| ■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 |
|
The 60th Autumn Conference of the Korean Society for Conservation Science for Cultural Heritage
A presentation by a participant
A delegation from the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) participated in the 60th Autumn Conference of the Korean Society for Conservation Science for Cultural Heritage, held on November 8-9, 2024, at the International Convention Center of Jeonbuk National University in Jeonju, Korea.
At this year’s conference, a joint presentation was made by representatives from Japan and Korea in a special session, “Disaster Prevention and Preventive Conservation of Cultural Heritage Against Climate Change.” In the session, presentations by representatives from Japan by Mr. KOZUMA Yosei, Director of Cultural Heritage Disaster Risk Management Center, TATEISHI Toru, the Museum of the Imperial Collections, Sannomaru Shozokan, and Ms. HAGA Ayae, Researcher of the Center for Conservation Science. In addition, in the poster session, Mr. CHIBA Tsuyoshi, Researcher of the Center for Conservation Science, reported on the preservation of aviation materials in Japan, comparing it with designated cultural properties in Korea and discussing the challenges of the Japanese system.
In this special session, after a discussion on how the country and the administration should respond to rescue cultural properties in the event of a disaster, reports were made on changes in the damage situation, for example damage caused by termite species, in response to actual temperature increases in individual regions. The Japanese representatives reported on the preservation of materials damaged in the Great East Japan Earthquake, and on an investigation into volatile components that can emanate from cultural properties resulting from the damage to the materials, and the impact on the materials.
Responding to disasters does not only involve predicting and preventing damage, but also sharing information on a wider range of countermeasures and broadening knowledge, which will enable flexible responses and create a system with high resilience against disasters. We hope to continue such joint exchanges between Japan and Korea in the future, so that we can work together to take steps toward better cultural property preservation.
The opening ceremony of the Scientific Symposium, featuring distinguished participants gathered on the stage
A view of the Historic Center of Ouro Preto (a UNESCO World Heritage Site inscribed in 1980)
A representative from the Institute attended the 2024 Annual General Assembly of the International Council on Monuments and Sites (ICOMOS AGA) and its Scientific Symposium, held from November 13 to 15, 2024, in Ouro Preto, Brazil. Founded in 1965 following the adoption of the 1964 International Charter on the Conservation and Restoration of Monuments and Sites (the Venice Charter), ICOMOS is an international, independent organization (NGO) composed of experts and academics dedicated to heritage conservation. With over 10,000 members worldwide, ICOMOS serves as an advisory body to UNESCO, renowned for their mission on evaluations of the condition of World Cultural Heritage sites.
This year’s Scientific Symposium, themed “Revisiting the Venice Charter: Critical Perspectives and Contemporary Challenges,” commemorated the 60th anniversary of the Venice Charter’s adoption. The event featured active discussions on the current state and prospects of heritage conservation, centered around four keynote speeches and four roundtable sessions. A key point of the discussions was the acknowledgment that the Venice Charter has become outdated in the 21st century, as heritage conservation increasingly intersects with pressing social issues such as climate change, migration, and inequality. As a result, the Ouro Preto Document was adopted as an outcome of the Symposium, with a strong recommendation for establishment of a new international charter to replace the Venice Charter.
The Tokyo National Research Institute for Cultural Properties will continue to gather and compile information on the safeguarding of cultural heritage overseas and attend international conferences like this in the future as well.
A field study on conservation and restoration
A presentations at an international symposiums
The Japan Center for International Cooperation in Cultural Heritage is conducting a joint research project on the conservation and restoration of mural paintings on the interior walls of St. Michael’s Church (Keşlik Monastery) in Cappadocia, Turkey, in cooperation with a local specialized institutions and universities. Last year, a research plan was prepared based on field surveys, and after deliberations by the Ministry of Culture and Tourism of the Republic of Turkey and an expert committee, the project was officially approved for implementation.
From October 25 to November 9, 2024, we visited the site and conducted on-site research in collaboration with the Nevşehir Conservation and Restoration Research Center. The research focused on strengthening the detached plaster layers and removing soot stains from the surface of the mural paintings, among other conservation and restoration methods. Effective approaches were identified for both, and based on these results, a conservation and restoration plan were developed. Additionally, on November 6, we participated in an international symposium on this project held at Cappadocia University, where we presented a report on the objectives and progress of the project.
This joint research project has grown into an international project led by the Tokyo National Research Institute for Cultural Properties, with participation from specialized institutions and universities in Turkey, as well as experts from Europe. It aims not only at academic research but also at activities that will be useful to many people involved in the conservation and utilization of cultural heritage.
Information leaflet (front)
Scene of the seminar
Since 2018, the Japan Center in Conservation has been hosting the World Heritage Seminar, which aims to transmit information and facilitate exchange of opinions about the world heritage system. In FY 2024 the seminar, titled as “The Soft Edges of World Heritage: Buffer Zone and Wider Setting,” focused on the periphery set up around the property to provide its adequate protection. There were 84 participants, mainly representatives from local governments all over the country at the meeting, held on November 25, 2024, at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
After the introduction provided by Mr. KANAI Ken, Head of the Resource and Systems Research Section of the Japan Center for International Cooperation in Conservation, who explained the purpose of the seminar, Mr. SUZUKI Chihei (Agency for Cultural Affairs) made a report under the title of “Trends on World Heritage,” on the discussions held and decisions made at the 46th World Heritage Committee meeting held in New Delhi in July, 2024. Then, Mr. MATSUDA Akira (University of Tokyo) and Mr. MATSUURA Kazunosuke, Associate Fellow of the Japan Center for International Cooperation in Conservation then each gave lectures, titled “The Spread of the Concept of Heritage on the Periphery of World Heritage Sites” and “The Buffer Zone and Wider Setting in Italy: Spread of Heritage Value Based on the Landscape Protection,” respectively. Next, Mr. SATO Yoshihiro (University of Iwate), Mr. KIDO Masayuki (Shiga Prefecture) and Mr. SHODA Michihiko (Fukuoka Prefecture) presented case reports titled, respectively, “The Buffer Zone and Wider Setting in Hiraizumi,” “The Buffer Zone and Wider Setting as Inscription of Hikone Castle on the World Heritage, List” and “The Notion of Wider Setting in HIA: from a Case Study of Munakata-Okinoshima and a Lecture of WHSMF.” Thereafter, all speakers discussed the desirable situation of Outstanding Universal Value, an institutional question in Japan to support the World heritage protection and the future of the World heritage system.
Through these lectures, case reports, and discussion, it was clarified that the wider setting introduced recently by UNESCO, though it is difficult to define, could be approached from both material and immaterial aspects, and recognized by a framework that combines protection and valorization. Moreover, we could reaffirm the huge difficulty in managing the periphery of World heritage sites under the current Japanese legislative system. TOBUNKEN will continue to conduct research on the international heritage protection system, including the theme that emerged from the seminar.
Koryū Sōka Kuden Hisho (held by the Tokyo National Research Institute for Cultural Properties)
Chinese books published during the Ming dynasty, known as Ming editions, were swiftly imported into Japan and profoundly influenced Japanese culture from the Muromachi period through the Edo period. A notable example is Ping Shi (『瓶史』), authored by Yuan Hongdao (袁宏道) in 1600, during the 28th year of the Wanli reign. Ping Shi was brought to Japan by at least 1629 (Kanei 6), and during the late Edo period it was enthusiastically embraced by the literati, leading to the establishment of numerous Sōka (Minimalist flower arrangement) schools. This influence is evident in the successive publications of ikebana-related texts from the 18th century onwards, such as Honchō Heishi Nageire Kishinonami (1750), Heika Anshū Fū Heiwa (1785), and Heishi Kokujikai (1809, 1810).
However, the details of Ping Shi’s reception in the earlier 17th century remain unclear. At the 6th seminar held by the Department of Art Research, Archives, and Information Systems on October 29, 2024, Ms. ONO Mayumi, Head of the Japanese and East Asian Art History Section of the Department of Art Research, Archives and Information Systems, presented her findings on the influence of Yuan Hongdao’s Ping Shi during the early Edo period. Her presentation, titled “The Reception of Yuan Hongdao’s Ping Shi in Early Edo Japan: Introducing FUJIMURA Yōken’s Kadōsho,” shed light on this underexplored history. Ms. ONO introduced a newly discovered kadōsho (flower arrangement manual), Koryū Sōka Kuden Hisho, which reveals that FUJIMURA Yōken (1613–1699) revered Yuan Hongdao. Yōken not only embraced the principles of Ping Shi, but also founded a distinct school of Sōka. A prominent tea master of the 17th century, Yōken served as the head of the Gofuku merchant house Jūniya in Kyoto and worked for the TŌDŌ family. He studied Chinese classics under MIYAKE Bōyō (1580–1649) and trained in tea ceremony under the Yabunouchi and Enshū schools before becoming a disciple of SEN Sōtan (1578–1658). Known for his excellence in Chinese poetry and his diverse tea practices, Yōken also demonstrated exceptional skill in flower arrangement. The session featured valuable commentary from Associate Professor YAMAMOTO Yoshitaka of the National Institute of Japanese Literature, who provided insights into Ping Shi.
Yuan Hongdao’s philosophy of flowers—emphasizing that placing a single branch in a vase is akin to immersing oneself in nature—resonated deeply with Edo-period sensibilities. The Seminar fostered discussions among experts from various fields about how this philosophy was received and evolved into different schools of ikebana during the Edo period. Building on these discussions and the textual analysis of Koryū Sōka Kuden Hisho, future research will continue to delve into the nuanced reception and development of Ping Shi within Japan’s ikebana traditions.
Orientation for ARLIS/NA Japan Study Tour (October 21)
Visit of related facilities (TOBUNKEN, October 21)
Discussion at the symposium “International Collaboration in Art Archives and Libraries” (October 22)
The Art Libraries of North America (ARLIS/NA), founded in 1972, is an organization of more than 1,000 librarians, visual archivists, curators, faculty, students, artists, and others specializing in art and architecture. ARLIS/NA conducted a study tour in Japan for the first time, with 16 members visiting Japan. As part of the tour, an international symposium entitled “International Collaboration in Art Archives and Libraries” was held on October 22, 2024, jointly hosted by ARLIS/NA and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
In the first part of the symposium, Mr. KOBAYASHI Yoshiyuki, Senior Librarian, Digital Information Department, National Diet Library, introduced “Japan Search: National Platform of Digital Archives,” and Mr. KIKKAWA Hideki, Head of Modern/Contemporary Art Section, Department of Art Research, Archives and Information Systems, introduced the modern and contemporary art archives held at TOBUNKEN. In Part II, “ARLIS/NA: Case Studies of Japan-related Collections,” Mr. Dan Lipcan of Peabody Essex Museum (read by Ms. YASUDA Seira of Boston Architectural College), Ms. Emily Matthews of the University of Illinois, Ms. Alexandra Austin of Pratt Institute, and Ms. Elizabeth Smart of Brigham Young University Library, and visual artist Ms. Angela Lorenz introduced Japan-related materials from their institutions and other content and activities closely related to Japan. The discussion was led by Ms. YAMANASHI Emiko, Director of the Chiba City Museum of Art and Visiting Researcher at TOBUNKEN, and was followed by a lively exchange of information among the 70 participants, including ARLIS/NA members and experts from Japan.
The study tour also included visits to related institutions, namely the University Library of the Tokyo University of the Arts, the Research and Information Center of the Tokyo National Museum, the Research Library of the National Museum of Western Art, the National Diet Library, the Art Library of the Museum of Contemporary Art Tokyo, the Aizu Museum, the Central Library and The Waseda International House of Literature (The Haruki Murakami Library) at Waseda University, tand he Art Library of National Museum of Modern Art, Tokyo. We are especially pleased to have visited the Art Library of the National Museum of Modern Art, Tokyo. We would like to take this opportunity to thank the persons in charge at each of these institutions for their hospitality. We hope that this symposium and the visits to related institutions will provide an opportunity for mutual exchange between ARLIS/NA members and professionals working with cultural properties in Japan.
Performance by Mr. ICHIRYUSAI Teikitsu
Talk show featuring Mr. ICHIRYUSAI Teikitsu (right) and Mr. IJIMA Mitsuru
On October 3, 2024, a symposium entitled “Tokyo National Research Institute for Cultural Properties’ Recording Project for Performing Arts (Kodan): In Memory of Master ICHIRYUSAI Teisui” was held in the seminar room of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
The Department of Intangible Cultural Heritage has been conducting projects to record performances of intangible cultural properties, mainly classical performing arts, selecting genres and repertoires that are rarely performed to the public. From 2002 to 2020, we have filmed and recorded 145 performances of kodan(storytelling) by ICHIRYUSAI Teisui (1939-2020), a holder of the Nationally Designated Important Intangible Cultural Property “Kodan” [individually certified].
The symposium began with an opening remark by Mr. ISHIMURA Tomo, director of the Department of Intangible Cultural Heritage, and then featured a lecture by Prof. IMAOKA Kentaro from the Musashino Art University, entitled “On the Establishment of the Kabuki Play ‘Kanjincho’ and its Relationship with Kodan.” There was also a screening a film of ‘Kimura Nagatonokami no Kannin Bukuro,’ an episode from “Nanba Senki,” performed by ICHIRYUSAI Teisui and recorded at the performing arts studio in the institute on May 26, 2015. Afterwards, Mr. ICHIRYUSAI Teikitsu, a disciple of ICHIRYUSAI Teisui, performed the play “Kanjincho,” followed by a talk show entitled “About Master ICHIRYUSAI Teisui,” featuring Mr. ICHIRYUSAI Teikitsu and Mr. IJIMA Mitsuru, a visiting researcher of TOBUNKEN.
These recordings of ICHIRYUSAI Teisui’s performances will soon be available to view (with a few exceptions) at the TOBUNKEN library. An announcement will be made on our website when these become available.
The Department of Intangible Cultural Heritage will continue to record classical performing arts that are rarely performed, and make them available to the public in an appropriate manner, in an effort to contribute to the preservation of intangible cultural properties.
Recording scene of ‘Manzairaku,’ the bugaku performance
Recording scene of ‘Ryo-oh,’ the bugaku performance
On 30 September and 1 October 2024, a series of experiments was conducted to simultaneously measure audiovisual data, physiological data (such as respiration), and motion capture data during multi-person performances of gagaku, Japanese court music, as part of the joint research project “Dance and Instrumental Performance: Embodied Communication in Gagaku Practice,” led by Dr. KAMATA Sayumi, Researcher of the Department of Intangible Cultural Heritage. The project involves collaboration with the University of Tokyo, J. F. Oberlin University, Kobe University, Riken, and Durham University, and is supported by a Mishima Kaiun Memorial Foundation 2024 Academic Research Grant.
Traditional performing arts often require performers in different roles to coordinate their expressions; however, this coordination is not merely mechanical. To explore how this is achieved from multiple perspectives, the experiment had two main objectives: (i) to record elements that cannot be captured by video or audio alone, such as breathing and fine movements; and (ii) to gather insights from the performers about their specific awareness and coordination during their instrumental or dance roles. With the cooperation of a total of 13 performers, two representative pieces, ‘Manzairaku’ and ‘Ryo-oh,’ were recorded in both the bugaku (with dance) and kangen (instrumental only) styles. These pieces were chosen for their significance in the gagaku repertoire and their contrasting performance styles.
The data collected, both quantitative (audiovisual, physiological, motion capture) and qualitative (interviews), will be analyzed in detail to understand the interaction between performers. Although the research is in its early stages, it is expected to contribute to the development of diverse methodologies for documenting and preserving traditional performing arts.
Investigation of flood damage in Barbar temple
Symposium on Al Faw Archaeological Area
The Japan Center for International Cooperation in Conservation sent a research team to Bahrain and Saudi Arabia to take part in investigation and discussion of the preservation of cultural heritage in early October.
A tripartite memorandum of agreement had been signed among the Bahrain Authority for Culture and Antiquities, the Tokyo National Research Institute for Cultural Properties, and the Institute for the Study of Ancient Civilizations and Cultural Resources at Kanazawa University. Together they launched a research center to promote archaeological studies in Bahrain and cultural heritage preservation projects in collaboration. The purpose of this visit was to investigate the current preservation conditions of cultural heritage that had been damaged by heavy rain in the beginning of this year. In Qalat al Bahrain, collapse of the outer walls of the fort by water damage and serious bending of the ceiling beams made from palm trees were recognized, and the site was temporarily closed to the public. Additionally, soil erosion was recognized in a well thought to be the most sacred part of the Barbar temple, and several stones were inclined or moved by the water flow. Effects on the cultural heritage due to increasing annual precipitation is becoming more serious year by year across the Middle East. We proposed to periodically monitor the progression of deterioration in comparison with the past situation, and discussed immediate countermeasures to reduce flood damage.
We attended a symposium held in Riyadh that focused on the Al Faw Archaeological Area in Saudi Arabia, which had just been newly inscribed on the UNESCO World Heritage List in September 2024, and then visited the archaeological site. Excavation has been completed only by a few percentages, as the Al Faw Archaeological site is large and complex, mainly composed of a pre-Islamic caravan city, and also includes an area of ritual practice and numerous mound tombs from the Bronze Age. We also had a meeting with the Heritage Committee of the government of Saudi Arabia, and agreed to continue discussions on a partnership to promote site management and research for a future public opening of the Al-Faw Archaeological Area.
Training in Photogrammetry
Peace Park Tour VR in the Hiroshima Peace Memorial Park
Experiencing AR content at the Ichijodani Asakura Family Site Museum
The Japan Center for International Cooperation in Conservation held a workshop and study tour, titled, “Workshop on 3D Digital Documentation of the Cultural Heritage and Its Application” and “Study Tour on the Utilization of AR, VR, and Digital Contents in Japanese Museums and Archaeological Sites,” in Japan on October 21-30, 2024 as a part of the Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage sponsored by the Agency of Cultural affairs. This is an advanced program following a basic technical workshop held in Bahrain in December 2023. Seven researchers who were invited from five different counties, Bahrain, Kuwait, Saudi Arabia, Oman, and Egypt, attended an advanced technical lecture and hands-on program, and received on-site training in flying unmanned aerial vehicles (UAVs) for wide-area surveys of archaeological sites and historical buildings. Furthermore, a study tour to find examples of usage of 3D digital documentation in Japan was conducted.
The aim of holding this invitational program in Japan is to provide opportunities to learn about various usage and applications in the areas of historical education, museum exhibitions, and open-site museums in addition to implementing 3D digital documentation in the fields of archaeology or historical buildings. The following examples were introduced: digital content, such as a digital chronicle of the Japanese fine arts produced by the Tokyo National Museum and National Center for the Promotion of Cultural Properties; a 3DDB Model Viewer, which is a twin digital project sponsored by the National Institute of Advanced Industrial Science and Technology; and the “Museum of the Street,” which is a unique program to provide touchable exhibitions reproduced from 3D digital data of real museum objects. Moreover, we visited and experienced the “Peace Park Tour VR” at Hiroshima Peace Memorial Park; Otsuka Ohmi Ceramic Co., Ltd., a factory producing replicas of cultural properties; and augmented reality (AR) and virtual reality (VR) contents merged with an on-site exhibition of archaeological remains and reconstructed streetscape in the Ichijodani Asakura Family Site Museum.
Since it was seen that each country has different main objectives to implement 3D digital documentation, more practical cooperation programs to respond to each need will be considered in the future.
Implementation of pack method using inorganic restorative materials
Before and after conservation and restoration
The Tokyo National Research Institute for Cultural Properties has been conducting research titled “International Research on Technology for the Conservation and Restoration of Cultural Heritage” since the fiscal year 2021. Last year, a research survey was conducted on the trowel paintings at the earthen storehouse of the former Kina-Saffron-Shu-Honpo in Nagaoka City, Niigata Prefecture. The research focused on removing contaminants such as dust, as well as identifying appropriate conservation and restoration methods for damaged areas, such as peeling and flaking, with the aim of establishing effective techniques. This research was commissioned by the government of Nagaoka City. Building on this, from 26 September to 16 October of this year, a follow-up study was conducted with the cooperation of European experts. The goal was to develop methods for reinforcing and restoring the colored layers and plaster layers, as well as techniques for retouching the decoration.
In the past, synthetic resin-based materials were used for the repair of damaged areas of these trowel paintings. However, due to the high temperature and humidity in summer and heavy snowfall during the winter, the materials had deteriorated significantly over time. At times, the restoration materials themselves contributed to the deterioration of the trowel paintings. To improve this situation, we considered introducing durable inorganic restoration materials. For the retouching, we adopted a coloring method that not only preserves the dignity of the mural, which will soon be 100 years old, but also harmonizes with the overall appearance of the entire trowel painting storage.
The conservation and restoration methods for the trowel paintings established through this series of research surveys mark the first such case in Japan from the perspective of cultural heritage preservation studies. While it will be necessary to evaluate the effectiveness of the results based on future monitoring, it can be said that a significant step forward has been made toward improving the current condition.
said that a significant step forward has been made toward improving the current condition.
Discussion by presenters
The watercolor painting Koropokkuru no Mura (“The Village of Koropokkur”) (1907, Tokyo National Museum) by OTA Tōu was created based on the latest findings of anthropology at the time. On September 6, a study session was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on this work, which was on display in a thematic exhibition, “A Centennial Memorial: Kuroda Seiki and the Pioneers of Modern Japanese Painting” (August 20 – October 20) at Tokyo National Museum. The panelists were Ms. YOSHIDA Akiko (a researcher of the Department of Art Research, Archives and Information Systems, in charge of the exhibition), KURATA Aiko (University of Tokyo), Mr. SHINAGAWA Yoshiya (Tokyo National Museum), and Ms. SASAKURA Irumi (Hokkaido Museum of Northern Peoples), who discussed the work in turn from the perspectives of art history, cultural resources studies, archaeology, and cultural anthropology.
Koropokkuru no Mura was painted as a depiction of the living conditions of “prehistoric people” set in Japan 3,000 years ago, as stated on the reverse side of the painting. It is known that OTA relied on the theories of anthropologist TSUBOI Shogoro, referred to archaeological artifacts and other materials available at the time, and carefully sketched the area around Omori Kaizuka (a shell mound) to prepare the painting. OTA intended to exhibit this work in the “Fine Arts” category of the Tokyo Industrial Exposition in 1907, but was denied entry in that category, and the work was exhibited as “Educational and Academic” material in the end.
In a respective presentation, Ms. YOSHIDA first introduced an overview of this work, and after analyzing the trend of award-winning paintings in the art category at the Tokyo Industrial Exposition, she inferred why Koropokkuru no Mura was not recognized as a work of art at the time. Next, Ms. KURATA, who discussed Koropokkuru no Mura in her recent book Gako no Kindai (“Professional Painters in the Modern Era”) (University of Tokyo Press, 2024), in Chapter 8, “‘Japanese Antiquity’ in the 40’s of the Meiji Era (1907-1912)” (pp. 309-331) discussed relationships between this painting and theories of TSUBOI Shogoro, and the position of the painting at the Tokyo Industrial Exposition. Next, Mr. SHINAGAWA analyzed the scene in the painting from an archaeological perspective, as a reproduction of an actual ancient site. He also introduced how the work was collected by the Tokyo National Museum. Next, Ms. SASAKURA pointed out that the tools, clothes, and dwellings depicted in the work have elements in common with those of the northern peoples, and pointed out possible sites and materials that OTA may have referred to through the work of TSUBOI. Finally, a discussion ensued with questions and comments from the audience.
This session was a new attempt to examine this painting, which has been marginalized between artworks and academic materials, from cross-disciplinary perspectives that received a great response from the audience. reports on the results by each presenter will be published in “The Bijutsu Kenkyu (The Journal of Art Studies)” in a future edition.
Examples of Gallery Yamaguchi Papers: Gallery Guide (山304), Print works by NOMIYAMA Gyoji (山185), OKAMOTO Atsuo / Jan van Munster (山043) Note) The figures in parentheses are call numbers.
Examples of Gallery Yamaguchi Papers: Architectural Sculpture Monument by TATEHATA Kakuzo (山147), Photographs of works by Hotel New Otani, Tama Art University, Riccar Building, and National Institute of Technology, Oita
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that a catalog of “Gallery Yamaguchi Papers” is now available on our website.
The Gallery Yamaguchi, a gallery specializing in contemporary art, was established in March 1980 on the third floor of the Yamato Building in Ginza 3-chome, between Matsuya Department Store and Showa Street, and was managed by YAMAGUCHI Mitsuyko (1943-2010). In an era known as the “rush to open art museums,” the gallery mainly presented solo exhibitions of young Japanese artists in their 30s and 40s who would lead the next generation of artists, mainly featuring large-scale abstract paintings and sculptures. It is also known as a gallery that has produced outdoor sculptures and environmental sculptures for plazas and parks on commission. In response to the growing scale of contemporary art works, in April 1991, the gallery moved into the SOKO Gallery premises, which opened in Shinkiba, Tokyo, as the “Gallery Yamaguchi SOKO.” In August 1995, these two galleries were consolidated and moved to the Kyobashi 3-chome Keiei Building. This became one of the most important galleries in this period, contributing greatly to the spread of contemporary art in Japan by holding exchange exhibitions with overseas galleries as part of its international exchange activities.
The Gallery Yamaguchi Papers cataloged here were donated to the Tokyo National Research Institute for Cultural Properties through the intermediary SASAKI Shigeo (1931-2024) when the gallery closed in 2010 following the passing of the gallery’s manager, and consists of some 570 files, with a total length of approximately 9 meters. Among them are files on artists containing documentation such as photographs and press releases, as well as gallery management documents, which may provide important facts that were not previously available to the media such as newspapers and magazines of the time.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to facilitate the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
• Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Archives (documents) information can be found at the bottom of this page. the Gallery Yamaguchi Papers are accessible in our library.
• Gallery Yamaguchi Papers
https://www.tobunken.go.jp/joho/japanese/library/pdf/archives_GalleryYamaguchi.pdf
SASAKI Shigeo (December 21, 2018, TOBUNKEN)
Part of the artist's files: UEMAE Chiyu
Part of the artist's files: ‘A（ア）’ line artist
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that the database “Materials Donated by SASAKI Shigeo’s Contemporary Art Document Center (Artists’ Files)” became available on our website on September 25, 2024.
SASAKI Shigeo (1931-2024) began collecting art works in the 1960s while working at a city bank, and also collected materials on contemporary art from the mid-war period onward. After his retirement, he opened the Contemporary Art Document Center in 1994 in a room of his house, where he provided museum curators and researchers with access to his collection of various materials to support their research and other activities. As an art collector, he visited galleries in Tokyo and had a network of gallery owners and other collectors. One of the characteristics of this collection is that it was actively collected with the archival function of the Contemporary Art Document Center.
In 1997, the Institute received approximately 450 cardboard boxes of materials from this group to supplement the collection of materials in the field of contemporary art, which it had not been able to fully collect until then. Since then, we had received regular deliveries of materials until 2018. We had published a “CD of the Catalogue of SASAKI Shigeo’s Contemporary Art Document Center” (2002) and a “CD of Gallery-related Data of the Catalogue of Materials Donated by SASAKI Shigeo’s Contemporary Art Document Center” (2006), and have provided other information to researchers as well. The release of this database reflects the latest state of organization and allows us to provide this information via our website for more convenient access.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to enable the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
◆Database “Materials donated by the Contemporary Art Resource Center led by SASAKI Shigeo (artist files)
https://www.tobunken.go.jp/materials/sasaki_artistfile
◆ Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Stucco decoration on the ruins
Survey scene at the archaeological site
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in a research survey on stucco decoration and clay statues under the research project “Technology for the Conservation and Restoration of Cultural Heritage” program.
As part of these activities, we visited the Roman ruins of Somma Vesuviana in Italy on September 6 and 7, 2024. This site, located on the north side of Mount Vesuvius, has been investigated since 2002 by an excavation team led by the University of Tokyo, which has so far discovered remains of buildings thought to have been founded around AD. As a result of various investigations, there is a strong possibility that these buildings were a villa of Augustus, the first emperor of the Roman Empire, as described in historical records.
During this visit, we focused on the stucco decorations that remain among the ruins, conducted preliminary research on the materials, techniques, and coloring used, and prepared a research plan. In this plan, we also mentioned the possibility of deepening our study on modern methods of conservation and restoration of the decorative gateway, where stucco decorations and wall paintings remain, with a view to preserving and utilizing the remains.
We will continue to deepen our understanding of the structure and characteristics of stucco decoration through comparative research on stucco decoration techniques and materials for archaeological sites of the Greek and Roman periods, and continue our research on their conservation and restoration methods and site management.
Visiting Nagoya Castle
Observing paper samples during a lecture on paper basics
The International Course on Conservation of Japanese Paper (JPC) 2024 took place from August 26 to September 13, 2024, co-organized by ICCROM and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), continuing a tradition we have upheld since 1992. Through this three-week course, participants engaged in a comprehensive study on the methods that have been used to preserve paper cultural properties in Japan. The primary goal of the JPC course is to encourage participants to incorporate Japanese conservation techniques into their conservation efforts worldwide, while understanding the techniques in Japanese contexts. This year, we invited ten specialists from Armenia, Canada, Germany, Italy, Malta, Mexico, The Netherlands, Switzerland, the UK, and the US, selected from 165 applicants across 60 countries.
This JPC course consisted of lectures, practical workshops, and a study tour. During the lectures, the participants explored the protection systems for cultural properties in Japan, the characteristics of Japanese paper, and the traditional tools and materials used in conservation, such as wheat starch paste and Japanese brushes.
For the practical sessions, technical masters from a group, whose techniques called “Restoration Techniques for Mounts” were officially selected as the Selected Conservation Techniques (National), join as lecturers. The participants gained hands-on experience in restoration processes by creating a kansu (handscroll).
The second week featured a study tour to the Chubu (central) and Kinki (southern-central) regions of Japan. Highlights included observing the use of byōbu (folding screens) and fusuma (sliding doors), in a traditional setting at Nagoya Castle. The tour also took the participants to Mino, where they witnessed the papermaking processes of Honminoshi, a technique designated as an Important Intangible Cultural Property of Japan. Additionally, the participants visited a traditional restoration studio in Kyoto that has been operating since the Edo period (1603-1867).
In the final week, the focus shifted back to practical work on the structure and handling of kakejiku (hanging scrolls), folding screens, and handscrolls.
In the post-course questionnaires, many participants expressed that they had gained a deeper understanding of the use of Japanese paper for conservation purposes. We hope that the techniques and knowledge acquired through this JPC course will be disseminated and adapted in the conservation and restoration of cultural properties overseas, and thereby contribute to their enhanced protection.
Displayed poster material
Panel set up at the venue
Mr. KATAKURA Shumpei had the opportunity to attend Digital Humanities 2024 (DH2024), held from August 6 to August 9, 2024, at George Mason University in the United States. DH2024 was the largest annual international conference in the field of Digital Humanities, a discipline that aims to achieve new discoveries by integrating computing and the humanities.
Since the 2022 fiscal year, Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in “The Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” as part of the Agency for Cultural Affairs’ “TAKUMI Project,” and the Department of Art Research, Archives and Information Systems is in charge of the “Archiving of Cultural Property Restoration Records” initiative. This project is of great importance, as it focuses on preserving crucial information about the restoration records of cultural properties in an appropriate form for future generations. Given the international significance of this endeavor, it is essential to communicate our presence and progress on a global stage.
In this context, Mr. KATAKURA, a guest researcher attended DH2024 and presented a poster titled “Constructing a Database of Cultural Property Restoration Records,” sharing the progress made in the archiving process up to the previous fiscal year. The content of his presentation was based on work by Mr. TARASHIMA Satoshi and Mr. KATAKURA Shumpei, “Creating a Database of Arts and Crafts Restoration Records” (Gekkan Bunkazai, Issue No. 722, 2023), which he encourages us to refer to for more details.
The audience was particularly interested in the types of records that have been kept during the restoration of cultural properties in Japan and how these records have been accumulated and preserved over time. Many expressed a strong desire to see the database currently under development. Although the database is not yet publicly available, Mr. KATAKURA assured them that it will be released in the future and encouraged them to stay tuned.
This project is entering a critical phase, and we will continue our efforts to disseminate information internationally. Mr. KATAKURA hopes you will continue to follow our progress with interest.
Installing displays in an exhibition room
Research meeting at TOBUNKEN
The year 2024 marks the 100th anniversary of the death of KURODA Seiki (1866-1924), a painter who bequeathed funds for the establishment of the Art Institute, the predecessor of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). To commemorate this, we held a special exhibition at the Tokyo National Museum. The exhibition consisted of KURODA’s works and modern paintings from the Tokyo National Museum’s collection, and introduced the process of “YŌGA: Western-style painting” gaining the status of “art” as “adventure.”
First of all, with KURODA Seiki’s masterpiece “Wisdom, Feeling, Emotion” (1899, Meiji 32), we introduced an attempt that originated from Western allegorical painting to depict abstract ideas using the human nude. In Japan, where the human nude was not depicted or viewed as an aesthetic object, nude painting was criticized as immoral, but KURODA questioned these concepts about nude paintings using human Japanese models in this painting. “Wisdom, Feeling, and Feeling” was introduced at the Paris World’s Fair in 1900 (Meiji 33) as “Etude de Femme” (Study of a Woman). It can be seen as an attempt to have a dual nature: to show the Japanese audience a method of expressing ideals through nudity, and to Western audiences the existence of nude paintings depicting Japanese people.
In this exhibition, we also exhibited works that show the boundaries of “art” at the time of their creation. ODA/OTA Tōu’s “The Village of Koropokkur” (1907, Meiji 40) was based on the theory of anthropologist TSUBOI Shōgorō that the “Koropokkur,” which appears in Ainu folklore as “people who live under the butterbur leaves,” are the indigenous people of Japan’s Stone Age. ODA/OTA wanted to exhibit this work as an artwork at the Tokyo Industrial Exposition in 1907 (Meiji 40). On the contrary, the judges of the art department were puzzled by the unprecedented expression and refused to judge the work, and in the end the work was exhibited as material for “education and curatorship.” At that time, the concept of “art” was still in its infancy, and it can be said that the treatment of “The Village of Koropokkur” revealed the differences in perception between the creator and the judges. Regarding this work, an interdisciplinary study meeting was held at TOBUNKEN on September 6, which included consideration from a cultural-historical perspective and an examination from the perspectives of archaeology and cultural anthropology.
At the end, the materials from the collection of TOBUNKEN were exhibited. Bijutsu Kenkyujo, the predecessor of TOBUNKEN, was founded in 1930 (Showa 5) by the legacy of KURODA Seiki. KURODA left a will in which a portion of his inheritance was to be used to promote art projects, but it was the art historian YASHIRO Yukio who embodied the contents. YASHIRO, who studied Renaissance art while studying in England and Italy, published the book “Sandro Botticelli” (Medici Society) in 1925 (Taisho 14), which was highly acclaimed as a presentation of fresh perspective. In particular, the viewpoint of recognizing the unique aesthetics of partial drawings brought a new perspective to the history of Western art at that time. The policy of collecting art photographs, which was emphasized by YASHIRO, has been continued in the current collection of materials of TOBUNKEN. In this exhibition, some materials, including “Sandro Botticelli” and a diary by KURODA Seiki, were exhibited from TOBUNKEN, and the significance of the institute as a base for art research was introduced.
A demonstration at the Symposium
Exhibitions
On August 9, 2024, a symposium entitled “‘Wisdom and Techniques’ Nurtured with Forests: For the Future of Intangible Cultural Heritage” was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
The recent difficulty in obtaining raw materials to support intangible arts and techniques for repairing tangible cultural properties has become a major problem. There are various reasons for this: the mountains are no longer cared for and thus suitable timber is no longer available, timber producers have withdrawn due to decreased demand, the distribution system has collapsed, etc. All of these factors are due to the fact that the relationship between people and Nature has changed.
The purpose of this symposium was to make the current situation widely known and to build a network for thinking together about how to solve these problems. In the first part of the symposium, five people were invited to demonstrate various techniques using natural materials. Ms. ARAI Eriko demonstrated making a “Ohara basket” from Itaya maple and Mountain maple, Ms. NOBUHARA Yuki wove a “Omogishi-mi (winnowing basket)” from the bark of Bakkoyanagi (Salix caprea) and the core of Sarunashi (Actinidia arguta), Ms. NAKAMURA Hitomi made “Hichiriki reeds” from Yoshi (reed), Mr. KOJIMA Shusuke made a “Kiri box” of Paulownia, and Mr. SEKITA Tetsuya carved a “Kezurikake,” a ritual tool, from wood from the Satoyama landscape; and all of these presenters freely interacted with the participants while providing information and explanations. The second part of the event was followed by a lecture by Dr. MAKITA Akifumi, Vice President of Akita Prefectural University, on “Nature as a Foundation of Culture,” and reports provided by three staff members of TOBUNKEN.
As mentioned earlier, a major factor behind the shortage of raw materials is the changing relationship between people and Nature. This is directly linked to changes in society as a whole, and it is not a problem that can be solved overnight. However, this is precisely why it is important to make society at large aware of this current situation, and to encourage people from various regions and standpoints to think about this issue and take action. The Department of Intangible Cultural Heritage will continue to conduct related research and networking activities to contribute to the resolution of this issue.
A full report on the symposium will be published soon, and a PDF version will be available on the website of the Department of Intangible Cultural Heritage.
West entrance of the Central Tower before and after restoration (3D model created by Photogrammetry)
Stone conservation
Located in the northeastern area of the Angkor Monuments, one of the World Heritage Sites in Cambodia, Ta Nei is a Buddhist temple thought to have been built in the late 12th to early 13th century. Its Central Tower, about 15 meters high, is partly collapsed, but still has pediments with carved Buddhist motifs on all sides and a pedestal inside on which the main Buddha image is thought to have been placed.
The entrance frames on each side are made of sandstone, but the upper frames on both the east and west sides are broken and deformed, and they had been supported by wooden supports. During this visit, we carried out partial restoration work on the entrance components to structurally stabilize the east-west entrance of the Central Tower and to remove the wooden supports so that visitors can safely walk along the central axis of the temple while viewing the temple as its original appearance.
Prior to the restoration work, the restoration plan was proposed and approved at the international meeting of ICC-Angkor/Sambor Prei Kuk in March 2024 (see previous article here). Subsequently, the work began in June under the leadership of the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA). As part of its technical cooperation for this restoration project, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) dispatched two staff members (XVI field survey) from June 15 to July 2, 2024, and one staff member (XVII field survey) from August 7 to 11, 2024, for collaborative work with the APSARA staff. Specifically, the following procedures were followed: (1) dismantling and recording the sand stones composing the entrance and scattered stones in the surrounding area, (2) partial dismantling of the doorframes, (3) stone restoration, (4) reassembling, and (5) recording after restoration, which was successfully completed when the staff was dispatched in August.
