Understanding the Progress in the Technical Support Provided to the Bagan Archaeological Site in Myanmar

Conserved and restored parts are maintained in good condition (middle and upper parts), and plants have grown in the parts that remain unrestored.

　Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been working on a technical support and skill development project for the conservation and restoration of wall paintings and exterior walls of the temples composed of bricks, targeting the staff in the Bagan branch of the Department of Archaeology and National Museums of the Ministry of Religious Affairs and Culture of Myanmar. However, the COVID-19 pandemic and deterioration of Myanmar’s general situation have hindered our onsite work for some time. In such circumstances, we are conducting online meetings every two months to understand the status of the Me-taw-ya and Lokahteikpan temples, which are the target sites for the conservation and restoration project. We continue to provide advice for their maintenance and management by referring to the site photographs sent to us by the local staff.

　The current status of the Me-taw-ya temple was reported at the meeting held on December 19th, 2021, informing that its restored parts have remained in good condition since our onsite activities were halted, which was two years ago. In the Bagan Archaeological Site, other organizations (prior to the involvement of TOBUNKEN) had repeatedly restored the joint plaster and adopted countermeasures against rain leakage. However, in most of the cases, the restoration materials were damaged within a year. Additionally, in 2021, the heavy rainfall caused disastrous damages to the structure.

　For this project, we have been closely working with the local experts by listening carefully to their concerns and conducting relevant research to address them. The restoration materials introduced by TOBUNKEN have remained in good condition for 5 years, showing no damage even at the oldest parts. Thus, it is important to carefully monitor the progress after the restoration and to work on the restoration. Despite the frustration at being unable to work onsite because of the current situation, the proven effectiveness of the conservation and restoration to sustain over multiple years is a source of constant motivation for us.

　Thus, while we continue to extend our full cooperation to the local staff, we remain hopeful about resuming our onsite work shortly.

Preliminary Research for the Restoration Support and the Rehabilitation of Damaged Cultural Heritage in Nepal

The South East corner of the Shiva Temple podium before the investigation

Assuming original structure of internal podium exposed by the dismantling investigation

　An earthquake of magnitude 7.8 struck Nepal on April 25th, 2015. Subsequently, several regions, including the capital city of Kathmandu, were stricken, and many cultural properties, including the World Cultural Heritage, were damaged. Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been continuing the investigation and support for the preservation of damaged cultural heritage since November 2015 through projects such as the one commissioned by the Agency for Cultural Affairs. Recently, I was asked to travel there by Japan International Corporation Agency (JICA). The investigation required partially dismantling the podium of the Shiva Temple in the Hanumandhoka Palace in Kathmandu and was conducted from December 5th–17th, 2021.

　Shiva Temple, which is a 5m by 5m-multi-storied building, is considered to have been constructed in the 17th century. Its super structure had completely collapsed due to the above mentioned earthquake. TOBUNKEN conducted excavations to examine the composition of its foundation in June, 2017. To this end, we investigated the internal composition and condition of the remaining podium that was made of bricks to obtain the basic data and materials to reinforce the structure, which was essential for its full recovery.

　From this investigation, we found that the bricks outside and at the upper parts of the podium were varied and uneven in composition and placement, being irregularly piled on top of each other. This suggests that such parts were restored sometime later than the original construction. On the contrary, the bricks inside and at the lower parts were standardized, and regularly and precisely piled, implying that these parts made up the original structure before restoration. These parts maintain relative stability, which supports our previous investigation outcome.

　Furthermore, we plan to conduct a compositional analysis of the adhesive used to join stones at the upper structure as well as the mortar applied to bricks at the joint of the podium. We hope that the research outcome can support Nepal’s earthquake rehabilitation efforts and contribute to enhancing the local understanding of historic buildings.

The 55th Public Lecture

Lecture by KOBAYASHI Tatsuro

Lecture by YASUNAGA Takuyo

　The Department of Art Research, Archives and Information Systems conducted a public lecture titled “Look at Form, Read Form” on November 5th, 2021. The “Public Lecture” is conducted every autumn over the course of two days, and a wide range of audiences are invited to attend lectures presented by researchers on their work. However, this year, as with the preceding year, we shortened the period to one day with only two lecturers from our institute to follow COVID-19 prevention measures. The audience was limited to 30 people, and they were selected by raffle. In the venue, temperature checks were conducted and the speakers and audiences were requested to wear masks and sanitize their hands.
　The following two lectures were conducted by members of our department: “Emergence and its Meaning of Amida Paintings All in Gold – Representation of Time Spirit in Transition Period” by KOBAYASHI Tatsuro, Head, Japanese and East Asian Art History Section; and “‘Hanshan and Shide’ Painted by Yosa Buson at Myōhōji Temple in Kagawa – Study for Restoration Utilizing Image Materials” by YASUNAGA Takuyo, Senior Researcher.
　“KOBAYASHI discussed the Amida pictures of the Kamakura period—painted and plated in all gold—in light of the transition of the time spirit. Special emphasis was placed on how Amida emerged alongside the doctrine of original enlightenment (hongaku), which dominated Tendai Buddhism.” YASUNAGA introduced the ongoing restoration work of “Hanshan and Shide”—an Important Cultural Property owned by the Myōhōji Temple in Marugame city, Kagawa Prefecture—which was partially damaged by age. The old monochrome films shot decades ago by Tobunken have been used for this restoration with the high-definition images that Tobunken pictured recently.
　Questionnaire survey responses from the audience show that 85% participants were “satisfied” or “generally satisfied” with the lecture.

Recent International and Domestic Trends on the Implementation of the World Heritage Convention: the 6th Seminar held by the Department of Art Research, Archives and Information Systems

Summary of the Seminar

　Nearly 30 years have passed since Japan ratified the World Heritage Convention. Japan currently has 25 properties inscribed on the World Heritage List, including “Amami-Oshima Island, Tokunoshima Island, Northern part of Okinawa Island, and Iriomote Island” and “Jomon Prehistoric Sites in Northern Japan”, which were recently added to the list in 2021. FUTAGAMI Yoko, Head, Cultural Properties Information Section, conducted a presentation about the recent international and domestic activities based on the World Heritage Convention, including the nomination, inscription, and protection.
　Many nominated properties that were not recommended to inscribe on the World Heritage List by its advisory bodies, were eventually decided to be inscribed on the List at the extended 44th session of the World Heritage Committee conducted in Fuzhou, China, with both in-person and online attendees in July 2021. For example, “Frontiers of the Roman Empire – The Danube Limes (Western Segment)” nominated by Hungary and other states, was also decided to be inscribed on the list. This happened even though ICOMOS / International Council on Monuments and Sites, as an advisory body on cultural properties, concluded that it was “impossible to evaluate” because its boundary of the property was significantly modified soon before the session due to Hungary’s withdrawal from its nomination. Hungary noted discrepancies between the outcomes of the thematic study that ICOMOS performed in the past and their recent advice based on the mission triggered by its nomination, and the related states failed to reach agreements regarding how to deal with the advice provided. These hiccups may have influenced the Committee Member states to turn against ICOMOS. FUTAGAMI explained these issues related to the nominations to the World Heritage List, as well as the introduction of improvement measures, such as Preliminary Evaluation on the nomination dossiers at the extended 44th session of the World Heritage Committee.
　In addition to the movements of the World Heritage Committee, since 2020, domestic discussions have been conducted in Japan at the Subdivision of World’s Cultural Heritage of the Council for Cultural Affairs regarding the nomination and protection of world heritage properties. FUTAGAMI presented information about its discussion points based on the materials published on the Internet.
　Active discussions were conducted during this seminar on the challenges for domestic activities in the light of World Heritage nomination and protection. It provided a good opportunity for us to recognize the need for outreach on a wide range of related information.

Publication of Art News Articles

“(Japanese)” at the end of the article is linked to its Japanese article.

　Since 1936, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has annually issued the “Year Book of Japanese Art (the Year Book),” which covers activities in the art world in the given year in Japan. Although this book can be downloaded from “TOBUNKEN Publications repository > Yearbook of Japanese Art,” you can also directly search for specific information on the TOBUNKEN web database.
　“Art News Articles database,” one of the databases constructed based on the Year Book, is a useful material that allows you to track movements in the art world through major exhibitions, art competitions, and events related to museums and cultural properties since 1936. We are happy to announce that the English version of “Art News Articles” with articles dating back to 2013, 2014, and 2015 were published. They were translated by Ms. Miwako Hayashi Bitmead, Japanese Arts Database Officer of the Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC) in the United Kingdom. SISJAC and TOBUNKEN have conducted joint research since 2013 and this English publication was created with their cooperation. As the translation progresses, more data will be available.
　The English version of this database will be helpful for disseminating information all over the world about the history of the movement in the Japanese art world until now. We believe that it can be also used as a vocabulary glossary for further outreach activities. Japanese and English versions of articles are mutually linked to ensure that each version can be easily referred. We are also planning to improve the database to mutually refer to both English and Japanese at a vocabulary level. We hope that you can find it useful and will use them regularly.

Research on Preservation Techniques for Cultural Properties That Are Related to Traditional Performing Arts—Manufacturing Noh Costumes

Manually adjusting warps set on the loom

Handweaving with various types of woof

Cutting and tailoring Noh costumes

　The Department of Intangible Cultural Heritage conducts the research on the preservation techniques for cultural properties. We studied the “manufacturing Noh costumes related to Nohgaku^*1” technique among various preservation techniques. Nohgaku is performed on stages, where the performers wear masks (Noh masks), costumes (Noh costumes), and other traditional items. Not only the performing arts themselves but also the techniques to support them are mandatory to inherit the intangible cultural heritage.
　Mr. SASAKI Yoji (in Kyoto Prefecture) is a government –certified technique holder who has mastered the techniques to manufacture Noh Costumes, moreover these selected preservation techniques are certified by the national government. Mr. SASAKI, who is the fourth president of Sasaki Noh Robes (founded in 1897), manufactures Noh costumes with Nishijin’s^*2 traditional handlooms equipped with the Jacquard machine^*3 for each order. Noh costumes come in various forms, styles, and patterns and are selected for each drama. Most of them exhibit gorgeous designs, which include shining silk and gold and silver threads, to stand out on the stage. Thus, manufacturing requires highly skilled technique holders to perform weaving techniques to meet the subtle demands of Noh performers.
　We interviewed Mr. SASAKI Yoji and recorded each process of manufacturing Noh costumes; the recording included still pictures and videos. We plan to publish a leaflet named “Techniques to support Japanese traditional performing arts” based on the outcomes of this research.

*1. Nohgaku is one of the traditional styles of Japanese theater. It includes the lyric drama noh, and the comic theater kyogen (https://en.wikipedia.org/wiki/N%C5%8Dgaku)
*2. Nishijin: is a district in Kamigyō-ku, Kyoto, Japan. It is well known for traditional textiles which are often referred to as Nishijin-ori (西陣織) (https://en.wikipedia.org/wiki/Nishijin)
*3. Jacquard machines control movements of warps by punch cards to generate complex patterns. They are not powered automatic looms. Sasaki Noh Robes manually develop clothes (using hands) using handlooms equipped with Jacquard machines.

Lecture at Kuboso Memorial Museum of Arts, Izumi and Keynote Lecture at the International Symposium in Rietberg Museum, Switzerland

Exhibition catalogues: “Love, Fight, Feast “(left) and “Tosa and Sumiyoshi Schools II—The Development of the Yamato-e Painting Style and the Outstanding Characteristic of Each School” (right)

Lecture at Kuboso Memorial Museum of Arts, Izumi

International Symposium at the Rietberg Museum (YouTube distribution screen)

　The exhibition “Tosa and Sumiyoshi Schools II—The Development of the Yamato-e Painting Style and the Outstanding Characteristic of Each School” was held from September 12th through November 7th, 2021 at the Kuboso Memorial Museum of Arts, Izumi, well known for its precious collection of Japanese and East Asian antiquities. The art works of the Tosa and Sumiyoshi Schools, from Tosa Mitsuyoshi’s work in the Momoyama Period till the modern period, were gathered and exhibited there. The exhibition was curated to highlight what each painter inherited and what each one innovated. During the exhibition, EMURA Tomoko from the Department of Art Research, Archives and Information Systems gave a lecture titled “Sumiyoshi School Paintings Overseas: Examining Shutendōji Handscrolls in Grassi Museum of Ethnology in Leipzig” at a lecture meeting held on October 16th, with Mr. KAWADA Masayuki, the director of the museum. EMURA introduced the Cooperative Program for the Conservation of Japanese Art Objects Overseas by Tokyo National Research Institute for Cultural Properties (TOBUNKEN), as well as Japanese arts overseas. She discussed Sumiyoshi Hiroyuki’s Shuten-dōji handscrolls, considered to be painted in 1786. This exhibition also featured the Shuten-dōji handscrolls painted by Hiroyuki’s son, Sumiyoshi Hironao (owned by Nezu Museum), following his father’s works. EMURA clarified the contrast between their works.
　In the same month, on October 23rd, EMURA delivered a keynote lecture titled “A Great Tale of Exterminating Ogres: Shuten-dōji Handscrolls of GRASSI Museum für Völkerkunde zu Leipzig” at an international symposium marking the occasion of the special exhibition “Love, Fight, Feast – The World of Japanese Narrative Art,” held at the Rietberg Museum in Switzerland from September 10th to December 5th, 2021. The exhibition shows Japanese narrative scrolls owned by European museums. In her lecture, she explained the overall contents of Sumiyoshi Hiroyuki’s Shuten-dōji handscrolls and their characteristics as they were first exhibited there. This symposium was held online, connecting the museum in Zurich with Tokyo, Dublin (Ireland) and New York (USA), and broadcasted via the Internet.
https://www.youtube.com/watch?v=36FC6IOS_o0&t=1160s
　It was unfortunate that we could not gather in person at the same venue due to the COVID-19 pandemic, but it was still a precious opportunity to discuss with many researchers and to exchange opinions. EMURA plans to publish her research about Sumiyoshi Hiroyuki’s Shuten-dōji handscrolls, which she talked about in her lecture, as an article in the Bijutsu Kenkyu (the Journal of Art Studies), No. 453.

Basic Research for Preservation and Restoration of Usuki Stone Buddhas, a National Treasure

Adherence sample setting for exposure test

Water content meter setting to measure the amount of water in the rock

　Usuki Stone Buddhas, a National Treasure, are a group of “magaibutsu” (Buddha statues directly carved into rock face) sculpted niches that were carved on ignimbrites between the late Heian period and the Kamakura period. They consist of the following four clusters: the Hoki First Cluster, the Hoki Second Cluster, the Sannosan Cluster, and the Furuzono Cluster.

　Weathering has partially progressed in these Buddha statues. Although protected by the niches from rainfall and winds, their surfaces have been impacted by repeated frosting and melting of underwater and rainwater during winters, and by flaking and granulating as a result of salt deposition due to evaporation in dry season. Therefore, weathering prevention methods such as building protective shelters, controlling river-bed water running behind the statues, and remounting falling pieces were adopted in the past. Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been engaged in these efforts for a long time.

　A new joint research with Usuki City has now started to preserve and restore the Stone Buddha Statues. The surfaces around one knee of the seated Amitabha Tathagata Buddha statue in the Hoki Second Cluster have rebegun flaking and falling despite early preservation and restoration efforts. Via environmental research, we plan to monitor the change in temperature and humidity in the newly built protective shelters and review the water content in the rock, in addition to studying materials and implementing methods to strengthen and remount falling pieces. In preparation, we set the measuring equipment and adhesive samples for outdoor exposure testing on October 18th and 19th.

　We plan to regularly review the measured data and observe the efficacy of adhesive samples against the weather, while continuing to discuss appropriate actions for the preservation and restoration of the Usuki Stone Buddha Statues with the Agency of Cultural Affairs, Oita Prefecture, and Usuki City.

Activities and Archives of the Sōzō Biiku Kyōkai: the 5th Seminar Held by the Department of Art Research, Archives and Information Systems

SHIMAZAKI Kiyomi in a classroom; photo taken in 1950s.
He taught arts as an elementary school teacher, while playing a key role in Sōzō Biiku Kyōkai

Presentation at the seminar

　Have you ever heard about an organization called “Sōzō Biiku Kyōkai”? This private organization was founded in 1952 to pursue new art education that respects and nurtures children’s individual personalities. Artists such as KITAGAWA Tamiji and EI-Q, and the art critic KUBO Sadajiro played key roles in its founding. These educational activities have grown and expanded, and have resulted in the establishment of the organization’s branches all over Japan. Thus, these activities have had a huge impact on post-war art education in Japan.
　Ms. NAKAMURA Maki (part-time employee, Kanagawa Prefectural Museum of Cultural History and temporary staff, Tokyo Keizai University Historical Data Office) was invited by the Department of Art Research, Archives and Information Systems to the seminar held on September 24th, 2021 on the materials left behind by SHIMAZAKI Kiyomi (1923-2015). SHIMAZAKI was an art educator and served as the Bureau Chief of the Sōzō Biiku Kyōkai. Ms. NAKAMURA gave a presentation titled “Art Education in Japan after World War II, tracked with the activity records of the ‘Sōzō Biiku Kyōkai’ – referring to the materials left by SHIMAZAKI Kiyomi.” She had interviewed SHIMAZAKI in the past, and after his death, has been engaged in organizing and studying the large amount of materials he had left behind. She explained that this organization has made immense contributions, not only by helping art education to evolve, but also by supporting artists, popularizing print arts, and nurturing art collectors.
　In the discussion following her presentation, Dr. KANEKO Kazuo, Professor Emeritus at Ibaraki University, delivered a commentary on the positioning of the Sōzō Biiku Kyōkai in post-war art education in Japan. Following this, participants from the institute and other facilities actively discussed how to conserve and utilize the materials of SHIMAZAKI Kiyomi. In the discussion, we also recognized the difficult situation related to the art education archives, for example, the fact that no institute so far has accepted these materials permanently.
　Ms. NAKAMURA brought some of the actual materials to the seminar and participants had an opportunity to see them in person. We hope that this seminar provided the participants an opportunity to understand the importance of these materials.

Seminar on the Documentation of Cultural Properties – “Documentation of Cultural Properties for Protection and the Principle of Image Compression”

Lecture by Mr. NAKANO Noriyuki

Lecture by Dr. IMAIZUMI Shoko

　To obtain fundamental data for their research, protection, and utilization, the documentation of cultural properties and artifacts through both texts and photographs is an important activity for museums, fine art museums, and municipal governments managing cultural properties. The Department of Art Research, Archives and Information Systems is actively discussing methods for documenting cultural properties as well as the compilation of a database to organize and utilize these documentations. To this end, we conducted a seminar titled “Documentation of Cultural Properties for Protection and the Principle of Image Compression,” on September 21st, 2021, in the seminar room at the Tokyo National Research Institute for Cultural Properties while following the appropriate countermeasures against COVID-19 infection.
　Mr. NAKANO Noriyuki (Senior Specialist of the First Cultural Properties Division, Agency for Cultural Affairs) delivered a lecture titled “Documentation of Cultural Properties for Protection.” He explained the importance of documenting cultural properties to ensure their protection and reiterated the areas of special care that must be taken into consideration during the documentation process, based on the abundance of materials with actual cases. In addition, Dr. IMAIZUMI Shoko (Associate Professor, Graduate School of Engineering, Chiba University) delivered a lecture titled “Concepts and Basic Technologies of Image Compression” as the second session in the series on “Digital Image Compression from the Basics of Images to Moving Images.” She explained digital image compression, the processes involved, and finally, the basic technologies and techniques of major compression formats for still and moving images, such as JPEG and MPEG.
　The significance of documenting cultural properties continues to increase as it is crucial to securing opportunities for research and appreciation in the current situation wherein it is difficult to access cultural properties due to the COVID-19 pandemic. We will continue to actively disseminate useful information for documentation, preservation, and publication of cultural properties by providing lecture-style and hands-on seminars.

A Workshop on Basic Science for Conservators

Lecture on how to handle lab instruments

　The Center for Conservation Science conducts scientific research on the conservation and restoration of cultural property. In 2021, we introduced a workshop on basic science, based on our research, for conservators who have diverse experience in restoration of cultural properties and museum curation and archiving.
　The workshop was held for three days from September 29th through October 1st, 2021. We provided lectures and practical sessions on basic scientific knowledge that is important for conservation and restoration. It included basic chemistry, science of adhesion and adhesives, chemistry of paper, and pest damage control. The researchers of Tokyo National Research Institute for Cultural Properties delivered the lectures, based on their areas of expertise.
　We received 44 applications from across Japan for 15 seats. Fifteen applicants, who either resided in or commuted to Tokyo, and had the desirable expertise, participated in the workshop keeping in mind the on-going COVID-19 pandemic.
　The participants expressed their appreciation for this workshop through the questionnaires that were provided. We received requests for further scientific information on more advanced conservation and restoration cases. We intend to continue this workshop series to meet these expectations.

Donation of Materials related to Dr. ITO Nobuo

Dr. ITO with his colleagues of the Committee for the Protection of Cultural Properties and their families (Third from left. Right end is HINAKO Moto’o who served as Director of the Buildings Division (1966-1971) before Dr. ITO, and IHARA Keishi who served as Director of Restoration Engineering Department (1988-1990) of the Institute on his left.)

On September 13th, a set of materials related to the administrative work for the protection of cultural properties, where Dr. ITO Nobuo served as Director of the Institute for nine years from April 1978 to March 1987, was donated to the Institute by his son, Mr. ITO Akio. Dr. ITO was a technocrat and architectural historian who led the development of cultural property protection in the postwar period. In particular, he played a central role as director of the Buildings Division of the Agency for Cultural Affairs (1971-1977) in the planning of the traditional town/village conservation system, which was newly established as a result of the revision of the Law for the Protection of Cultural Properties in 1975. He has also left a significant mark in the international field of heritage conservation by actively communicating Japan’s conservation philosophy and repair methods, and by leading “the Nara Conference on Authenticity” held in November 1994, which led to the international development of authenticity, a concept of conservation originating in Western Europe.
　The donated documents are mainly primary materials related to the administration of cultural property protection and international cooperation that Dr. ITO was involved in as part of his work, as well as various materials related to research activities, private activities, and manuscripts related to architectural history and cultural properties. These materials were accumulated during the active life he led, and since they have not been systematically collected and organized, it is certain that among them are many items for which detailed information is not clear at this stage. However, from the viewpoint that it is important to make the materials available to researchers who need them as soon as possible, we plan to make them accessible to the public after classifying all the materials according to activity and sorting each item mechanically.
　Among the donated materials, I would like to bring to your attention a photograph of a young Dr. ITO with his colleagues from the Buildings Division of the Committee for the Protection of Cultural Properties. Considering the appearance of Dr. ITO and the other photographs enclosed, my guess is that it was taken around 1965 when he was working hard as an architectural conservation officer at the site. The carefree demeanor and lively smiles of all in this photograph seem to indicate that the cultural properties administration was carried out during an era when Japan’s economy was booming. This fact is not easily perceivable in the formal photos from official reports.

・“To the Memory of Dr. Nobuo Ito” by SAITO Hidetoshi
2016 Volume 66 Pages 148-159
JOURNAL OF THE SOCIETY OF ARCHITECTURAL HISTORIANS OF JAPAN
https://www.jstage.jst.go.jp/article/jsahj/66/0/66_148/_article/-char/en

・ITO Nobuo2016 Year Book of Japanese Art, page 557-558, Online in 2018
https://www.tobunken.go.jp/materials/bukko/809181.html　(Japanese only)

A trial for the introduction of digital technology in international courses

Practical session

The satellite venue

　Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) have been jointly organizing “the International Course on Conservation of Japanese Paper” (JPC) since 1992. The course aims to contribute to the protection of cultural property outside Japan by disseminating the knowledge and techniques of conservation and restoration of paper cultural property in Japan to participants from around the world. Every year, we have invited 10 specialists in conservation from all over the world; however, due to the COVID-19 pandemic, we could not hold the course in 2020 and 2021. Under these circumstances, we conducted a trial experiment for the introduction of digital technology in international courses from September 8th to 15th. The trial aimed to examine the possibility of holding online courses, which are mainly composed of practical sessions such as the JPC, and to clarify problems toward the realization of the online course itself.
　Before the trial, lectures were held on basic knowledge of adhesives and paper, which are major conservation materials for cultural properties on paper. The lectures were livestreamed and archived. As for the practical sessions, five simulated participants from the staff members of TOBUNKEN were divided into two groups; the one received in-person teaching and the other was given online instructions at a satellite venue. The practical sessions were led by conservators from a certified group holding the Selected Conservation Techniques on “Restoration techniques for mounts.” The participants experienced the process of restoration of a handscroll from cleaning to mounting. On the last day, the lecturers and participants discussed the effectiveness of online courses. Although the merits of the use of ICT devices were recognized, issues of doing practical sessions online, such as the necessity of having basic knowledge and experience of paper conservation in advance, the limitations of technical training through a computer, and the difficulties of troubleshooting the network environment and communication devices were highlighted.

A Research Survey into Stucco Decorations and Clay Statues (Part 2)

“Dio Fluviale”, a clay statue by Michelangelo Buonarroti, the restoration of which was completed in 2017

Stucco Decorations in the 17th century (Cattedrale di Santa Maria Assunta)

　The Japan Center for International Cooperation in Conservation has been conducting research and surveys investigating stucco decorations in fiscal year 2021 as part of the “International Research on Technology for the Conservation and Restoration of Cultural Heritage” program, which offers grants for research expenses. On September 11th, 2021, we held a second discussion with experts from Europe involved in the conservation of stucco decorations.
　In this discussion, the use of glue made of seaweed and “Kami Susa” (binder made of “Washi” – Japanese paper – and used as part of plaster) attracted participants’ interest. These materials began to be made in order to control the plaster thickness and prevent plaster from cracking in the Edo era, when the demand for plaster walls increased. While many creative techniques and materials have been developed in Europe, where there is a long history of stucco decorations, their materials are different from those in Japan. Thus, we agreed to add the data of additives, which have been used in each country and region, as well as in different periods, as the comparative target items in our ongoing research and create a database of them.
　In relation to these findings, we plan to pursue our research on how the constituents included in various additives chemically affect stucco decorations. Different materials, their natures, and the techniques used to create stucco decorations, have different impacts on the deterioration due to aging as well as how the decoration is damaged over a long period. These studies are extremely important for determining the most suitable methods for their conservation and restoration.
　This research and survey began with the focus on stucco decorations. However, our deep analysis of their history enabled us to recognize the close relationship with clay statues. We plan to expand our research on the clay statues that share many common materials and creation techniques and pursue research on how to conserve them and preserve their heritage in the most suitable ways.

Issuance of the Report “Study of the Japan-made Lacquerwork found in Thailand – Lacquer Door Panels of Wat Rajpradit”

Lacquer Door Panels of Wat Rajpradit - mother-of-pearl with underpainting is seen in both the upper and lower parts, and cedar material decorated with colored lacquer maki-e is found in the middle portions.

Front Cover of the Report

　Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting a joint study to preserve the cultural heritage of Thailand in collaboration with the Fine Arts Department, Ministry of Culture of Thailand (FAD), since 1992. As a part of this joint study, we have been providing technical support through related parties in Thailand, including the Temple and FAD, for the restoration project related to the lacquer door panels at Wat Rajpradit, the first-grade royal Buddhism temple built in 1864.
　Restoration of cultural heritage requires devising a plan based on detailed research on materials, techniques, surrounding environment, and deterioration status of each cultural heritage, and the restoration work needs to proceed according to the plan. Hence, relevant scientific investigation on the cultural heritage in question is crucial. Lacquer door panels at Wat Rajpradit were believed to be made in Japan because they have designs of flowers and birds, landscapes, and figures wearing Japanese kimonos, and they feature work in mother-of-pearl with underpaint techniques, which were often used in lacquerware exported from Japan in the mid-19th century. However, there was neither concrete evidence nor clues regarding their producers and their positioning in the history of such techniques. Therefore, numerous experts in various fields from TOBUNKEN and other organizations conducted scientific investigations and research studies on the designs expressed in mother-of-pearl with underpainting and colored lacquer maki-e. According to these studies, the material ingredients, techniques, and design elements found in the lacquer door panels strongly suggest that they were made in Japan.
　The report “Study of the Japan-made Lacquerwork found in Thailand – Lacquer Door Panels of Wat Rajpradit,” published in Japanese in March 2021 assists in understanding these research outcomes and provides an overview of the interdisciplinary research on cultural heritage. This report is accessible in the TOBUNKEN Library, public libraries in Japan, and some libraries in overseas museums that have collections of Japanese artworks. We hope that you will read it.

Investigation and Photographing of the Paintings by Yosa Buson in Myōhōji Temple of Marugame City

Damaged “Hanshan and Shide”

Investigation

Photographing

　Myōhōji Temple, located in Marugame city, Kagawa prefecture, is known for the fact that Yosa Buson (1716-1783), a painter and haiku poet of the Edo era, visited it in 1768 and left many of his paintings there. His painting “Hanshan and Shide,” an Important Cultural Property, is damaged and Hanshan’s face is partially lost. Fortunately, the previous image including Hanshan’s face undamaged was retrieved from the monochrome films that were shot in the Myōhōji Temple by the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) in 1959. It was recently found that the films showed the painting in its undamaged form.
　TOBUNKEN conducted an investigation, photography project, and research study to reproduce this damaged painting placed on sliding doors (fusuma-e) as digital images based on the existing monochrome films and new images produced through this project.
　Four researchers from the Department of Art Research, Archives, and Information Systems—SHIRONO Seiji, EMURA Tomoko, YASUNAGA Takuyo, and MAIZAWA Rei—visited the Myōhōji Temple from August 24th to 28th, 2021 for this research investigation and photography with sufficient infection control measures against COVID-19. The investigation targets were “Hanshan and Shide,” “Cycad,” “Landscapes,” “Bamboo,” and “Jurō (God of longevity),” all works of Yosa Buson. All paintings were shot in color, while “Hanshan and Shide,” “Cycad,” and “Landscapes” were also shot using infrared (IR) imaging. Furthermore, experts of sliding door making and cultural property conservation measured “Hanshan and Shide” sliding doors because the reproduced image of “Hanshan and Shide” will be mounted on sliding doors and placed in the main hall of Myōhōji Temple.
　There are still challenges such as finding a way to convert the monochrome image into a color image. We would like to explore new ways to utilize the image materials accumulated by TOBUNKEN through this reproduction experience.

Investigations of Kitora Tumulus Wall Paintings Covered with Mud

Investigation using X-ray fluorescent analyses

　The Protection of Tumuli and Wall Paintings Project Team consisting mainly of researchers from Tokyo National Research Institute for Cultural Properties（TOBUNKEN）and the Nara National Research Institute for Cultural Properties has been working on research studies to preserve and restore the wall paintings of Takamatsuzuka Tumulus and Kitora Tumulus. Compared with the wall paintings of Takamatsuzuka Tumulus, the wall paintings of Kitora Tumulus are characterized by the twelve signs of the zodiac, depicted as animal heads on human bodies, three of which are featured on each wall along with the Four Divine Creatures and Star Atlas and others.
　While six figures out of twelve—the Rat, Ox, Tiger, Horse, Dog, and Boar—have been identified, the Rabbit, Sheep, and Rooster are completely lost since the plaster where the paintings should be is missing. The rest, that is, the Dragon, Snake, and Monkey, are not yet identified because the surface of the walls is covered with mud. These three pieces of walls that could contain those paintings are currently not reassembled, but are preserved in the facility for conservation and restoration of Takamatsuzuka Tumulus wall paintings.
　The material investigation group and restoration group of this project team worked together on an investigation using X-ray radiography in 2018 and found some radiographic images that seemed to show something drawn in the space where the Dragon was expected to be, but many questions remained. Then, in December 2020, X-ray fluorescent analyses were performed on the parts of the walls where the wall paintings of the Dragon and Monkey could possibly exist. Some mercury was detected, indicating that the figures might be present.
　Following this outcome, on August 11th, 2021, further X-ray fluorescent analyses were conducted on the part of the wall where the Snake artwork was suspected to be. Three members of the Center for Conservation Science, TOBUNKEN—INUZUKA Masahide, HAYAKAWA Noriko, and CHI Chih lien—participated in this investigation. X-ray fluorescent analyses were conducted at spots distanced 2 cm apart where the Snake painting was expected to be. The detection of mercury indicated that the painting was indeed present.
　These results were reported in the “29th Committee on Preservation and Utilization of Tumulus Wall Paintings” held on August 31st, 2021 by the Agency for Cultural Affairs.

The Urgent Statement on the Protection of Cultural Heritage in Afghanistan by JCIC-Heritage

The Urgent Statement on the Protection of Cultural Heritage in Afghanistan

Due to the dramatic change in the political situation of Afghanistan, JCIC-Heritage (Japan Consortium for International Cooperation in Cultural Heritage), which our research institute has been commissioned to manage by the Agency for Cultural Affairs, released the Urgent Statement on the Protection of Cultural Heritage in Afghanistan on 18th of August, 2021. The whole sentences are as below. JCIC-Heritage will continuously collaborate with the related organizations and make every effort for the protection of cultural heritage in Afghanistan.

“Urgent Statement on the Protection of Cultural Heritage in Afghanistan”
Due to the rapid change in the political situation of Afghanistan, there is strong concern about the likelihood of looting and destruction targeting the country’s historical cultural heritage, especially archaeological sites, and museums.
　　The Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage) is extremely concerned that the irreplaceable cultural heritage of Afghanistan is in great danger.
　　The consortium was established to promote collaboration among related organizations and experts in Japan and facilitate a greater Japanese role in international cooperation in the field of cultural heritage protection. Since 2001, activities in Afghanistan have been a critical pillar in the history of Japan’s international cooperation in cultural heritage, which have achieved significant results by cooperating with Afghanistan, other countries, and international organizations.
　　It is widely recognized that cultural heritage is a common treasure that tells the history of humanity. Cultural heritage also plays an important role as a source of national unity and identity, as well as facilitating regional and national development. Wishing to prevent any attacks on cultural heritage and mitigate its illicit transfer, we urge all parties and individuals concerned to act in a calm and considered manner. We also would like to share our concerns with the international community.
　　JCIC-Heritage hereby express our strong resolution to continue offering support for the protection of Afghanistan’s cultural heritage. We hope that the people of Afghanistan will be able to live in safety and security, and that the current situation will be stabilized as soon as possible.

JCIC-Heritage holds the 29th JCIC-Heritage Seminar: “Retention and Succession of the Information associated with Cultural Heritage～For Whom and What Purpose～

The 29th Seminar: "Preservation and Transmission of Information on Cultural Heritage”

The 29th Seminar in session

Today, the progress of recording technology, including digital archives, has enabled storing the information on cultural heritage in databases and interactive efforts have been initiated to consistently collect (specific) information unique to different regions around the world.
　In order to discuss appropriate ways of retaining and passing down information related to cultural heritage and possibilities of future international cooperation in this field, JCIC-Heritage (Japan Consortium for International Cooperation in Cultural Heritage, which our research institute has been commissioned to manage by the Agency for Cultural Affairs),　held a webinar on August 9, 2021, titled “Retention and Succession of the Information associated with Cultural Heritage～For Whom and What Purpose～”.
　SAITO Reiko (National Museum of Ethnology) gave a lecture titled, “Info-Forum museum and Utilization of Ainu Ethnic Materials.” KUBOTA Hiromichi, Head of the Intangible Folk Cultural Properties Section, presented a lecture titled “Recording and Utilization of Information Related to Intangible Cultural Heritage.” HAYASHI Kengo (University of Tokyo) delivered a lecture titled “40 Years of the Asian Modern Architectural Heritage Database: Its Development, Transformation, and Challenges.” In the following panel discussion, the possibility of international cooperation through the creation of databases on cultural heritage and the type of information to be recorded in them was discussed between the panelists with KONDO Yasuhisa (Research Institute for Humanity and Nature) as the moderator.
　Nowadays, more people with various backgrounds have concern regarding how to retain information related to cultural heritage and to whom it should be inherited. In addition, the methods and objectives for those matters have been diversified. JCIC-Heritage will continue to collect and disseminate relevant information.
　See the following JCIC-Heritage web page for details about this seminar.
https://www.jcic-heritage.jp/jcicheritageinformation20210625/(Link)

Research at Baijōsan Kōmyōji Temple

　On July 7th and 21st, 2021, we surveyed and photographed cultural properties at Baijōsan Kōmyōji Temple in Minato Ward, Tokyo.
　On July 7th, SHIRNO Seiji, EMURA Tomoko, YASUNAGA Takuyo, and MAIZAWA Rei (who belong to the Department of Art Research, Archives and Information Systems) conducted an optical survey of Rakan-zu (a painting of Arhat, an enlightened Buddhist high priest). In the previous fiscal year, we also surveyed and photographed the same painting and presented an overview, such as its history, at the eighth workshop of the Department of Art Research for fiscal 2020 (https://www.tobunken.go.jp/materials/ekatudo/883416.html). In this latest survey, we used fluorescent photo shooting to check the storage conditions and expressions in more detail, such as the difference between the original portion and the portion touched upon later, which are difficult to detect with naked eye.
　On July 21st, EMURA Tomoko, YASUNAGA Takuyo, and MAIZAWA Rei examined a painting of TAKEDA Unshitsu (1753-1827), a priest from Iiyama, Shinano Province. Unshitsu, the 26th head priest of Kōmyōji Temple, was a man of letters who excelled in poetry, writing, and drawing. He organized a poetry and writing association and interacted with many writers in the Edo period, including HIROSE Taizan and TANI Bunchō. Kōmyōji Temple has various works of Unshitsu, such as landscape paintings, paintings based on historical anecdotes, various written documents, as well and Sansuichō , a collection of his paintings. These are very valuable for learning about the activities and achievements of Unshitsu.
　Founded in Kasumigaseki in the Kamakura period, Kōmyōji Temple relocated the building to its current location in the early Edo period. This ancient temple has a bell with an inscription, “Enpo 6” (1678), and a stone monument with an inscription, “Meiwa 9” (1772). Based on this survey, we will continue to conduct research on Rakan-zu and Unshitsu. We at the Tokyo National Research Institute for Cultural Properties will continue to actively conduct research on cultural properties that still remain in the community.

Gunsen kitsuun zu, (Immortals eating clouds) by TAKEDA Unshitsu, Bunsei 8 (1825)

Survey scene A portion of the painting