| ■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 |
|
Participants at the opening ceremony
Practical work
In recent years, the investigations of conservation and restoration for cultural properties have expanded their targets not only to traditional cultural properties but also to modern artifacts and documents made of various types of materials. The Restoration Materials Section of the Center for Conservation Science invites experts from overseas and conducts workshops to meet these needs. In 2022, we invited Mr. Remy Dreyfuss-Deseigne, an expert who conducts research and application of nanocellulose films for conservation and restoration, to conduct a three-day workshop beginning on October 5th, 2022. Nanocellulose films are a kind of cellulose made from natural materials, which are transparent and stable. Therefore, nanocellulose films can be applied to transparent materials such as tracing paper and photo film with which traditional conservation materials do not work well.
We received applications more than double the official capacity of 15 seats for this workshop from conservators. This indicated high expectations for the workshop. We accepted all applicants to the lectures for the morning sessions, but we needed to limit participants for the practical sessions in the afternoon. The workshop began with an inauguration ceremony, with opening remarks by SAITO Takamasa, Director General of TOBUNKEN, and then the lecturer, Mr. Dreyfuss-Deseigne was introduced. During the workshop, the lectures were held in the mornings and practical sessions in the afternoons. On the last day, a tour of TOBUNKEN was conducted to see TOBUNKEN equipment related to the workshop.
This workshop with a lecturer invited from overseas was held for the first time in 3 years since the last one. The “face-to-face workshop” encouraged participants to raise very active questions and discussions. Participants said that they could build mutual collaboration among the workshop members. We recognized again the significant impact of in-person workshop, which could not be achieved online. We believe that our workshop helped in the actual reconstruction of cultural properties and conservation of archives.
Cultural landscape of Katsushika-Shibamata
National District Liaison Council on Cultural Landscape at ex Kawajin restaurant building
Since 2018, the Japan Center for International Cooperation in Conservation has been holding the World Heritage Seminar (WHS), which aims to share international trends and information about cultural heritage protection, including UNESCO’s sites, within our country. In the fiscal year 2022, the seminar entitled Re-question on Landscape as Cultural Properties will focus on areal protection, which has become increasingly important in recent years. To understand the inclination for landscape protection in Japan, I participated in Practical Workshop on Cultural Landscape 2022 and National District Liaison Council on Cultural Landscape organized by the Agency for Cultural Affairs from October 27th to 29th.
Both were held in Katsushika-Shibamata, the first district nominated as a cultural landscape situated in the metropolitan area of Japan. At the workshop, after two case-study lectures on charm publicity and tourism town planning related to cultural landscape, the participants, who were divided into groups, walked around the venue and investigated the issues of sharing cultural landscape information among the residents and visitors. They also presented solutions and discussed their ideas. At the council, after a keynote speech on the cultural landscape features of Shibamata and three case reports on the inheritance of river fish food culture, the speakers discussed the theme.
Both administrative institutions and inhabitants and other concerned parties who participate proactively play a key role in inheriting cultural landscape significance. The training meetings focused on techniques to utilize cultural landscapes as ‟living cultural assets” rooted in daily life. Clearly, such utilization can work only if it is combined with protection system and its instruments, like two wheels of a chariot. Keeping this in mind, WHS 2022 aims to clarify the legal grounds on which foreign world heritage sites with landscape values such as cultural landscapes and historic city centers are protected. Through the seminar, we hope to look into the future of ‟landscape” protection in Japan.
Panel discussion
The Symposium 2022 Climate Change and Cultural Heritage -What’s Happening Now?- was hosted by the Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage), which the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) operates, commissioned by the Agency for Cultural Affairs. The symposium was held at Ichijo Hall, Yayoi Auditorium, in the Faculty of Agriculture at the University of Tokyo on October 23, 2022, and was co-hosted by the Agency for Cultural Affairs and the Cultural Heritage Disaster Risk Management Center, Japan.
This Symposium aimed to explore the international collaboration possibilities for the brighter future of cultural heritage by considering climate change from the viewpoint of the historical relationship between climate change and human societies, sharing and discussing the challenges faced by tangible and intangible cultural heritage under ongoing climate change.
Chairperson of JCIC-Heritage, Dr. AOYAGI Masanori opened the Symposium and emphasized that the first step in tackling the coming challenges to strengthen the international collaboration and cooperation on cultural heritage protection under on-going climate change will be that more people correctly understand the relationship between climate change and the cultural heritage.
This was followed by three presentations on the relationship between climate change and cultural heritage from different viewpoints: Potential of Cultural Heritages as the Memory of Past Climate Adaptation Inferred from Paleoclimatology by Dr. NAKATSUKA Takeshi, professor, the Nagoya University Graduate School of Environmental Studies, The Futures of our Past: Cultural Heritage and the Climate Emergency by Dr. William Megarry, a Bureau Member of the ICOMOS Climate Action Working Group, and Climate Change and Traditional Knowledge: Case studies from Oceania by ISHIMURA Tomo, Head of the Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage.
The following panel discussion was conducted by Dr. SONODA Naoko, professor of the National Museum of Ethnology as a moderator, and four panelists including the three aforementioned presenters and TATEISHI Toru, Vice Director of the Cultural Heritage Disaster Risk Management Center. TATEISHI introduced activities and challenges for cultural property disaster risk management, using the Great East Japan Earthquake as a case study. Various opinions were then exchanged among the panelists and participants, including the impact climate change will bring to the activities of cultural heritage protection and the possibility that traditional knowledge forming such heritage can be the key to tackling climate change. KOHDZUMA Yohsei, Director of Cultural Heritage Disaster Risk Management Center made a closing address to confirm the importance to continue tackling these challenges by collecting the “knowledge” from a wide range of people.
Please visit the JCIC-Heritage website for further details. https://www.jcic-heritage.jp/2022-symposium-report20221118/ (Japanese only)
Discussion with Iraq online
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and Japanese-Iraqi Institute for Archaeological Education of Mesopotamia (JIAEM) co-organized an international symposium titled Water and People of Mesopotamia and the Surrounding Area: A Hopeful Way of Looking to Our Sustainable Future with Water from Viewpoints of Archaeological and Historical Heritages in the Regions held on October 22nd, 2022. This symposium activity aims to foster a deeper understanding of the Mesopotamian archaeology and livelihood of Iraqi people and resume archaeological survey as well as international cooperation in the future as the second co-organized activity by both institutes.
The Tigris and Euphrates rivers that nurtured Mesopotamian civilization face the issue of water decrease influenced by dam construction by neighboring countries located upstream in addition to the impact of global climate change. We invited his excellency Abdul Kareem Kaab, Ambassador, Embassy of the Republic of Iraq in Tokyo. He presented a keynote lecture about the relationship with both rivers and people from ancient times, as well as the current difficult situation in the surrounding area in Iraq. Subsequently, several presentations were made from the multiple viewpoints focusing on the keyword “water” including the Water Resource Management in Transboundary Rivers, Riverine Life, and Water Supply of Ancient Mesopotamia, how to make a traditional Iraqi boat, history and current situation in Bahrain given its abundant spring water. In the second half of the symposium, Iraqi scholars were joined online, and talked on the field study of utilizing water in Eridu and Umma, and the crisis regarding buffalo in south Iraq. We discussed how they would be able to cope with their lives along with changing river conditions by overviewing what kind of water resources management were handled there from the archaeological viewpoint.
Dealing with a wide range of issues from the ancient to the present in three different languages (Japanese, English, and Arabic) presented a valuable opportunity to discuss livelihoods of the local people, not only focusing on academic themes surrounding the keyword “water.” We hope new international cooperation issue will be recognized through such activity.
Plaster remaining in the stone sarcophagus
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) visited the Oichi No.1 Kofun (tumulus) in Fukuyama City, Hiroshima Prefecture and investigated the conservation status of the plaster remaining in the stone sarcophagus, in cooperation with the Culture Development Section, Economic Environment Division of Fukuyama City, on October 20th, 2022. Plaster, a type of construction material used for tumulus construction, requires specific knowledge and techniques regarding all processes from manufacturing to application. Therefore, it is a precious archaeological material which shows how technology was transferred when those tumuli were constructed. Hence, regardless of the coloring and/or decorations on it, plaster conservation is considered important and implemented in many cases outside Japan. Though there are more than 40 tumuli where plaster usage is confirmed in Japan, they are not widely known like Takamatsuzuka and Kitora Tumuli. While most of these tumuli were designated as cultural properties, plaster conservation measures are rarely taken up; the plaster is left to erode due to weathering and flaking every day.
The Oichi No.1 Kofun keeps the highest percentage of plaster in Japan. We wonder why it is not designated as a cultural property. Furthermore, it does not just keep the plaster, but we can even identify plaster application traces, which were considered to be made when the plaster was applied during the tumulus construction in the area, where the conservation status is good enough. It can be a precious clue to identify the tools used during the construction. In this investigation we discussed sustainable measures for plaster conservation based on the confirmation of its conservation status and environment, by considering the sense of morality on the cultural property conservation and restoration including material adaptability and aesthetic appearance.
Utilization of the cultural properties is required now more than ever. It is time to revise the methods of passing down the cultural properties to future generations in the given situation. The plaster remaining in tumuli is one of these cultural properties. We will discuss further the appropriate measures for conservation and methods to maintain and manage it for its future utilization by revising the current situation where the plaster has been decaying and lost, while also referring to the similar advanced cases in and outside Japan.
Discussion and Q&A session
Kuwayama Gyokushū (1746-1799) and Iwase Hirotaka (1808-1877) were painters who worked actively in Wakayama in the Edo period. Both of them left their own painting tools, including various pigments. This is important because they can be clues to identify coloring materials in the Edo era, such as the pigments. In addition, many of their artworks still exist now. This means that the coloring materials used for their actual artwork can be compared with the pigments in their painting tools, providing a valuable study target.
The 5th Seminar was held by the Department of Art Research, Archives and Information Systems on September 15th, 2022, in TOBUNKEN and online, featuring the interim report of the coloring material analysis of pigments and paintings of Gyokushū and Hirotaka. First, HAYAKAWA Yasuhiro, Deputy Director General reported the results of X-ray fluorescent and visible light reflectance analyses on the coloring materials of both artists. Then, new perspectives including the fact that both gofun (calcium carbonate) and enpaku (lead white) were applied as white pigments, and further challenges were presented. After that, YASUNAGA Takuyo, head of the Trans-Disciplinary Research Section discussed how Gyokushū used white pigments differently for human faces, as well as the issues of backside coloring referring to the painting of Tosui rakanzu (Luohans crossing the river). Next, Mr. KONDO Takashi of Kyoritsu Women’s Educational Institution introduced the biography of Hirotaka, who was first, an ukiyo-e artist and then became an artist of the FukkoYamato-e (Yamato-e revival) group later. Finally, Mr. KONDO discussed the relationship between Hirotaka’s artworks and the coloring materials referring to the painting of King Lanling and Nasori.
After the presentations, discussions among the three presenters and a Q&A session were held. An active discussion was conducted regarding the interpretation of the analysis results. The period between the mid-18th and mid-19th centuries is important for the understanding of the transition of coloring materials. However, few analysis has been done on coloring materials, including pigments and those of artworks. Consequently, we expect that these studies will reveal the use of coloring materials in the mid and late Edo period.
Lecture by Mr. WATANABE Naoto
Lecture by Ms. KONNO Saki
Lecture by Dr. IMAIZUMI Shoko
The Cultural Property Information Section of the Department of Art Research, Archives and Information Systems held a seminar on the Documentation of Cultural Properties in the seminar room on the underground floor of TOBUNKEN on September 2nd, 2022. The Act Partially Amending the Museum Act was established in April 2022. Through this act, digital archiving and dissemination of museum materials were added to museum roles. Furthermore, the demand for exhibitions in virtual fields, such as websites, has been increasing because of the prolonged difficulties in visiting cultural property sites and exhibitions due to the COVID-19 pandemic.
Considering these situations, we organized a seminar with the following three lectures. Mr. WATANABE Naoto, curator of Sendai City Museum of History and Folklore, presented the video documentation of the annual festival and kagura (Shinto music and dancing) tradition of Oidenomori Hachiman Shrine and its dissemination on YouTube during the COVID-19 pandemic. Ms. KONNO Saki, curator of Tohoku Fukushi University Serizawa Keisuke Art and Craft Museum, introduced their activities, such as conducting a tour of the exhibition rooms online, with curators also explaining their exhibits online. Dr. IMAIZUMI Shoko, Associate Professor, Graduate School of Engineering, Chiba University, conducted a lecture on the fundamentals of image and video compression, and points to note at its utilization.
Dr. IMAIZUMI showed visually that compression brought disadvantages of the compromising image/video quality, despite its positive effect to decrease the file size. Mr. WATANABE and Ms. KONNO introduced hands-on methods for disseminating information by utilizing their own human resources, equipment, and free software with public support, such as subsidies and support from local cooperation. All of the lectures provoked thoughts useful in tackling respective challenges. The participants focused on the presentations as they were facing similar challenges and have asked many questions.
The Section will continuously provide information about documentation and information dissemination applicable to the daily activities of curators and officers involved in cultural property protection through various media.
Biwa used by Mr. NAGAMATSU Daietsu (owned by NAGAMATSU Mitsutoyo at that time)
Biwa used by Mr. HASHIGUCHI Keisuke (owned by HASHIGUCHI Kenichi)
The Department of Intangible Cultural Heritage has investigated the Higo Biwa Preservation Society and the successors of Higo biwa technique, who have dedicated to pass down the Higo biwa, and its related materials including the biwa. We conducted the third on-site investigation from September 7th to 9th. We studied the biwa used by Mr. NAGAMATSU Daietsu, a sighted Higo biwa player and the one used by Mr. HASHIGUCHI Keisuke (HOSHIZAWA Tsukiwaka), a successor of Hoshizawa school, whose root is Sumoto, Amakusa City. Both were preserved by their bereaved families. Therefore, we visited them and studied the biwa there. We had precious opportunities to learn about these two Higo biwa players from their families. Mr. NAGAMATSU’s biwa will be donated to Historical Museum Kokoropia of Tamana City associated with his related hand-written books of relics and records via the curator who accompanied us. We expect them to be widely available for studies.
Furthermore, we conducted studies on the biwa owned by Shinwa Museum for History and Folklore and Amakusa Hondo Museum of History and Folklore and concluded this investigation series. We may conduct a few supplementary studies and plan to issue the report in FY 2022.
We noticed that a village manages a single Higo biwa instrument in turn and plays it as an offering every new year. We cannot study this case in our investigation series, but we hope that our analysis inspires further research on Higo biwa tradition status.
Injecting nitrogen into the bag set in the display case
Extracting the air from the bag using a pump
The Center for Conservation Science investigates the conservation environments of museums. Recently, the Kanagawa Prefectural Museum of Cultural History requested us to investigate the air quality in their exhibition cases. They detected some organic acids, however, the emission source was not identified. The emission source was needed for taking appropriate counter-measures. Moreover, the ratio of acetic acid and formic acid is called for as the current measurement was taking them collectively as organic acids.
Therefore, the Preventive Conservation and the Analytical Science Sections decided to investigate the emission source by applying the air quality investigation methods developed by the Analytical Science Section. Five points including the floors of two wall display cases (big and small size), the display surface of a tabletop case, the display stand, and the back panel, were targeted. As shown in the photos, the targeted measurement points were covered with bags made of airtight film and the 4.5 kg lead rings were set to seal them. Then, after replacing the air inside the bags with nitrogen and leaving them for 24 hours, the air was extracted from the bags using a pump, dissolved in ultrapure water, and analyzed using ion chromatography. Consequently, we measured the amount of acetic acid and formic acid emissions. Simultaneously, we checked the sealing degree by the measurement of CO2 density change inside bags over time.
We have identified the density of acetic acid and formic acid at each measurement point and will leverage these outcomes for future air quality improvement.
Symposium
Hanoi was previously called Thang Long and has been the capital of Vietnam most time since the establishment of the Lý dynasty – the first Vietnamese independent and unified nation at the beginning of the 11th century. The Imperial Citadel of Thang Long was where a group of imperial palaces, serving as both the emperor’s residences and the political control base, were located. The original palace remains were considered lost because the site was turned into an army facility in the modern age, while it was known that the palaces used to exist at the location.
However, the many remains, such as the foundations of the original palaces and related artifacts in each dynasty, including those from the Lý dynasty, were unearthed by a large-scale excavation investigation beginning in 2002, which was associated with the rebuilding of the Parliament House Building. This partially revealed how the Thang Long palaces used to be, although they were hidden for a long time. It was decided to conserve this site and it was inscribed on the World Heritage list in 2010, the 1,000th anniversary of the establishment of the capital. Responding to the request of the Vietnamese government, Japan has been cooperating in the research and conservation of this heritage since 2006. I had the responsibility of supporting architectural study and conservation management, as well as the overall implementation of this cooperation program from 2008 to 2013.
International Symposium: 20 Years of Research, Conservation and Promotion of the Values of Thang Long Imperial Citadel Heritage Site was held at the site co-sponsored by the Hanoi People’s Committee and UNESCO Ha Noi Office on September 8th and 9th, 2022, the 20th anniversary of the commencement of its investigation. Many representatives from governmental organizations, UNESCO, ICOMOS, and ICOM, and experts from and outside Vietnam participated and shared the research outcomes in each field. They also provided over 20 reports and conducted discussions regarding the challenges toward its future conservation and utilization. I made a presentation titled International Cooperation between Japan and Vietnam for the Conservation of Thang Long Imperial Citadel Site and also played the role of a commentator at a discussion.
Some have wished for some time now to reconstruct the Kính thiên palace, the main building, on the existing foundation of the later Lê dynasty (16th century or later). Several reports concerning the materials indicating reasonable grounds for the reconstruction were provided, and the study progress was stressed at this symposium. On the other hand, as the former military headquarters from the French Colonial period stand on this foundation and its front, it is necessary to demolish or relocate these buildings to reconstruct the palace. However, these buildings, founded later, are exactly parts of evidence indicating this heritage’s longevity and a layered record of vestiges identified as the World Heritage Outstanding Universal Value (OUV). Therefore, it is difficult to reconstruct the palace without OUV modification. Later, at the symposium, this topic was discussed in detail and it became the focus of discussion. After these in-depth discussions, the proposal of the Heritage Site Management Plan, including this reconstruction plan, was shelved, and the discussion summary to continue the discussion regarding the reconstruction of the Kính thiên palace was adopted.
While the cooperation program between Japan and Vietnam has been completed, I will closely monitor the conservation management movement of this heritage site.
Main street view of Bryggen area, Bergen, World Heritage site (hotel facilities of the forum venue are shown on the left side)
Forum room (whiteboard used in group discussions)
The year 2022 marks 50 years since the establishment of the World Heritage Convention at the 17th UNESCO General Conference in 1972. During the past half-century, 1154 World Heritage Sites (897 cultural, 218 natural, and 39 mixed properties) from 167 countries have been recognized. They have all played an important role in raising global awareness and fostering an understanding of the importance of heritage conservation. Moreover, the World Heritage Committee discusses various matters of international concern every year. Recent years have seen unprecedented challenges, such as the threat of climate change being raised. The ICCROM and IUCN—World Heritage Committee advisory bodies —launched the World Heritage Leadership (WHL) program in 2016. The WHL supports activities and discussions aimed at improving the World Heritage site’s conservation and management practices for culture and nature.
The World Heritage Leadership Forum 2022 was held in Bergen, a world heritage city in Norway, on September 21st and 22nd, 2002. The forum aimed to review the results of the WHL’s past activities and look ahead to future initiatives. Around 60 representatives attended from international organizations, national institutions overseeing world heritage issues, and site managers/communities of world heritage sites. The forum was divided into three sessions: the first session organized the key points from the 2016-2022 achievements, the second session discussed needed actions and future priorities, and the third session laid out action plans for the future of World Heritage Capacity Building. The author made a speech on the case of Japan during the second session. They reported that, although no administrative framework has been implemented on World Heritage, a new policy has been implemented. The “regional conservation plan,” introduced by the 2019 amended Law for the Protection of Cultural Properties, shares the same awareness of issues as the discussions at the WHL forum. It could be an effective tool in rebuilding or improving the heritage management capacity sought by the WHL. Moreover, the plan aims to implement a more comprehensive approach in on the following domains: natural, cultural, expert, custodian, and communities. In the second session, participants were divided into three groups: (1) ensuring effective management, (2) applying resilience thinking for disaster risk management and climate change adaptation, and (3) preparing for change by enabling impact assessments and engaging in active discussions. In conclusion, after the discussions in the third session, it was concluded that WHL would focus on the next phase of strengthening the heritage-people network. This was a key topic raised by the forum participants, in addition to enhancing capacity-building efforts that link the World Heritage Committee to heritage conservation on the ground. At the same time, it is important to establish a system of close collaboration for heritage conservation with local networks that accommodates the diverse languages and contexts of each country/region.
Japan is one of the countries where the link between local network activities and World Heritage trends is particularly weak. Consequently, challenges and efforts to link domestic heritage conservation to international community dialogue might be required as a new modality of international cooperation in heritage conservation.
World Heritage Leadership Forum on the ICCROM website
https://www.iccrom.org/news/norway-renews-commitment-iccrom-iucn-world-heritage-leadership-programme
Symposium
Since 1992, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) have jointly organized The International Course on Conservation of Japanese Paper (JPC). The JPC contributes to the wider protection of cultural property; we invited professionals from abroad and provided them with information about Japanese paper, from its manufacturing process to its practical use in conservation.
This year, we held an online evaluation seminar on September 5th, 6th, 7th, and 12th. Former JPC trainees were invited to share how they applied the knowledge and techniques acquired during their time in the JPC. This was the second seminar to evaluate this project.
The presentations covered the lining technique used to conserve architectural drawings. They also covered workshops in Iran and Malaysia inspired by Japanese handmade papermaking. They all indicated that the JPC triggered the flourishing research and application of traditional Japanese conservation techniques tailored to regional circumstances. Some studies have highlighted Japanese approaches to conservation that differ from Western countries. Studio visits in Japan inspired participants to rethink work organization in their daily practice. In addition, the aim of the project and its practice-oriented features were recognized. Thus, our course methodologies have been identified as good references for education and studio training in other institutions. Following a review of the presentations, the symposium on the last day addressed issues in the distribution of Japanese papers and tools.
The JPC can be summarized as a life-changing experience for those involved in conserving and restoring cultural properties. The Institute has renewed its recognition of the significance of the JPC and is committed to continuing the project.
The 31st seminar
The 31st seminar logo
JCIC-Heritage, whose secretariat is commissioned to the Tokyo National Research Institute for Cultural Properties by the Agency for Cultural Affairs, held the 31st Seminar ―International Cooperation in Cultural Heritage from the Viewpoint of Technologies on August 28th, 2022 online.
The introduction of new technologies brings a shift in the investigation and research methods of the international cooperation themselves, and makes various tasks related to cultural heritage far more efficient and sophisticated. The objective of this seminar was to discuss how we should work with new technologies appearing one after another in our activities held in various social and cultural backgrounds, while introducing case studies in actual international cooperation projects concerning Japan.
First, Dr. KAMEI Osamu from the National Museum for Nature and Science reviewed the technology characteristics in a report titled the Changes of Technologies in Societies: How We Should Work with New Technologies. Then, Prof. SHIMODA Ichita from the University of Tsukuba introduced the case of a large-scale technology implementation by the cooperation of multiple nations titled Multilateral Cooperation for Adapting New Technology: Research and Protection of Cultural Heritage by Cambodian Archaeological LiDAR Initiative. Lastly, Mr. NOGUCHI Atsushi from Kanazawa University reported the cases of human resource development utilizing prevalent technology products such as digital cameras and smartphones titled Extending Cultural Heritage Protection Using the Latest Technologies at Hand: Towards Documentation which Anyone Can Work Together.
At the end of the seminar, an active panel discussion was held, moderated by Dr. KAMEI and TOMODA Masahiko, the secretary general of JCIC-Heritage (Tokyo National Research Institute for Cultural Properties) and the other lecturers. Please visit JCIC-Heritage website for the seminar’s details: https://www.jcic-heritage.jp/20220909seminarreport-j/ (Japanese only).
Investigation at TOBUNKEN
Investigation at the Fukushima Prefectural Museum of Art
KISHIDA Ryusei (1891-1929), a painter who worked mainly on oil paintings in the Taisho period, is renowned for his many masterpieces, including two Important Cultural Properties: Road Cut through a Hill (1915, the National Museum of Modern Art, Tokyo) and Portrait of Reiko (1921, Tokyo National Museum). His still life paintings are noted for his careful screen composition, and very detailed depiction even of the cracks of desks and spots on fruits. His paintings have influenced not only western-style painters but also Japanese-style painters and photographers.
However, among his paintings, Still Life (with the hand erased) (1918, private collection) has received controversial remarks. This work could not be presented at an exhibition because it was criticized for having a painted human hand, which was considered creepy. This criticism impacted KISHIDA’s characteristic works. However, this controversial hand was later mysteriously removed by someone. To address questions regarding why the hand was erased and what relation this painting has with his other still life paintings, we conducted an optical investigation of his four still life paintings in FY2022 with cooperation from various institutes and individuals in Japan. This investigation was conducted in preparation for YOSHIDA Akiko’s presentation titled Still Life Paintings by KISHIDA Ryusei ― Topicalize “Looking” at the 56th Public Lecture: “Look at Form, Read Form,” which is to be held on November 8, 2022.
This investigation was mainly conducted with reflection and transmittance near-infrared photography. It also used fluorescent and ultraviolet photography by SHIRONO Seiji, artificer of the Department of Art Research, Archives and Information Systems. X-ray images were taken for Still Life (with the hand erased) by INUZUKA Masahide, head of the Analytical Science Section of the Center for Conservation Science. As the result, we obtained a whole screen image of Still Life (with the hand erased) with the “hand” hidden in the painting. In addition, it showed us that other multiple paintings have traces of KISHIDA’s repainting with motifs relocated. We can say it is a “discovery” to bring new information regarding KISHIDA Ryusei’s painting process. I will present the findings in detail at the public lecture mentioned above.
Workshop flyer
The Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC) in Norwich, UK, is a renowned center for the study of Japanese arts and culture in Europe and well-known to Western stakeholders. Since July 2013, SISJAC and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) have entered into a collaborative project on “Shaping the Fundamentals of Research on Japanese Art.”
On July 8th and 9th, 2022, TSUDA Tetsuei, a visiting researcher at the Department of Art Research, Archives and Information Systems in TOBUNKEN, on a sabbatical in the UK, participated in an online workshop on “Absence, Presence, and Materiality: Refiguring Japanese Religious Art and Culture,” organized by SISJAC. On July 9th, he delivered an oral presentation titled Reinterpreting Esoteric Buddhist Sculpture in the Nara period (8th century).
This presentation demonstrated that esoteric Buddhism had already been introduced and accepted in the latter half of the Nara period (8th century) before Kūkai introduced it in Japan in the Heian period (early 9th century). Vidyā-rājā (J. Myōō) statues had already been sculpted and one of them survives even today. Furthermore, this workshop was conducted as per Japan standard time: it commenced late at night and concluded early morning in Europe and the USA. Nevertheless, 72 people attended on both days, not only from Europe and the USA but also from Russia and Taiwan. It was evident that numerous researchers worldwide were interested in Japanese religions and culture.
On July 11th, as SISJAC had asked TSUDA to provide descriptions of Japanese artworks (sculptures and crafts) from the Jōmon to the Medieval period for catalogs and panels at the Sainsbury Centre for Visual Arts in the University of East Anglia (UEA), which has jurisdiction over SISJAC, TSUDA and Miss MATSUBA Ryoko, a member of the SISJAC, surveyed the museum’s collection and exchanged views. This collection is almost unknown in Japan, but it contains fine examples of Buddhist art, including a gilt bronze Buddha from the Nara period (8th century) and a seated bodhisattva from the mid-Heian period (10th century), although they are small in size. In addition, a few works can also be checked against the TOBUNKEN’s digital archive of auction catalogue and sold art works.
On the same day, since 14:00 hours, Mr. ITO Tsuyoshi, minister at the embassy of Japan in London, inspected these exhibits, and TSUDA delivered gallery talks on these artworks with Miss MATSUBA Ryoko. The minister listened attentively as he observed the artworks.
Ordination hall of Wat Rajpradit
Exhibition of research on the lacquer door panels of Wat Rajpradit
Exhibition of Japanese lacquerworks in Thailand
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) exhibits panels in its entrance lobby to disseminate its research outcomes. We started the new panel exhibition shown in the title on July 28th, 2022.
Wat Rajpradit, one of the first-grade royal Buddhist temples, was built in 1864 by King Rama IV as the third royal temple in Bangkok, the capital of Thailand, based on the Thai tradition of three royal Buddhist temples being constructed by each dynasty.
The doors and windows of the Wat Rajpradit ordination hall feature panels decorated with mother-of-pearl inlay with underpainting using very thin seashell parts whose backs are colored and drawn, and lacquered parts decorated with colored lacquer maki-e expressing three-dimensional patterns. In particular, the style of the patterns of the mother-of-pearl inlay with underpainting looks Japanese. The Fine Arts Department, Ministry of Culture of Thailand asked TOBUNKEN for technical support to restore the lacquer door panels in 2012. Responding to their request, we brought two panels to TOBUNKEN in October 2013, investigated them in detail, restored them experimentally, and conducted on-site investigations until July 2015. At the same time, they were examined from the different perspectives of art history, musicology, and the history of Japanese trade to identify the provenance of the lacquer door panels and their characterization in lacquerwork manufacturing history. As these investigations confirmed that the door panels were manufactured in Japan, we now extend the focus to other Japanese lacquerworks in Thailand and continue the investigations.
This panel exhibition shows the process of discovering the manufacturing techniques and the provenance of the lacquer door panes at Wat Rajpradit through a joint study by researchers and research institutes in various fields from both inside and outside TOBUNKEN. The exhibition also introduces some Japanese lacquerworks that were exported to Thailand. Please visit us to enjoy the exhibition. (Opening hours: Monday to Friday except for national holidays, 9:00–17:30)
Lacquer door panels of Wat Rajpradit. Dharma teachings of Buddha on top of the door panels.
Cover of the report
Since 1992, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting cooperative research to conserve and restore the cultural properties of Thailand jointly with the Fine Arts Department, Ministry of Culture of Thailand (FAD). As part of this research, TOBUNKEN has provided technical support for restoration work by FAD, Wat Rajpradit, and other related parties in Thailand, targeting lacquer door panels in Wat Rajpradit, a first-grade royal Buddhist temple built by King Rama IV in 1864.
Investigating manufacturing techniques and materials is mandatory for restoring cultural properties. Such investigations also provide opportunities to find and gain vast knowledge related to the given cultural properties. The lacquer door panels at Wat Rajpradit are believed to have been made in Japan because they are decorated with the designs of people with Japanese garments using techniques of mother-of-pearl inlay with underpainting, which were typical for Japanese lacquerwork products for export, mainly in the mid-19th century. However, there was no evidence to prove this origin prior to this investigation. Therefore, experts in various fields, from within and outside of TOBUNKEN, investigated them, and their design patterns expressed with mother-of-pearl inlay with underpainting and colored lacquer maki-e, from scientific perspectives. The investigations revealed that these lacquer door panels were likely made in Japan based on their materials, techniques, and design expressions.
The report of this article published in March 2022 consists of an English translation of the discussions cited in the Japanese report about the research outcomes published in 2021 and the discussion related to the background of the temple’s foundation and the buildings in the temple area by FAD and Wat Rajpradit. This report is available for reading in the TOBUNKEN library. We would be pleased if you could read this report.
Exhibition room
Lecture speech by YOSHIDA Akiko (Evening in Brabant with a Woman Carrying Water by Rodolphe Wytsman on the screen)
An exhibition, Timely Connections: Hidden Western-Style Paintings in Tokyo National Museum was held as one of Tokyo National Museum’s 150th Anniversary projects from June 7th to July 18th, 2022 at the Heiseikan thematic exhibition room. This exhibition was planned by Mr. OKIMATSU Kenjiro, Supervisor, Collections Management of Tokyo National Museum and Supervisor, Loan Promotion of the National Center for the Promotion of Cultural Properties. SHIOYA Jun, director and YOSHIDA Akiko, a researcher of the Department of Art Research, Archives and Information Systems participated in the preparation studies.
Tokyo National Museum is well known for its collections of Japanese and Eastern ancient arts. Simultaneously, the museum has been collecting western-style paintings, including those by European and American painters, since the early days of the museum. This exhibition presented these western paintings in three sections: I. “Connections with the World” — artworks brought from abroad through world expositions and collection exchange projects; II. “Connections with Contemporary Art” — those collected to introduce the latest western fine arts and promote production in Japan; and III. “Connections with Social Conditions” — those collected for responding to social movements, such as natural disasters and wars.
While preparing for this exhibition, the works were investigated by us and photographed, and material and related works were surveyed. Then, we made several findings through these surveys. Portrait of Lorenz von Stein (Austria 1887), exhibited in the section III, features Lorenz von Stein, a German jurist who contributed to draft the Constitution of the Empire of Japan. We identified his son, Alwin von Stein as its painter. The information was given by related parties who responded to Mr. OKIMATSU’s surveys and calls for information, thus contributing to this identification. Furthermore, A Painter and His Wife (the Netherland 1636), a print art by Rembrandt van Rijn, is considered to be collected by Tokyo National Museum which introduced Western modern arts for a short period after the World War II. The state of its version was successfully narrowed down by external expert’s advice. More discoveries were made through material investigation and surveys on related materials. With these activities and findings, we again recognized the significance of Tokyo National Museum’s western-style painting collection.
As a part of this exhibition, monthly lectures titled Timely Connections: Hidden Western-Style Paintings in Tokyo National Museum were held on July 16th, 2022, wherein Mr. OKIMATSU, YOSHIDA, and SHIOYA (in speaking order)provided lectures in relay.
Mr. OKIMATSU spoke about the overview of the entire exhibition and introduced new findings from its survey stage. Following his lecture, sub themes were discussed. YOSHIDA gave a brief history of the Belgian painter couple, Rodolphe and Juliette Wytsman and spoke about their relationship with Japan, which started with the submission of their paintings to Hakubakai, including Evening in Brabant with a Woman Carrying Water, an oil painting by Rodolphe Wytsman. Then, SHIOYA told that the Viscount Kuroda memorial Art Promotion Fund Committee was founded in the memory of KURODA Seiki, a western-style painting pioneer in Japan, and endowed western-style paintings in the pre-war Showa period including Mother and Child (1930) by MATSUSHITA Haruo and Atelier (1933) by INOKUMA Gen’ichirō.
Cover of new brochure
Some contents of the brochure
The Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage) is the hub council for protection of cultural heritage abroad; individual experts and institutes in various fields participate by working on international cooperation. JCIC-Heritage serves to promote collaboration of various activities related to cultural heritage and support effective international cooperation. JCIC-Heritage was established under the management of the Agency for Cultural Affairs and the Ministry of Foreign Affairs in 2006 based on the ideas of the late HIRAYAMA Ikuo, a great painter. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been commissioned and serves as its secretariat.
JCIC-Heritage largely renewed its brochure to disseminate Japan’s cultural heritage international cooperation activities and its own to wider audience. While the previous version was compact mainly illustrated with texts, the new version is full of photo images vividly inspiring international cooperation through Japanese cultural heritage protection activities around the world, and everyday activities to support them. We believe that this new brochure leads readers to a better understanding of how to protect cultural heritage facing damages caused by various factors including destruction by humans, climate change, natural disasters, and experts’ efforts to tackle these challenges.
The new brochure is available via the JCIC-Heritage website; the secretariat will distribute and send it per request. Please feel free to contact us.
Lecture of local history course 2022 at the Ibaraki City Cultural Properties Museum
The Ibaraki City Cultural Properties Museum, Osaka Prefecture, holds an annual local history course of six lectures. KOBAYASHI Koji, a senior fellow, was invited for the first lecture of 2022 and gave a lecture titled Three Seigan and One Zushi: What We Can Know from the Four Portable Christian Shrines Left in Sendaiji and Shimo’otowa Areas on July 16th at the museum.
The Sendaiji and Shimo’otowa, located in the northern parts of Ibaraki City, are villages in which many residents converted to Christianity when Justo Takayama Ukon, a Christian lord, also known as Dom Justo Takayama, took over the areas in the late 16th century. Their religion survived over a period of fierce repression of Christianity during the Edo period until the modern period. Thus, they are widely known as “hidden” Christian villages. Their Christian culture is unique as they passed down many varieties of Christian relics in high volumes. “Miracle” is never overstated because such varieties of relics have not remained in any other hidden Christian areas or villages in Japan. It is well known that the extremely famous painting St. Francis Xavier, Important Cultural Property housed in Kobe City Museum, is among them.
I have studied various Christian objects passed down in these villages, especially seigan, Christian shrines which are containers for holy Christian paintings including images of Christ or Madonna and Child, to explore the reality of Christian belief in Japan. The seigan passed down in these areas are simply coated with black urushi lacquer. This fact and their history obviously show that they were made for domestic believers. Conversely, seigan, categorized as Namban lacquer with the same shape but with gorgeous makie and mother-of-pearl decorated, which were ordered to Japanese workshops by Europeans for export to Europe and Latin America, are also recognized. These two types of seigan show distinct differences despite sharing the same function as Christian objects. The sacred paintings stored in these seigan are associated with its frame with a western conjunction structure, supposed to be made of ebony, and with its frame decorated with makie and made in Japan respectively. These facts imply important questions regarding their backgrounds and manufacturing techniques. Conversely, the zushi exhibits an ivory-made crucifixion on the black cross possibly made of ebony. However, either this crucifixion or zushi have attracted almost no attentions so far and neither their original manufacturing place nor date are yet identified.
This lecture featured the reality of these seigan and zushi; and the ways of Christian acceptance and its religion in Japan from the Momoyama period to the early Edo period, which were revealed through the studies of these seigan and zushi. Approximately 40 participants who were selected by lot during another peak of the COVID-19 pandemic enthusiastically asked questions. I sensed a great interest in Christian culture and history during this time.
The Christian culture and related relics passed down in these areas are precious and unique historic milestones. I would like to further conduct this research and disseminate the outcomes.
