Valuation of Raden (Mother-of-Pearl Decoration)– Relationship between Kōdaiji Makie and Namban Lacquer through the Consideration of the Zushi for the Toyotomi Hideyoshi Statue Owned by the Richi-in Temple in Misaki Town – the 4th Seminar held by the Department of Art Research, Archives and Information Systems

4th Seminar, screen shows the zushi

　KOBAYASHI Koji, senior fellow, conducted a presentation titled Valuation of Raden (Mother-of-Pearl Decoration) – Relationship between Kōdaiji Makie and Namban Lacquer through the Consideration of the Zushi for the Toyotomi Hideyoshi Statue Owned by the Richi-in Temple in Misaki Town at the 4th seminar held by the Department of Art Research, Archives and Information Systems on July 25th, 2022. It was held in hi-bred format, both face to face and online.

　The Richi-in Temple in Misaki Town, Osaka Prefecture has passed down a zushi, a miniature shrine ornamented with makie and raden decorations containing a statue of Toyotomi Hideyoshi. It was ordered to be made by Kuwayama Shigeharu, a loyal who served for and became a daimyo (a feudal lord) by Toyotomi Hideyoshi. Hideyoshi was divinized soon after his death. It should be considered that the zushi was created by Kuwayama’s order at the time for him to be deified and worshipped at the shrine in his own territory, thinking of Hideyoshi’s virtue and to repay his kindness. This zushi attracts attention because most of its surface is decorated not only with hira-makie (flat makie) patterns of Kōdaiji makie style but also with raden decorations which no other Kōdaiji makie examples display.

　KOBAYASHI discussed the three makie patterns of the “flowering plant scroll,” “chrysanthemum and paulownia,” and “autumn plant scroll” it exhibits. As a result, he pointed out that these patterns’ historical backgrounds and individual classes strongly influenced whether raden decorations were accompanied with a makie of each pattern. Thus, the raden technique was not typical in that period. Furthermore, this zushi suggests a unique position of namban lacquer, which was made for export by European orders and generally ornamented with akikusa (autumn plants) patterns and raden decorations.

　It is widely known that some namban lacquers have ununified shapes of shell fragments randomly placed. This has been commonly understood as immature techniques to handle raden decorations or the incondite production level. However, the similar raden techniques are identified on this zushi, which was made to respect Hideyoshi’s memory. Therefore, the negative valuation of this type of raden is clearly denied, which obliges us to find positive meaning. Accordingly, I focused on decorations of ryōshi (decorated paper for writing), which has had a close relationship with makie since the Heian period. I cited some ryōshi cases with haku chirashi (thin foils scattered design and techniques) at that time as examples. Then, I presented the hypothesis that these random raden design expressions were influenced by a sense of beauty shown in ryōshi and adapted for this zushi and raden techniques of namban lacquer.

　This process highlighted the unique character of the namban lacquer, which differs from lacquer works crafted based on Japanese tradition and preferences, based on the consideration of the namban lacquer decoration from the viewpoint of makie and raden decorations of the zushi made with a domestic background at that time.

　Various discussions were held with comments from Mr. KOIKE Tomio of the Seikado Bunko Art Museum and Mr. KOMATSU Taishu of the Eisei Bunko Museum, as well as many opinions from the participants in the room and online.

Guidance Session for the TOBUNKEN Library – for Graduate Students of Gakushuin University

Introduction in the conference room

Explanation about the auction catalogue digital archive

　The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) introduced the guidance for TOBUNKEN Library with 14 graduate students of Gakushuin University (led by Prof. SARAI Mai and Prof. SHIMAO Arata) on July 1st. At the beginning of this guidance session, KIKKAWA Hideki explained how to use the library and how the collection was developed in the conference room on the second floor of TOBUNKEN. We then moved to the library and its stack rooms, where our staff introduced various materials including the Auction Catalogue Digital Archive, investigational photographs of cultural properties, and auction catalogues. The participants handled the digital archives, held the books and photos, listened to the explanations, and actively asked questions from the viewpoint of how they could utilize them for their own research.

　The Archive Section of the Department of Art Research, Archives and Information Systems has a mission to collect, organize, and conserve materials concerning cultural properties and prepare an easily accessible and effectively usable environment for experts and students working on cultural properties. As a part of this mission, we continue to actively hold guidance sessions. If you want to participate in the sessions, please submit your request with reference to “TOBUNKEN Library Guidance for undergraduate/graduate students and museum staffs” (Japanese only).

Manuscripts of Traditional Japanese Music Notations Transcribed by Mr. ASADA Masayuki, known as Asada-fu: Digital Images Released

Viewing images on a dedicated computer at the TOBUNKEN Library.

Example of additional revisions to a once-published manuscript ('Sanja Matsuri', Kiyomoto-bushi No.39)

　The Department of Intangible Cultural Heritage organizes and makes available to the public valuable materials that serve research on intangible cultural properties. Digital images of the manuscripts of traditional Japanese music notations, transcribed by Mr. ASADA Masayuki (1900-1979), have been made available for viewing at the TOBUNKEN Library.

　Asada-fu is the result of Mr. ASADA’s continuous transcription of a wide variety of shamisen music genres, including melodies of voice (jōruri or uta) and shamisen accompaniment. It is estimated that more than 100 notations were privately published over a period of 23 years. Because the original manuscripts require careful handling, only the bound versions (copied and bound from the original manuscripts) were previously available to the public. However, with the completion of the digital imaging of manuscripts (Kiyomoto-bushi in FY2021 and other genres, including Icchū-bushi and Miyazono-bushi in FY2022), image data for all genres have been made available in the TOBUNKEN Library from July 2022. This allowed us to examine at our discretion details not reflected in the photocopies, such as traces of detailed modifications to the voice passages made by cutting the paper out of the manuscript.

　Those interested in viewing materials can refer to the TOBUNKEN Library Visitor’s Guide and reserve a dedicated computer. A list of Asada-fu manuscript holdings is available (Japanese only). We hope that these images will be utilized by a wide range of interested people, including researchers, performers, and enthusiasts.

Surveys on Aizugiri, Paulownia Produced in Aizu District in Fukushima Prefecture

Domestic paulownia lumbers left in the rain and winds for three to five years to remove tannin after sawing (Aizukiridansu Corporation)

Paulownia trees planted in the town in 2016

　The Department of Intangible Cultural Heritage continues to conduct surveys of the raw materials which support intangible cultural heritage. We have been focusing on techniques to collect and process trees as materials, and conduct surveys, recordings, and a reevaluation of the disappearing techniques and knowledge since FY2020. These activities are supported by the Research Grants in the Humanities of the Mitsubishi Foundation offered for the project “Research on Traditional Wood-use Techniques and Knowledge Regarding Intangible Cultural Heritage.” As a part of these surveys, we visited Mishima Town, Fukushima Prefecture on July 14th, 2022 and investigated the production status and associated issues of Aizugiri: paulownia timbers planted and produced there in Aizu district.

　Paulownia timbers are excellent materials because of their characteristics: lightness, limited distortion, excellent function of humidity control, and low heat conductivity. They are generally well-known as materials for Japanese traditional chests and wooden clogs. They have also long been used for koto, a Japanese traditional musical instrument. Furthermore, paulownia boxes have been popular as the most suitable conservation containers for fine arts and crafts. However, the domestic demand for paulownia materials shrunk to approximately one eighth compared to 1959 at their peak, partly because of a shift in consumer preferences away from Japanese traditional chests. Additionally, domestic materials among the overall paulownia material supply dropped sharply. At their peak, domestic materials represented almost 95% of the total supply in Japan. However, they dropped to approximately three percents as of 2018 because of imported paulownia timbers (Data by Mishima Town). The production of Nanbugiri, paulownia produced in Nambu district in Iwate Prefecture, had already ceased, although it was as popular as Aizugiri. The annual market dedicated to paulownia timbers in Yuzawa City, Akita Prefecture, which was the last one, has now been halted. Domestic paulownia timbers are now only produced in limited districts, including Aizugiri and Tsunangiri, paulownia produced in Tsunan district in Niigata Prefecture.

　Among them, Aizu district is said to have been the place where paulownia planting began. Since large-scale paulownia afforestation occurred there in the Meiji period, paulownia raw woods have been actively shipped as farmers’ side business. Based on this background, Mishima Town founded Aizukiritansu Corporation (meaning a corporation for Aizu Japanese traditional chests made of paulownia), co-funded by the town and the private sector in the early 1980s, when the demand for paulownia timbers decreased. Since then, the town has trained craftsmen and developed new products and markets. These days, it allocates “Kiri (paulownia) experts” and plants paulownia saplings, manages planting, makes manuals for paulownia planting, and conducts various other activities.

　Paulownia trees grow quickly and become ready for timbering in approximately 30 years. Meanwhile, they require intensive work including mowing undergrowth, fertilization, and disinfection. It was said to be a reason why people planted paulownia trees near their houses and took sufficient care of them. Now, approximately 900 paulownia trees are planted and managed by the town. It requires special know-how unique to paulownia trees such as a wider space required between each tree than Japanese cedar trees and efforts against damages by pests and rats. The town not only keeps striving toward a stable supply of paulownia timbers, but also proposes new types of chests suitable for the modern life and develops completely new products such as chairs and butter cases.

　Markets for domestic timbers including paulownia have been shrinking. Both the demand and supply of lumbers especially used for further niche fields of intangible cultural heritage have been shrinking drastically. Thus, we face a greater risk of being unable to obtain suitable materials when necessary. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) will strive to enlighten larger audiences about the efforts necessary for planting, managing, and processing timbers including paulownia, at a reasonable value for its price, to liaise among production regions, craftsmen, and consumers, and to elucidate raw material characteristics from the scientific study. We will continue to work on this.

2022 Training for Museum Curators in charge of Conservation (Advanced Course)

Visiting the Analytical Science Section

Lecture on conservation of Modern Cultural Heritage

　The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) held the “2022 Training for Museum Curators in Charge of Conservation (Advanced Course)” for five days, from July 4 to July 8, 2022.

　This training is an application version of the trainings for museum curators in charge of conservation, which were held from 1984 to 2020 for curators in charge of material conservation to master basic knowledge and techniques necessary for environmental management, evaluation, and improvement.

　From 2021, we reorganized the training into two courses: 1) basic course, focusing on conservation of environment by the National Center for the Promotion of Cultural Properties, and 2) advanced course, focusing on curators who attended the course before and/or who have similar experiences, by TOBUNKEN.

　We provided lectures and workshops mainly based on research outcomes of each research area of the Center for Conservation Science, along with lectures from external lecturers related to various conservation and restoration in the advanced course. We are pleased to have organized face-to-face training with 18 participants, with thorough prevention measures for COVID-19 pandemic. We believe that the participants made their networks there.

　Based on questionnaires after the training, we understand that the participants were well satisfied. We could know their voices: “I will try various techniques from this training in our museum,” “I could review my understandings and obtain new knowledges. It was very beneficial for me,” and “It was a very useful week for me.” Henceforth, we will work to provide more useful training to curators in charge of conservation.

MoU for Research on Conservation and Restoration of Cultural Properties in Minamikyushu City Concluded

SAITO Takamasa, Director General of TOBUNKEN and Mr. NURUKI Hiroyuki, Mayor of Minamikyushu City holding the signed MoU

Meteorological observing station now installed close to the water tower of the former Chiran Airfield site (cultural heritage designated by the city) – right hand side in the fence

　The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and Minamikyushu City of Kagoshima Prefecture have jointly conducted research on conservation and restoration of individual cultural properties located in the city from around 2008. Now, we decided to conclude “MoU for Research on Conservation and Restoration of Cultural Properties Designated by Minamikyushu City” and explore further collaboration as joint research. Taking this opportunity, we conducted the conclusion ceremony of this MoU in the city office of Minamikyushu City on July 20th, 2022. At the ceremony, the project details were explained and SAITO Takamasa, Director General of TOBUNKEN and Mr. NURUKI Hiroyuki, mayor of Minamikyushu City signed them, after the explaining the project overview.

　Minamikyushu City has total 191 designated cultural properties. Among them, modern cultural heritage, including the buildings at the former Chiran Airfield site of the Imperial Japanese Army, as nation registered cultural properties and The Army Type-4 Fighter Aircraft, “Hayate”, a cultural property designated by the city are well known as mandatory materials in Japanese modern history. However, the modern cultural heritage’s characteristics differ from those of traditional cultural properties in volume, materials, functions, and others. Therefore, it often requires new methodologies for conservation and restoration.

　This joint research aims to solve technical issues related to conservation and utilization of these cultural properties, develop new conservation methodologies, vitalize research activities, and contribute toward promotion of public awareness of local cultural properties by collaboration of TOBUNKEN and Minamikyushu City. We will also provide information beneficial to other local governments who have the same or similar challenges by disseminating the research outcomes.

Investigation of Coloring Pigments Used in Kangetsu-do Hall of the Kotoku-in Temple

Investigation at Kangetsu-do Hall of the Kotoku-in Temple

　The Kotoku-in Temple, famous for its Great Buddha, has a hall called Kangestu-do Hall, transferred from Gyeongbokgung, a Korean royal palace. Kangetsu-do Hall faces various issues for its conservation and utilization, such as aging roofing tiles and outer walls as well as damage by wild animals. Dancheong were the original coloring pigments used in Kangetsu-do Hall at the time of its construction. This is very valuable because they exist in their original state. Their elements have not yet been elucidated; therefore, it is important to understand their status. Through these examinations and discussions, we decided to collect basic information related to the coloring pigments used in Kangetsu-do Hall.

　Responding to the request by the Kotoku-in Temple (chief priest: Prof. SATO Takao), INUZUKA Masahide, HAYAKAWA Noriko, HAGA Ayae, and CHI Chih lien of the Center for Conservation Science of Tokyo National Research Institute for Cultural Properties (TOBUNKEN) conducted on-site investigation of coloring pigments on the building components of Kangetsu-do Hall using portable analytic equipment on July 6th and 7th, 2022.

　As this investigation’s first step, reflectance spectrometry was conducted using a hyperspectral camera to investigate two-dimensional color information, focusing on the places where the original paintings from the construction time were presumed to remain. We then selected some places that were academically interesting based on the reflectance spectrometry data and performed further detailed analysis using X-ray fluorescence analysis. We plan to analyze in detail the data obtained by these two types of analysis methodologies, further investigate the unique coloring pigments used in the Joseon Dynasty, and use this information for future conservation and utilization.

Preliminary Survey of Cultural Property Restoration in the Republic of Türkiye

Wall paintings of Keslik Monastery

Wall paintings of the Ephesus ruins

　The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) conducted a preliminary survey to establish a joint research project related to the restoration of cultural properties in the Republic of Türkiye. This joint research project aimed to make sustainable improvements in the operational methods and techniques of conservation and restoration plans. These issues were raised through the “Human Resource Development Project toward the Improvement of the Conservation and Management System for Mural Paintings in the Republic of Türkiye,” conducted by TOBUNKEN from 2017 to 2019. In Türkiye, emergency treatment has been prioritized for cultural property conservation. However, the country recently started focusing on the development of conservation and restoration experts specializing in various materials.

　We visited several regions of Trabzon, Şanlıurfa, and Cappadocia and some cities including Selçuk, and discussed with local experts conservation status and methods for conservation and restoration of cultural heritage. At Keslik Monastery, a Christian monastery located in the southern part of Cappadocia, the wall paintings on the inner walls are covered with thick soot layers from candles used in liturgical services over 1,000 years. The restoration of these wall paintings to their original condition was desired from the perspectives of both their protection and their touristic value. At the Ephesus ancient Roman ruins, members of the Austrian Archaeological Institute, who have been excavating there for a long time, explained to us that it is necessary to revise the current inconsistent conservation and restoration methods and to conduct research for the sake of establishing a basic policy.

　Researchers from Ankara Hacı Bayram Veli University, who cooperated with us on the Human Resource Development Project previously mentioned, accompanied us on this survey. We will identify what challenges shall be tackled based on the survey outcomes and build an implementable joint research framework with each cooperating institute. We target the next fiscal year to start this joint research to lead to the further development of cultural heritage protection and conservation and restoration activities in the Republic of Türkiye.

Surveys for the Cooperation to Protect Cultural Heritage in Bahrain

Gravestones of the early Islamic period in Abu Anbra Graveyard

　We, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) visited the Kingdom of Bahrain in the Middle East from July 22nd to 25th. We discussed starting a new cooperation project with the Bahrain National Museum and made onsite surveys on the status of ruins targeted in this cooperation project. Specifically, Dr. Salman Al Mahari, Director General of the museum, requested that we support establishing conservation techniques for historically valuable gravestones of the early Islamic period, which were left in mosques, shrines, and graveyards. Responding to his request, we checked the conservation environments of the gravestones left in Al Khamis Mosque, the oldest mosque in Bahrain, and Abu Anbra graveyard located near Al Khamis Mosque. As a result of these surveys, we decided to start the cooperation by three-dimensional measurements of gravestones using photogrammetry and LiDAR scanning.

　At the same time, three parties: the Bahrain Authority for Culture and Antiquities, TOBUNKEN, and the Institute for the Study of Ancient Civilizations and Cultural Resources, Kanazawa University are working to set up a new research center in the Bahrain National Museum and develop international cooperation activities based in this center so as to promote archaeological research and protection of cultural heritage in Bahrain and neighboring countries. We discussed with Dr. Salman the foundation policy of this center. Further, we informed the Japanese ambassador in Bahrain of our progress and promised to continue closely sharing information.

“Introductory Guide to Photographing of Cultural Properties—Practical Course of Photographing for Documentation of Cultural Properties” a Seminar at Hokkaido Museum of Northern Peoples

Explanation on how the focal distance of lens make differences

Photographing practice: lighting to a target object using an umbrella

　The documentation of cultural properties is fundamental to obtain the necessary information for research, conservation, and utilization. Photography, a type of documentation method, is mandatory to record visual information, including colors and shapes. Meanwhile, many factors need to be considered for photographing to record accurate information.

　With this background, the Cultural Properties Information Section of the Department of Art Research, Archives and Information System held the seminar mentioned in the title targeting local government officers and museum staff involved in cultural property protection in Hokkaido, at Hokkaido Museum of Northern Peoples (Abashiri City) co-sponsored of the Museum and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on June 2nd, 2022. Protection measures were taken against COVID-19 including face masks, social distancing, and air ventilation.

　In the morning, lectures were delivered about the purposes of documenting cultural properties and the photographing. In the afternoon, at first, the methods of inventorying cultural property and their photographs were introduced using case studies. Then, the appropriate ways to manage lighting and other photographing tips were explained. As a practical exercise, all participants made reflector boards by attaching wrinkled aluminum foil to recycled styrene boards which had been used for signboards for exhibitions. Then, the participants photographed a carved wooden bear kept in the Museum, using their own cameras by modulating lighting. At the end, a Q&A session was conducted on photographing and inventorying photos as well as cultural property items.

　Handling shadows is challenging for many people in photographing cultural properties. This seminar addressed the appropriate methods to include natural shadow in natural directions using one light only by reflecting light toward appropriate positions for the characteristics of cultural properties or art objects using hand-made reflection boards and inexpensive equipment. Furthermore, several ways to organize and list photographs using the basic functions of Windows and Excel were introduced as we received numerous questions about this matter. We strived our best to make this seminar as practical as possible.

　This workshop was held this time after two years since it was originally planned due to the COVID-19 pandemic. We thank to the staff at the Hokkaido Museum of Northern Peoples and participants for their patience and precious opinions.

Investigation of the Higo Biwa Tradition and Related Materials

Ms. GOTO Akiko played Higo biwa at the Zenkōji Temple in Yamaga City

　Japanese government selects “the performing arts including music, dance and drama, and the techniques playing an important role in such performing arts’ establishment and construction, which possesses a high value for seeing the history of the transition of the performing art in Japan” as “Intangible Cultural Properties that need measures such as documentation (performing art)” under the Law for the Protection of Cultural Properties.

　As of March 2021, 31 techniques were selected. However, 24 of them were held by individuals. Therefore, all these techniques were practically lost when these individuals died. On the contrary, the rest seven were held by groups. While one of the seven, Kineya Eizo School, a holder of geza ongaku (geza music: music play behind the stage) of kabuki lost its power due to the death of its leader, Mr. Kineya Eizo, the third, in 1967, the other six (Sagiryu kyogen (the kyogen of the Sagi School), Higo biwa, Ryukyu traditional sokyoku (3 groups), and wazuma) are considered as being passed down in their respective groups.

　The department of Intangible Cultural Heritage started investigations on Higo biwa, one of these “Intangible Cultural Properties that need measures such as documentation (performing art).” We began collecting information last year and initiated full investigations this year about the Higo Biwa Preservation Society and Higo biwa technique successors, who have been dedicated to passing down the Higo biwa, and the materials related to the Higo biwa including biwa itself. We conducted the second investigation from June 22nd to 24th, 2022. Thereafter, we investigated the objects left by Mr. YAMASHIKA Yoshiyuki, a Higo biwa player (March 20th, 1901 to June 24th, 1996), which are kept in Yamaga City Museum. They vary from his favorite everyday items to photos and biwas, and were counted to 84 cases (containing even more items). As the last day of this investigation happened to be his death anniversary, we were fortunate and honored to be a part of his memorial service with biwa play offering by Ms. GOTO Akiko, who had learned from him and the people very close to him.

　We plan to publish a report on the Higo biwa tradition and its related materials in this fiscal year after the planned third investigation.

Field Activities for the Conservation and Sustainable Development of Ta Nei Temple in Angkor, Cambodia (Part XI) –Work Progress Regarding the East Gate Area and the Central Building Complex

Retouch work on the East Gate after restoration

Archeological investigation for digging a temporary ditch around the East Gate

Areas at risk on the East Tower Shrine of the central building complex: emergency replacement of reinforcements

　The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) continues to support the conservation and sustainable development project of Ta Nei Temple by the Authority for the Protection and Management of Angkor and the Region of Siem Reap (APSARA) in Cambodia. We dispatched three expert members from June 12th to July 3rd, 2022. The mission aimed to supervise the finishing works for the restoration of the East Gate, conduct archaeological investigations for setting a new drainage ditch from around the East Gate, and survey the areas at risk of the central building complex.

　For the East Gate restoration, in May, the APSARA team began retouching the parts identified at our previous dispatch in January 2022. We assessed their working status and further discussed how to deal with the broken part of stones and finish the surface with sculptures, and other aspects with APSARA. Although this resulted in additional work, we almost completed the given work by the end of June.

　Furthermore, the water drainage around the East Gate had been an outstanding issue. In discussions with APSARA, it was decided to cut a temporary drainage ditch from the west side of the East Gate to the North Moat. We tasked Mr. KAHSHA Hiroo, a visiting researcher, with conducting archeological investigations related to a new drainage ditch set-up. We dug up a ditch carefully, to avoid damaging the original land surface at the time of constructing the East Gate and the Cruciform Terrace, and completed an approximately 30-meter-long temporary drainage ditch. We plan to carefully monitor its effect during the rainy season until October, in cooperation with on-site staff.

　In the central building complex, we investigated the areas at risk in detail by scaffolding around the buildings of the Central Tower and the East Tower Shrines, which were identified as the highest priority for safety measures based on the discussions with the APSARA risk map team. Because the old wooden reinforcements in the areas at risk were severely deteriorated by pest damage and other factors, replacements using durable materials had been requested for some time. Following APSARA’s request, it was decided to tentatively replace the wooden reinforcements with scaffolding tubes and couplers. We renewed the reinforcements in a part of the Central Tower Shrine and three parts of the East Tower Shrine. We, in discussions with APSARA staff, tried to pursue minimum intervention while carefully examining lacking areas or cracks in the stone materials caused by imbalanced load transfers. Furthermore, safety measures were implemented by setting temporary fences along visitor routes to prevent tourists from entering the areas at risk.

　We also held a working session with the Department of Tourism Development and Culture of APSARA as they planned biking tours around the area, including Ta Nei Temple. We exchanged ideas about the development of tourist facilities and discussed measures to protect the ruins, secure the visitors’ safety, and enhance visitors’ understanding of the ruins. We aim to further discuss effective ways to achieve balance between the appropriate protection and tourism for this site.

Publication of Web Contents “Records and Evaluation of Japanese Art –Research Notebooks of Art Historians”

TANAKA Ichimatsu Materials

Caricatures of the Japanese-Russo War, Fudeno Mani Mani (as I like) (TANAKA Ichimatsu)

DOI Tsugiyoshi Materials

　Tokyo National Research Institute for Cultural Properties (TOBUNKEN) preserves and utilizes research notebooks and meeting documents written by researchers—including ex-employees—in addition to books and photographs. On our website, we have published major notebooks from the materials of TANAKA Ichimatsu (1895–1983) owned by TOBUNKEN and the materials of DOI Tsugiyoshi (1906–1991) owned by the University Library of Kyoto Institute of Technologies. These were a part of the outcome of “Study on Record and Evaluation of Japanese Art – Preservation and Utilization of Survey Report of Artwork” that was carried out for three years from FY2019 as JSPS Grand-in Aid for Scientific Research (B) (JP19H01217).

　Among TANAKA Ichimatsu’s materials, lecture notebooks from Tokyo Imperial University, artwork research notebooks from 1923–1930, and sketch books from his elementary school and junior high school days between 1905–1914 were introduced. TANAKA found delight in drawing pictures from his childhood and continued to exercise to immediately depict what he saw; consequently, he mastered his ability. These experiences contributed to his later works as an art historian. Over half a century, TANAKA made remarkable achievements at the center of administration for cultural properties. He evaluated a large amount of art objects. As a result, he drove the research of Japanese painting history.

　Among DOI Tsugiyoshi’s materials, his main research notebooks, lecture notebooks from Kyoto Imperial University between 1928–1972, and a travel diary with haikus (Japanese poem) and sketches from 1947 were introduced. He observed details of art objects minutely through not only document investigation but onsite investigation as well. Based on these investigations, he discerned painters and reevaluated those whose names were passed down in temple histories. He made revolutionary contributions to the research of early modern painting history.

　The research notebooks of TANAKA and DOI from the pre-war period show us how they recorded shapes and expressions that they witnessed at a time when photos could not be taken as easily as they can now, and how they transformed their accumulated records into artwork evaluation. These materials recorded by their activities can be also called modern materials related to the art pieces during the Taishō and Shōwa eras. We hope they are used extensively as research materials. Some sketches are certainly visually entertaining. Please visit our website and enjoy them. https://www.tobunken.go.jp/researchnote/202203/

Standing Yakushi Nyorai (Skt. Baisajyaguru) in the Jingoji Temple and the Deity Hachiman Keka (repentance in Buddhism) – The 2nd Seminar Held by the Department of Art Research, Archives and Information Systems

The seminar

Q&A session

　Standing Yakushi Nyorai in the Jingoji Temple in Kyoto has attracted attention from the early stages of Japanese art history and has subsequently stimulated many discussions. The statue has an extraordinary appearance and provenance and was made at the request of Wake no Kiyomaro (733–799). Two topics are primarily debated: which temple the statue was originally set in, the Jinganji or Takaosanji Temple, both of which were later combined into the Jingoji Temple, and the background against which this statue was created. The theory by Dr. SARAI Mai has recently gained widespread support, namely, that Wake no Kiyomaro had the statue created as the principal image of the Jinganji Temple responding to a request by the Deity Hachiman which required the Buddhist power to compete against his political enemy, Dōkyō (?–772).

　The seminar was held by the Department on May 30th, 2022. Dr. HARA Hirofumi of Keio Shiki Senior High School conducted a presentation titled The Purpose of Making Standing Yakushi Nyorai and the Deity Hachiman Keka. Dr. HARA claimed that the statue was originally set in the Jinganji Temple, and then pointed out based on various materials that the story of the competition between the Deity Hachiman and Dōkyō was a fiction created in a later period. He then concluded that the statue is the principal image for Keka by the Deity Hachiman and was created at the private wish of Wake no Kiyomaro.

　This seminar was held in person and online in TOBUNKEN. We invited Dr. SARAI Mai of Gakushuin University as a commentator, and Prof. NAGAOKA Ryūsaku of Tohoku University. Other researchers specializing in the history of sculpture also participated. Various opinions were expressed in a lively discussion during the Q&A session. This presentation provided a new perspective on the studies of Standing Yakushi Nyorai of the Jingoji Temple. We expect further active discussions.

Video Documentation of the Manufacture of Carving Tools for Sculpture – Recording Survey of Tools and Raw Materials used for the Preservation and Restoration of Art and Craft Objects

Video and photo documentation of the chisel manufacturing process

Manufacturing chisels for sculpture

　Understanding the manufacturing situation of tools and raw materials used for restoration is extremely important to continue sustainably restoring cultural properties. However, “the Research Project on Preservation and Restoration of Tools and Raw Materials,” commissioned to the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) by the Agency for Cultural Affairs since FY2018 revealed that the manufacture of tools and raw materials for cultural property restoration faces many challenges rooted in the following two factors. The first is the human factors of aging manufacturers and a shortage of successors, and the second is factors caused by shifts in social structures, such as deteriorating business and the unavailability of raw materials. Considering this research outcome, the Center for Conservation Science initiated a project to collect fundamental physical property data and to document tools and raw materials necessary to preserve and restore cultural properties. The Center has worked on this project with the Department of Art Research, Archives and Information Systems and the Department of Intangible Cultural Heritage. This monthly report presents the documentation survey of chisels for sculpture, the manufacture of which will cease.

　Chisels and saws are key tools to restore wood carving cultural properties because new timber materials may be carved and used as repair materials. Konobu Ltd. (Konobu), founded in the early Shōwa era (early 20th century) by the Takiguchi family, specialized as carving tool smiths. Since then, this smith has manufactured chisels for sculpture; Mr. SAITO Kazuyoshi succeeded their manufacturing techniques. Their products have been favored by many in charge of wood carving restoration and wood carving itself. However, Konobu stopped accepting new orders in October 2021 and expressed that they would soon close their business. TOBUNKEN used videos and photographs to document their full manufacturing process of chisels for sculpture, as well as their equipment and smith tools in interviews from May 23rd to 27th, 2022. Mr. KADOWAKI Yutaka of BIJYUTSUIN Laboratory for Conservation of National Treasures of Japan and the Agency for Cultural Affairs cooperated in this documentation survey.

　Unfortunately, it became almost impossible to experience and observe in person the Konobu chisel manufacturing process. We plan to organize the survey records to serve as a clue for future generations who want to reproduce chisels for sculpture.

Research Presentation at the Symposium in New York – Conservation Thinking in Japan

Presentation by HAYAKAWA Noriko

　HAYAKAWA Noriko of the Center for Conservation Science spoke about the relationship between techniques and materials for cultural property restoration in Japan titled The Relationship Between Traditional Painting Materials and Techniques in Japan from a Scientific Perspective in a talk at the symposium held in Bard Hall, New York City, United States, on May 6th and 7th 2022.
　This symposium titled Conservation Thinking in Japan and India was held both in person and online by Bard Graduate Center with support from the Andrew W. Mellon Foundation. There, experts on restoration of Japanese cultural properties and fine art history introduced their latest research from Japan and other countries.

　HAYAKAWA introduced two primary points among research in the Restoration Materials Section: the fact that furunori (aged paste) used for restoration of paintings is corelated to fringe materials and techniques, and an assumption that changes in the manufacturing process for silk, a support material of paintings, altered its string forms and preservability, which then impacted painting expression.

　Tours around related facilities and other meetings were held before and after the symposium, where useful discussions were conducted based on actual restoration cases.

　Scientific elucidation of materials and techniques is required even during everyday operations in restoration and material production. Opinion exchanges with other experts triggered further research. This presentation was a precious opportunity to disseminate our research outcomes to a wider audience.

Cultural Heritage x Citizen Engagement = Potential for Multi-Actors’ International Cooperation– The 30th Seminar Held by the Japan Consortium for International Cooperation in Cultural Heritage

The 30th seminar

Online discussion

　The 30th Seminar titled Cultural Heritage x Citizen Engagement = Potential for Multi-Actors’ International Cooperation was held by the Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage) in webinar format on February 11th, 2022. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) was commissioned JCIC-Heritage secretariat by the Agency for Cultural Affairs.

　This seminar hosted discussions about new possibilities of international cooperation for cultural heritage, expected to be realized through the participation of multiple actors. The discussion was based on cases utilizing the knowledge of domestic community design involving citizens and co-work by public and private sectors, as well as cases related to multiple developments of international exchange hosted by the private sector.

　Ms. MURAKAMI Kayo (Senior Cultural Properties Specialist of the Agency for Cultural Affairs) introduced her own activities as a technical cooperation project specialist during her participation in the Japan Overseas Cooperation Volunteers titled Tourism Development in Ecomuseum Concept through International Cooperation – The Case of Al-Salt City of Jordan. Ms. CHIU, Ru Hwa (Secretary General of the Institute for Historical Resources Management) introduced the various activities she has accumulated over multiple decades in the private sector titled Collaboration in Heritage Conservation – Co-learning Journey.

　Prof. NISHIMURA Yukio (professor of Kokugakuin University) and Mr. SATO Hiroshi (Chief Senior Researcher of Research Operations Department, the Institute of Developing Economies, Japan External Trade Organization (JETRO)) joined the panel discussion with the abovementioned speakers during the latter half of the seminar. The seminar prompted active discussions. The participants discussed the importance of consensus building, carefully considering the concerned parties’ interests, and the necessity of efforts to share the value of cultural heritage by various actors.

　Nearly 120 people participated in this seminar both from Japan and abroad. JCICC plans to pursue the possibilities of Cultural Heritage Cooperation by multiple actors. Please visit our website for the seminar details https://www.jcic-heritage.jp/20220221/(Japanese Only).

（2022.05 / CHIU Chunni, MAEDA Koki)