| ■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 |
|
Panels displayed at Ueno Junior High School in Taito-ku, Tokyo
Students were looking at the explanation of National Research Institute for Cultural Properties, Tokyo on a touch panel.
On October 30th, the National Research Institute for Cultural Properties, Tokyo exhibited panels at a school festival at Ueno Junior High School in Taito-ku, Tokyo. We displayed two subjects: The clarifying of the structures of nohkan and ryuteki flutes by X-ray photography, and the survey and investigation of Buddha statues by X-ray photography.
The panels previously exhibited at the entrance of the Institute were reused, and both subjects were investigated using X-ray photography and results were seen.
Students at the junior high school know well that the state of ones chest can be revealed by X-ray photography during physical checkups. Therefore, we think that they understood what material of cultural properties this method is effective for and what can be revealed with the research results.
This is the second time that the panels of the Institute have been exhibited at the school festival at Ueno Junior High School in Taito-ku, Tokyo. Although the exhibition was on display for only one day, it provided a good opportunity for approximately 300 Ueno Junior High School students, teachers, and guardians to know that a research organization which protects cultural properties and hands them down to future generations exists near Ueno Junior High School.
We hope that this activity will continue cooperation with school education and with the local community.
We reported in Tobunken News Vol. 36 that, among the books of the late Professor Suzuki Kei (passed away on October 18, 2007), the leading authority on Chinese picture history and Professor Emeritus at Tokyo University, the “Wenyuange Edition Siku Quanshu”, “Si Bu Cong Kan Chu Bian Suo Ben” and “Da Qing Li Chao Shi Lu” were offered by his bereaved wife Teruko to the Institute in December 2008. On October 26, Ms. Suzuki Teruko additionally donated the series of publications – “an authorized collection of all-time books” and “Tien-i-ko tsang Ming-tai fang-chih hsuan-kan”. These donated series of publications enrich the library of the institute. We will arrange and register them in sequence so that many people can read and make use of them.
Inside the paper restoration studio at Deutsches Technikmuseum Berlin
From October 5th (Tuesday) to 13th (Wednesday), researchers of the Center for Conservation Science and Restoration Techniques conducted a workshop related to the restoration of paper cultural properties at the lecture room of National Berlin Asia Museum in Berlin as part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas. The workshop held this year consisted of three courses – the basic course (20 people), the beginners’ course (12 people) and the intermediate course (7 people) – on hanging scrolls, targeting conservators at museums and art museums, and restorers of paper. In the basic course, a lecture was given on paper, adhesive and restoration, and conservation. In the beginners’ course, the structure and handling of hanging scrolls was explained using a model and practical training on the coloring of silk was conducted. In the intermediate course, practical training on removal and attachment of top and bottom axes and string attachment was conducted. The workshop was received well by the participants as a fulfilling workshop.
Lecture at the workshop
On October 19 (Tuesday), 2010, the National Research Institute for Cultural Properties, Tokyo hosted a workshop titled as in the above, with the co-host being the Kyushu National Museum. This workshop was intended for the persons in charge of conservation at the museums, art museums, etc. and the persons in charge of protection of cultural properties in local governmental organizations in the Kyushu, Chugoku and Shikoku districts. During this workshop, the colors of five Japanese paintings which changed due to the tent fumigation in the warehouse by use of a drug with the active ingredient of aluminum phosphide, which is not allowed to be used for the fumigation of cultural properties, was discussed. In response to this accident, we considered the urgent need to promote understanding of the fumigation of cultural properties, and held the workshop in cooperation with researchers whom are collaborative members of the Center for Conservation Science and Restoration Techniques. The following presentations were made: “Management of borrowed art objects for exhibitions” by Mr. Asaka Hiroshi, the Cultural Property Conservation Instructor at the Arts and Culture Section of the Agency for Cultural Affairs; “Details on the chemicals designated by the Japan Institute of Insect Damage to Cultural Properties” by Mr. Miura Sadatoshi, the Director of the Japan Institute of Insect Damage to Cultural Properties; “Characteristics of gas fumigant and impacts on cultural properties” by Ms. Sano Chie, the Head of the Conservation Science Section in the Center for Conservation Science and Restoration Techniques at the National Research Institute for Cultural Properties, Tokyo; and “Fumigation performed in museums – as part of IPM (Integrated Pest Management)” by Ms. Honda Mitsuko, the manager of the museum science section of the arts and culture department at the Kyushu National Museum. We reconfirmed that safety comes first for cultural properties, and appealed to the participants to take part in training, etc., collect information and improve techniques in order to facilitate the safe execution of gas fumigation used as an insecticide and fungicide (at the Kyushu National Museum, with 126 participants).
Interview at World Monuments Fund (in USA)
Interview at Dutch Cultural Affairs Agency
Interview at French Blue Shield Committee
In recent years, requests for cooperation and emergency assistance concerning cultural heritages damaged by natural disasters have been increasing, and an effective execution of international cooperation for restoration of damaged items of cultural heritage has been more and more important. Therefore, the Japan Consortium for International Cooperation in Cultural Heritage is now surveying the collaborative structure of relevant organizations and surveying supporting countries on how to perform emergency treatment. We have interviewed a total of 27 organizations in USA (on August 17th-26th), Netherlands and France (September 26th – October 8th) up to present, focusing on the administrative, civilian and international organizations.
In the USA, it became apparent that flexible treatment was performed during the Haiti Earthquake, making use of personnel dispatch systems to damaged items of cultural heritage and the information association network which had been functioning beforehand in USA. In the Netherlands it was revealed that the division of roles of each organization was clear and the content of support was specialized in small-scale financing assistance immediately after disasters occurred. Meanwhile, we found out that in France, the Ministry of Foreign Affairs has been putting emphasis on the cultivation of emergency support specialists (urgentistes) in cooperation with NGOs. This is in order to further strengthen the conventional cooperation system network.
Enhancing readiness for disasters that occur sequentially is a common issue in Japan, and we acquired useful information through a series of research when considering the Japanese international cooperation system.
The current state of registered buildings in the historic area.
A sound building, a repaired building, one left without intervention, one demolished with a fence installed (from left to right).
Discussions at Padang local administrative organizations concerned
In the framework of the Cooperation Project for the Rehabilitation of Earthquake-affected Cultural Heritage in the historic district of Padang in West Sumatra, Indonesia, commissioned by the Agency for Cultural Affairs, we have been conducting activities to support Padang. The city suffered severe damaage from the earthquake of September 30, 2009. Our support consists in integrating together with local bodies the protection and conservation of cultural heritage within the more general urban reconstruction process. As a first step in a series of surveys and activities to be executed until February 2011, we conducted a field survey on the state of restoration of historic buildings and twonscape from October 16 to 25.
In this survey, we recorded the current status of the town one year after the earthquake, taking the data of the damage assessment survey of November 2009 (immediately after the earthquake) as basis for comparison. Although the rubble had been cleaned and the bustle of the town had returned, the state of restoration of the buildings that make up the historic townscape was varied. The number of registered heritage buildings, whose restoration had advanced was very limited, and many buildings were left untouched since the earthquake; some lots had been cleared completely.
In the discussions with the governor and the local organizations concerned, our understanding matched in that the protection of cultural heritage contributes to the reconstruction of the town and that the cooperation of specialists, government and residents is important. We will thus continue working with local specialists, cooperating with the central, state and city governments. An on-site workshop on written cultural heritage is planned for November, and workshops on historic buildings and townscape will be held in December and January in Padang. Immediately after our survey team returned from its mission, an earthquake and tsunami hit West Sumatra again. Although Padang did not seem to have suffered heavy damage, this disaster strengthened our desire to contribute to the reconstruction of the town and the maintenance of a safe living environment through the protection of cultural heritage.
Training to clean the surface of metal
The Japan Center for International Cooperation in Conservation have used the government subsidized budget for the Cooperative Project for the Conser-vation of Cultural Heritage in West Asia and UNESCO/Japanese Funds-in Trust and invited Iraqi conservation specialists to Japan every year since 2004 for training on conservation of cultural heritage.
This year three specialists in conservation – Ali Ganim, Nafla Nabil and Fadil Abdul Hadi – have been invited from the Iraq National Museum, and training will last for about three months from September 22nd to December 9th. They are to receive training on equipment for the conservation of cultural properties, lectures and practical training on conservation of wood products and metal products. It is also planned that they visit the National Research Institute for Cultural Properties, Nara, the University Museum, the University of Tokyo, The Institute for Cultural Studies of Ancient Iraq, Kokushikan University and the Hitachi High-Technologies Corporation.
Explanation at Audio-Visual Documentation Section (September 6)
Nine people from Odakyu Engineering and others
They visited us on September 6 to look around the facilities for cultural properties. They toured the chemical laboratory and restoration studio of the Center for Conservation Science and Restoration Techniques on the fourth and third 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.
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.
