| ■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 |
|
Life-size detail, Kuroda Seiki‘s Lakeside, Artwork Archive for Art Studies, Volume 5
A page from “Texts and Images Associated with Lakeside” section at the end of the book
Lakeside (1897), Kuroda Seiki’s oil painting of a woman wearing yukata (summer cotton kimono) by a lakeside, may be said to be one of the most popular works of Japanese art. The Department of Research Programming has published Kuroda Seiki‘s Lakeside, Artwork Archive for Art Studies, Volume 5, which studies this representative work by Kuroda from many aspects. Images of Lakeside at the beginning of the book photographed by Shirono Seiji and Torimitsu Mikako (National Research Institute for Cultural Properties, Tokyo) include life-size images of the details of the painting and an image of the reverse side of the painting, which cannot be seen ordinarily, thus giving a fresh impression to a familiar work of art. Papers by Arayashiki Toru (Pola Museum of Art, Pola Art Foundation), Ueno Kenzo (Ishibashi Museum of Art, Ishibashi Art Foundation), Kaneko Kazuo (Ibaraki University), Suzuki Yasuhiro (Board of Education Secretariat, Hakone Town), Watanabe Ichiro (Art Restoration Studio 21), Tanaka Atsushi and Yamanashi Emiko (both of the National Research Institute for Cultural Properties, Tokyo) cover various topics related to the work, from the identity of the model and the place where the painting was created to the position the work occupies in the world of Japanese and Western art, the changes in its evaluation until today and the condition of the work. At the end of the book is a collection of texts and images associated with Lakeside, an image of a sheet of memorial stamps issued in 1967 and a poem on the painting. This is a publication that presents the “life” of Lakeside from its birth until today. The book is published from Chuo Koron Bijutsu Shuppan and is available at bookstores.
http://www.chukobi.co.jp/products/detail.php?product_id=121
X-ray image of the head of Indra (The Asian Art Museum of San Francisco)
Tsuda and Sarai of the Department of Research Programming studied two Buddhist statues (Brahma and Indra), which were made in Japan during the Nara period, and collected relevant materials at The Asian Art Museum of San Francisco from March 10 to 12, 2008 as part of the Department’s project on the study of art materials and techniques. These statues had originally been at Kohfukuji in Nara, but were bought by an American collector after they passed into private hands.
The two statues were made by a special technique that was used in the Nara period, hollow dry lacquer technique. The outer frame is composed of hemp cloth and urushi (lacquer) and the inside is left hollow except for an inserted wood that functions as support. Since a great amount of lacquer, which is very expensive, was needed and since such statues are not structurally strong, there are not many examples of hollow dry lacquer statues remaining today. In that sense, it may be said that these statues are extremely valuable.
A photograph taken at Kohfukuji some time around 1905 shows, among many damaged Buddhist statues, these two statues, also greatly damaged. Among the documents at The Asian Art Museum related to these statues are X-ray images that provide some information concerning the restoration of the statues. For example, while the head of Indra is missing in the Kohfukuji photograph taken in the Meiji period, X-ray image of the statue unexpectedly shows the possibility that the head is that of the original. Knowledge obtained in this investigation needs to be further studied from many angles. We hope to continue the study of the technique and style of hollow dry lacquer statues with the cooperation of The Asian Art Museum.
Chinghsin Wu at the Institute
Chinghsin Wu (Taipei, PhD student at UCLA), a visiting researcher at the Department of Research Programming for a year from September 2007, presented the results of her study at the Department’s research seminar on March 26. She has been studying how the world of modern Japanese art, especially of the 1920s, accepted European art. In her presentation entitled “Classic or Avant-garde, Christianity or Buddhism – Religious Paintings of Koga Harue Dating to the 1920s,” Wu discussed how paintings by Koga with religious themes or motifs correlate with European art, from those of El Greco and other classics to the modern age, that was introduced to Japan in the 1920s. The presentation was followed by active exchange of opinion with researchers of the Department whose fields of discipline include modern art as well as Buddhist art. We hope that Wu will continue to pursue her research.
A scene from the record concert
A public record concert was held on March 28 at the Department of Intangible Cultural Heritage. The Department has been collecting sound sources related to traditional performing arts from the days when the present Department was named the Department of Performing Arts. Among these sources are a great number of valuable 78-rpm records. This record concert was held as an opportunity to have the public consider the issues surrounding the transmission of traditional performing arts by listening to these records, particularly of noh and kyogen, made from the Taisho to the early Showa periods. Due to the size of the room, the number of participants was limited to 21, but everyone was greatly impressed by the diversity of expression heard in these old records.
Oral presentation by Mashiko Noboru, “Corrosion of Metals - from the Point of View of Metallurgy”
The purpose of the project, “Studies on Environmental Conditions Surrounding Cultural Properties,” is to establish methods for investigating and analyzing environmental conditions surrounding cultural properties for a better understanding of the present condition and improvement of the conservation environment. In this conference (March 3, 2008; 33 participants) presentations were made on investigation by exposure of metal samples to evaluate how atmospheric pollution and materials used for the interior of buildings affect cultural properties, with emphasis on the history and limitations of such an investigation. Mashiko Noboru (Professor Emeritus, The University of Tokyo) spoke on the influence of nitrogen oxide, sulfuric oxide, volcanic gases, sea salt and other elements on cultural properties based on studies in the field of metallurgy. Kadokura Takeo, researcher emeritus of the Institute, spoke on the history of investigation of metal exposure tests for the study of the influence of air pollution on cultural properties. Inuzuka Masahide, researcher of the Institute, reported on the development of a dosimeter that evaluates the influence of environmental conditions inside buildings on cultural properties. This conference was very beneficial from the point of view of cooperation in research and the advancement of research.
Inside the paper restoration studio at Deutsches Technikmuseum Berlin
From March 24 (Monday) to 26 (Wednesday), researchers of the Center for Conservation Science and Restoration Techniques conducted an on-site investigation related to the restoration of paper cultural properties scheduled to begin in fiscal 2008 at the restoration studio of Deutsches Technikmuseum Berlin as part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas. The paper restoration studio of Deutsches Technikmuseum Berlin already has necessary facilities and tools because it normally restores various paper objects. Thus, the purpose of this survey was to see if their facilities and tools are functionally satisfactory and what needs to be prepared. Based on the results of this survey, facilities will be arranged and preparations made so that the restoration of paper cultural properties in Berlin may be conducted smoothly.
A scene from the meeting
Visit to the restoration studio for mural paintings at the Institute of Archaeology, Uzbekistan
The Japan Center for International Cooperation in Conservation has been holding international conferences and workshops in order to promote exchange among experts engaged in the protection of cultural heritage in Asia. From the fiscal year 2007, an expert meeting will be held every year at various locations in Asia in order to construct further network among experts. For the first year, focus was placed on Central Asia and the meeting was held in Tashkent, the capital of Uzbekistan. In addition to Uzbekistan, experts were invited from Kazakhstan, Kyrgyz, Tajikistan and Turkmenistan as well as from UNESCO to present reports on the present condition and issues related to activities for the protection of cultural heritage in their respective countries and to hold discussions. The meeting was followed by visits to archaeological sites, historic buildings, museums and an archaeological institute in Samarkand, and opinions were exchanged on methods for the conservation and exhibition of cultural heritage. The participants commented that it was very meaningful to learn about the different issues that Japan and other countries are faced with and to hear case studies of activities for the protection of cultural heritage. They also expressed their desire to continue collaboration and to exchange information.
On March 20, 2008, an agreement and a memorandum for cooperation in the conservation of cultural heritage were signed between the Institute of History, Archaeology and Ethnography, Academy of Science, Tajikistan and the National Research Institute for Cultural Properties, Tokyo. According to the agreement, which is a general agreement, the Institute of History, Archaeology and Ethnography and our Institute will cooperate in conducting activities for the conservation of cultural heritage in Tajikistan, and capacity building and transfer of technology will be conducted by means of actual work of conservation and workshops. The memorandum concerns the conservation project for the mural paintings in the collection of the National Museum of Antiquities, Tajikistan affiliated to the Institute of History, Archaeology and Ethnography, and cooperation with regard to capacity building and transfer of technology related to that project. The Japan Center for International Cooperation in Conservation will begin the actual work outlined in the agreement and the memorandum from the fiscal year 2008.
Restoration of textile object at the Cultural Heritage Center of Mongolia
Interview at the Mongolian National Center for Intangible Cultural Heritage
From February 26 to March 4, the Japan Consortium for International Cooperation in Cultural Heritage conducted investigation in Mongolia to gather information related to the protection of cultural heritage and international cooperation. Two to three hours of interviews each were held at 12 major museums and organizations engaged in the protection of cultural heritage in Mongolia. When, in 1990, Mongolia became a democratic nation, the administration of cultural properties also underwent a great change. Now laws and systems for the transmission of valuable tangible and intangible cultural heritage of Mongolia, including the culture of the nomadic people, are becoming established. Plans for capacity building and the investigation and registration of cultural properties distributed throughout the nation have also begun.
The Department of Research Programming holds a seminar every month. On February 27 (Wednesday) Watada made a presentation entitled “Considering the ‘Juko-in’ Issue.” Traditionally, the main hall of Daitoku-ji Juko-in (Important Cultural Property) is said to have been built in 1566 or 1538 based on the period of the creation of its wall paintings (National Treasures) by Kano Shoei and Eitoku. In his presentation, Watada proposed 1571 as the year of its construction based on pieces of historical records remaining and taking into consideration the constantly changing political situation of the time. This proposal was followed by a comment by Watanabe Yuji of the Fukuoka Art Museum, who had been invited to the workshop as a commentator. Watanabe suggested that, when the wall paintings of Juko-in are considered in the context of wall paintings in sub-temples as a whole, the arrangement of these paintings in the rooms follow the traditional manner. There was active discussion on this matter among the participants at the seminar.
Kodan by Ichiryusai Teisui
The National Research Institute for Cultural Properties, Tokyo has been engaged in the recording of actual kodan performances since 2002 with the cooperation of Ichiryusai Teisui and Takarai Bakin.
We have asked Ichiryusai Teisui, a Holder of Important Intangible Cultural Property, to record two long, serial kodan pieces: jidaimono (story of historical figures) and sewamono (story of the common people). The recording of Midori no Hayashi Gokanroku, a sewamono, was completed on February 13, 2008. This was the twenty-first recording session for Ichiryusai Teisui, and it took 7 years to complete the project since the first session was held on June 11, 2002.
Midori no hayashi refers to thieves. Midori no Hayashi Gokanroku is a grand story of the lives of five chivalrous thieves like Robin Hood told one after another; their deeds leading to their execution are recounted.
As for jidaimono, Tenmei Shichidan was completed on December 26, 2005. Now Sengoku Sodo is being recorded.
Recording of a new, long sewamono is scheduled to begin next fiscal year.
A scene from the International Symposium
The 31th International Symposium on the Conservation and Restoration of Cultural Property was held in the Seminar Room of the National Research Institute for Cultural Properties, Tokyo from February 5 to 7, 2008. The Center for Conservation Science and Restoration Techniques was in charge of this year’s symposium on the “Study of Environmental Conditions Surrounding Cultural Properties and Their Protective Measures.” Lectures were given by 7 experts from abroad and 8 experts from Japan.
Presentations by Japanese experts focused mainly on environmental and biological control at Takamatsuzuka Tumulus, whose dismantlement was conducted this fiscal year. Experts from abroad spoke on the wall paintings of Lascaux Cave where they are faced with similar problems, and we were able to have a meaningful exchange of opinions. There were also exchange of information and opinions on conservation measures at other decorated tumuli, international activities in the conservation of cultural properties and non-destructive methods of examination.
A scene from the seminar
A scene from the seminar
The Technical Standard Section of the Center for Conservation Science and Restoration Techniques held a seminar entitled “Deterioration of Metals Used on Urushi Objects” in the Seminar Room of the Institute on February 27 (Wednesday). In addition to lectures by Kitano of the Technical Standard Section and Ms. Sano Chie of the Conservation Science Section, three persons were invited and asked to speak: Mr. Takahashi Takahiro, professor at the Kansai University and the director of the Kansai University Museum; Mr. Kitamura Shosai, an urushi artist and a Holder of Important Intangible Cultural Property (Living National Treasure); and Mr. Naruse Masakazu of the Office of the Shosoin Treasure House, Imperial Household Agency. Recently, deterioration of metals like makie powder and fukurin (metal coverings) on urushi objects is becoming a subject of discussion. Perhaps for that reason, there were many participants at this seminar in spite of the fact that it was held toward the end of the fiscal year, a very busy time for everyone.
At the seminar, Kitano first spoke on excavated makie objects of the modern period (17th – mid-19th centuries) on which there is severe deterioration. Then Mr. Takahashi explained the history of urushi objects using metals in Japan, China and the Korean Peninsula from the point of view of the history of urushi craft, and the methods of their manufacture. He also spoke on some points related to environmental conditions in museums. This was followed by a valuable presentation, from the point of view of a conservator, by Mr. Kitamura on the restoration and reproduction of urushi objects designated as national treasures and important cultural properties that he himself had been engaged in. He introduced details that only someone who has actually worked on these objects could know. Next, Mr. Naruse spoke about the results of analysis of metals used on urushi objects from the ancient to the medieval periods, focusing on urushi objects in the collection of Shosoin, as well as on the conditions of their deterioration. Finally, from the point of view of conservation science, Ms. Sano spoke on the relation between deterioration of metals and the conservation environment in museums and the use of wooden storage boxes. Since the presentations by the three invited speakers were based on actual work, they were very convincing and there were many questions from the participants.
A scene from the workshop
Participants in the workshop
With Dr. Nadia Lokma, Director of the Conservation Center for Grand Egyptian Museum
In cooperation with the Japan International Cooperation Agency (JICA), the Japan Center for International Cooperation in Conservation has been providing technical advice to the Conservation Center for Grand Egyptian Museum. Between 24 and 28 February, the Center organized a conservation workshop on paper in Cairo for Egyptian conservators. A senior paper conservator, Sakamoto Masami, delivered a series of lectures on various manufacturing techniques of paper, both European and Japanese, their physical and chemical properties and characteristics. Following theoretical lectures on conservation and materials, some practical/technical sessions were delivered for long-scale preservation and mount-making as well as further conservation implementations.
In Egypt, museums hold artifacts made of a wide range of extremely challenging materials, such as papyri and textiles. Since most of the participants at the workshop are experienced in the field of conservation as professional conservators, they made quite positive remarks concerning the workshop as a whole. It has become a very important key workshop in order to begin further cooperation with the Grand Egyptian Museum.
Fire-fighting headquarters (head: Director General Suzuki, deputy head: Deputy Director Miura, Director Nagai of the Department of Management)
Transporting a victim
Participants at the fire drill
Experience using a fire extinguisher
A fire drill was held at the Institute from 10:30 a.m. on January 25.
Fire was assumed to have started from the hot-water supply room on the third floor of the building. Many members of the Institute who were working on that day participated in carrying out initial extinction, giving alarm, evacuating from the building and providing first-aid, led by the self-fire brigade composed of the staff of the Institute.
At 10:30 a.m., the fire alarm installed in the Institute rang and an announcement was made asking everyone to evacuate. Immediately, the self-fire brigade and the person who first found the fire started the initial extinction (simulation) using fire extinguishers and notified the fire department at 119 (simulation). They also guided the members of the Institute to evacuate outside the building.
In the meantime, fire-fighting headquarters and a first-aid station were established. Members of the self-fire brigade evacuated a staff who had inhaled smoke and was not able to escape with the others. They also carried out cultural properties that were in the building (simulation).
After the fire drill, Director General Suzuki thanked everyone for participating and commented on the importance of Cultural Properties Fire Prevention Day. He also pointed out the necessity for raising awareness about fire prevention. In the drill for fighting fire with a fire extinguisher, after learning about the types of extinguishers and their use, members of the Institute discharged water while shouting “Fire!” The Institute holds a fire drill every year on January 26 as an event related to the Cultural Properties Fire Prevention Day.
Dr. Chen Fang-mei
View of Yinshan Temple at Danshuei (before 1991)
As part of the research project “Research on Materials for the Study of East Asian Art,” the Department of Research Programming has been studying the relationship between man and objects under the theme of “Dynamics of Interaction between Objects and People.” The aim of the study is to see how the connection among people plays a role in the value formation of objects such as works of art and cultural properties. On Tuesday, January 15, we invited Dr. Chen Fang-mei of the Graduate Institute of Art History of the National Taiwan University, who contributed to our Department’s periodical, Bijutsu Kenkyu (The Journal of Art Studies) volume 391, a paper on how ancient bronzes were appreciated in Sung dynasty China.
In her presentation entitled “The Issue of the Sacred Space Constructed at: Yinshan Temple at Danshuei and Ethnological Awareness: A Study of Art in the Social Context,” Dr. Chen spoke about how the thoughts of the Han people who immigrated to Taiwan from the end of the 18th to the beginning of the 19th centuries, especially that of the Hakka people from Tingzhou in western Fujian province, were given form. Although a minority group, these people erected Yinshan Temple at Danshuei in northern Taiwan. Dr. Chen confirmed that the arrangement and decorations of the temple complex are reminiscent of what existed in their place of origin, Tingzhou. The subject of the presentation was concerned with the history of pre-modern Taiwan, with which we are not so familiar, but the assertion of identity associated with migrating people was in line with the theme of our study and discussions on the question of self-expression of minority groups followed the presentation.
X-ray radiography of the upper torso of the Standing Figure of a Bodhisattva
As part of the research project of the Department of Research Programming, “Trans-Disciplinary Study of Art Materials and Techniques,” X-ray radiography was taken of a hollow dry lacquer Standing Figure of a Bodhisattva (height 77.1 cm; private collection in Tokyo) at the Institute on January 29 (Tuesday). As mentioned in the Monthly Report for September, this figure is believed to have been created at the beginning of the 9th century according to its style. Since the investigation carried out in June was limited to visual inspection of the surface, we were not able to clarify the structure or the method of manufacture employed for the figure. Thus X-ray radiography was executed this time to examine whether there is any structural member inside the statue that would be used to support it, how many layers of hemp cloth were used, and how much later additions and restorations had been made. As a result of this examination it was confirmed that there is no structural member inside to support the figure, that restoration had been limited to the surface and that there was not much damage extending to the inside of the figure. Furthermore, it was found that the clay had been removed by separating the figure into the front and back halves by cutting on a line that passes through the ears, while the normal method for making a hollow dry lacquer statue was to apply layers of hemp cloth to a clay mold and to remove the mold from rectangular windows cut at the back of the head and on the back of the torso so as to create the hollow space. It was also found that on this figure the arms had been made separately and attached at the shoulders after the front and back halves had been rejoined. Such method suggests that there was a new development in structure and technique of hollow dry lacquer toward the end of the manufacture of hollow dry lacquer statues. Further technical clarification in this aspect is expected.
The Training Course for Safeguarding Intangible Cultural Heritage, organized by the Agency for Cultural Affairs and the Asia/Pacific Cultural Centre for UNESCO (ACCU), was held from January 21 to 26. Administrative officials engaged in the safeguarding of intangible cultural heritage were invited from various Asian nations The National Research Institute for Cultural Properties, Tokyo took part in the project as a co-organizer from the time of its planning. Furthermore, Miyata of the Department of Intangible Cultural Heritage participated as a lecturer during the Course and gave two lectures: “Mechanism for Safeguarding and Inventory-Making of ICH in Japan” and “Introduction to ICH Activities by National Research Institute for Cultural Properties, Tokyo.”: There were many questions from the participants on not only the system of safeguarding intangible cultural heritage in Japan but also on the activities of the Institute, showing the increasing interest in these themes.
An IPM workshop was held jointly with the city of Kawasaki on January 31, 2008 at the Seminar Room of the Kawasaki City Museum Two lectures were given: on the fundamental concept of IPM and the methods for executing IPM Participants exchanged opinions on how difficult it is to prevent bees from invading outdoor museum complexes. They were also introduced to insects at various stages of life and handled materials and tools for preventing invasion of insects into museum buildings.
A scene from the conference
The Modern Cultural Properties Section of the Center for Conservation Science and Restoration Techniques held a conference on January 25 in the Seminar Hall of the Institute. Three lecturers were invited for the occasion: Dave Morris of the Fleet Air Arm Museum in England, Nagashima Hiroyuki of the Japan Aeronautic Association and Hirayama Sukenari of the Hirayama Ikuo Museum of Art.
Dave Morris presented us with a detailed explanation of the restoration of a Corsair aircraft that he undertook. His presentation introduced us to matters, including minute details that only someone who has actually worked on the restoration of the aircraft could provide. Nagashima spoke about the conservation of aircrafts, taking as an example the conservation of a Nakajima Type 91 Fighter exhibited at the Tokorozawa Aviation Museum. Hirayama used photographs and video image taken during restoration to speak about treatments provided in the restoration of Aichi Type Zero Reconnaissance Seaplane that was salvaged from the ocean at what is now Minamisatsuma city, Kagoshima prefecture, a restoration that was undertaken when he was working as a member of the restoration group at the Kanoya Air Base of Japan Maritime Self Defense Force.. As all three of the lecturers spoke from their own experience, their presentations were very convincing. There were many questions from the audience and the conference ended well past its schedule.
