| ■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 |
|
Preparation for the live recording.
Live recording being filmed (from left: MIYAZONO Senyoshie, MIYAZONO Senroku, MIYAZONO Senkazuya, and MIYAZONO Senkoju).
On October 31, 2023, the Department of Intangible Cultural Heritage conducted the ninth recording of Miyazono-bushi at the Performing Arts Studio of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
Miyazono-bushi, one of the Important Intangible Cultural Properties of Japan, originated in the Kamigata (Kyoto-Osaka) area in the mid-Edo period and has since been handed down mainly in the Edo area. Today, Miyazono-bushi is collectively referred to as ‘kokyoku’ (lit. old music) along with other voice genres Icchū-bushi, Katō-bushi, and Ogie-bushi, and there are not many opportunities to hear it performed. The department has continued our attempts to record the live performances of Miyazono-bushi since 2018, archiving the target pieces in their entirety, without omission.
For this recording, two of the ten pieces in the Miyazono-bushi repertoire classified as ‘modern pieces’ were selected: “Sonoo no Haru” (Garden Spring) and “Wankyū.” The former was composed in 1888 to commemorate the official recognition of the Miyazono-bushi genre by the Meiji Government in 1884 and includes flamboyant kaede (another melody played in coordination with the basic melody) in the shamisen part, which is unusual for Miyazono-bushi compositions. The latter is a more recent work, composed in 1949. It tells the tragic love story between Wanya Kyūbē (also known as ‘Wankyū’), a wealthy merchant in the Osaka Shinmachi area, and Matsuyama, a courtesan in Shinmachi, and depicts a scene in which Wankyū falls into insanity. The roles were performed by MIYAZONO Senroku (lead jōruri voice performer: an individual certified as a Holder of Important Intangible Cultural Property or what is called a “Living National Treasure”), MIYAZONO Senyoshie (supporting jōruri voice performer), MIYAZONO Senkazuya (lead shamisen player: an individual certified as a Holder of Important Intangible Cultural Property, commonly called a “Living National Treasure”), and MIYAZONO Senkoju (supporting shamisen player).
The Department of Intangible Cultural Heritage will continue to make live recordings of classical and rarely performed modern pieces of Miyazono-bushi.
IRUG group photo
A practical research workshop
The 15th International Conference of the Infrared and Raman Users Group (IRUG) was held for the first time in Asia, at the Tokyo National Research Institute for Cultural Properties (“Tobunken”) from September 26 to 29, 2023, in collaboration with the Conservation Science Laboratory of Tokyo University of the Arts (“Geidai”).
IRUG is establishing a forum for the exchange of infrared and Raman spectroscopic information and reference spectra for the study of the world’s cultural heritage. Both FT-IR and Raman spectroscopic analytical methods are very effective for determining material information when surveying cultural properties. In recent years, the investigation of cultural properties using these analytical methods has progressed, and many results have been reported.
There were 51 oral and poster presentations at the international conference. The keynote talk, covering aspects of the theory and challenges of reflectance-mode infrared spectroscopy, was given by Dr. James A. de Haseth, Professor Emeritus of Chemistry at the University of Georgia (USA). A featured workshop covering reflectance infrared spectroscopic techniques, with focus on data acquisition, processing, and interpretation, was led by Dr. Marcello Picollo (Senior Researcher at IFAC-CNR) and aided by Dr. Suzan de Groot (RCE, The Netherlands), Prof. Manfred Schreiner (Akademie der Bildenden Künste, Austria), with sponsorship and other aid from Thermo Fisher Scientific Corporation, and Bruker Corporation.
Throughout the conference, active discussions were held on methods of analysis and conservation of cultural property materials. The Center for Conservation Science will continue to observe international trends as it works to advance our research projects.
With participants after the opening ceremony
The Center for Conservation Science regularly holds workshops inviting leading experts from outside of Japan, having started with Workshop on Restoration Treatments for Cultural Property – Cleaning with Gels and Emulsions in 2019.
In FY 2023, with the invited guest Mr. Chris Stavroudis, American instructor, painting conservation expert, we cohosted a workshop with the National Center for Art Research on October 25 to 27, 2023, called “The Modular Cleaning Program Workshop.” In this program, the elements necessary for cultural property cleaning are determined using a unique system. This program is now widely used in the Western countries because of its good usability. This workshop was the first of its kind that he has lead in Asia, and attracted many participants.
The workshop details are now available on the website of the National Center for Art Research: https://ncar.artmuseums.go.jp/en/reports/collections/conservation/post2023-543.html
A sample of an ACR label prepared by the Ministry of Culture for distribution (France)
Auditorium Parco della Musica, designed by Renzo Piano, considered a contemporary architectural work of "cultural properties in progress" (Italy)
Erik Christian Sørensen's own home, being preserved, renovated, and operated as a rental property (Denmark)
The Japan Center for International Cooperation in Conservation (JCICC) is currently undertaking a research project overseas, specifically concentrating on innovative approaches to conserving modern architectural heritage. This project is part of the “Overseas Case Study on the Protection and Transmission of Contemporary Architecture,” commissioned by the Agency for Cultural Affairs. After conducting a field survey in Taiwan in September, we extended our research to include field surveys in France, Italy, and Denmark from October 3 to 13.
Over the past three decades in Europe, the recognition of modern and contemporary architecture as a valuable social asset has gained widespread acceptance. This was notably encouraged by the Council of Europe in 1991, which recommended that member countries adopt specific strategies to safeguard 20th-century architecture. Furthermore, the guideline on “architectural culture (baukultur)” for social development was emphasized during the meeting of European ministers responsible for culture at the 2018 World Economic Forum in Davos. Amidst these social trends, in 2017 a new law was implemented in France called the “Law on Freedom of Creation, Architecture and Heritage” (LCAP Law). This legislation incorporates the “Remarkable Contemporary Architecture” (ACR) labeling system, designed to promote the conservation and appreciation of modern architecture. In Italy, the Directorate General for Contemporary Art and Contemporary Architecture within the Ministry of Cultural Property and Cultural Activity (which is now the Directorate General for Contemporary Creativity within the Ministry of Culture) was established in 2001. Since its inception, the Directorate has consistently undertaken surveys aimed at identifying contemporary architecture with significant artistic value across the entire territory. In Denmark, while there are no specific administrative initiatives dedicated to conserving modern architectural heritage, a private philanthropic organization called “Realdania” has taken on this responsibility. Established in 2000 as an extension of a real estate financing business, Realdania is actively pursuing initiatives to safeguard Danish architectural heritage through investments. Their efforts also focus on the preservation and development of modern Nordic design masterpieces created by Danish architects.
During this survey, we conducted visits to the French Ministry of Culture, the Italian Ministry of Culture, and Realdania, engaging in interviews to gain insights into their activities, challenges, and outlook regarding the conservation of modern architecture. The purpose was also to verify the status of the targeted modern architecture on-site. While significant efforts have been made to conserve modern architecture, it remains challenging to assert that modern architecture has fully garnered recognition and status as cultural heritage in each country. It was confirmed that these organizations are seeking new forms of conservation suitable for modern architecture through continuous dialogues with diverse stakeholders and the implementation of experimental trials of conservation and sustainable development.
The results of this survey, along with the results from our field survey in Taiwan and a bibliographic study into the relevant legal systems in each country or region, will be consolidated into a final survey report in November 2023. This report will be open to public via the Institute’s online repository.
Visit to Ichijodani Archaeological Site, Fukui Prefecture
The Tokyo National Research Institute for Cultural Properties has been involved with cooperative projects to preserve the cultural heritage in Bahrain for many years. Recently, Dr. Salman Almahari, Director of Antiquities and Museums in Bahrain, and colleagues requested to study the utilization of AR, VR, and digital contents in Japanese museums and archaeological sites, because they plan to introduce them in Bahraini museums and historical sites. Therefore, Dr. Salman Almahari and Dr. Melanie Muenzner, who is in charge of the UNESCO World Heritage Inscription in Bahrain, were invited to Japan from October 10 to 15, 2023 and a study tour was arranged.
During their stay in Japan, Japanese specialists delivered lectures on several topics, including basics of 3D documentation of cultural heritage, the utilization of AR for tourism promotion in Japan, among others. The Bahraini specialists also visited the Tokyo National Museum, Ichijodani Archaeological Site, Nara National Research Institute for Cultural Properties, NHK and NHK Enterprises to study the latest examples of AR, VR, and digital contents such as ultra-high definition 3DCG.
The study tour was funded by the Agency for Cultural Affairs, Japan. As a part of the same project, we also plan to organize a workshop, “3D Digital Documentation of Cultural Heritage and Its Applications,” for Bahraini experts to take place in December 2023.
The historic house under investigation in the medieval settlement of Kirtipur
Almost 8 years have passed since the Gorkha earthquake in 2015 that caused devasting damage in Kathmandu valley. Many historic buildings are undergoing reconstruction, including those with “Kathmandu Valley World Heritage Site” status. While the rehabilitation of these recognized heritage sites is being carried out with public attention, the historic buildings that are not legally protected, especially privately owned properties, are decreasing in number due to reconstruction or demolition without any recognition of their heritage value.
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been working to support the establishment of a network for conservation of historic settlements of Kathmandu valley, in collaboration with experts and governmental officers in Nepal, since just after the Gorkha earthquake and continuously during the pandemic. This series of dialogues led us to launch a new project for the conservation of a damaged historic house in Kirtipur as a cooperative project between Kirtipur municipality and TOBUNKEN.
Built in traditional Newar style, the target house, a historical landmark of the town, is located within the area of the World heritage tentative listing, “Medieval settlement of Kirtipur.” Although the building is currently being used for residential purpose, it is said that it used to be a part of the former royal palace complex of Kirtipur in old times. A square with a historic pond surrounded by this house and a nearby medieval temple together comprise one of the symbolic historical landmarks of the old town of Kirtipur.
In the first joint survey, conducted from October 11 to 16, 2023 with the aim of collecting basic information on the building, the project team carried out a measurement survey, investigation on the transition of the building, and interview surveys with residents on the ownership relationship, lifestyle of residents, family history, and intentions for future utilization of the building. Further discussions will be held with related stakeholders regarding the possibilities of the future utilization of the house and issues to be solved to enable its realization.
Many countries, including Japan, share common challenges on the conservation of historic buildings that are not legally protected. Through this project, together with Nepalese experts, we will exchange knowledge through dialogue with the aim of establishing a process for conservation and utilization of historic buildings that would be compatible with the Nepalese cultural context.
Exterior of Palazzo delle Esposizioni, where the Roman Exhibition was held.
Exhibited Japanese-style paintings at tokonoma set in the gallery.
An Exhibition of Japanese Art held in Rome, Italy in 1930 (called the “Rome Exhibition”) can be called a “legacy,” as it influenced the following generations, while at present, exhibitions that introduce Japanese art and culture are more commonly held outside of Japan. This Rome Exhibition, held with full financial backing by Baron OKURA Kishichiro, the second president of Okura Zaibatsu (Okura conglomerate), is highly recognized by its size and uniqueness. It exhibited as many as 168 modern Japanese-style paintings, and had 16 tokonoma of various sizes, recessed spaces in Japanese-style reception rooms to show paintings in an original Japanese manner.
At a seminar on this Rome Exhibition, held by the Department of Art Research, Archives and Information Systems on September 22, 2023, three researchers made presentations of the outcome of their research, which was conducted under grant by the Pola Art Foundation. Ms. TANAKA Sachiko of the Okura Museum of Art talked about Four Aspects of the Holding the Exhibition of Japanese Art in Rome in 1930, with details about the process of how the decision to hold the Rome Exhibition was made, and the involvement of the Italian contributors. Mr. YOSHII Daimon of the Yokohama History Museum presented Materials Related to the Exhibition of Japanese Art in Rome, owned by Okura Museum of Art, providing an overview of various materials, including minutes and reporting letters, held by the Okura Museum of Art. Mr. SHINOHARA, Satoshi Shinohara, of the Teaching Qualification Center and the Matsumae Commemoration Hall of Tokai University presented Japanese-style Painting Syndrome: Mainly on the works of KABURAGI Kiyokata’s Works discussing how the painters set their strategy to reach outside of Japan based on trend analysis of the painters whose works were exhibited, especially the works of KABURAGI Kiyokata.
Because of its importance, much previous research has focused on this exhibition. The research presented in this seminar demonstrated great progress in the aspect of the discovery of related materials owned by the Okura Museum of Art. We expect further utilization of these precious materials related to the holding of the Roman Exhibition.
Mr. KAWAI Masatomo (center, left) and Director General SAITO Takamasa (center, right)
Examples of the donated materials
Mr. MATSUSHIMA Ken (1944~1998) was the head of the Department of Art Research, Archives and Information Systems of Tokyo National Research Institute for Cultural Properties (TOBUNKEN), known at the time as the “National Research Institute for Cultural Properties, Tokyo.” Materials related to his work were donated to TOBUNKEN by his brother-in-law, Mr. KAWAI Masatomo., and we have begun to make some of the materials available to the public. Mr. MATSUSHIMA had worked for a long time in the cultural properties administration at the Agency for Cultural Affairs, and has been a lifelong researcher of Japanese Buddhist sculpture. The donated materials, including research documents, photographs, and restoration records of Buddhist sculptures throughout Japan, are extremely valuable. We have been in possession of some of the materials since 2015, and since then have made some progress in organizing them; finally, all of the materials were officially donated in September 2023. In response to the donation, Mr. SAITO Takamasa, Director General of TOBUNKEN, presented a letter of gratitude to Mr. KAWAI on 2 October 2023. We have posted a list of the materials on our website as “Materials of MATSUSHIMA Ken” (https://www.tobunken.go.jp/materials/matsushima) and the materials are also available in our library. We will continue to add data as needed. Please make use of this valuable resource.
Prof. Yi Ki Sung, viewing the collection of books at the library of TOBUNKEN.
On September 1, 2023, a group of researchers and graduate students from Korea, including Professor Yi Ki Sung from the Korea National University of Cultural Heritage, Department of Archaeology, visited the library of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). The group came to Japan for a research presentation at the Korea-Japan Cultural Properties Forum, held at Waseda University on August 31, and TOBUNKEN was selected as a destination to visit during their stay in Japan.
The library tour was followed by an explanation of the history of TOBUNKEN and the structure of its library collection provided by the staff. The institute’s collection of books, accumulated since 1930, contains valuable materials on Korean art history and archaeology, which attracted the group’s full attention.
One of the tasks of the Archives Section* is to provide information on cultural properties to professionals and students and to create an environment in which materials can be effectively used, including visitors from overseas. We hope that the priceless materials of our institute, which are highly valued worldwide, will be widely utilized and contribute to the research and development of our cultural assets, a common heritage of humankind.
*The Archives Section provides guidance sessions as occasion demands for undergraduate and graduate students, as well as museum staff. If you would like to participate in a session, please submit a request with reference to “TOBUNKEN Library Guidance for undergraduate/graduate students and museum staff.” : https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html (Japanese only)
Tapping lacquer in South Korea
A Daegeum in which red lacquer was applied to the inside
With the cooperation of the National Intangible Heritage Center in the Republic of Korea, the Department of Intangible Cultural Heritage and the Center for Conservation Science of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) jointly investigated the current situation regarding procurement of bamboo materials and urushi lacquer used to adjust the inner diameter of Japanese traditional wind instruments, and the succession of related techniques that developed in the Republic of Korea, where bamboo is used for their traditional wind instruments as in Japan.
In this investigation, we learned that bamboo logging associated with the development of residential and commercial lands is popular in Korea. Therefore, the general bamboo materials are in plentiful supply. On the other hand, the supply of some special bamboo materials such as ssanggoljuk (double-groove bamboo) used for daegeum, a traditional Korean bamboo flute, is unstable. Therefore, the Research Institute for Musical Instruments of the National Gugak Center developed a new material made by flatting bamboo to thin plates and bonding them under pressure, obtained a patent, and made this technique public. However, this new material is not yet widespread among instrument manufacturers or daegeum players. We understand the challenges involved.
Regarding urushi lacquer, we were impressed that the workers involved are well-protected to increase domestic production and demand for urushi lacquer liquids to change the current situation that many lacquer liquids are imported from China. We understand that the challenges related to the tools and materials used to restore the urushi lacquer products are not as severe in Korea as in Japan. For example, people we interviewed said that in Korea there are more than ten shops that process and sell mother-of-pearl shells, which are especially used for decoration.
In Korea, it is not popular to apply lacquer to wind instruments at present. However, red lacquer was applied inside of daegeum in the past. Even now, red lacquer is sometimes applied for decoration. We wonder about the original reason why the red lacquer was applied in the past.
In Japan, multiple lacquer layers of urushi lacquer are applied inside of the wind instruments to adjust their inner size. In Korea, the inner size is adjusted by shaving the inside of the bamboo, which has thicker and denser walls. These very different techniques provide an interesting contrast.
We will continue our investigation to find solutions to the challenges by comparing the challenges in Japan to secure the raw materials and success of the conservation techniques implemented in other countries that use the common raw materials, and by understanding the characteristics of each technique.
Lecture on funding（Photo by Almicheal Fraay）
A presentation by a participant
Participants, teachers, and coordinators at a certification ceremony held after the training（Photo by Almicheal Fraay）
Mr. CHIBA Tsuyoshi, Researcher of the Center for Conservation Science, participated in the “Leadership Course for Cultural Heritage Stewards in Challenging Circumstances” held in The Hague, the Netherlands, from September 24 to 29, 2023.
This training course was organized by Cultural Emergency Response (https://www.culturalemergency.org) and the Smithsonian Cultural Rescue Initiative (https://culturalrescue.si.edu). It has been held annually since 2018, and this was the fifth session. This year there were 14 participants including Mr. CHIBA, who was the first from Japan. Among the others, there were two from Ukraine, and one each from Afghanistan, Barbados, Cameroon, Georgia, Lesotho, Namibia, Nigeria, Peru, Turkey, USA, and Vietnam.
The training had two main aspects: “planning and proposal” and “team planning and management,” with lectures given by experts in each field. In the planning and proposal training, participants developed plans and project proposals related to the protection of cultural heritage in challenging circumstances, and effective short presentations to persuade external organizations to provide funding and support. On the final day of the training, the participants presented their projects to an audience of four representatives of the actual funding agencies, who answered their questions, offered suggestions for improvement, and critiqued them. The training in team planning and management included analyzing the “strengths” of team members and developing ideas that complement each other, leadership skills for effective team management, and attitudes for maintaining healthy mental health.
In Japan, it seems that there has not been much interest in funding related to the protection of cultural properties, and there have been few training programs regarding this subject. However, as the situation surrounding cultural properties changes in various ways, we believe that this type of training will become increasingly important for the future protection of cultural properties and disaster prevention of cultural properties. We plan to share the contents of this training course widely in the near future.
Huashan 1914 Creative Park: Shown are a historic red brick building of a former camphor factory, revitalized from ruins (registered historical buildings), and the teahouse of Dr. FUJIMORI Terunobu, a leading historian of modern Japanese architecture and an architect acknowledged for his shift from traditional techniques.
Songshan Creative Park: Creating a space for a rental artwork/performance studio that captures the ambiance of a historic tobacco manufacturing factory (municipal designated historical sites).
The Japan Center for International Cooperation in Conservation (JCICC) is currently undertaking a research project abroad that focuses on advanced initiatives in the conservation of modern architectural heritage. This project, titled “Overseas Case Study on the Protection and Transmission of Contemporary Architecture,” is commissioned by the Agency for Cultural Affairs. From September 18 to 22, we conducted a field survey in Taiwan as a part of this project.
In Taiwan, the 2000 Act on the Promotion of Private Sector Involvement in Public Construction, and the 2002 National Development Priority Plan, which included the promotion of creative industries, led to the proactive conservation and transformation of architectural and industrial heritage with the introduction of private sector vitality from the 2000s to the 2010s. In this survey, we visited two of the “Cultural and Creative Industrial Parks” (hereafter referred to as “Creative Parks”) in Taipei City led by the Ministry of Culture (until 2011, the Cultural Development Commission) and interviewed their management bodies about the current status, challenges, and prospects for the management of heritage buildings as business facilities.
The Huashan 1914 Creative Park utilizes the facilities of a former government-run liquor factory established in 1914, while the Songshan Creative Park makes use of facilities from a former government-run tobacco factory established in 1937. The Huashan park is managed by the Taiwan Cultural-Creative Company Limited, funded by several private companies, while the Songshan park is operated by the Taipei Cultural Foundation, umbrellaed under the City of Taipei. Despite having distinct organizational structures and operational policies, both parks are financially independent and share a common goal of enhancing public awareness of the Creative Park as a unique destination. This objective helps the parks maintain their operational stability and generate profits. However, an issue arises from the fact that only the utilization aspect of architectural conservation has been entrusted to private-sector entities, leading to various misunderstandings between their approach and the administration responsible for preservation of the architectural heritage.
We also visited the Bureau of Cultural Heritage (BOCH) of the Ministry of Culture to conduct interviews on topics including the evaluation of the Creative Park project. The BOCH has analyzed the reasons why Creative Parks have not progressed as originally planned, as stumbling blocks have arisen such as the fact that preservation is the responsibility of the government while utilization is the domain of the private sector, and the project has already started to change course. Since 2017, a ‘Reconsolidation of Historical Time and Space’ plan has been underway, which links the comprehensive management and utilization of cultural heritage linked to the land and people’s memories to policies for developing social infrastructure.
The JCICC will continue to conduct field surveys in Europe with the cooperation of relevant organizations and experts in the target countries and compile the results into a final research report, together with the results of bibliographic study into the relevant legal systems in each country or region.
Checking the captured CT images.
Setting up to scan the koto, which is over 170 cm in length, was a challenge.
The Department of Intangible Cultural Heritage conducts research not only on the traditional performing arts themselves, but also on their ‘tools’ – musical instruments. The department has now started a joint survey of the structure of a koto (in a private collection), which is thought to have been made between the late Edo period and the Taisho period, in collaboration with two organisations: the Society for the Conservation of Traditional Japanese Musical Instrument Making Skills, which is a conservation group for the Selected Conservation Techniques of the making of the koto and the fashioning of the shamisen neck and body, and Kyushu National Museum, which belongs to the National Institutes for Cultural Heritage, in common with us. This effort is an attempt to synthesise the knowledge and perspectives that have connected performers and audiences through instrument-making skills, the techniques and perspectives of museology for non-destructive investigation of the interior of cultural properties, and the perspectives of instrumentology and musicology on intangible cultural properties to clarify the structure of the koto from multiple perspectives.
On August 29, a CT examination of the koto was conducted at the Kyushu National Museum, and while checking the images immediately after the scan, several discoveries unique to this collaboration were made. For example, opinions were exchanged on a newly discovered notch on the inner bottom surface of the koto: the notch appears to have been accidentally caused by the entry of a saw blade once used in the instrument-making process and to have been partially filled in with other wood to compensate for this.
This research has only just begun, but by gathering opinions from people with various perspectives, it is hoped that new aspects will emerge, such as the techniques used in the instrument-making process, the intentions of the makers, and the structure of the koto as the culmination of this work. In the future, we intend to examine the CT images obtained in detail, scrutinise the origin of this koto, and compare it with other kotos owned by other institutions that may have been made by the same maker, to clarify the characteristics of its structure and production techniques.
The participants just after the opening session
A lecture in progress
The Center for Conservation Science conducts scientific research on the conservation and restoration of cultural properties. Since FY 2021, based on our research, we have held annual workshops on basic science for conservators who have diverse experience in the restoration of cultural properties and museum curation and archiving.
In 2023, the workshop was held for three days, from August 22 to 24. We provided lectures and practical sessions on basic scientific knowledge essential for conservation and restoration, including basic chemistry, science of adhesion and adhesives, chemistry of paper, pest damage control, and usage and disposal of chemical agents. Researchers of the Tokyo National Research Institute for Cultural Properties delivered lectures based on their expertise.
We received 32 applications from across Japan for 15 workshop seats. Though it is unfortunate that we could not accept all, as the workshop included practical sessions, we invited 21 applicants among them. In responding to feedback received from the previous year, we tried to plan more practical contents for 2023. Participants expressed their appreciation for this workshop through the questionnaires provided. We received specific requests for disseminating scientific information used in actual conservation and restoration cases. We intend to continue this workshop series to meet these expectations.
Panel talk on the conservation of the Tutankhamun collections
Speakers in this symposium
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) was entrusted with an opening support project for the Grand Egyptian Museum by JICA from 2008 to 2016, and conducted seminars on capacity development and technical instruction for the conservation of museum collections.
In this context, we organized a symposium titled “Grand Egyptian Museum Now: Preserving the Treasures of the Pharaohs 2023,” which aimed to widely release the opening support projects conducted by the Japanese mission, including our entrusted project, ahead of Museum opening. This symposium was co-organized by the Grand Egyptian Museum and JICA on August 6, 2023 at the Heiseikan Auditorium in Tokyo National Museum. We invited both Mr. Atef Moftah, the general supervisor of Grand Egyptian Museum Project and Surrounding Area, and Mr. Eissa Zidan, the general manager of the first aid conservation and transportation of the artifacts, to this symposium.
The Grand Egyptian Museum, which is located next to the Great Pyramids area, is attracting attention before its opening as the largest museum in the world exhibiting collections from a single civilization. In the symposium, Mr. Moftah gave the keynote lecture and introduced the whole museum and the Tutankhamun collection room. Following that, Prof. YOSHIMURA Sakuji, the president of Higashi Nippon International University, and Mr. Zidan both made presentations on the latest outcomes on the second boat of Khufu, which the Japanese mission is currently restoring for display in the annex building. Additionally, the researchers responsible for the conservation of Tutankhamun’s objects presented their results, and a panel discussion was held on the theme of expectations for the Grand Egyptian Museum.
This symposium became a great opportunity to showcase the achievement of international cooperation to date, because we not only introduced the situation of the museum before the opening, but also all of the Japanese support in one place. Contents of the symposium will be released on the TOBUNKEN home page soon.
The seminar
At the 4th seminar of the Department of Art Research, Archives and Information Systems, held on July 25, 2023, YASUNAGA Takuyo (Head, Trans-Disciplinary Research Section, Department of Art Research, Archives and Information Systems) gave an online presentation titled Reconstruction Research of the Kuwayama Gyokushū Collection.
Kuwayama Gyokushū (1746-99) was a literati painter who worked actively in Wakayama in the mid-Edo period. Gyokushū was largely self-taught, but developed his own painting style through interactions with literati painters such as Ike Taiga (1723-76) in Kyoto. He is also highly regarded for publishing excellent painting theories such as Kaiji-Higen.
Materials related to Gyokushū had been kept by members of the Kuwayama family in Wakayama who were his descendants, but unfortunately some were sold, and some of the remaining materials were temporarily lost after World War II. However, in recent years, several missing materials have been rediscovered as being held by relatives of the Kuwayama family. These materials are highly valued, because they include Chinese calligraphy and paintings formerly owned by Gyokushū, as well as painting tools and seals. In addition, The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) holds a collection of photographs taken during a survey of the Kuwayama family collection in 1944, which show its contents before they became scattered.
In the seminar, the presentation began with a discussion of the art historical significance of the Kuwayama Gyokushū collection, with works selected from the present collection of the Kuwayama family. Based on this study, an attempt was made to reconstruct the lost parts of the Kuwayama family collection using the photographs and also auction catalogs of the TOBUNKEN archives. Such reconstruction research also revealed possibilities for future use of the TOBUNKEN archives.
In a question-and-answer session held after the presentation, discussions were held on the prospects for using materials of the TOBUNKEN archives such as cabinet cards, and the survey of the Kuwayama family collection of 1944. It is expected that such reconstruction research will lead to reconsideration of the value and meaning of not only the remaining materials, but also the lost materials, and to advance discussion on the significance of preserving these materials.
KATORI Hotsuma (reprinted from Nihon Bijutsu Kōgei No.185, March 1954)
Examples of the KATORI Hotsuma Papers
The Archive Section of the Department of Art Research, Archives and Information Systems has published information on the “KATORI Hotsuma Papers” on its website as an outcome of the “Expansion of Specialized Archives and Comprehensive Reference” project.
KATORI Hotsuma (1874-1954) was a metalworker, historian of metalworking, and poet during the Meiji and Showa eras. He played a significant role in promoting and advancing the field of craftsmanship, not only within the realm of metalwork, but also in the broader world of crafts. Known for his works that skillfully combined classical motifs such as incense burners, flower vases, kettles, and Buddhist temple bells with deep technical expertise, he also made significant contributions to the study of Eastern metalworking history.
The KATORI Hotsuma Papers were donated to The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) in 1964 by his family following his passing. This collection includes diaries, design sketches for his artworks, and research records of metalwork from various regions in Japan. Consequently, it serves as a valuable resource not only for research on KATORI Hotsuma himself, but also for the broader study of Japan’s metalworking history. We have undertaken efforts such as preserving these materials and cataloging them, and we are pleased to announce the public release of the papers. The preparation for the release of the papers was led by TAMURA Ayako (Research Assistant of the Department of Art Research, Archives and Information Systems), and various information about the papers was provided by former staff member Ms. NAKAMURA Setsuko.
We hope you will use the materials that TOBUNKEN has accumulated over the years as evidence to solve research problems related to cultural properties and as an opportunity to create 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 Papers are accessible in our library.
• KATORI Hotsuma Papers
（https://www.tobunken.go.jp/joho/japanese/library/pdf/archives_KATORI_Hotsuma.pdf）
Lecture on air conditioning
Lecture on outdoor materials
Practical training for identification of cultural property pests
Tour of the laboratories
The “Training Course for Museum Curators in Charge of Conservation (Advanced Course) in 2023” was held from July 10 to 14, 2023. This training course, which has been held at the Institute since 1984, was reorganized into a “Basic Course” and an “Advanced Course” in 2021, with the aim of enabling curators in charge of conservation at museums to acquire a wide range of knowledge and skills necessary for their work, from basic to advanced.
The “Basic Course” is designed to provide curators in charge of the conservation of materials at museums with a wide range of knowledge and skills, from the basics to the practical. The course focuses on the conservation environment and is conducted by the National Center for the Promotion of Cultural Properties.
The “Advanced Course” covers not only the conservation environment, but also general conservation of cultural properties, and is conducted by the Center for Conservation Science. In the 2023 Advanced Course, lectures and practical training based on research results in various research fields were conducted by the Center for Conservation Science, and lectures on the conservation and restoration of various cultural properties were provided by external lecturers. On the first day, a tour of the center was conducted. The themes of the lectures and practical training were as follows:
・Theory of restoration of cultural properties
・Scientific investigation of cultural properties
・Air quality (about air quality / effects of air pollution on cultural properties / concepts of air quality improvement and ventilation)
・Theory and practice of storage environment (air conditioning)
・Introduction and practice of Integrated Pest Management (IPM) for cultural properties
・Types and characteristics of restoration materials
・Deterioration and conservation of outdoor materials
・Protection of heritage of modernization
・Conservation and restoration of various cultural properties (rescue of cultural properties / environmental management of temporary storage facilities / daily cultural heritage disaster prevention in museums)
・Disaster prevention in museums
・Conservation and restoration of folk artifacts
・Preservation of large volumes of documents, and countermeasures against deterioration
・Conservation and restoration of works on paper
・Preservation and management of photographs
A post-training questionnaire indicated a high level of satisfaction throughout the training. Some participants commented that they were able to gain practical knowledge in a systematic manner and that they were stimulated by learning about cutting-edge research. On the other hand, we also received some comments that they would like more time for training and some requested future follow-up. We will continue to review the content of the training to ensure that it is beneficial to curators in charge of conservation.
Last year, due to restrictions imposed for protection from the spread of COVID-19, the number of participants was only 18, but this year there were 30 participants, as the infection situation had calmed down somewhat.
Although the participants come from a wide variety of institutions, they all share similar concerns and awareness of the problems they face in the field, and we believe that the exchange of ideas and opinions among the participants is very meaningful. We hope that the networking that participants were able to take part in during this training will also be useful in the future.
In our December 2022 Monthly Report, we reported on the “neri,” a sort of “dispersant” used in papermaking, extracted from noriutsugi (Hydrangea paniculate). This report is a continuation of that previous report.
Since last year, noriutsugi collected in Shibetsu-cho, Hokkaido Prefecture has been shipped to various papermaking areas and used as neri for papermaking, but problems such as blackening of the neri have been observed in some areas. Analysis of the causes of the blackening confirmed that it is caused by a combination of three conditions: heating during neri extraction, contamination of tannins in the outer bark, and the absence of preservatives. Therefore, the blackening can be eliminated by carefully removing the outer bark or by adding a small amount of preservative. This result was reported at the 45th annual meeting of The Japan Society for the Conservation of Cultural Property (National Museum of Ethnology, June 24-25), and the presentation was very fruitful, receiving many questions.
In addition, we visited the production sites of Uda paper (Yoshin-cho, Yoshino-gun, Nara Prefecture) and Echizen washi (Echizen-shi, Fukui Prefecture), which are made using noriutsugi, in succession (March 6 for Uda and July 19 for Echizen) and conducted a survey of the paper-making process. In both of these production areas, the shortage of noriutsugi is a major problem, and the supply from Shibetsu-cho is expected to be of great help. It was also confirmed once again that there are different ways to use noriutsugi neri depending on the production area and the craftsman, and it is necessary to consider supply methods that meet the needs. In addition, on July 27, we visited Shibetsu-cho to observe the collection of noriutsugi bark, to study the collection method and to record and photograph the process. This year, about 200 kg of noriutsugi bark has already been collected and shipped to various papermaking regions.
We will continue our activities to ensure a stable supply of noriutsugi.
Visiting papermaking sites
Uda-gami papermaking, using noritsugi from Shibetsu-cho
|
Noritsugi used for Echizen washi
|
Visit to Shibetsu-cho
Noriutsugi, which grows wild in large quantities in Shibetsu-cho
|
Collecting bark
|
Participants taking pictures for 3D digital documentation
The３D documentation using Agisoft Metashape and iPhone Scaniverse has recently been introduced, and is rapidly coming into use. The introduction of this technology can not only reduce working time, but also makes it possible to document cultural heritage with very high precision.
The Japan Center for International Cooperation in Conservation arranged a three-day workshop on 3D digital documentation for experts who are working abroad from July 15 to 17, 2023. Dr. NOGUCHI Atsushi from Komatsu University was invited as the lecturer. The main aim of this workshop was to spread 3D documentation techniques among the foreign experts through the Japanese experts who attended the workshop.
Twenty-five specialists with a variety of backgrounds in areas such as archaeology, conservation science, and conservation architecture joined this workshop and studied how to make 3D models using Agisoft Metashape and iPhone Scaniverse.
