research on East Asian Art.” This volume reproduces and chronologically arranges 833 dated inscriptions from among inscriptions found on paintings produced primarily in Japan in the 100 years of the 15th century, which marked the height of the Muromachi period. This volume is a continuation of the Compilation of Dated Inscriptions on Japanese Paintings – 10th–14th Centuries published in 1984.
Inscriptions that are directly inscribed on cultural properties provide a basis for authenticating those properties and determining the era when they were produced, but such inscriptions also serve as an indicator of where to position the numerous works that lack inscriptions. Without question, this compilation of inscriptions provides a foundation for the protection and study of cultural properties. Research often tends to overly specialize, but this compilation consolidates that research to provide new perspectives. Such projects are an important part of the Institute’s ongoing mission.
This volume is available from Chuo Koron Bijutsu Shuppan. Please see the website below for details.
http://www.chukobi.co.jp/products/detail.php?product_id=582
Research Materials: Techniques of Hollow Dry Lacquer Sculpture
This research sought to elucidate the techniques used to produce hollow dry lacquer statues of Buddha during the Tenpyo period as part of a Department of Research Programming research project on the Multi-disciplinary Study of Art Techniques and Materials pursuant to a 5-year program that started in 2006. Research Materials: Techniques of Hollow Dry Lacquer Sculpture reports on the results of this research. This volume includes basic data on individual sculptures and images such as X-ray images (black and white) of statues and their internal structures, a feat that would not be possible with surface observation alone. This volume includes a CD version of the Lexicon Database for Color-related Terminology Found in Nara Period Historical Documents, which was part of a research project that took place at the same time.
