| ■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 |
|
An Anthony camera is exhibited in the former research room on the first floor of the Kuroda Memorial Hall.
Outdoor scenery is reflected upside down on the ground glass of the large-sized camera.
A slide projector, an 8 mm camera and a twin-lens reflex camera that were used by the predecessor of the Institute, The Art Research Institute, are also displayed.
A large-sized camera that had been kept in the Image Laboratory of the Department of Research Programming has recently been completely restored and is being shown to the general public from June 5 in the former research room on the first floor of the Kuroda Memorial Hall. This camera is a studio camera modeled after a camera produced by E. & H. T. Anthony & Company in the United States and imported in the early part of the 20th century. The predecessor of the Institute, The Art Research Institute, used this camera from the time of its inauguration and early days until the post-war period in order to photograph art works and such for research. It also contributed to preserving many cultural properties in the form of recorded images. In this exhibition, the camera is displayed with its lens facing outside so that visitors can see the outdoor scenery reflected upside down on the ground glass. In addition, other optical instruments that were indispensable in research and investigation, such as an 8 mm camera and a twin-lens reflex camera manufactured in pre-war France, are exhibited. Moreover, efforts are now being made to preserve glass plate negatives photographed with such cameras. At the same time, their digitization is in progress so that they can be made public and contribute to research.
Dr. Kim (right), Director of the Folkloric Studies Division of the National Research Institute of Cultural Heritage, Korea, exchanging the statement of mutual agreement for Japan-Korea research exchange with Miyata (left), Director of the Department of Intangible Cultural Heritage of the National Research Institute for Cultural Properties, Tokyo
This statement of mutual agreement is based on the agreement for research exchange between the Independent Administrative Institution, National Research Institute for Cultural Properties of Japan and the National Research Institute of Cultural Heritage of the Republic of Korea that was concluded in 2005 and prescribes, in concrete terms, arrangements for research exchange in the field of intangible cultural heritage between the Department of Intangible Cultural Heritage of our Institute and the Folkloric Studies Division of our counterpart in Korea. The agreement was concluded with signatures at the National Research Institute of Cultural Heritage, Korea on June 3, 2008. From now on, the two parties will exchange researchers, provide training and other programs and hold discussions to realize future collaborative researches in accordance with this agreement. It was also decided that the results of these undertakings would be published in the form of collected papers of the joint research at the end of fiscal year 2010.
There was a lively exchange of opinions at the Post-Training Course.
Once a year a post-training course is held for those who have completed the “Training Course for Museum Curators” in the past with the aim of conveying the latest topics regarding conservation of materials. This fiscal year, the course was held on June 2. The following three topics were selected: indoor temperature and humidity analysis by means of computer simulation (Inuzuka Masahide), use of dichlorvos pesticide in conservation facilities for cultural properties (Yoshida Naoto) and the manual for museum conservators on preventing mold growth on cultural properties which the Ministry of Education, Culture, Sports, Science and Technology is in the process of compiling (Sano Chie). There was a lively exchange of opinions between the participants and members of the Department since the topics covered serious issues the participants face in the field, including the forecast of the conservation environment, pest control and preservation of materials as well as the prevention of health hazard to the staff. Sixty-six persons participated, a number which exceeded 10% of all those who have completed the Training Course during the past 25 years. We cannot help but feel the weight of responsibility resting upon us. We will continue to provide the latest information not only at such post-training courses but also by taking advantage of various opportunities.
In the panel discussion, there was a lively debate on new interpretations regarding the manufacture of the triangular-rimmed bronze mirrors with mythical figure and animal designs.
In-depth studies on the materials and manufacturing techniques of cultural properties provide important information that contributes to their conservation and restoration as well as their historical studies. This time, the triangular-rimmed bronze mirrors with mythical figure and animal designs, which have been excavated in large quantities from early tumuli, were selected as the topic of study. There has been an ongoing dispute about whether they are Wei mirrors or Japanese mirrors. We examined how historical information, such as when they were produced, can be derived from a study of information related to their manufacture, such as their materials and shape. As lecturers, we invited Professor Fukunaga Shin’ya, who brought epoch-making progress in the study of the triangular-rimmed bronze mirrors with mythical figure and animal designs by introducing the method of categorizing such mirrors according to the shape of knob holes and the lines on the outer circumference, and Dr. Mabuchi Hisao, who reached a new interpretation regarding the material of the mirrors by measuring the lead isotope ratio of many bronze wares. Mr. Namba Yozo and Mr. Saito Tsutomu joined the panel discussion and there was a lively exchange of views. Dr. Mabuchi suggested a new interpretation regarding the time of manufacture of the mirrors. It was truly a meaningful seminar that enabled us to understand the profoundness of historical study using natural scientific methods. (Friday, June 20, 2008 at the seminar room of the National Research Institute for Cultural Properties, Tokyo; 60 participants)
Wall paintings of Kitora Tumulus (painting of the astronomical chart on the ceiling) after having detached the northern half
The National Research Institute of Cultural Properties, Tokyo is engaged in research project for the conservation of the Kitora Tumulus, a Special Historic Site. This is a project that has been entrusted to the Institute from the Agency for Cultural Affairs. In this project, the interior of the stone chamber is inspected regularly and its wall paintings on the plaster are being detached.
Particularly, the painting of the astronomical chart on the ceiling has been detached sequentially ever since a part of the painting had fallen and was found on the floor in July 2007. Initially, only small areas of the painting where the risk of exfoliation was very high were detached. However, with improvement in the tools used to detach paintings, it is now possible to detach a square piece of the wall painting about 10 cm on a side. As a result, the northern half of the astronomical chart has been detached as of the end of June 2008. The paintings will continue to be detached on a regular basis. As for the painting of the astronomical chart on the ceiling, our goal is to detach the entire painting within this fiscal year.
Joint investigation in Cave 285
The investigation team (in orange uniform) and trainees (in red uniform)
The fifth phase of the Joint Research on the Conservation of the Mural Paintings of the Dunhuang Mogao Grottoes is in its third year. Members of the National Research Institute for Cultural Properties, Tokyo were sent to Dunhuang Mogao Grottoes for four weeks from June 1 to conduct the first half of this year’s Japan-China joint research. Continuing from last year, optical investigation that has been conducted until now in Cave 285, which has an inscription (A.D. 538 and 539) of the West Wei period, was continued and the conditions of the entire mural painting were examined. The condition of deterioration and preservation of the materials used for mural paintings differ depending on various conditions such as color, technique and the location of the paintings. If we understand these conditions, the results of the optical investigation will reveal much more information, resulting in new ideas about investigation and analysis. In addition, if specific materials and techniques result in different states of deterioration, that will provide much insight into future conservation and restoration work.
Furthermore, two graduate students with a master’s degree went to the Mogao Grottoes from Japan with this investigation team. They were selected from different fields of discipline – conservation science and paintings – as trainees dispatched to Dunhuang by public announcement that has been implemented from last fiscal year. They will stay in Dunhuang for five months until mid-October and receive guidance from specialists at the Conservation Institute of Dunhuang Academy concerning diverse matters related to the protection of mural paintings.
Japan-China experts meeting
A banner of "Ardent Welcome" displayed at the site of Qiaoling Mausoleum
This fiscal year is the final year of the project for the conservation of stone statues of the tombs of Tang dynasty that has been conducted jointly with the Xi’an Centre for the Conservation and Restoration of Cultural Heritage in China since 2004. For two days, on June 23 and 24, a meeting of Japanese and Chinese experts was held in Xi’an City where last fiscal year’s were reviewed and evaluated. From Japan, Mr. Nishiura Tadateru (professor of Kokushikan University, conservation of cultural properties) and Mr. Nedachi Kensuke (professor of Kyoto University, history of art) attended as experts. During the last fiscal year, of the three target mausoleums of this project, archeological investigations and maintenance work were conducted particularly for the east, west and north gates of the Qiaoling Mausoleum which is the tomb of Emperor Ruizong of Tang. This time, Japanese and Chinese experts investigated the site in the presence of many local onlookers. In addition, the great Sichuan Earthquake that struck Shaanxi province on May 12 notably enlarged the crack on the lion statue placed at the south gate of the Shunling Mausoleum, another target mausoleum. For this reason, meteorological observation instruments were installed shortly after, and they were inspected on this occasion. A Japan-China academic seminar on the protection of stone cultural properties will be held in November and the project is scheduled to be completed next March after the final meeting of the review board.
Amarbayasgalant Khiid
Inspection of the Amarbayasgalant Khiid
In preparations for the exchange program that has just started this fiscal year, we visited Mongolia from June 9 to 14. As part of this program, together with the Department of Intangible Cultural Heritage of the Institute, workshops related to the framework for the conservation of cultural properties including organizations and laws are being planned as are training programs to foster experts for the Center for Cultural Heritage of Mongolia under the Ministry of Education, Culture and Science of Mongolia. The meeting with the Director of the Department of Culture and Art of the Ministry was filled with a friendly atmosphere, and the Director readily agreed to the conclusion of a statement and memorandum of mutual agreement with the Institute upon inaugurating the project.
We also inspected the Amarbayasgalant Khiid, one of the largest wooden structures of Mongolia located approximately 350 km north of Ulan Bator, the capital. This temple underwent investigations and restoration projects by Japanese experts dispatched through UNESCO from the early 1970’s to the mid-1980’s. However, it is poorly managed at present and an expert of the Ministry of Education, Culture and Science told us that immediate actions were required. We confirmed that there was not only damage to the color of the building and its roof but also that the structure of the temple was suffering deterioration. Through the discussionｓ at this meeting, the two countries have come to hold the wish to include building-related contents in the training program for experts that will be conducted from the next fiscal year on.
After our visit, we learned that demonstrations expressing dissatisfaction with the result of the election which had been held at the end of June led to a riot in Ulan Bator and that the mobs had set fire to the Center for Cultural Heritage, the counterpart of our Institute, resulting in damage to the building, equipment and cultural properties. We express our heartfelt sympathy to the staff of the Center. At the same time, we are seeking a possibility of emergency response by sharing information with the embassy and experts in related fields.
The Evaluation Committee considering the self-evaluation of the National Research Institutes for Cultural Properties in Tokyo and Nara was held on May 19, 2008. On this occasion, we presented to the Committee reports on all the projects that were executed during the fiscal year 2007 as member institutes in the Independent Administrative Institution, the National Institutes for Cultural Heritage. The status of all the projects was explained in terms of their implementation and/or results, and the Committee members were asked for their opinions. At a later date, we compiled our self-evaluation, taking into account the evaluations and opinions of the Committee members. The following is the outline of the completed self-evaluation regarding the projects executed by the National Research Institute for Cultural Properties, Tokyo.
The projects drawn up by the National Research Institute for Cultural Properties, Tokyo during the fiscal year 2007 with the aim of fulfilling its mid-term plan encompassed a wide range of activities, including surveys and research, international cooperation, publicizing and transmitting of information about the results of the surveys and research, and rendering of cooperation and advice to such bodies as the national government and local public bodies. The activity most highly evaluated by the Committee was our cooperation with the projects related to the conservation of the wall paintings of Takamatsuzuka and Kitora Tumuli. Both Institutes, Tokyo and Nara, were praised for achieving results in this difficult task beyond those planned for, in the midst of the great interest and scrutiny from the whole nation. Regarding the projects for international cooperation, it was noted that a maturing cooperative relationship was being developed with China and South Korea, and that further assistance had been rendered to such countries as Cambodia and Afghanistan under difficult conditions. In addition, our contribution to human resources development through the improvement of the knowledge and skills of people associated with various cultural properties, an endeavor achieved by hosting training and providing positive advice, was highly evaluated. However, it cannot be said that our efforts have been adequately conveyed to the general public and an improvement in our ability to publicize information is expected. As a result of the self-evaluation, we concluded that all the projects for the fiscal year 2007 had proceeded well and that sufficient results had been achieved. The results of this self-evaluation will be reflected in future project planning and the improvement of the administration of the Institute.
Director General Suzuki Norio (left) shaking hands with President Rhie Jong Chu (right)
Ceremonial photo with the party of the Korean National University of Cultural Heritage
Ceremonial photo with the staff of the National Research Institute for Cultural Properties, Tokyo
On May 13, 2008, an agreement on cultural exchange was concluded between the National Research Institute for Cultural Properties, Tokyo and the Korean National University of Cultural Heritage. The agreement pertains to the promotion of comprehensive exchange, and its aim is for the Institute and the University to contribute toward promoting protection of cultural heritage by through cultural exchanges in the fields of academic research and education.
The signing ceremony was held at the Institute with the attendance of 4 representatives of the Korean National University of Cultural Heritage, including President Rhie Jong Chul. In the presence of many staff members of the Institute, President Rhie and Director General Suzuki Norio signed the cultural exchange agreement.
The Korean National University of Cultural Heritage was established under the Blue House for the purpose of protecting and transmitting traditional cultures, and consists of 6 departments including Cultural Properties Management, Traditional Landscape Architecture, Traditional Architecture, Traditional Art and Crafts, Archaeology, and Conservation Science. Comprehensive exchange in a wide range of fields can be expected in the future.
The Department of Research Programming is preparing for an international symposium entitled “Capturing the Original – Archives for Cultural Properties” that is to be held in December of this year. On May 9, a seminar was held to which Professor Kato Tetsuhiro of Kwansei Gakuin University was invited. Yamanashi Emiko of the Institute made a presentation entitled “The Art Research Institute and Sir Robert Witt Library” on the establishment of the Institute and the environment of art history materials in Western European societies during the 1920’s, and Professor Kato made his presentation entitled “Being ‘The Original’ – Its Significance in Art Studies” in which he spoke on the way the issue of “the original” has been dealt with in the field of Western aesthetics. These were followed by a discussion on the meaning of “the original”. Professor Kato pointed out that the longing for being “the original” existed only in and after the 19th century even in the West and that, even with such a background, Alois Riegl who was active as an art historian at the end of the 19th century did not necessarily find the value of cultural properties in their original figures, but also recognized their age-value, and that Erwin Panofsky distinguished cultural properties themselves (original) from their duplicates, noting that duplicates lacked authenticity (“aura”). This led to further discussions on such topics as the difference in quality between the record and memory of “the original” and matters that should be conveyed in preserving “the original”. We wish to make the symposium a well-developed one by considering the theme from various angles and holding enlightening discussions. We also wish to make the symposium an opportunity to contemplate on our daily work which includes investigation and research on cultural properties, as well as accumulation and publication of materials.
Mitsutani Kunishiro, Portrait. Collection of the Tokyo National Museum
Mitsutani Kunishiro (1874?1936) is known as a western-style painter many of whose works were exhibited at the Bunten (exhibition by the then Ministry of Education) and the Teiten (exhibition by the Imperial Academy of Fine Artｓ) in Meiji, Taisho and Showa periods. Sketches he left were donated in 1938 to the Art Research Institute, the predecessor of the Institute. Most of them were landscape sketches called “Doro sansui” (road landscape) in the Meiji period and drawings for his works created during the Taisho period and displayed at exhibitions. Among them, one portrait drawn in pencil stands out prominently. In this sketch, the technique of cross-hatching is used where thin lines are crossed to flesh out the motif, and the face staring at us with one eye half-closed is full of self-consciousness. Since this work was innovative not only among Mitsutani’s works but also in the history of western-style paintings in the Meiji period, it had not been introduced until now. However, Mr. Tsunoda Takuro of the Kanagawa Prefectural Museum of Cultural History and Mr. Hirose Naruhisa of the Okayama Prefectural Museum of Art, in the process of their researches on Goseda Horyu/Yoshimatsu Studio that left a major mark on the western-style paintings in early part of the Meiji period, pointed out the possibility that this work may be positioned in that stream. They made a presentation on this topic at the seminar of the Department of Research Programming held on May 7. The date written on the bottom left corner of the drawing ? February 21 of the 25th year of Meiji (1892) – corresponds to the short period of only one year when Mitsutani learned as a pupil of Goseda school. This drawing may be positioned as a link between Goseda Studio and Mitsutani, and also as a work that may cause a stir in the art history of the Meiji period. This work, along with sketchbooks filled with similar portrayals using cross-hatching, will be exhibited in “All about the Goseda Studio -A Bridge to Modern Paintings in Japan” (August 9 – 31 and September 6 – 28, 2008 at the Kanagawa Prefectural Museum of Cultural History, and October 7 – November 9, 2008 at the Okayama Prefectural Museum of Art).
The National Research Institute for Cultural Properties, Tokyo has been cooperating in the conservation and restoration of Japanese art objects that are in the collections of museums overseas and conducting studies on the conservation and restoration of target works in collaboration with the museums that own these objects.
In the fiscal year 2008, conservation and restoration will be carried out in Japan for four paintings: “Matsu ni Kujaku zu Byobu” (Peacocks and Pine Trees; a 6-paneled folding screen; Art Gallery of Greater Victoria, Canada), “Hoshi Mandala zu” (Star Mandala; hanging scroll; Vancouver Museum, Canada), “Mushi Uta-awase Emaki” (Poetry Contest of Insects; hand scroll; Museo Nazionale d’Arte Orientale, Italy), and “Yujo Tachisugata zu” (Courtesan, by Miyagawa Choshun; Museo d’Arte Orientale “Edoardo Chiossone,” Italy), as well as for four craftworks: “Sumiyoshi Makie Bundai” (Writing table; Victoria and Albert Museum, England), “Kacho Monsho Makie Tate” (Leather shield; Ashmolean Museum, England), “Omi Hakkei Makie Kodana” (Pair of shelves for incense; Museum Velke Mezirici, Czech Republic), and “Rohkaku Sansui Makie-bako” (Cabinet with Mounting, European influenced shape; Museum fur Angewandte Wien, Austria; continued from the last fiscal year). Moreover, at the overseas restoration studio established in the Museum fur Ostasiatische Kunst in Cologne, Germany, conservation and restoration of “Kajuchoju Makie Raden Yobitsu” (Ornamental Coffer with flower and bird design, makie and raden technique) is in progress (3rd year of 3 consecutive years). In addition, from this fiscal year, at the restoration studio for paper in the Deutsches Technikmuseum Berlin, conservation and restoration of “Darumazu” (Bodhidharma; a painting in the collection of Museum fur Ostasiatische Kunst; to be continued for 2 years) will be carried out. In this overseas restoration studio, a workshop for overseas staff engaged in restoration is scheduled to be held in parallel with the actual restoration work.
A page from “Safeguarding of Intangible Cultural Heritage in Vietnam and the Community Involvement in the Recent Years” by Nguyen Kim Dung
The English version of the Proceedings of the 30th International Symposium “Safeguarding of Intangible Cultural Heritage: International Cooperation and the Role of Japan” that was held from February 14 to 16, 2007 has been posted on our website. The symposium was held in response to the enactment of the “Convention for the Safeguarding of the Intangible Cultural Heritage” in April, 2006. Those who wish can see this report at:
http://www.tobunken.go.jp/~geino/e/kokusai/06ICHsympo.html (link rot)
Japanese version can be found at:
http://www.tobunken.go.jp/~geino/kokusai/06ICHsympo.html (link rot)
The “Training for Museum Curators in Charge of Conservation” has been held in July of each year for the staff in charge of conservation of materials working in cultural heritage conservation facilities throughout the country so that they may learn the necessary and basic knowledge and techniques. This training is reaching a turning point this year, marking its 25th anniversary (scheduled for 2 weeks from July 14 this year). Usually, we distribute the handbook on the seminar across the country by the beginning of February. Since applications far exceeding the fixed number (25 persons) were sent this year, we selected the participants. In performing this selection, priority was given to those who have some practical experiences in conservation facilities and who would hold core positions in conservation not only in their own museums but also in their regions for a long time after attending the seminar.
Presently, we are preparing for the training by making the program, sending out requests for visiting lecturers, carefully examining the contents of the practical training, checking the equipments for the practical training, and so forth. The contents of the seminar are improved every year little by little by referring to the questionnaire returned from the participants. The participants have to be away from their work for as long as 2 weeks. As this may impose a heavy burden on both the participants and their museums, we are doing all we can in preparation for this seminar so that the participants can really feel that the seminar is truly meaningful in a practical manner.
Exhibition in the Thematic Exhibition Gallery of Heiseikan of the Tokyo National Museum
The Center for Conservation Science and Restoration Techniques displayed two pairs of 6-panel folding screens, three hanging scrolls and two Japanese lacquer works, which were fully restored in the fiscal year 2007 under the Cooperative Program for the Conservation of Japanese Art Objects Overseas. The exhibition was held in the Thematic Exhibition Gallery of Heiseikan of the Tokyo National Museum from May 13 (Tuesday) to 25 (Sunday). In addition, panels introducing the restoration process for the paintings and Japanese lacquer works were exhibited in the exhibition room so that the restoration work could be seen. All these art objects have been restored to conditions appropriate for display in facilities when they are returned to their respective museums. This exhibition became a very good opportunity for visitors to the museum to gain an understanding of the international contribution and cooperation made by the Institute. We will continue to advance the Cooperative Program for further contribution to and cooperation with international conservation projects.
The “UNESCO Sub-Regional Workshop on Serial Nomination for Central Asian Petroglyph Sites” was held from May 26 to 31, 2008 at Bishkek, the capital of Kyrgyz Republic in Central Asia. Representatives of four countries in Central Asia except for Turkmenistan, namely, Kyrgyz, Kazakhstan, Uzbekistan and Tajikistan, as well as of UNESCO and ICOMOS participated in this workshop, and Yamauchi of the Institute attended as an observer. Although rock art (or rock painting) sites are found over a wide area not only in Central Asia but also in the entire Eurasian continent, the said workshop limits the area to Central Asia with the aim of collectively registering all the sites in that region as a World Heritage site. In this meeting, many case examples were introduced, and problems related to research, registration operations, management and conservation were discussed. Since this is a serial nomination of heritages beyond national borders, preparation of application forms for World Heritage site is likely to require more time due to differences in the progress of works in different countries. In the workshop, it was confirmed that similar workshops would continue to be held with the goal of World Heritage site registration in 2012. As a part of the Cooperative Projects for the Conservation of Cultural Heritage in West Asia, the Japan Center for International Cooperation in Conservation will participate in such workshops, keeping in mind future cooperative conservation projects, and endeavor to collect information while promoting cooperation with relevant parties and authorities in countries in Central Asia.
“ALC (Art Libraries’ Consortium),” a cross searching site on art libraries
“So (Imagine),” an associative searching site
On April 22, the Department of Research Programming invited Mizutani Takeshi (The National Museum of Modern Art, Tokyo) and Marukawa Yuzo (National Institute of Information) to speak at a seminar on the dissemination of information on cultural properties and collaboration. Mizutani and Marukawa have constructed and are engaged in the management of “ALC (Art Libraries’ Consortium),” a cross searching site on art libraries, and “So (Imagine),” an associative searching site, respectively. The Institute and the Department of Research Programming, in particular, that is in charge of disseminating high quality information on cultural properties, held discussions with the future in view. We plan to make conduct activities toward a more effective dissemination of the accumulated results of research.
The former research room on the first floor that has been newly opened
Until now, works of Kuroda Seiki were shown in the Memorial Room and the Exhibition Room on the second floor of the Kuroda Memorial Hall. From April 24, the former research rooms on the first and second floors have also been opened to the public. In the former research room on the second floor, a slide show entitled “The Life and Art of Kuroda Seiki” (12 mins.) is being shown so that visitors may better understand Kuroda’s art. In the 2 research rooms on the first floor, a wooden desk, cabinet and photographs from the days of The Institute of Art Research are exhibited. The most recent publications of the National Research Institute for Cultural Properties, Tokyo can also be perused freely. These new additions enable the visitors not only to appreciate Kuroda’s works but also to learn about the history of the Institute and its present work.
Umemura Yutaka (June 15, 1923 – June 5, 2007) was a photographer who was in charge of the gravure pages of the magazine Engekikai. Last December, the Department of Intangible Cultural Heritage received negatives and photographs left by the deceased from his widow. Currently we are engaged in sorting out these materials to see how many there are. We hope to complete procedures for their official donation to the National Research Institute for Cultural Properties, Tokyo.
Photographs by the deceased is said to have been first published in Engekikai in 1947, but the oldest negatives and photographs donated date to around 1962. More than 10 cartons of materials were transported to the Institute. They are valuable documents of a photographer who continued to take pictures of the kabuki world in the latter half of the 20th century.
