| ■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 |
|
Seven students from Taito City’s Okachimachitaito Junior High School On September 8, the students visited under the “Learning by Workplace Visit” program, intended to teach them about jobs at the Institute and the importance of working. An overview was given by Deputy Director General Nakano, after which the students 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.
From left: (front row) President Sato and Director Suzuki; (back row) Director Tanaka of the Department of Management, Deputy Director General Nakano, and Director Kitade of the Department of Management
On September 14, Director Nakano gave a letter of appreciation to President Sueharu Sato of Otsukakogei-shinsha Co., Ltd., for the donation of a set of glass dry plates and prints of swords which were brought to the Institute on August 10 (received by the Department of Research Programming). They had a friendly talk in the Director’s room on a variety of topics, including the conservation and restoration of cultural properties and cultural programs concerning the exhibitions of works of art. We are grateful for Otsukakogei-shinsha’s understanding of our institute and for their donation. We will employ the donation to further the business of the Institute.
At the entrance side of the lobby
At the center of the lobby
At the recesses of the lobby
Starting September 18 (Friday), the Department of Research Programming is in charge of a panel exhibition at the entrance of Institute titled “Investigation and research of Buddha statues, using X-ray photography”. This exhibition was planned to introduce the investigation and research that has been conducted up to now, with the cooperation of the Center for Conservation Science and Restoration Techniques, as part of the research project of the Department of Research Programming titled “Cross-Disciplinary Study of Art Materials and Techniques”. The panel exhibition is scheduled to be held until the end of this year.
From September 25 to 27, 2009, a symposium titled “Tracing Japanese Buddhism” was held in commemoration of 50 years since the founding of the Center for Japanese Studies of University of California, Berkeley. The American, Japanese and European researchers who are majoring in Buddhism-related areas, such as Buddhist religion, Buddhist history and Buddhist art history, met and gave many lectures and reports. Vivid discussions were held with nearly 80 participants each day, offering precise opportunities to learn about each other’s research results. On the first day, there was a panel discussion on Buddhism art history on the topic of “Numinous Materials and Ecological Icons in Premodern Japanese Buddhism”, Sarai made presentations on the Healing Buddha of Jingoji temple, an outstanding statue sculpted from one wood, of the early Heian Period, as one of the panelists. Other panelists conducted reports that included the latest information, such as knowledge on recent research results about the species of trees used for carved wooden statues. In the US there seems to be many unknown things about Buddhist statues, partly because there is small number of researchers on Buddhist sculptures in Japan. We wish to positively promote international exchange, making use of opportunities like this, so that people will be interested in Japanese Buddhist statues.
Imaizumi Yusaku’s Kijishu: Volume 2 includes sketches of Korin Yatsuhashizu, and the figure pattern and color note in sketch specifies that the original art work was Tales of Ise Yatsuhashizu which currently belongs to Tokyo National Museum.
Since the Institute opened in 1930, it has collected and arranged materials concerning cultural heritage. We are making efforts to catalog them so they can be released to public and viewed; however, among the materials which we have accumulated over nearly 80 years, there are some materials which have not been released for public viewing and have not been arranged. Kijishu by Imaizumi Yusaku, introduced in this article, is one of the works which has been in obscurity for a long time. Mr. Imaizumi Yusaku (1850 – 1931) worked for the Education Ministry, Tokyo Fine Arts School (current Tokyo National University of Fine Arts and Music) and Tokyo National Museum, and sustained the art administration of modern Japan together with Okakura Tenshin. Kijishu is Imaizumi’s autobiographical diary collection, dated from 1887 to 1913 and totaling 38 volumes in all. In these diaries he recoded the art works he appraised and investigated in detail with his sketches. These diaries were found by Mr. Yoda Toru (Saitama City Culture Promotion Agency) who was a student at that time, during an arrangement of materials. The authenticity was confirmed by Ms. Yoshida Chizuru, a visiting researcher at our Institute, who already had records through her research of Imaizumi Yusaku. Ms. Yoshida is now writing a new work about Kijishu, and made an interim report at the workshop of Department of Research Programming on September 30. Imaizumi’s records of wide-ranging antiquities have attracted great interest of researchers majoring in various fields, and we have recognized the importance thereof.
Recording a Story Told by Master Storyteller Kanda Shori
The Department of Intangible Cultural Heritage has been recording live performances of historical narratives told by master storytellers Ichiryusai Teisui and Takarai Bakin since 2002 (the former Department of Performing Arts). We asked both masters to perform continuous performance of long stories, opportunities for which are less frequent in recent years. Starting this year, master storyteller Kanda Shori has also assisted us. Shori also excels in performing long, continuous stories. From his large repertoire, he selected Tokugawa Tenichibo (a samurai story) and Banzuiin Chobei (a townsman story). The first recording was conducted on September 29.
Seeing lacquer collection on study tour
Practical restoration of lacquerware
From September 2 to 15, the Center for Conservation Science and Restoration Techniques held an international course on the Conservation of Urushi (Japanese Lacquer) jointly with the ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property). This course consisted of lectures, practices, and an informational tour. Nine trainees from eight countries (Austria, Germany, UK, Poland, Russia, Portugal, Canada and the US) participated in this course and learned the history of urushiware, the science and survey methods of lacquer, traditional urushiware techniques, and repair philosophy and methods of urushi objects and lacquer coating, from each specialist. On the study tour, trainees visited the outskirts of Joboji-machi of Ninohe City, which produces nearly 80% of urushi made in Japan. They first toured to the Hachinohe City Jomon Museum and Goshono Jomon Museum to see the excavated lacquerware in the Jomon Period, which forms the roots of urushi in the Japanese islands, and then viewed the urushi sap collecting at Joboji-machi and the creation of urushi sap collecting tools at adjacent Takko-machi in Aomori Prefecture. At the Ashiro Lacquerware Technological Center in Hachimantai City, they viewed actual Japanese lacquer refining work, and also saw the urushimuro (a warehouse for urushi coating) and urushi paint tools that were used from the Taisho Era to the beginning of Showa Era and are rare nowadays.
They ended the tour with a visit to Chusonji Temple’s Konjikido Hall. Most trainees who participated this time belonged to art galleries and museums that owned urushiware works from Japan and had trouble in handling them or were otherwise involved in actual restoration sites. Therefore, they had very high awareness of the surrounding issues and were very earnest. One of their comments made a particular impression on me: “I learned a bit about Japanese lacquer, but I had an even better experience for my future carrier because I was able to learn by watching and studying the actual objects and work process”.
High-definition photographing in Cave No. 2 of Ajanta
High-definition photographing in Cave No. 2 of Ajanta
The National Research Institute for Cultural Properties, Tokyo and the Archaeological Survey of India (ASI) are conducting joint research on the conservation of Mural Paintings of the Ajanta Caves under the framework of ”Networking Core Centres for International Cooperation on Conservation of Cultural Heritage” funded by the Agency for Cultural Affairs. The mural paintings of the Ajanta Caves have been damaged by rainwater entering the caves through cracks in the basalt, bat excrement, (whitening and blackening), artificial factors, and have discoloration issues due to the yellowing of the shellac (varnish coatings) used for previous restoration work and cracks and floating in the colored layers. In the second mission undertaken in September, 2009, all of the mural paintings in the second cave were subject to high-definition digital photograph recording and colorimetry to record in detail the conservation status of the mural paintings. We photographed and measured the murals together with the Indian specialists, aiming at sharing knowledge and technical exchange on digital documentation for conserving cultural heritage.
The Great Buddha of Wat Sri Chum
The National Research Institute for Cultural Properties, Tokyo is conducting joint research on conservation of Thai cultural heritage together with the Fine Arts Department of the Ministry of Culture of Thailand. We executed a joint on-site investigation from September 14 to 16. Wat Sri Chum of the Sukhothai ruins has a great Buddha statue taller than 15m, the core of which was made from bricks and the surface finished with plaster. The entire surface of the Buddha statue had been covered with moss and algae, but because of the water repellent treatment applied 11 years ago, the Buddha statue was kept clean for awhile. However, since dirt due to algae, etc. has been somewhat noticeable recent years, some countermeasures have been investigated through observation of the Buddha statue, experiments by sample installation, and micrometeorological observation. In addition to these activities in Wat Sri Chum, we have observed the surrounding ruins, and specifically reviewed the advantages and disadvantages in cases where a chamber was installed in the remains.
Four persons from Yamashita Sekkei Inc.
On August 10, four employees of Yamashita Sekkei Inc. visited the National Research Institute for Cultural Properties, Tokyo, to learn about how to design a cultural heritage conservation/research center overseas. They toured the Audio-Visual Documentation Section and X-Ray Photographing Room of the Department of Intangible Culture Heritage on the basement floor, the Restoration Studio of the Center for Conservation Science and Restoration Techniques on the third floor, and the Center’s Analytical Science Section on the fourth floor in order to learn about the survey and research previously conducted by the Institute. Those in charge of each facility provided explanations and answered questions.
Deputy Commissioner of the Agency for Cultural Affairs and three other officials
On August 20, Deputy Commissioner Goda and three other officials from the Agency for Cultural Affairs visited us to check on the current status of budget request items. We explained the surveys and research conducted by the National Research Institute for Cultural Properties, Tokyo, and gave summaries of our budget requests. Then they toured the chemical and biological laboratories of the Center for Conservation Science and Restoration Techniques on the fourth floor and the Center’s physical laboratory on the third floor. Those in charge of each facility provided explanations and answered questions.
Eight students from Gakushuin Women’s College Graduate School of International Cultural Relations and others
On August 26, eight students from Gakushuin Women’s College Graduate School visited us to learn about business at the field sites of various organizations that implement international exchange and cultural programs. Deputy Director General Nakano gave an overview of survey and research conducted by the National Research Institute for Cultural Properties, Tokyo. Then they toured the Restoration Studio of the Center for Conservation Science and Restoration Techniques on the third floor and the Japan Center for International Cooperation in Conservation on the fourth floor. Those in charge of each facility provided explanations and answered questions.
Project General Manager of 5th Division in charge of MEXT in Budget Bureau of Ministry of Finance and another one
ON August 28, General Manager Yokoe and one other official visited us. Deputy Director General Nakano gave an overview of the survey and research work conducted by the National Research Institute for Cultural Properties, Tokyo. The visitors then toured the chemical and biological laboratories of the Center for Conservation Science and Restoration Techniques on the fourth floor and the glass film plate cabinet of the Department of Research Programming on the second floor. Those in charge of each facility provided explanations and answered questions.
2008 Annual Report of National Research Institute for Cultural Properties, Tokyo
We have published the 2008 Annual Report of National Research Institute for Cultural Properties, Tokyo. TheAnnual Report comprehensively describes what the Institute achieved in its activities last year. The contents include the organization of Institute, annual plans and project reports, other research activities, private research achievements, research exchanges, major stored materials, and Institute-related materials.
One copy of the Annual Report are distributed as reference material to each national and prefectural art gallery and museum, prefectural and government-designated city board of education, buried cultural property center, and university library that has a cultural property research department.
The Annual Report is also posted on our Website inPDF format.
ICN Amsterdam Head Office, Laboratory of Materials. The shelves on the right are full of various plastic products lined up by color. They were collected by researchers at flea markets and other locations.
As part of the documentary material research promoted by the Department of Research Programming, we performed a survey from August 2 to 13 centering on the Tate Gallery in the UK and Netherlands Institute for Cultural Heritage (ICN).
Various experimental styles and materials were used for modern and contemporary works of art because recently how those works will be passed down to future generations has become a big issue. With one work, the process of decay itself is an innate part of the work, while with another, new materials, including plastics, are used. These are new challenges for the organizations and specialists engaged in the conservation and restoration of cultural heritage.
This survey focused on the International Network for the Conservation of Contemporary Art (INCCA; based inside ICN in Amsterdam) and, as a part of the project, the Interview with Artists project performed by Tate in London in which they interview with living artists about their works, archive the records of them and open them to the public systematically. We visited related organizations and listed to relevant personnel in order to find out how Europe is tackling new challenges related to modern and contemporary art.
As a noteworthy achievement, we got great suggestions on the issue of originality and the conservation thereof, the topic of the international research assembly held last year by the National Research Institute for Cultural Properties, Tokyo. Additionally, we were deeply interested in the relationship between the three parties – ICN (the Netherlands version of the National Research Institute for Cultural Properties, Tokyo), the INCCA network in ICN, and the Tate, Britain, which is shouldering one INCCA project. They were presenting a model of how a new project should be run while confronting the globally-shared difficult situation, such as shortfall in funds, human resources, and privatization of organizations. We will introduce anew the details on this matter in the Bijutsu Kenkyu (Journal of Art Studies) published by the Department of Research Programming.
The Kuroda Seiki Exhibition held at the Shimane Prefectural Iwami Art Museum from July 18 (Saturday) to August 31 (Monday) attracted some 15,177 visitors. The daily average number of visitors was a record since the opening commemorative exhibition of the Iwami Art Museum. More than 80 percent of the visitors answered exit questionnaires conducted by the museum on August 1. Many visitors came from the prefectures near Shimane – approximately 30% from Hiroshima, 10% from Yamaguchi – and all respondents said they were satisfied with the exhibition. A variety of devices were used to advertise this exhibition such as distributing tissue pouches with painting of “Lakeside”, reproducing and giving the first 30 visitors each day a reproduction of the paper fan with Uchiwa painted in “Lakeside”. We carried out the following related events, which attracted many participants: a lecture on August 1 by Ms. Yamanashi Emiko of our Institute’s Department of Research Programming titled “Modernization or Japanese paintings and Kuroda Seiki”, a workshop producing drawings and paintings in watercolors using a model wearing similar Kimono to that in “Lakeside” on August 8, and a lecture titled “Kuroda Seiki and Mori Ogai” on August 29 by the head curator of the Iwami Art Museum, Ms. Kawanishi Yuri. Next year, the Kuroda Seiki Exhibition will be held at the Iwate Museum of Art.
Researching the folding screen owned by the Portland Art Museum
The Portland Art Museum in Oregon, founded in 1892, is the oldest museum on the West Coast of the US. Among approximately 42,000 works stored in the museum are some 4,000 Asian art works. For four days from August 17 to 20, 2009, Mr. Watada Minoru, Mr. Tsuchiya Takahiro and Ms. Emura Tomoko of the Department of Research Programming examined more than 30 works in the Portland Museum produced from the Muromachi to the Edo Period, including Japanese paintings, folding screens and kakefuku and created research records for each work. For works with a poor storage state, they recorded the damage status in detail, and did research and examination from the standpoint of art history, discussing with the curators in charge at the Portland Art Museum. There were some works which have not been introduced up to now and some excellent and important works, and despite the limited time we were able to do significant research. We will announce the results at an Institute research meeting and will introduce those works in the Bijutsu Kenkyu (Journal of Art Studies) and other journals to further enrich the art materials and make efforts toward international research exchange.
We recently received an offer of donation of a glass dry plate and prints of swords from Otsukakogei-shinsha Co., Ltd. (Sueharu Sato, President and CEO). Delivery to the Institute was completed on Monday, August 10. The Archives Section of the Department of Research Programming, which received the donation, is planning on organizing the donated materials starting with the prints with an eye toward utilizing both the glass dry plate and the prints as the Institute’s cultural heritage materials.
Tanabata-odori practice (uchinarashi) at Osato
We performed a field survey of the Star Festival Dance (Tanabata-odori) inherited by Osato of Ichikikushikino City, Kagoshima Prefecture as part of the Department of Intangible Cultural Heritage’s Investigation and Research on the Conservation and Use of Intangible Folk Cultural Properties study project. The Tanabata-odori is performed in 14 localities in the Osato District, and consists of dancing with drums (Taiko-odori) played by representative dancers of each locality, large decorations created by all the localities, and various processions. In this field survey, we paid special attention to the practice of continuous dancing for one week, which is called Narashi. Narashi is mainly carried out by youth groups of each locality, assisted by all the people in the district. Through this cooperation, we can clearly see the way social relationships have been maintained and restructured. On the other hand, we also need to consider that handing down traditions can be difficult, causing a large problem from the viewpoint of conserving cultural heritage.
Urushimuro (warehouse for Urushi coating)
Environmental survey in Urushimuro
The Center for Conservation Science and Restoration Techniques has been conducting basic survey on traditional lacquerware production as one of its research projects related to the Investigation and Research of Traditional Restoration Materials and Synthetic Resins. To date, we have conducted a field survey on an Urushimuro (a warehouse for Urushi coating used from Meiji Era to early Showa Era) owned by Mr. Oyamada Seiei in the old Ashiro-machi Iwaya-district (current Hachimantai-City) on the outskirts of Ninohe City, Iwate, known for the production of Johoji Urushi. This type of small, locally rooted, traditional Urushimuro is very rare in Japan. By arranging a series of Urushi coating and materials for gold-lacquering, the japanner tools left in the warehouse, we clarified that the flow of Urushiware production belonged to only one workshop; the work environment here was indeed suitable for Urushi coating. We are planning to use the survey results as educational material for the International Course on the Conservation of Japanese Lacquer, which will be held this year.
