| ■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 |
|
Explanation at Japan Center for International Cooperation in Conservation (September 17)
Five students from Taito City’s Okachimachitaito Junior High School
They visited us on September 17 as part of learning by workplace visit. They toured the Japan Center for International Cooperation in Conservation on the fourth floor, the Library of the Department of Research Programming on the second floor, and the Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage on the basement floor. Those in charge of each facility provided explanations and answered questions.
Genre Figures" exhibited on panel
Kabuki Performance and Audience" exhibited on panel
The Department of Research Programming is investigating early modern genre paintings, such as Genre Figures, said to be based on the romance of Honda Heihachiro and Lady Senhime, as a joint research project with the Tokugawa Art Museum. 2010 is the 75th anniversary of the opening of the Museum, and upon this occasion a special exhibition called the “Treasures of the Owari Tokugawa Family” was held (October 2 to November 7). In light of this opportunity, on display since September 28 are the enlarged picture panels of Genre Figures and Kabuki Performance and Audience (both are important cultural properties) as part of research investigation results. Genre Figures is a relatively smaller two panel folding screen, 72.2 cm height. We had the image outputted by magnifying it by approximately 3.5 times in order to match the Honda Heihachiro’s height with the average body height of 157 cm that was assumed from the male remains of the feudal lord class in the Edo Period. When the right panel is enlarged with the same degree of magnification, the female in a kimono with crest of hollyhock, the central figure, will match the average height 146 cm of the wives and concubines of feudal lords in the same way. This lets us know that the difference in physical size between males and females of the time is accurately reflected in the portraits. Kabuki Performance and Audience is 36.7 cm length, made up from two scrolls on which there are six pictures each. We had this scroll output by magnifying it by approximately 2.5 times. We can clearly confirm the color expression by delicate gradations and the elaborately drawn textural differences, and focus attention on detailed description, which has been overlooked until now. When the line drawings and the state of colors are observed in detail, the intention and reason for the expression techniques will come up. We will apply the information thus far obtained to the study of works and will work to deepen the understanding a variety of art pieces.
The Department of Intangible Cultural Heritage has been recording the ban-utai of Master Imai Yasuo, the eldest Noh actor to perform in a Hosho style, since 2005. This September, the 100th ban-utai was recorded. The repertory of Hosho-style Yokyoku includes 210 pieces, and the major numbers have been produced a record. The memorable recording of the 100th Noh-song “Higaki” was a secret piece of music in the penetrallia which was not played as Noh, but only the utai was handed on. Mr. Imai, who is 90 years old this year, sang quietly in a straightforward manner, performing this song about a beautiful shirabyoshi (dancing girl), who grew older, fell on bad times and made a confession before a Buddhist monk. Passing on the collective recordings of Noh-songs sung by a Hosho-style Yokyoku master in the late Showa Period has a significant meaning. The plan is to continue this recording a little more.
Practical session
The International Course on Restoration of Japanese Paper was held from August 30 to September 17. Among approximately 80 applicants engaged in the conservation of cultural properties around the world, ten participants from Ireland, Australia, Malaysia, etc. were selected. Various topics covered in the lectures included material studies, bibliographies and so on. In the practical sessions the participants made infillings of missing parts, lining, attached axial rods, and produced a work into a hanging scroll. They also challenged Japanese-style book binding. In the study tour, the participants visited Mino city, a place famous for handmade paper also used for restoration as well. They also visited the restoration studios, such as the traditional mounting studio and the cultural property conservation studio of the Kyoto National Museum. The handed down techniques and knowledge lead to the promotion of conservation and use of Japanese paper cultural properties, and furthermore, it is expected that they will be applied to the repairing and conservation of Japanese art objects overseas.
The first Japanese-made plane of the Imperial Japanese Army (1911)
The Center for Conservation Science and Restoration Techniques began to make public, on the National Research Institute for Cultural Properties, Tokyo website, the photos of airplanes such as the Farman, taken at the beginning of Japanese aviation at the Tokorozawa airfield. These photos were donated by Mr. Kitagawa Masanobu, whom lives in Tokorozawa in January 2009. The photos were taken by the late Mr. Kitagawa Hideo, the father of Kitagawa Masanobu, at the Tokorozawa airfield. The main recording media were glass plates. We are extremely grateful to Mr. Kitagawa Masanobu and other relevant individuals for the conservation of these glass plates and the making public of these digitized photos on the occasion of the memorable 100th year of Japanese aviation. The photos posted on this occasion include the first airplane to fly in Japan, Aikoku (Patriot)-go and many other precious shots. These will definitely be very valuable materials for researchers and people who are interested in aviation. The Center for Conservation Science and Restoration Techniques will continue to make public such valuable data in the future.
Analysis training using a conservation scientific device at National Research Institute for Cultural Properties, Tokyo (training on using a latest handheld X-ray fluorescence instrument produced by JEPOL)
IPM training (training on antifungal test) at Center for Fungal Consultation
The Japan Center for International Cooperation in Conservation continues to cooperate with a technical support project at the Conservation Center of Grand Egyptian Museum, conducted by the Japan International Cooperation Agency (JICA).
From September 14 to October 7 (a part of training sessions on September 24), six conservators of the Conservation Center of Grand Egyptian Museum were invited to Japan, and three training sessions were executed in parallel to respond to the current status and issues in the Center.
At the “Conservation and restoration management” session (until September 24), Mr. Osama Abd Elsalam, the deputy director at the Conservation Center of Grand Egyptian Museum, visited the Kyushu National Museum, National Museum of Ethnology, Osaka, the National Research Institute for Cultural Properties in Nara, and the Shosoin Office, and discussed with their managers what can be done in order to improve the operation and management of the center.
In the “Analysis using scientific devices for conservation” training session, three conservation scientists attended lectures and practical training at the Kyushu National Museum, the National Museum of Japanese History, and the National Research Institute for Cultural Properties, Tokyo, and learned the analytical techniques needed when using devices in conservation and restoration, the selection of devices for purposes, and knowledge and techniques in regard to application in conservation and restoration.
In “IPM (microorganisms)” training, two Egyptian specialists, who belong to the microorganism laboratory, executed culture, the separation and identification of fungi and bacteria at the Center for Fungal Consultation, the National Institute of Health Sciences, and the Osaka Prefectural Institute of Public Health.
We will continually conduct training so that they can acquire the skills for operating scientific devices for conservation and so they may carry out conservation/restoration techniques so that the staff members in the conservation and restoration fields will be able to cooperate and supplement each other so work can be performed.
High-definition photographing in the Ajanta 2nd Cave
High-definition photographing in the Ajanta 9th Cave
The National Research Institute for Cultural Properties, Tokyo and the Archaeological Survey of India (ASI) conduct joint research on the conservation of the mural paintings of the Ajanta Caves, under the framework of “the Exchange Program of International Cooperation of Cultural Heritage” commissioned by the Agency for Cultural Affairs and the government subsidized budget for “the Cooperative Project for the Conservation of Cultural Heritage in West Asia”, and aim to share the knowledge on conservation and exchange conservation techniques.
The mural paintings of the Ajanta Caves have many problems – the leaking of water from cracks in the base rocks, biological damage, artificial damage, and discoloration caused by the past repair and the deterioration of colored layers. To solve these problems, it is necessary to understand the status of numerous mural paintings in detail and analyze them; however effective documentation techniques have not yet been established.
Therefore, we have begun recording the status of mural paintings on high-definition photos using high-resolution digital cameras as the first attempt in the Ajanta Caves. In this fourth mission (from September 8 to October 2, 2010), we made high-definition photo recordings and color measurements of the mural paintings in the 2nd and 9th Caves jointly with the Indian specialists. The obtained data will be utilized as basic data in order to establish an appropriate mural painting conservation/restoration method, in cooperation with the Archaeological Survey of India (ASI).
Explanation on work content (August 5)
15 internal committee members of the Government of Hong Kong Special Administrative Region and Legislative Assembly and others
They visited the Institute on August 5 to learn the techniques of cultural and artistic development in Japan. After they paid a courtesy call to Mr. Kamei, the Director General of our Institute, Mr. Miyata, the Director of the Department of Intangible Cultural Heritage, provided explanations on the work contents of the Department and answered their questions.
To commemorate the achievements of Kuroda Seiki and to contribute to the development of regional culture, we have jointly held the Kuroda Seiki: Master Western-style Painter of Modern Japan Exhibition with the host museum every year since 1977. This year, the exhibition was held at the Iwate Museum of Art from July 17th (Saturday) to August 29th (Sunday). 147 oil paintings and drawings including designated the Important Cultural Properties “Lakeside” and “Wisdom, Impression, Sentiment”, a sketch block, and letters were exhibited. The “Boat”, “Peony”, “Attacking the battery on the Er Long Shan hill during the Sino-Japanese War” and two “Portraits of Hayashi Masafumi” donated last year were also displayed. Paintings of Kuroda Seiki can be tracked from his early to later years.
The Iwate Prefecture is the birth place of Yorozu Tetsugoro and Matsumoto Shunsuke, whom studied under Kuroda Seiki at the Tokyo Fine Arts School, then learned the new Western artistic activities, and set a new tone in the world of Japanese modern paintings. The Iwate Museum of Art introduces the paintings of these artists in the regular exhibition room, so this exhibition gave us a good opportunity to track the flow of Japanese modern paintings along with the Kuroda Seiki exhibition. The exhibition had 11,942 visitors and ended successfully.
Observation of deteriorated maki-e portion by magnifying it
The Center for Conservation Science and Restoration Techniques has been investigating the deterioration of maki-e (gold-relief lacquerwork) and lacquer (urushi) coating in the main shrine of Tsukubusuma-jinja. The main shrine of Tsukubusuma-jinja, located on the Chikubujima isle in Lake Biwa, Shiga, is one of the buildings which represents the Momoyama culture. It is said that part of the palace of the Fushimi Castle was brought to this isle and reassembled to become a shrine. is shrine is famous for the lacquer (urushi) coated columns and beams running between columns, on which the paulownia and chrysanthemum crests and patterns of flowers and birds were decorated using maki-e techniques and the full-color woodcarving on the walls of nave (gejin) and doors. As 75 years have already passed since the last repairs were made, damage to the roof and coating is noticeable. Furthermore, decoration using gorgeous maki-e techniques inside the building, which is highly ranked together with that in the Koudaiji Otamaya in Kyoto, has seriously deteriorated, and has become problematic among the individuals concerned. Therefore, the Center for Conservation Science and Restoration Techniques cooperated with the repairs currently being promoted by the Shiga prefectural education board and Tsukubusuma-jinja, and conducted basic research to identify the cause of the deterioration phenomena, and then made investigation to prevent deterioration within the special environment of Lake Biwa (see Photo). We will make use of the achievements obtained on this occasion in order to conserve the valuable maki-e and lacquer (urushi) coating of the main shrine of Tsukubusuma-jinja in the best state possible.
Lecture on the Cultural Properties Protection Institution in Japan, by Shimizu Shin'ichi, the Director of Japan Center for International Cooperation in Conservation
The National Research Institute for Cultural Properties, Tokyo and the National Institute of Cultural Heritage, China started the program for the fostering of the engineers of conservation and restoration of the cultural properties along the Silk Road in 2006, and the joint program will be complete this year. On August 16, the final mural printing and textile restoration and conservation courses started at the National Institute of Cultural Heritage, China in Beijing. From Shinjang, Gansu, Ningxia, Qinghai, Shanxi, and Henan provinces and autonomous regions located along the Silk Road, fourteen and twelve trainees participating the mural printing and textile courses respectively will attend theory lectures and practical restoration practical training for four months until December 17. Twelve instructors will participate in both courses and some instructors will be invited from Korea. We look forward to getting significant results in the same ways as was possible during the six courses which were executed in the past four years.
Panoramic view of temple with the pagoda and Great Buddha newly built on the back
Workshop
Survey for building conservation
From the end of June to the beginning of July and at the end of August, we conducted a workshop and conservation survey at the Tibetan temple Amarbayasgalant of the Selenge Aimag (province) in northern Mongolia, jointly with the Ministry of Education, Culture and Science in Mongolia.
The theme of this year’s workshop was to build a plan for the conservation management of cultural properties, and we set a target for determining a conservation area for the time being. In this 20th year since religious activities at the Amarbayasgalant temple restarted, new building and maintenance of the temple associated facilities stepped up and, and the historical scenery, a key part of heritage values, is rapidly changing. There is also a concern about the influence on the conservation of the underground remains of old temple buildings. To prevent this, we repeated the field survey and discussion together with the representatives of the prefecture, county and local public. We reached the basic agreement for the policy that a wide area, including the surrounding mountains adored by people and the material production site when the temple was built, is to be designated as a conservation region based on the Laws for Protection of Cultural Properties.
Meanwhile, the temple consisting of many wooden buildings, suffered deterioration and damage because of aging and insufficient maintenance, and thus part of the damaged building could endanger the safety of human lives. In the August mission, therefore, we conducted a basic survey on the conservation status of all buildings, which served concurrently as the training of young Mongolian engineers, in parallel with the above-mentioned workshop. The report on the results of survey carried out with the four trainees, who also participated in the last year’s practical training, will be submitted to the Mongolian Government. We hope that the report will be used for future emergent measures and full-scale restoration planning.
Practical training on measuring the surface temperature of rock using an infrared thermometer (Serven Khaalga site)
Practical training on surface peel of stratum by using past excavation pit (Rashaan Khad site)
As part of an exchange program of Networking Core Centers for International Cooperation on Conservation of Cultural Heritage commissioned by the Agency for Cultural Affairs, we held an on-site workshop on the conservation of the stone monuments and rock paintings, in late August intended for the experts at the Mongolian cultural heritage center, together with the experts at the National Research Institute for Cultural Properties, Nara. At the workshop conducted at Serven Khaalga and Rashaan Khad in the Khentii Aimag (province), following last year, we conducted a series of surveys on the stone material, deterioration state and ambient environment which were necessary to examine the conservation method of stone cultural properties. While we worked with the Mongolian experts, we conveyed the specific procedures to them. Along with the survey, we conducted a practical training on the surface peel of the stratum upon request from the Mongolian experts. It was said that it was the first time such training had taken place in the country. We will continue to conduct conservation treatment experiments and a training on the method for evaluating it in Japan, Mongolia, etc. Going forward we will try to gain a better understanding of target sites while working in cooperation with the domestic and overseas organizations, and investigate more appropriate methods of conservation.
Giving an explanation in the Audio-Visual Documentation Section (July 21)
36 new staff members of National Institutes for Cultural Heritage:
As part of the training sessions for new staff of National Institutes for Cultural Heritage, 17 members visited the National Research Institute for Cultural Properties, Tokyo on July 21 and 19 members visited on July 22. They toured the chemical laboratory of the Center for Conservation Science and Restoration Techniques on the fourth floor, the Library of the Department of Research Programming on the second floor, the X-ray Room of the Center for Conservation Science and Restoration Techniques, and the Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage on the basement floor. Those in charge of each facility provided explanations and answered questions.
Giving an explanation in the Library (July 26)
Ten undergraduate students of Bunka Women’s University, Major in Costume and Fashion History of Program in Fashion Culture and others:
The students visited the Institute on July 26 to learn about the current status of scientific research on art objects and such like. They toured the chemical laboratory of the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation on the fourth floor, the Library of the Department of Research Programming on the second floor, and the Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage on the basement floor. Those in charge of each facility provided explanations and answered questions.
Monthly Flowers and Ornamental Plants on a right-hand folding screen, painted by Murakoshi Koei Owned by Adachi-city Folk Museum
Monthly Flowers and Ornamental Plants on a left-hand folding screen, painted by Murakoshi Koei Owned by Adachi-city Folk Museum
The 4th workshop of Department of Research Programming 2010 was held on July 28th. The following were the presenters and the titles of their presentations:
• Emura Tomoko (a researcher at Department of Research Programming)
“Concerning Suzuki Kiitsu’s paintings of flowers and grasses, centering on Flowers and Grasses painted on a small sliding door fusuma owned by the Portland Art Museum”
• Mr. Sanada Takamitsu (curator of Adachi-city Folk Museum)
“Senju and Edo Rimpa”
Emura verified from her works and from the literatures that the expression techniques of the above paintings had been closely related to Kiitsu’s learning about the Korin’s paintings, and also considered the Kiitsu’s patrons who have not been completely unveiled. Mr. Sanada made a presentation on the activities and works of Mr. Murakoshi Kiei and Koei, parent and son, who were Kiitsu’s disciples and whom flourished in Senju, associated with the “Edo Rimpa” exhibition that will be held at the Adachi-city Folk Museum in March 2011. We invited Ms. Tamamushi Toshiko (professor at Musashino Art University) as a commentator and held a research discussion. We will make public the results obtained from this workshop in the form of research papers and exhibitions, pursuing further exchange and promotion of research.
Survey at Joshibi Art Museum
As part of joint research at the Joint Research Center for Fashion and Clothing Culture, we surveyed the textiles at the JAM on July 12, 2010. This joint research started in November 2008, aiming to clarify the relationship between the Mitsui-family descendent short-sleeved (kosode) kimono owned by the Bunka Gakuen Costume Museum and the associated Maruyama-school costume design. We conducted the detailed survey on the short-sleeved kimonos, which were in the possession of the now-defunct Kanebo Ltd. and now owned by JAM, focusing on those similar to the Mitsui-family descendent kosode, including the techniques, design and tailoring. We will advance a close investigation on the findings obtained through the surveys, aiming at the issue of a report in next fiscal year.
Case study
We held the 27th training course during a period of two weeks starting July 12, and participants included 32 curators and the persons in charge of cultural properties administration nationwide. In these training sessions they focused on basic knowledge and technology concerning the conservation environment, deterioration, and restoration of various cultural properties. The course included lectures and practical training on conservation.
A practical museum environment training case study was carried out at the Sodegaura-city Folk Museum. Participants were divided into eight groups, each of which investigated the temperature, humidity, illumination, disaster prevention equipment, and conservation environment of cultural properties outdoors. They presented their results the following day, and questions and answers were provided.
The conservation of materials from the standpoint of natural science will be increasingly emphasized, which can be understood just by seeing that the “theory of museum material conservation” will be a mandatory subject in the curator programs of universities starting 2012. We will closely investigate the curriculum and content of this training course in order to enrich it while taking into consideration various signs of the times.
Exhibiting "Investigation on the cause of deterioration in mural paintings of Takamatsuzuka Tumulus" in lobby
At the present, the panels in the title are being exhibited in the entrance hall on the first floor of the Institute. This exhibition shows the outline of the results obtained by surveying the cause of deterioration in the mural paintings of Takamatsuzuka Tumulus, which were conserved at the local site since they had been found in 1972, from natural scientific and other viewpoints under the “Study team on cause of deterioration in mural paintings of Takamatsuzuka Tumulus” established in July 2008. The deterioration triggered the dismantlement of the mural paintings in 2007. The entire survey results were made public on March 24, 2010, by the Agency for Cultural Affairs, as the “Survey report on the cause of deterioration in mural paintings of Takamatsuzuka Tumulus”. This exhibition uses many illustrations and explains the survey on materials, organisms and conservation environments from the total survey. We hope that many people will visit the exhibition.
General discussions
The 24th Conference on International Cooperation on Conservation titled “Thinking of conservation with a protective shelter” was held on July 8, 2010, with 71 participants. Protective shelter are sometimes used to conserve sites. To understand the advantages and disadvantages of protective shelter, it is necessary to know their state after a certain number of years have passed since they were built. For this reason, we asked three persons to make presentations and then we had general discussions. First, Mr. Anat Bamurunwonsa of the Fine Arts Department of Thailand gave a lecture titled “Protective shelter for a pair of Buddha’s footsteps in the Prachinburi Province.” This was followed by Mr. Irisa Tomoichiro of the Cultural Properties Protection Division, Fukuoka Prefecture, who delivered the lecture “Varied forms and current status of protective shelter in Fukuoka.” Then, Ms. Shin Eun-Jeong of the National Research Institute of Cultural Heritage, Korea, gave a lecture titled “Current status and case study in covering roofs for stone cultural properties in Korea.”The lectures and discussions made us recognize, for site conservation, the need to appropriately decide on specifications of protective shelter, after understanding the conditions such as the ambient environment of sites, and the importance of continuously monitoring the built roofs.
