| ■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 |
|
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
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Noritsugi used for Echizen washi
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Visit to Shibetsu-cho
Noriutsugi, which grows wild in large quantities in Shibetsu-cho
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Collecting bark
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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.
OYAMADA Tomohiro of the Department of Art Research, Archives and Information Systems made a presentation titled Long-Term Preservation of Digital Data on June 27, 2023. With the ongoing digitization of many areas of society and industry, it goes without saying that the long-term preservation of the digital data we produce is critical. Various technological tests have been conducted on the preservation of digital data, and many recording media for long-term preservation are now available. However, we know that many types of recording media and playback devices have disappeared from the market. Therefore, we must say that for long-term preservation of digital data, media management is more necessary than media technology.
In this presentation, the long-term preservation of digital data was examined from both technical and operational perspectives. For technical aspects, Blu-ray Discs, LTO, HDD, and SSD were compared as representative recording media. For operational aspects, the contents of the OAIS reference model, an international standard for the long-term preservation of digital data, were shown. Finally, our own proposal for a long-term preservation system for digital data that would be less burdensome for daily operations was reported and discussed.
The Tokyo National Research Institute for Cultural Properties has created digital data on valuable cultural materials and made it available on its website and other media. To ensure that these digital data can be used forever, we will continue to investigate the preservation of digital data.
Handwritten books by Mr. FURUGORI Yoshio
On May 9, 2023, the FURUGORI family donated materials of historical significance to the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). In response to the donation, SAITO Takamasa, Director General of TOBUNKEN, presented a letter of gratitude to a representative of the family on June 15, 2023. The materials are on KURODA Kiyotsuna (1830-1917) and his son-in-law, KURODA Seiki (1866-1924), with whom the family had a special relationship.
KURODA Kiyotsuna was from the Satsuma domain of the Tokugawa Shogunate, and held important positions in the Meiji government, and KURODA Seiki was a painter and contributed much to the modernization of the Japanese art world. As the precursor of TOBUNKEN was the Institute of Art Research, with an endowment bequeathed by KURODA Seiki, we have continued research on his paintings and other achievements since the founding of the institute. The donation was brought from such research.
KURODA Kiyotsuna received personal care from Ms. FURUGORI Shizuko at his villa at Kogaicho, Azabu-ku (formerly called Nishiazabu, presently Minato-ku), and the bereaved FURUGORI family has a painting by KURODA Seiki that he had given them. SHIOYA Jun and YOSHIDA Akiko, Special Research Chair and Researcher of the Department of Art Research, Archives and Information Systems, respectively, visited the family to inspect the painting and were informed of the donated materials.
The core of the materials, which comprise books bound in Japanese style, publications, letters, and other printed matter, is composed of 10 books written by Mr. FURUGORI Yoshio who was the son-in-law of Ms. FURUGORI Shizuko. Among them, Articles on KURODA Seiki and Articles on KURODA Kiyotsuna present a combination of the author’s personal memory of the KURODAs and rich information acquired from his survey, and two volumes of Azabu in those days provide details on the villa in Azabu, mentioned above, which had also been a subject of a painting by KURODA Seiki. The books are valuable primary sources with an original viewpoint and abundant information.
The materials are being kept and prepared for access at TOBUNKEN Library. In addition, we plan to digitalize selected contents to facilitate contributions to a wide range of research.
Fan-paper album of Hoke-kyo Sutra in Kokka Vols. 419
Cabinets
Kokka is an art magazine that was first published in 1889, and its publication has continued to the present day. It is known as a significant academic publication in the field of Japanese and Asian art history. Since its first issue, Kokka has introduced outstanding works of art with gorgeous illustrations, each of which has become an important basic resource for art historical research. Over the past 130 years, researchers publishing in Kokka have painstakingly accumulated and provided an enormous amount of fundamental data.
In 2014, Kokkasha, the publisher of Kokka, donated camera-ready copy (kamiyaki) illustrations of the artworks published in Kokka to the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) Library. These camera-ready copy illustrations were pasted on mounts, amounting to 45 cardboard boxes in volume. While organizing the materials, we previously released the illustrations from Kokka Vols 800 [1958] to 1200 [1996], and now we are releasing additional illustrations from Vols. 400 [1924] onward. These are valuable documents from the Taishō era (1912–1926) to the beginning of the Shōwa era (1926–1989).
These illustrations are arranged in the TOBUNKEN Library cabinets in order of volume number, along with the illustrations previously released. As the staff have rearranged all the illustrations in Kokka, we believe it will now be easier to view the materials than before. Visitors to the TOBUNKEN Library can browse the collection freely. We hope you will make use of these valuable materials.
Audience participating in the Bon Odori dance
Bon Odori performance of Nishimonai
A symposium titled Dance, Soul! ― How to Enjoy the Furyu-odori Dance* ― was held at the auditorium of the Heiseikan in the Tokyo National Museum on June 24, 2023. The Tokyo National Research Institute of Cultural Properties (TOBUNKEN) and the Pola Foundation of Japanese Culture co-hosted this symposium. Members of the Nishimonai Bon Odori Preservation Society were also on the stage.
The symposium started with lectures on the appreciation of Furyu-odori dance. KUBOTA Hiromichi, the Head of the Intangible Folk Cultural Properties Section of the Department of Intangible Cultural Heritage of TOBUNKEN, talked about its history; Dr. KAWASAKI Mizuho, part-time lecturer at the University of the Sacred Heart, Tokyo, talked about its music; Dr. HYOKI Satoru, a Professor at Seijo University, talked about its costumes; and Mr. MORIMOTO Sensuke of the Cultural Property Protection Division, Nara Prefecture, talked about the cases of West Japan. Discussion followed, in which all presenters talked about the charms of Furyu-odori dance from various aspects.
After a short break, Dream of Hanui – Nishimonai Bon Odori Dance, a documentary film made by the Pola Foundation of Japanese Culture was screened. Ms. SATO Ikuko and Ms. WAGA Yasuko of the Nishimonai Bon Odori Preservation Society provided explanations about the dance, and then Society members performed the dance, and the audience joined-in, led by Ms. SATO. At the end of the symposium, the majority of the audience stood up, danced, and enjoyed the time together.
The Pola Foundation of Japanese Culture produced many documentary films of various intangible cultural properties. Most of the films were kindly donated to TOBUNKEN. We will make them available for a wider audience.
* Furyu-odori dance: Various ritual folk dances, characterized by eye-catching costumes and lively dances and music in Japan. Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2022.
Exhibition talk
Exhibition in the entrance lobby
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) is exhibiting panels in its entrance lobby to disseminate its research outcomes. We started the new panel exhibition named in the title on June 5, 2023.
Techniques for conservation and restoration are essential to pass cultural properties down to the future generations. However, the acquisition of more types of materials and tools necessary for these techniques is becoming difficult, because of a shortage of successors to make them as well as changes in social environment. Due to its urgency, we are conducting investigational research on these tools and materials in collaboration with the Agency for Cultural Affairs. We are working to clarify the materials used and to improve issues related to their use, from a scientific standpoint, to comprehend methods to use these materials and tools on the conservation, and to record the techniques of their manufacture. We comprehensively conduct both the investigations above and archiving of past restoration documentation reports.
This project involves various activities and sectors, and we are therefore conducting this project cross-sectorally across TOBUNKEN, utilizing the strength of TOBUNKEN in that has multiple sectors to facilitate comprehensive research on cultural properties.
The exhibition mainly involves the raw materials of Uda washi paper essential for hanging scroll mountings and the carving tools essential for sculpture restoration. As neither are replaceable with substitutes, the continuation of their supply is in danger, and on this basis, we chose them as our research target. TOBUNKEN, and particularly the Center for Conservation Science, has been working on scientific research on traditional materials in Japan even since before this project started. The outcomes of the research are also exhibited. We hope that you can experience the in-depth world of materials and tools related to cultural property restoration and the wide outcomes of the research through this exhibition.
(Free entrance. Open 9:00 – 17:30 from Monday to Friday (except for national holidays).
https://www.tobunken.go.jp/info/panel/230605/index_e.html
Exterior view of St Michael's Church
Cleaning tests for soot stains
Cappadocia, located in Central Anatolia, Republic of Turkey, was added to UNESCO’s World Heritage List in 1985 as Göreme National Park and the Rock Sites of Cappadocia, as a result of long-term erosion of the tuff plateau. More than 1,000 rock churches and monasteries had been built, and mural paintings were painted on the inner walls of these churches and monasteries.
Last year, a preliminary survey was conducted with Ankara Haji Bayram Veli University to establish a joint research project on the conservation and restoration of cultural properties, and as a result, it was decided to target the mural paintings in St, Michael’s Church (in the Keslik Monastery). In response, we visited the site from June 15 to 22, 2023 and conducted a survey aimed to establish a research plan. Research issues were then identified, such as the removal of soot stains covering the mural paintings surfaces and the conservation treatment of plaster layers that had detached from the bedrock support.
In the future, while sharing research issues with local experts, we will continue our activities to contribute to the conservation and restoration activities of cultural heritage in the Republic of Turkey.
Q&A Session
On May 30, 2023, TASHIRO Yuichiro (Department of Art Research, Archives and Information Systems) gave a presentation titled A Study on the Formation of Korean Art History: Focusing on the Japanese Settlers in Colonial Korea.
Among the Japanese living in Korea during the colonial period (1910-45), many were involved in the administration, research, education, collection, and production (manufacturing) of arts and crafts. However, many of them died on the Korean peninsula or ceased their activities after repatriation to Japan, and among them some have been forgotten in Japan since the end of World War II.
The presenter, with a personal history as a “Japanese in Korea,” having stayed in the Republic of Korea while studying the history of ceramics, has been interested in the Japanese who had spent time in the Korean Peninsula as he did. At the same time, he has felt that their influence on the current understanding of art history has been significant.
With this in mind, the presenter has decided to undertake research on the Japanese in Korea as a long-term research project separate from his work on the history of ceramics. Specifically, the presenter plans to focus on Japanese in Korea who were active in art history and relevant fields by analyzing (1) the framework (historical view and value evaluation) they formed and (2) their human networks, to clarify how they played a crucial role in our understanding of art history in Korea after 1945.
In the presentation, the presenter introduced his previous research on the reception history of Joseon white porcelain, a catalyst for his interest in the Japanese living in Korea (TASHIRO Yuichiro, The Concept of Akikusade: A Reflection on Modern Japanese Perception of Joseon White Porcelain, Korean Journal of Art History, No. 294, Korean Art History Association, 2017). He also presented the results from his material research, conducted in parallel with his academic pursuit of ceramic history, followed by the prospectus of this project. As the word “conjecture” in the Japanese title suggests, this presentation is the first step of an ongoing research project. The presenter hopes to continue his study on clarifying the role of Japanese residents in Korea in the formation of Korean art history.
Participants of the Meeting
The Department of Intangible Cultural Heritage of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting research exchanges with the National Institute of Intangible Heritage of the Republic of Korea since 2008. As part of this project, we held a meeting for presentation of results of the Japan-Korea Intangible Cultural Heritage Research Exchange Project at our institute on May 24, 2023. At this meeting, the results of the project conducted from October 2016 to March 2023 were presented.
Four staff members (Mr. Yang Jinjo, Ms. Choi Sukkyung, Ms. Kang Kyunghye, and Ms. Ryou Hansun) visiting from the National Intangible Heritage Center, and three members (ISHIMURA Tomo, MAEHARA Megumi, and KUBOTA Hiromichi ) from the Department of Intangible Cultural Heritage each made presentations. After the presentations, FUTAGAMI Yoko from the Department of Art Research, Archives and Information took part in a discussion held among all the participants.
During the discussion, comments and suggestions were exchanged on issues and prospects for the safeguarding of intangible cultural heritage. There was a lively discussion on “culture of everyday life” as intangible cultural heritage (such as culinary culture), which has been attracting attention in recent years. Regarding the safeguarding of this type of intangible cultural heritage, the Republic of Korea started to take measures to safeguard it earlier than Japan; however, both of our groups learned that there are common and different issues between the two countries. The discussion turned into a heated one that lasted for two hours.
This project had been temporarily suspended due to the COVID-19 pandemic; however, it was fortunate that we were able to resume it last year. In April 2023, our institute and the National Institute of Intangible Heritage signed a new agreement, and the project is now continuing until March 2030. We hope that this research exchange project will promote further understanding and cooperation between the two countries regarding the safeguarding of intangible cultural heritage.
