| ■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 by Mr. Chandrapandian of the ASI
The National Research Institute for Cultural Properties, Tokyo and the Archeological Survey of India (ASI) have implemented a collaborative project to preserve Ajanta paintings in Caves 2 and 9. This project is funded by the ‘Networking Core Centers for International Cooperation on Conservation of Cultural Heritage Project’ of the Agency for Cultural Affairs, Japan.
As a follow-up, the Japan Center for International Cooperation in Conservation invited Mr. Chandrapandian, an expert from ASI who oversaw the Ajanta Caves from July 23 to 28, 2011, to visit and an expert meeting was held on the 27th.
At the meeting, Japanese experts reported on the status of Ajanta paintings in Cave 2, covered by the collaborative project, and factors leading to their damage. Results of high-resolution photographic documentation of Caves 2 and 9 were also reported by the Japanese experts. As a representative of the ASI, Mr. Chandrapandian reported on the ASI’s activities at other archaeological sites in India besides the Ajanta Caves. The meeting was a great opportunity to discuss how to better preserve the Ajanta paintings in the future.
This study took part on June 21 (Tues.) and was part of a Department of Art Research, Archives, and Information Systems research project on the Multi-faceted Study of Artistic Representations and Art Materials and Techniques. With the cooperation of Inuzuka Masahide of the Center for Conservation Science and Restoration Techniques and Hagiwara Hajime, adjunct instructor at Musashino Art University, Tsuda Tetsuei and Sarai Mai of the Department of Art Research, Archives, and Information Systems studied and photographed a wooden statue of the monk Shoshin (a cultural property designated by Gunma Prefecture that was sculpted by Daishin in the Kamakura period) from Hofuku-ji temple in the Town of Itakura, Gunma Prefecture on exhibit at the Gunma Prefectural Museum of History. Researchers had become aware of the statue’s existence following a full-fledged study by the late Kuno Takeshi, an emeritus researcher at the Institute, in which Kuno became aware of the statue’s inscriptions. Some time later, the statue underwent full-scale restoration, but its obtuse and complicated inscriptions remained unclear.
The aims of the current study were to accurately ascertain the statue’s structure and the conditions under which it is kept and to use infrared photography to discern its undeciphered inscriptions. This study also sought to verify the existence of a container holding the monk’s bones in the head of the statue. X-ray photography was attempted to meet these goals. Plans are to continue studying the statue and present findings and photographs from the study in Bijutsu Kenkyu.
Liu Chi-chun (l.) making a presentation at the Conference of the Department of Art Research, Archives, and Information Systems
From February to June of this year, Liu Chi-chun of the Art Institute of National Taiwan Normal University served as a visiting researcher in the Department of Art Research, Archives, and Information Systems. During his research, Mr. Liu used the Institute as his base of operations. Mr. Liu specializes in Taiwanese art under Japanese colonial rule and in his current research he sought to look at trends in the Nanga (Southern School of painting) particularly in modern Japan. Although Mr. Liu had to temporarily return home during his research due to the Tohoku Earthquake and Tsunami, he finished collecting materials in June and presented his results on June 29, 2011 at the 3rd Conference of the Department of Art Research, Archives, and Information Systems. Mr. Liu’s presentation was entitled Searching for the Identity of Taiwan’s Traditional Calligraphy and Painting under Japanese Colonial Rule. This serious presentation looked at individuals with a mix of Taiwanese and Japanese thought through statements at the time concerning Nanga. As Mr. Liu explained, these individuals were caught in the gulf between the 2 frameworks of traditional “calligraphy and painting” common to East Asia and “fine art” as was brought about by the West after the modern age.
Following Mr. Liu’s presentation at the Conference, Minami Asuka, professor at Sagami Women’s University, made a presentation entitled Appraisal of Muromachi-period Paintings by Georges de Tressan (1877－1914). De Tressan was a soldier in the French army with a fondness for Japanese art, and a number of his discourses remain. Ms. Minami has labored several years to verify de Tressan’s achievements, which had been forgotten. Her presentation focuses on de Tressan’s appraisal of Muromachi-period paintings, and she discusses where he drew his information from, characteristics of his discourses, and their significance at the time. Japanese art researchers from the Institute and experts in French art from other organizations attended a discussion following the presentations, and opinions were actively exchanged regarding appraisals of Japanese and Oriental art in Europe during the early 20th century.
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.
