| ■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 |
|
Mr. Marukawa’s workshop
The Institute has accumulated various materials from its investigation and research into tangible and intangible cultural properties in various fields. As such, the Institute has invited Mr. Marukawa Yuzo, Associate Professor (by special appointment) of the National Institute of Informatics, as a visiting researcher. In cooperation with him, we are trying to determine the best method of publicizing the data on material accumulated by our Institute so that they can be used effectively. As part of this project, Mr. Marukawa presented a lecture entitled “Transmitting Information on Art Data Spread by Association” on June 23. He introduced an association retrieval system that allows cross-searching of multiple databases designated by the retrieving person. He then showed how to use the system and demonstrated association retrieval using the data owned by our Institute. We concentrate on the collection and storage of materials as basic data, and plan to more carefully examine our electronic information disclosure methods going forward.
Investigative Commission of the Five Hundred Luohan stored at Daitoku-ji
The Department of Research Programming has started a project entitled “Survey Research on Applications of High-definition Digital Images” and has proceeded with investigative research that aims to create image data that is essential for research in art history and the developmental utilization thereof. As part of this project, we concluded a research agreement with the Nara National Museum that allowed us to survey and photograph the Five Hundred Luohan stored at Daitoku-ji in May 2009 (refer to the article in the May 2009 Monthly Report). We held a research conference on June 15 to further examine the research obtained in the survey in which we invited Mr. Taniguchi Kosei, Ms. Kitazawa Natsuki and Mr. Ide Seinosuke (visiting researcher of the Nara National Museum, professor of Kyushu University) from the Nara National Museum. Our staff members Tanaka, Tsuda, Shirono, Torimitsu, and Tsuchiya participated as well.
After the survey in May, we processed the photographed images one by one; inscriptions which were unclear during the survey became legible. At the subsequent research conference, we confirmed the inscriptions and interpreted the dates, painters, and dedicators thereof. We are planning a second survey in the coming autumn with reports to be submitted in the following years. Most importantly, Shirono reported on the factors behind the deletion of this painting’s inscription, and we reconfirmed that this survey has significant meaning.
A “quick report” of the achievements of this survey and research conference can be seen at the Sacred Ningbo, the Origin of 1300 years of Japanese Buddhism: Everything Has Come from Here exhibition (http://www.narahaku.go.jp/exhibition/2009toku/ningbo/ningbo_index.html) (link rot) held by the Nara National Museum. A complete picture of the inscriptions in the Five Hundred Luohan stored at Daitoku-ji, along with the background of creation of this painting, will be revealed at this exhibition.
Recording of a Noh song by Master Imai Yasuo
The first time we asked Master Imai Yasuo, the eldest Noh actor of Hosho style, to record a ban-utai (singing a piece of Noh song without musical accompaniment) was in 2005. The Department of Intangible Cultural Heritage plans to record a total 100 ban (pieces) of Hosho-style Yokyoku (Noh songs) (currently 180 in number), and make two recordings per month. Hokazou, recorded on June 29, brought the number of recorded tunes to 83.
The techniques of singing Noh songs have varied somewhat depending on the historical period. Master Imai Yasuo was born in March 1921, and is still active on the stage, taking over and showing us the techniques and art of the masters of the Meiji and Taisho era.
We consider this is a great opportunity to record his excellent skills, and to pass on Noh to future generations.
Lecture by Director Ishizaki
This training course, intended for trainees who have completed the annual Seminar Course for Museum Curators, focuses on the latest research and topics related to conservation of materials. This year’s training took place on June 22 and drew 69 participants.
This year’s theme dealt with the latest ideas for conserving materials on-site. One idea is energy conservation; the Center’s director, Mr. Ishizaki, gave a lecture on the current cultural heritage facility activities, both foreign and domestic, at a time when global warming is of great concern and energy conservation is desired worldwide.
Additionally, the university curriculum for curators has been changed, and in three years the Material Conservation Environment Theory course will become mandatory. This means that knowledge of the natural science behind material conservation is unexceptionally essential for curators. Therefore, lectures on temperature and humidity, atmospheric environment, and lighting of the conservation environment presented by Mr. Inuzuka, a senior researcher; Ms. Sano, the head of the conservation science section; and Mr. Yoshida, a senior researcher.
The content was of great interest to all participants, and they were all ears. At the same time, the training also made us realize that as researchers who investigate the conservation environment, we must keep our eyes open for all responsible research and provision of information.
Receiving Karakozu (Chinese children)
Survey before restoration
The Center for Conservation Science and Restoration Techniques continued to restore paintings in the restoration studio of Deutsches Technikmuseum Berlin this year as part of its overseas restoration work in 2009. The paintings being restored are the Darumazu (Bodhidharma in red clothes stored in Cologne Museum of East Asian Art), the restoration of which has been going on since last year, and the Karakozu (Chinese children stored in Berlin National Museum of Asian Art), the restoration of which started this year.
Because of the limited space in the restoration studio, it was not possible to restore both paintings simultaneously, but restoration engineers proceeded with their work by coordinating their activities despite the humid weather in Berlin. The restoration work was completed on July 8 for the present, and we plan that this work marks the completion of the restoration of the Darumazu.
Japanese language training
The Japan Center for International Cooperation in Conservation used the government subsidized budget for the Cooperative Project for the Conservation of Cultural Heritage in West Asia and UNESCO/Japanese Funds-in Trust for the Reconstruction of the Conservation and Restoration Department of the Iraq National Museum in Baghdad in order to invite Iraqi conservation specialists to Japan for training to transfer techniques for conservation and of cultural heritage. This year four specialists in conservation – Ms. Senaa C. A. Al-Timini, Mr. Fadhil A. Allaw, Mr. Mohammad K. M. J. Al-Mimar and Ms.Baan A. M. A. Al-Jameel – have been invited from the Iraq National Museum. They will spend 3 months, from June 19 to September 18, receiving practical training on the conservation of textiles and training on equipment for conservation of cultural properties and material analysis. The program will be conducted with the cooperation of domestic institutes for conservation and restoration, including Joshibi University of Art and Design, the Nara National Research Institute for Cultural Properties, and the Shizuoka Research Institute for Buried Cultural Properties.
Making a new support
Joining mural painting fragments
The 5th mission for Conservation and Restoration of Mural Painting Fragments in the collection of the National Museum of Antiquities of Tajikistan was dispatched from May 13 to June 12. Four Tajik trainees joined in the conservation of mural painting fragments excavated from the Kara-i Kahkaha (Shafristan) site in northern Tajikistan in continuation of last year’s mission. The trainees learned how to join mural painting fragments and remove the attached gauze.The fragments that had been cleaned and joined were then put together to make a larger piece. This piece was reinforced with a triaxial woven textile made of rayon (Sakase Adtech Co., Ltd.) and then mounted on a new support. Conventionally, plaster and wood are used for support, but this time carbon fiber and synthetic resin were used to create a support that is more light-weight and that can be easily handled. This series of work was executed with the Tajik trainees for the purpose of transferring techniques to the Tajik people and contributing to capacity building in Tajikistan.
A meeting of the Institute Survey and Research Division of the Evaluation Committee of an independent administrative institution, the National Institutes for Cultural Heritage, and the general assembly of the committee were held on April 15 and May 11 respectively. The former is a session in which the Evaluation Committee comments on the self-evaluation of activities conducted in fiscal year 2008 by the National Research Institute for Cultural Properties, Tokyo and Nara, and the latter is a session in which feedback is given on the overall activities, including surveys and research, and finances of the Institute. According to the self-evaluation, the National Research Institute for Cultural Properties, Tokyo judged that the annual plans for the said fiscal year were fully achieved for all activities and sufficient results were shown. In terms of the progress of its mid-term plans, almost all of the activities are progressing as planned.
Comments and evaluations by the Evaluation Committee on the self-evaluation of the National Research Institute for Cultural Properties, Tokyo are as follows. The committee recognized that considerable achievements have been made in various aspects of survey and research, including research using high-resolution digital image and studies on intangible cultural heritage. On the other hand, there was a request to further expansion on joint research conducted by different departments of the Institute, such as research for conservation and utilization of the Takamatsuzuka and Kitora Tumuli that the National Research Institute for Cultural Properties, Tokyo and Nara jointly performed and the workshop on environmental conditions surrounding cultural properties, which was planned and implemented by the Center for Conservation Science and Restoration. Significant achievements were recognized in the implementation of international cooperation, such as conservation and restoration of cultural properties and training of experts mainly in Asian countries. Tentative translation of the Law for the Protection of Cultural Properties into English and publication of other countries’ laws related to cultural properties were highly praised as well. With respect to active communication of survey and research results, creation of a brochure for children and publication of research results online were highly rated, but there was a request to announce future results in a way that is easier for the general public to understand. Various achievements were recognized in relation to advice given to and cooperation with the national government and local public authorities as well as contribution to education. We also received a great number of other feedback.
The results of the self-evaluation and opinions from the Evaluation Committee will be utilized in planning future activity and improving corporative management.
Photograph of the investigation held at Nara National Museum. (The existence of inscriptions is confirmed using light source equipment that emits light of various wavelengths)
The Department of Research Programming has concluded a Contract for Optical Survey and Creation of High Definition Digital Content regarding Buddhist Art with Nara National Museum and has been carrying out joint research. As part of this contract, we studied and photographed the Five Hundred Luohan stored at Daitoku-ji from May 11 to 17, 2009 at Nara National Museum.
Daitoku-ji’s Five Hundred Luohan is a very important work in art history, and a total of one hundred pieces of artwork were created by artists Lin Tinggui and Zhou Jichang from Junki 5 (1178) in Ningbo in Southern Song over a period of almost 10 years. Out of the existing 96 pieces (excluding the complementary works made in the Edo period), 37 pieces in total have been confirmed to have inscriptions, but these descriptions difficult to decipher with the naked eye due to aging deterioration.
This survey started with the goal of learning about these inscriptions using optical methods such as fluorescent recording, and an additional 11 inscriptions (43 inscriptions in total) were confirmed. This is a meaningful finding not only in terms of art history, but also in terms of the history of this period and the history of religion.
A conference will be held in mid-June by persons involved from both organizations based on the images shot during this survey, and will serve as investigation material for the second survey scheduled to be performed in autumn. Additionally, these survey results will be presented in part at Sacred Ningbo, the Origin of 1300 years of Japanese Buddhism: Everything Has Come from Here (http://www.narahaku.go.jp/exhibition/2009toku/ningbo/ningbo_index.html) (link rot). It will also be summarized as a report sometime in or after the next fiscal year through further survey and investigation.
On May 12, Mr. Tsuda Tetsuei and Ms. Sarai Mai of the Department of Research Programming conducted X-ray transmission photography and fluorescent X-ray non-destructive analysis of a copper bodhisattva in a pensive pose with one leg pendent from Hyakusaiji temple in Shiga as part of the current two-year plan, Investigation of and Research into Statues in Omi in Ancient and Medieval Times, Centering on Previously Undisclosed Statues such as Hidden Buddha Statues, at the National Research Institute for Cultural Properties, Tokyo. Funds for investigation and research were provided by the Idemitsu Culture and Welfare Foundation, and Mr. Inuzuka Masahide and Hayakawa Yasuhiro of the Center for Conservation Science and Restoration Techniques offered their services as well. At 13:00 on May 12, the statue was brought into the Institute by the two curators from the Miho Museum who then conducted joint research with us and the resident priest of Hyakusaiji temple. The main purposes of this research were to examine the structure using X-ray transmission photography in order to check whether the head and body of the statue, where reconnection was visible at the breast, were created around the same time, and also to check the copper components in both parts using fluorescent X-ray non-destructive analysis. The statue will be open for viewing by the public this summer at Miho Museum.
In May 2009, we created a new children’s website aimed at elementary and junior high school students. In the section entitled “All about working at Tobunken”, visitors can learn about the activities of the National Research Institute for Cultural Properties, Tokyo in card format.
We hope that children will take advantage of this website together with the What’s the National Research Institute for Cultural Properties, Tokyo?
(http://www.tobunken.go.jp/~joho/japanese/publication/kids/2008.pdf) (link rot) children’s brochure published last July for their independent research projects during summer vacation. Please take some time to visit the website at http://www.tobunken.go.jp/kids/index.html.
Mr. Hyoki of the Department of Intangible Cultural Heritage received training in South Korea for two weeks from May 25 to June 8 based on the exchange between Japan and Korea on research related to the conservation of intangible cultural heritage decided upon last June with the Division of Folklore and Folklife of the National Research Institute of Cultural Heritage, Korea. In last year’s training, most of the surveying was conducted on the archives of important intangible cultural properties created by the National Research Institute of Cultural Heritage, Korea, and research was also conducted on archives related to important intangible cultural properties in other Korean organizations. I myself did a detailed investigation on the current status of the traditional arts archive of the National Center for Korean Traditional Performing Arts and the folk archive of the National Folk Museum of Korea. Both organizations have carefully established classifications for sorting materials and metadata in anticipation of a future coalition of archives: I felt that they taught many points that would be helpful for similar projects in Japan. During the training sessions I was able to have the opportunity to see two intangible cultural properties in the suburbs of Seoul: the Kannun Dano Festival, and the Yeongsanjae Ceremony.
Detaching a mural painting with a wire-saw
Current state of the ceiling of Kitora Tumulus (The purple part shows the exposed stone.)
The Center for Conservation Science and Restoration Techniques has been detaching the mural paintings of Kitora Tumulus as part of a project entrusted from the Agency for Cultural Affairs. Currently, there is concern about the spread of deterioration in the stone chamber due to microorganisms. Since there is an urgent need to detach the mural paintings, it has been decided to conduct detachment continuously for one month rather than to do the work for three days every month.
The first stage of detachment started on May 11 and most of the painting on the south side of the ceiling was detached effectively. We were able to irradiate UV-C successfully to control microorganisms since all the areas where pigments had been applied had already been detached. Based on our success in this work, the next stage of detachment is planned for this autumn.
Practical on-site training
The second half of the course on the conservation of historical buildings, a part of the “Program for Capacity Building along the Silk Road,” which is a joint project with the China National Institute of Cultural Heritage, was conducted from early April at Kumbum (Ta’er) Monastery, a Tibetan Buddhist monastery in Qinghai province. While last year’s program focused on restoration theory and measurement survey, this year’s course focused on practicing the actual flow of work, from drawing up conservation management plan to basic design and detailed design. In addition, by giving an outline of the restoration system unique to Japan, in which survey, design and on-site control are undertaken by the same person, we sought to offer an opportunity for Chinese trainees to think about the meaning of conservation that often relies on given manuals.
Lectures from the Japanese side, which sent 5 lecturers in succession, were completed at the end of May and were followed by lectures from the Chinese side, which continued until the end of July. The twelve trainees have been working hard in their respective fields, but the course has also shed light on various issues. First, although both Japan and China have traditions of wooden constructions and Chinese characters, there are significant unexpected differences between Chinese and Japanese architecture. Thus there was often trouble communicating because of differences in terminology and views on restoration. Second, since restoration work was already in progress at many parts of the monastery, on-site practice could be conducted only on a part of the work site. As such, there was no choice but to change the building used for practice in cases when we could not reach an agreement with the monastery, who wanted the restoration to be done quickly. We really felt the necessity of making sufficient consultation at the planning stage for both curriculum and operation.
Two Members of Independent Administrative Institution Evaluation Committee of Ministry of Education, Culture, Sports, Science and Technology (MEXT), and other organizations
On April 9, members of the Independent Administrative Institution Evaluation Committee of MEXT visited us to observe the examination and research conducted by the National Research Institute for Cultural Properties, Tokyo. They toured the Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage on the basement floor; the First Experimental Laboratory of the Center for Conservation Science and Restoration Techniques on the third floor; and the Biological Science Section of the Center for Conservation Science and Restoration Techniques, the International Center Archive of the Japan Center for International Cooperation in Conservation, and the Kuroda Memorial Hall on the fourth floor. Those in charge of each facility provided explanations and answered questions.
Mr. Hieda Kazuho being interviewed
At the Education Ministry’s Art Research Institute after evacuation to Sakata City, Yamagata - Mr. Hieda (far right), and Mr. Umezu Jiro (far left) who was a staff member of the Institute
The Japanese-style painter Hieda Kazuho (born in 1920), holder of the Cultural Order, is Professor Emeritus of Tokyo University of the Arts and a founding member of Sougakai. He graduated from Tokyo School of Fine Arts in 1943, and from the following year he worked for the Art Research Institute, the former National Research Institute for Cultural Properties, Tokyo, as a temporary employee for one year.
The institute is currently editing Text Edition of 75-year history of National Research Institute for Cultural Properties, Tokyo, which will be published this year. As such, we interviewed many associated persons to ask them about the history of the Institute so that we can compile records.
On April 14, we visited Mr. Hieda at his home in Tokyo, and he talked his early years at the Institute. In 1944, when war damage increased because of air attacks and the Institute was forced to evacuate its materials, Mr. Hieda took part in the evacuation work. He told us that he stayed at an evacuation home – Sakata City, Yamagata – for half a year, to protect the materials, until he received call-up papers in August 1945, and went home to Nara to enter the army. In the train that was on the way home, he found out about the end of the war. Despite his advanced age, he gave us an interview that lasted over 90 minutes, and we have a record of his valuable experience.
So (Imagine)
The Department of Research Programming has made public its database for retrieving art documents starting from October of last year (during trial operation). The database consists of 268,000 cases and allows users to browse, from an overwhelming amount of data, art documents published between 1966 and 2004 by using three search categories: editors/authors, keywords and titles of journals. The Department, whose major goals are to accumulate and disseminate information, is now promoting collaboration with other sites to enhance dissemination. One such collaboration is with the unique association retrieval site “So (Imagine) ” that was started by the National Institute of Informatics. Mr. Nakamura Yoshifumi, a researcher of the National Institute of Informatics and a visiting researcher in our Department from this year, demonstrated the operation of this site at a research seminar of the Department held on April 21. If the art documents retrieval database is successfully associated with “So (Imagine),” we expect that a simultaneous display of information from various fields, not just that of art, will be possible.
“Samurai with artistic taste...”
(Sino-Japanese War Graphics Vol. 10)
From “Drawing and Painting Soldiers from the Edges of the Japan-China War Battlefront and Art” (Kawada Akihisa) There were many drawing and painting soldiers in the battle area of the Japan-China War, and their artworks were widely known as a war pictures with reality.
The Department of Research Programming has issued the collected papers of 26 domestic researchers, as shown in the title above. This document is an achievement of the project study “Integrated research on modern and contemporary art.” As a research edition of “A Study of Exhibits from Art Exhibitions of the Showa Era – Pre-World War II Volume”, basic data compilation issued in 2006, the trends of art before World War II are shown from the viewpoints of each researcher from various perspectives. The document targets the various genres of paintings and sculptures, engravings, photographs, and art works based on trend of the exhibits and art galleries, and it also includes themes particular to the pre-World War II period, such as proletarian art and war pictures. Please examine the various issues regarding art in the Showa Era. We hope that they will offer you new findings and help you to raise awareness of the issues involved.
Refer to the pages issued by the Department of Research Programming for the titles of papers and the authors.
http://www.tobunken.go.jp/~joho/japanese/publication/book/showaki.html
This document is available from Chuokoron Art Publishers. http://www.chukobi.co.jp/products/detail.php?product_id=383
Mr. Tsuda Tetsuei and Ms. Sarai Mai of the Department of Research Programming will start this year to investigate and research important sculptures in Shiga Prefecture in a two-year plan, Investigation of and Research into Statues in Omi in Ancient and Medieval Times, Centering on Previously Undisclosed Statues such as Hidden Buddha Statues (representative researcher Tsuda Tetsuei). The two received funds for the investigation and research from the Idemitsu Culture and Welfare Foundation, and received cooperation from the research staff, who have special bonding with Shiga Prefecture, centered on Miho Museum. As our first project, we investigated the seated Avalokitesvara statue (245.3 cm high) at the Kannondo of Tendaishu Zensuiji Temple on Mt. Iwanesan in Koga City from the early morning until the evening of Sunday, April 26. The existence of this statue was generally unknown up to now, and this is the first project to move it. Based on the style of the statue, it was probably carved in the late Heian Period, and it was kept in relatively good condition. We were given a glimpse into the abundance and versatility of the cultural properties of Shiga Prefecture, where such a great work existed unnoticed by most people.
Report on the 3rd Conference on the Study of Intangible Folk Cultural Properties Conservation of Goods Related to Intangible Folk Cultural Properties
The Department of Intangible Cultural Heritage holds an annual meeting where preservation personnel, administrative personnel, and researchers gather: They decide a theme every year and discuss the protection and inheritance of our intangible cultural heritage. On November 20 of last year, the Department chose the theme Conservation of Goods Related to Intangible Folk Cultural Properties and held their meeting in the seminar room of the Institute. We summarized the details of this conference, issued a report in March 2009, and distributed it to interested persons and organizations. This report can also be downloaded in PDF format from the website of the Department of Intangible Cultural Heritage.
http://www.tobunken.go.jp/~geino/kyogikai/03mukeikyogikai.html(link rot)
