| ■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 |
|
Digital Content of “Dōshoku sai-e”
Research Report on “Kasuga Gongen Genki-e”
Research Report on “Map of the World”
The Tokyo National Research Institute for Cultural Properties uses cutting-edge science and technology to investigate and record the precious cultural properties that our ancestors have protected and passed down, and makes the results open to the public. We have now published Ito Jakuchu’s “Dōshoku Sai-e” (30 scrolls in total) online as part of the digital content of the optical survey conducted by the Tokyo National Research Institute for Cultural Properties and the works stored in The Museum of the Imperial Collections, Sannomaru Shozokan. (https://www.tobunken.go.jp/doshokusaie/) This website publishes high-resolution photographs of Ito Jakuchu’s “Dōshoku Sai-e” taken during an optical survey conducted as a joint research project between 2001 and 2008 by the Imperial Household Agency’s Sannomaru Shozokan Museum of the Imperial Palace (as it was then) and the data of coloring material analysis using fluorescent X-rays. In addition, we have been publishing reports on “Kasuga Gongen Genki-e” (20 volumes in total), known as a representative picture scroll work from the Kamakura period, two volumes at a time, since 2017, and this is the 10th report, the final volume in the series. We have also published a comprehensive report on the “Map of the World,” including images of related works such as the “Map of the World and Four Capitals Screen” (Kobe City Museum), the “Battle of Tunis and World Map Screen” (Kōsetsu Museum of Art), “Western Kings and Princes on Horseback Screen” (Suntory Museum of Art, Kobe City Museum), and “Western Kings and Princes” (Nagasaki Museum of History and Culture). We hope that this report will be useful in future research.
Cover of the publication
Figures in the publication (items in the maki-e toolbox formerly owned by Mr. Miki Sakae)
Japan-made Lacquered door panels of Wat Ratchapradit
At the Tokyo National Research Institute for Cultural Properties, we have been conducting research on cultural properties located in Thailand in cooperation with the Fine Arts Department, Ministry of Culture, Thailand since 1992. Since 2011, the Tokyo National Research Institute for Cultural Properties has been involved in the research of the Japan-made lacquered door panels of Wat Ratchapradit, a first-grade royal temple in Bangkok, providing technical support for a full-scale restoration project of the panels that the Fine Arts Department is currently organizing.
Apart from the lacquered door panels, in Thailand other examples of Japan-made lacquerware can be seen at libraries, museums, temples, palaces and other locations. The exchange between Japan and Thailand in the field of lacquering was not limited to the trade of goods. King Rama V’s profound fascination with Japanese maki-e art prompted him to dispatch Thai students to Japan to master the intricacies of this technique. He also invited Mr. TSURUHARA Zenzaburo to Thailand to gild the principal Buddha statue of Wat Benchamabophit, a first-grade royal temple, with gold leaf. In another example of cultural exchange, Mr. MIKI Sakae had been involved in production and restoration of lacquerwork for over 30 years in Thailand, from 1911, as an expert of the present Fine Arts Department.
Our book titled “Japanese Lacquerwork and Crafrtspersons in Thailand – Study of the Japan-made Lacquerwork Found in Thailand (2) –”, published in March 2025, summarizes the research results on Japanese lacquerware found in Thailand, photographs taken in Thailand documenting such lacquerware, as well as the above-mentioned Japanese craftspersons who worked in Thailand, conducted to date by Japanese and Thai researchers involved in the joint study. These findings provide new insights into the exchange between the two countries in the field of lacquering; and are also useful for understanding the significance of the door panels of Wat Ratchapradit in the history of lacquering, as well as in the history of exchange between Japan and Thailand.
This book is available in public libraries in Japan and some overseas libraries that handle work on Japanese art. As this book presents only a small portion of the Japanese lacquerwork in Thailand, more and more documentary materials on Japanese lacquer craftspersons are being discovered, and therefore experts will continue to study these topics and publish the results.
The seminar
SEIMIYA Naobumi (1917-1991) is known as an artist who expressed his tranquil and poetic world of the mind through woodblock prints and glass paintings. Last year, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) received a donation of materials left by SEIMIYA, including his memoirs, diary, and photographs, from his bereaved family (https://www.tobunken.go.jp/materials/ekatudo/2065846.html), and on March 6, Mr. SUMITA Tsuneo (Chief Curator, Takasaki Museum of Art), who has studied SEIMIYA for many years and acted as an intermediary in donating the materials, gave a presentation titled “The SEIMIYA Materials” at the seminar held by the Department of Art Research, Archives and Information Systems.
SEIMIYA left many words deeply related to the creation of his works in his journal titled “Zakkan-roku” or “Zakki-cho.” SUMITA’s presentation showed how pictures and words were inseparably linked for SEIMIYA, who himself wrote that he was “a poet who uses ‘pictures’ as a form of expression” (“Zakki-cho,” 1971-72), and made us realize anew the importance of the materials the Institute received.
Mr. INO Koichi (Chief of the Art Division, The Museum of Modern Art, Ibaraki), who worked with Mr. SUMITA to organize the SEIMIYA materials, participated as a commentator in the discussion that followed the presentation. Although the Institute received only paper materials such as memoirs, diaries, and photographs, other materials left behind include woodblocks, and Mr. INO reported on the issues involved in their preservation and utilization. During the discussion, staff members of the Institute exchanged opinions on the ideal way to preserve the unique materials of the printmakers, including woodblocks.
Examples of the materials in the KUNO collection
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) houses a vast amount of materials, including photographs and research records related to cultural properties, some of which were created and collected by the researchers themselves. The valuable collection of materials left by Mr. KUNO Takeshi (1920-2007), a leading authority on the history of Buddhist sculpture and a member of TOBUKEN, which was donated to the Institute by his bereaved family after his death, is among such materials (https://www.tobunken.go.jp/materials/ekatudo/217654.html).
Some examples of this collection, mainly photographs, are already available in the TOBUNKEN library, and now a list of his handwritten notebooks (312 volumes, 13422 entries), which were KUNO’s favorite item throughout his life, has been sorted and the works are now available to the public. These notebooks contain records of his research on Buddhist sculpture in Japan and abroad, notes on the exhibitions he saw, and the research lectures he attended, and are truly a record of KUNO’s trajectory as a researcher. We have published a list of the contents of the notebooks on our website (https://www.tobunken.go.jp/materials/kuno_note), and the actual notebooks are available in the TOBUNKEN library. We hope that these notebooks will be useful for your research.
Database of Restoration Records for Cultural Properties (Fine Arts and Crafts)
Year range of authoritative sources and restoration records in this database
Since the 2022 fiscal year, Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in the “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” as part of the Agency for Cultural Affairs’ “TAKUMI Project.” In April 2025, we launched a website for this project, providing video documentation, scientific research results, and a database of restoration records related to the tools and raw materials required for restoring fine arts and crafts (https://www.tobunken.go.jp/conservation-arts-crafts/).
In recent years, there has been a growing demand to appropriately preserve and pass down important information such as records of cultural property restoration for future generations. Restoration records not only transmit information about the condition, materials, and structure of works to future generations, but also serve as crucial resources for the management and preservation of cultural properties. However, in the field of fine arts and crafts among nationally designated cultural properties, there have been no comprehensive reports or databases covering restoration records since the enactment of the Law for the Preservation of Ancient Shrines and Temples (Koshaji Hozon-Hō) in 1897. Additionally, restoration reports created in various places have lacked uniformity in content and format, resulting in challenges for information sharing. For these reasons, there is an increasing need today to build a platform for the consolidation and central management of information related to the restoration of cultural properties in the field of fine arts and crafts.
One of the outcomes of this project is the creation and release of a prototype version of the “Database of Restoration Records for Cultural Properties (Fine Arts and Crafts)” (https://www.tobunken.go.jp/conservation-arts-crafts/records-archives). This database will be continuously updated with restoration information extracted from restoration reports published by the Agency for Cultural Affairs, national museums with conservation-restoration facilities, conservation studios across Japan, and other related organizations. We hope that this database will be widely used for various purposes, including the restoration and management of cultural properties, sharing restoration information, and research activities. In addition, the results obtained through our research will be shared at conferences, symposia, and workshops.
Public image “A Draft Certificate of Authenticity” by SATAKE Tozaburo
In 2021, TOBUNKEN received a donation of paper-based documents (a total of 2,235 items) owned by OIKAWA Takeo (1942 – 2018). He was known as a collector of traditional Japanese musical instruments and related documents. The Department of Intangible Cultural Heritage has been organizing the donated documents and since 2022 has made a database of the documents open to the public on the TOBUNKEN website, as the OIKAWA Takao Collection. The collection covers a wide variety of paper-based documents, with varying formats and period of establishment, based on Japanese traditional musical instruments originating within and outside Japan.
These documents are available for viewing at the TOBUNKEN library by reservation. However, aiming to make these documents more widely available, the department has started to digitize the rare works and those in such condition that their handling is to be avoided. The documents that have already been digitized and are now available are listed in the “pdf” column in the database, available here (Japanese only). We are now continuing our work on digitizing the rest of the documents.
Mr. OIKAWA exhibited his musical instrument collection, which he had collected by himself, at the “Oikawa Museum of Musical Instruments”, and guided the visitors as the museum director from 2003-2015. He wanted visitors to handle these instruments and make sounds with them. Therefore, we believe that making his paper-based documents available to a wider audience follows his aspiration. We hope you will make use of the database.
Certificate of Appreciation for the donation
The Japan Aviation Association (JAA) has donated 19,517 volumes of scientific journals and other materials collected by Mr. YAMAZAKI Yoshio to the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
Mr. YAMAZAKI (1903-1981) joined the Aeronautical Research Institute of Tokyo Imperial University before World War II, and was later involved in glider design, production, promotion, and engineering while working as a sports official at the Ministry of Education. Mr. YAMAZAKI collected a wide range of materials related to aircraft development, including documents, drawings, photographs, and materials for model airplanes, as well as scientific magazines (including aviation magazines) mainly from the Taisho and early Showa periods. These scientific journals are in good condition and are valuable documents for research and study of the history of modern heritage.
TOBUNKEN has been conducting joint research with JAA since 2007, and hopes to utilize these materials for future historical research on science and technology. These documents can be searched using the general search function on the TOBUNKEN website (https://www.tobunken.go.jp/archives/?lang=en). The original materials can be viewed in the TOBUNKEN library. Please feel free to use them.
Investigation of the condition of wall paintings in a church using a checklist
Example of a wall painting under investigation
Since 2021, The Japan Center for International Cooperation in Conservation has been involved in Joint research on the maintenance, management, and conservation-restoration of mural paintings under the “International Research on Conservation and Restoration Techniques for Cultural Heritage” program.
As part of this initiative, we are collaborating with the Ministry of Culture and Media of Croatia, the Museum of Istrian History and Maritime Heritage, and the University of Zagreb to develop a maintenance management system for wall paintings in churches in the Istrian region, located in the northwest of Croatia. This region is home to numerous mural paintings created from the medieval period to the Renaissance, with over 150 works currently documented. The aim of this research is to investigate and record the state of conservation of thesewall paintings, and to share the collected data among experts to help in their maintenance and management.
From March 10 to 14, 2025, we conducted a pilot test on site at 12 churches using the checklist on the state of conservation prepared in the previous survey. The checklist was structured based on three main focal points: the building in which the wall paintings were painted, the techniques and materials used for the wall paintings, and the state of conservation. Through the test, we were able to review the checklist items and evolve the checklist into something more practical and effective. We plan to continue implementation testing with the goal of building a digital archive.
The Seminar
The Flyer of the Exhibition
A study meeting on the Shuten-dōji Scroll was held on February 25, 2025. This research has been carried out since 2022 as a project for Grant-in-Aid for Scientific Research (B) centering on the Shuten-dōji Scroll (6 volumes, collection of the Grassi Ethnological Museum in Leipzig, hereinafter, “the Leipzig Scroll”) by Sumiyoshi Hiroyuki, and two previous meetings had been held and reported on this theme1. This time, in the final year of the research funded by the Grant-in-Aid for Scientific Research, the following presentations were made:
EMURA Tomoko, “The Mysterious Charm of Shuten-dōji”
NAMIKI Seishi (Specially Appointed Professor at Kyoto Institute of Technology), “The Kano School and Shuten-dōji Scroll”
KOBAYASHI Kenji (Professor Emeritus at the National Institute of Japanese Literature), “Resonating Noh and Scrolls”
After the three presentations, UENO Tomoe (Deputy Director of Curatorial Department of the Suntory Museum of Art) spoke as a commentator, and then a Q&A session was held with the audience and online participants. This research project is also cooperating with an exhibition called the “Shuten-dōji Begins: Tales of the Demon Slayer Throughout the Ages,” which will be held at the Suntory Museum of Art from April 29 to June 15 this year. The Leipzig Scroll was specially created as a wedding furnishing for Tanehime, who was adopted by the 10th shogun, TOKUGAWAI Ieharu, and married the 10th Lord of the Kishu clan, TOKUGAWA Harutomi, and this exhibition will be the first time the Leipzig Scroll has been showcased in Japan. We hope that many people will come to see it at the exhibition venue.
For more information about the exhibition, please click here.
Scenes from the seminar
The Department of Art Research, Archives and Information Systems hosts study groups, inviting researchers from Japan and abroad as a platform for academic exchange. This year, the department welcomed Dr. Wan Muchun, a professor at the China Academy of Art and vice president of the Advanced School of Arts and Humanities, who gave a research presentation titled “Wang Shen’s ‘Light Snow on a Fishing Village‘ Scroll.”
Based on source materials, the presentation explored Wang Shen’s legacy of paintings, closely analyzing the key elements of Light Snow on a Fishing Village—the waterside, snowy scenery, and a fishing village—to examine how they contribute to the spatial composition of the work as a whole. Attempts were also made to decipher the painter’s visual approach, with a focus on depictions of nature and on atmospheric expression in particular. Looking beyond Light Snow on a Fishing Village, the presentation also compared multiple examples, conducting a detailed examination of different approaches to visual expression.
The question-and-answer session elicited active discussions and insightful questions from researchers and graduate students, to which Dr. Wan provided clear and insightful responses. This lecture by an international researcher offered Japanese scholars a valuable opportunity to gain new perspectives.
Moving forward, the department aims to invite more international researchers and regularly host study groups as a platform for knowledge exchange.
At the Department of Art Research, Archives and Information Systems, we actively promote research exchange by inviting external researchers to present their findings. At the 10th research seminar held on February 17, 2025, Professor Seo Yoon-jung from Myongji University, South Korea, delivered a presentation titled “An Gyeon and the North China School of Landscape Painting in East Asia—Attributed Works, Forgeries, and Korean Paintings within Kara-e.” Additionally, Chief Curator Kim Gwi-bun from the National Hansen’s Disease Museum presented on “The Process of Professionalization of Calligraphy in Modern Korea and Its Characteristics—Focusing on the Trends of Bureaucrat-turned-Calligraphers.” Lastly, Tashiro Yuichiro, a researcher at our institute, gave a presentation entitled “Sekino Tadashi’s (関野貞) Survey of Korean Paintings and Korean Collectors—Based on Survey Materials Preserved at the Tokyo National Research Institute for Cultural Properties.”
Each presentation examined the evaluation and institutional framework surrounding Korean calligraphy and painting. Professor Seo Yoon-jung analyzed the process by which various works attributed to An Gyeon were historically recognized in Edo-period Japan and Joseon Korea. She also explored how An Gyeon’s paintings could be positioned within the lineage of the North China school of landscape painting in East Asia. Following this, Kim Gwi-bun investigated the process by which calligraphers, particularly those from bureaucratic backgrounds, transitioned into professionalized careers from the late Joseon period through the colonial era. Lastly, Yuichiro Tashiro examined Sekino Tadashi’s survey of Korean paintings and the role of Korean collectors, using research notes on Korean paintings preserved at our institute as primary materials.
The seminar was conducted in a hybrid (HyFlex) format with simultaneous online streaming. It attracted not only students and researchers from Japan, but also scholars from the United States, China, and other countries. The event concluded successfully with active participation and engagement from a broad international audience.
MATSUZAWA Yutaka (Utopias & Visions, 1971, the person in the center) photo by Ms. MATSUZAWA Kumiko
Some of the digitized materials previously owned by MATSUZAWA Yutaka (related to the Contemporary Art Festival, Undépendant Art Festival,1965, commonly known as Gifu Anpan).
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we have recently received a generous donation from the family of the late artist MATSUZAWA Yutaka, titled, the “Matsuzawa Yutaka Papers.”
MATSUZAWA Yutaka (1922–2006) developed a mode of expression mediated by language and concepts from the late 1960s onward, and he actively engaged with international currents in conceptual art. This collection, which conveys his creative practice and artistic philosophy, serves as an important resource for understanding the development of conceptual art. It includes manuscripts, exhibition materials, photographs, and other documents generated through his artistic activities, offering valuable reference points for grasping the artistic trends of the time. Moreover, this collection plays a vital complementary role in shedding light on areas not fully covered by materials previously collected by our Institute—particularly the development of avant-garde practices in postwar Japan and the networks that supported these expressions.
Since 2017, our Institute has organized four research symposia on the Matsuzawa Yutaka Papers, during which we have shared the scholarly value and potential uses of the materials with relevant researchers and institutions. Through initiatives such as the JSPS-funded project “Post-1968 Artistic Communities: Centering on the Matsuzawa Yutaka Archives” (Project No. 18K00200, Principal Investigator: KIKKAWA Hideki), we have also worked to catalogue and digitize the collection*. As this work has progressed, MATSUZAWA’s evolving thought and his networks—both domestic and international—have come into clearer focus. These materials not only provide a foundation for retracing his artistic trajectory, but will undoubtedly serve as a vital resource for interdisciplinary research into the broader cultural landscape of his time, both in Japan and abroad.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to facilitate the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. Once preparations are complete, these materials will be available for viewing in the Materials Reading Room. We hope that they will serve as a starting point for solving research questions in various fields, including contemporary art, and inspire new research.
◎ List of MATSUZAWA Yutaka’s Materials Created through JSPS KAKENHI Project 18K00200
https://researchmap.jp/kikkawahideki/published_works
- Materials related to the Japanese Conceptualist movement (mainly 1960–2007), approximately 1,400 items
- Data Center for Contemporary Art materials (mainly 1972–83), approximately 850 items
*Among the materials formerly owned by MATSUZAWA Yutaka that were donated this time, digital images of 81 items—including manuscripts written in his own hand—are available to the public via the digital archive system “Shinshu Digital Commons” operated by the Nagano Prefectural Library (https://www.ro-da.jp/shinshu-dcommons/search).
Lecture at the School of Oriental and African Studies, University of London, Japan Research Centre
Discussion at the Sainsbury Centre, University of East Anglia
Meeting at the Sainsbury Institute for the Study of Japanese Arts and Cultures
The Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), located in Norwich, the capital city of Norfolk, United Kingdom, is one of the leading centers for Japanese art and cultural studies in Europe. Since 2013, SISJAC and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) have been engaged in a collaborative project under the framework of the “Program for the Foundation of Japanese Art Research.” Through this initiative, SISJAC provides TOBUNKEN with data on publications and exhibitions related to Japanese art conducted outside Japan, which is then made publicly accessible on the TOBUNKEN Research Collections (https://www.tobunken.go.jp/archives/?lang=en).
As part of this collaboration, researchers from the Department of Art Research, Archives and Information Systems visit Norwich annually to engage in discussions and give presentations. In fiscal year 2024, KIKKAWA Hideki, Head of the Modern and Contemporary Art Section, and TASHIRO Yuichiro, Researcher, visited the UK from February 24 to March 2.
On February 26, Mr. KIKKAWA gave a lecture titled “Matsuzawa Yutaka and Europe: Conceptual Art Exchange” at the Japan Research Centre, SOAS University of London. The following day, he traveled to Norwich and presented another lecture, titled “Building and Utilizing Archives of Modern and Contemporary Japanese Art: Initiatives at the Tokyo National Research Institute for Cultural Properties” at the Sainsbury Centre, University of East Anglia. Following this lecture, presentations were made by Mr. Grant Young of the University of East Anglia Library; Ms. Pat Hewitt, librarian for the Sainsbury Research Unit, responsible for collections in African, Oceanic, and American art; and Mr. HIRANO Akira, librarian of the Lisa Sainsbury Library at SISJAC. They each introduced their respective institutional activities and archival initiatives related to Japan. A lively discussion ensued among participants, moderated by Dr. Eugenia Bogdanova-Kummer, Associate Professor at SISJAC.
On February 28, a working meeting was held at SISJAC to discuss the current status and future development of the shared database project. Mr. TASHIRO, who is scheduled to return to the UK in fiscal year 2025, shared findings from his research conducted during this visit, including studies at the British Museum. He also proposed ideas for future collaboration based on his expertise in Korean and Joseon art history, including potential lecture topics and archival research directions. This prompted an active exchange of views on future collaboration.
TOBUNKEN remains committed to deepening its collaboration with SISJAC and will continue to enhance its efforts in promoting international research and dissemination of information related to Japanese art.
Using a komogeta stand and tsuchinoko weights to weave cattails with a yamakage rope
Cattail waist baskets: that on the right was made more than 50 years ago.
On February 22, 2025, a survey was conducted in Hiruzen, Maniwa City, Okayama Prefecture, on techniques for making cattail craft using himegama (Typha domingensis).
Prior to the period of rapid economic growth, cattails were used throughout Japan as materials for a variety of daily utensils, such as backpack baskets, storage containers, traditional gaiters, snowshoes, and rugs. As an aquatic plant, cattails have a hollow structure, and are characterized by their light weight, excellent heat retention, and waterproof properties, as well as their extremely beautiful luster. Because of their durability, in some regions, cattails were used to make more “formal” baskets or gaiters, which are thought to be of a higher quality grade than straw crafts.
Since many of these cattail crafts were made for private uses, the production techniques have been lost in most parts of the country due to changing lifestyles and the rise of chemical products. However, craftsmen in Hiruzen succeeded in revitalizing cattail craft as a local industry during the period of rapid economic growth, and the technique has been passed down to the present day. In 1982, Hiruzen Cattail Craft was designated as a local traditional craft by the prefecture, and today, the Hiruzen Cattail Craft Production Promotion Association (8 members) is working to carry on the craft.
Cattail crafts are made by peeling off the bark of first-year cattail harvested by hand around October and weaving them with a strong rope made from the inner bark of the Japanese linden tree (Yamakage in local name). The rope is made by cutting down a 20-year-old yamakage tree during the end of June to July (before the end of the rainy season), soaking the peeled inner bark in a pond or swamp for about four months to let them rot, washing and drying them, then thinly pealing them layer by layer and twisting them into a thin, thread-like rope. The rope used for old cattail baskets in the Hiruzen Folk Museum collection is more loosely woven than the current version, which suggests that a thinner, more beautiful rope was pursued in the process of refining it as a fine craft.
Hiruzen is about 500 to 600 meters above sea level, and is a region with heavy snowfall, said to be “under snow for a hundred days” from December to March. In the past, good quality himegama could be gathered in abundance in the wetlands of the plateau, but due to climate change and animal damage, the natural good material has no longer been growing in recent years, and now the producers have switched to cultivation in fallow fields to secure the material. However, cultivated cattails have problems such as being too soft or having uneven color or staining. Since it is difficult to secure high quality material as in the past, the craftsmen of Hiruzen are continuing their trial-and-error efforts to improve the situation.
The inability to sustainably and stably secure the raw materials used for traditional techniques has become a major challenge throughout the country. The Department of Intangible Cultural Heritage will continue to survey the current situation in each region regarding the techniques for using materials rooted in the local environment and the issues involved.
Mr. TANAKA Naoichi
Mr. HIYOSHI Shogo
The Department of Intangible Cultural Heritage has been recording live performances of Heike (or Heike Biwa). Heike faces the crisis of not being inherited by the next generation because of the recent absence of sufficient successors. This series of recordings has been conducted with the cooperation of the Heike Narrative Research Society, led by Prof. KOMODA Haruko, Musashino Academia Musicae, and other members of the society, including Mr. KIKUO Yuji, Mr. TANAKA Naoichi, and Mr. HIYOSHI Shogo since 2018. The seventh recording session of “The Visit to Chikubushima” (the entire piece) and “the Uji River” (the first half of the piece) was held in the Tokyo Research Institute for Cultural Properties (TOBUNKEN) Performing Arts Studio on January 31, 2025.
In “The Visit of Chikubushima,” an episode of a fortunate omen is narrated. Taira no Tsunemasa, adjutant general of the Taira clan and also an excellent poet and singer, visited the Chikubushima (the island of Chikubu) by a small boat on his way heading north along Lake Biwa. In Chikubushima, when he played secret music on the biwa instrument that was handed to him, a white dragon appeared above his sleeve. As Benzaiten (Goddess Saraswati), who is also a deity of performing arts, is enshrined in Chikubushima, this story implies harmony with the biwa instrument. “Uji River” features the fight for the vanguard between Kajiwara Genta Kagesue and Sasaki Shiro Takatsuna of the army of Minamoto no Yoritomo on the way to chase Kiso no Yoshinaka. In the first half, the following two highlights were well expressed: Kagesue and Takatsuna escalated their competitive spirits, triggered by the event in which an excellent horse called Ikezuki was given to Takatsuna, though Kagesue had asked for it. This led to a rising of tensions in the Minamoto army and the Kiso no Yoshinaka army facing each other across the raging Uji River.
We recorded the live performances in which Mr. Kikuo and Mr. Tanaka played “The Visit of Chikubusima” (the entire piece) and Mr. Hiyoshi played “the Uji River” (the first half of the piece).
The Department will continue to archive the traditional and reconstructed pieces of “Heike” live performances by the Heike Narrative Research Society.
The general discussion
Research introduction by organizations related to Museum IPM
On February 21, 2025, the Center for Conservation Science (CCS) hosted a forum titled “Considering the Conservation of the Museum Collections After the Suspension of Major Fumigation Gas Sales.” This event was co-hosted by the Agency for Cultural Affairs, the Japan Society for the Conservation of Cultural Properties, and the Japan Society for Scientific Studies on Cultural Properties.
In cases of extensive insect and mold damage, gas fumigation is used to mitigate the damage. Alternatively, gas fumigation may be utilized to prevent insects and molds from infesting incoming collections. This method has also been applied to museum collections that have suffered fungal damage due to disasters. Gas fumigation is a crucial technology for preventing biological deterioration in the conservation of museum collections in Japan. However, the sale of one of the primary fumigation gases was scheduled to cease at the end of March 2025. This decision stems from the growing awareness of the negative impact of fumigation gases on human health and the global environment.
At the forum, experts and organizations in this field were invited to discuss alternative methods for conserving museum collections without the use of gas fumigation, in response to the contemporary societal demand for sustainable practices.
In the keynote speeches, Mr. YONEMURA Sachio (Agency for Cultural Affairs) and Ms. KIGAWA Rika (Kyushu National Museum) spoke about the future of conservation in museum collections, focusing on Integrated Pest Management in museums (Museum IPM). Additionally, during the lunch break, Mr. WATANABE Hiroki (Kyushu National Museum) and Mr. SHIMADA Megumi (Tokyo National Research Institute for Cultural Properties) reported on international research topics related to Museum IPM. This was followed by lectures from Mr. HIDAKA Shingo (National Museum of Ethnology), Mr. IWATA Yasuyuki (Japan Institute of Insect and Fungal Damage to Cultural Properties), and Mr. MABUCHI Hajime (The National Center for the Promotion of Cultural Properties) on the practical applications of Museum IPM, the qualifications associated with it, and the theory and practice of mold control.
The general discussion was moderated by Mr. TATEISHI Toru (The Museum of the Imperial Collections, Sannomaru Shozokan. Each speaker, including Mr. KODANI Ryusuke (Cultural Heritage Disaster Risk Management Center), Mr. WADA Hiroshi (Tokyo National Museum), Ms. FURIHATA Junko (Kyoto National Museum), Mr. WAKIYA Soichiro (Nara National Research Institute for Cultural Properties), and Mr. TAKAHATA Makoto (Imperial Household Agency) took to the stage to discuss methods for conserving museum collections without relying on gas fumigation.
The venues were the seminar room and conference room (satellite venue) on the basement floor, and in the foyer, organizations related to Museum IPM showcased booths highlighting their recent research. Approximately 170 individuals attended in person, while around 750 accounts were registered for a simultaneous online broadcast, resulting in a substantial audience. The CCS hopes that this forum provided an opportunity to foster more dynamic discussions and enable those concerned to take meaningful steps toward addressing these issues.
In FY2024, the Conservation Science Center newly installed a Raman spectrometer, a 3D fluorescence spectrophotometer, and a high-performance liquid chromatography system, and updated the existing pyrolysis GC/MS and ion chromatograph. These instruments are introduced below. (Figure 1)
Raman spectrometer
When a material is irradiated with laser light, the wavelength of Raman scattered light changes depending on the molecular structure of the material at the point of irradiation. Using this principle, it is possible to analyze the structure of a sample in a non-contact and non-destructive manner. For this purpose, we have introduced three types of instruments: a stationary Raman microspectroscope that can also be used for mapping, a portable Raman microspectroscope that can be carried around, and a hand-held Raman spectroscope that is compact and easy to carry around. Raman spectroscopy can be used to analyze any sample other than pure metals, whether inorganic or organic. It can be used for various applications such as identification of dyes and pigments, elucidation of the causes of corrosion, and analysis of adhering materials on cultural properties. (Figure 2)
Three-dimensional spectrofluorometer
Since the wavelength and intensity of fluorescence emitted from a sample varies depending on its structure, fluorescence analysis can be used to estimate the structure of materials constituting cultural properties. It is a non-contact, non-destructive measurement method and can be used to analyze any sample that emits fluorescence. There are a surprisingly large number of samples that emit fluorescence (for example, fluorescence can be detected in cloth, paper, and wood in many cases), and many cultural properties can be analyzed using this method, but it is a particularly powerful analysis tool for dyes. (Figure 3)
High-performance liquid chromatography system
Used for the determination of aldehydes in the air and dyes in textiles, this system is equipped with a PDA detector, which is more powerful than a typical UV detector for identifying unknown substances. Since extraction is required, this is basically a destructive analysis method.
Pyrolysis GC/MS (updated)
This instrument is capable of analyzing in detail the structure of samples consisting of polymers, such as paper, fabric, lacquer, and wood. Although it is a destructive method, it is possible to analyze even a very small amount of sample (1 mg). Qualitative quantification of atmospheric odors and residual solvents is also possible.
Ion chromatograph (updated)
This is used for the quantitative determination of ammonia and organic acids in the air, and chloride and nitrate ions in water. It employs a suppressor method and is extremely sensitive.
We will continue to analyze cultural properties using these instruments.
Fig.1: Photographs of newly introduced/updated instruments
A：Raman spectrometer (stationary type micro Raman spectrometer)B：Three-dimensional spectrofluorometerC：High-performance liquid chromatography systemD：Pyrolysis GC/MSE：Ion chromatograph
Fig.2: Analysis of various colorants by Raman spectrometry
It can be seen that the spectra obtained are different depending on the material colorant. A resolution of 1 µm enables identification of the colorant material. In particular, the ability to analyze inksticks nondestructively is a major feature. In addition to pigments, a wide variety of samples can be analyzed, including dyes, minerals, metal corrosion, and fibers.
Fig.3: Three-dimensional spectrofluorescence spectra of cloth dyed with natural dyes before and after accelerated aging test
A: Before accelerated aging test B: After accelerated aging test
Accelerated aging test causes an overall decrease in fluorescence intensity. In particular, there are marked decreases in fluorescence intensity around the excitation wavelength of 280 nm and fluorescence wavelength of 420 nm. Since the fluorescence pattern changes depending on the degree of deterioration and the material itself, it is useful for evaluating the degree of deterioration and for analyzing the differences between different materials.
Research at the Tubli cemetery
Tombstones in Al-Qadem cemetery preserved by the local community
The Tokyo National Research Institute for Cultural Properties has been cooperating on excavation surveys and maintenance of historical sites in the tombs of Bahrain for many years. Although historical Islamic tombstones remain in mosques and cemeteries throughout the country, and about 150 tombstones can still be found in the country today, many are deteriorating due to salt damage.
In response to Bahrain’s request for help in protecting those tombstones, in 2023 and 2024, we conducted photogrammetric surveying using SfM-MVS (Structure-from-Motion/Multi-View-Stereo), a technology for creating 3D models from photographs. So far, we have completed 3D measurements of approximately 100 tombstones located in museums and modern cemeteries. The models created were published on Sketchfab, a platform widely accessible both domestically and internationally, and are being used as a database of tombstones.
A 3D measurement survey was conducted from February 8 to 12, 2025, covering cemeteries in the southern part of the country. Photogrammetric surveying was conducted and measurements were completed as in the past, this time for a total of 29 cemeteries: 2 in Tubri, 1 in Salamya Mosque, 12 in Hoora, 1 in Mahooz, 1 in Daih, 5 in Noaim, 2 in Al-Qadem, and 5 in Karranah. With the exception of buried and destroyed tombstones, this survey completed the measurement of all the tombstones in Bahrain.
This is the first database of 3D models of more than 100 tombstones with information on the dimensions, shape, and inscriptions of each individual monument, and it is highly expected that the results of this survey will be useful for future research on Islamic tombstones, in addition to preserving a record of their shapes.
A scene from the symposium: Presentation (by Ms. TAKAYAMA Yuri)
Discussion at the symposium
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) was founded in 1930 as a result of the legacy of KURODA Seiki (1866-1924), a painter known as the “father of modern Western-style painting in Japan.” The Kuroda Memorial Hall, where KURODA’s works are now displayed and exhibited as a facility of the Tokyo National Museum, was originally built as the Art Research Institute, the predecessor of TOBUNKEN. To commemorate the 100th anniversary of KURODA’s death in 2024, TOBUNKEN hosted a symposium, “KURODA Seiki, His Research and Evaluation Today: On the Occasion of the 100th Anniversary of His Death,” on January 10 in the seminar room of the Kuroda Memorial Hall where the Art Research Institute was founded.
The symposium presentation titles and respective presenters were as follows:
Keynote Speech: On the Painting Works of KURODA Seiki: From the Perspective of a Kozu Kojin (Mr. SHIOYA Jun, Special Researcher Chair, TOBUNKEN)
Presentation 1: KURODA Seiki and Raphael Collin: Some Perspectives (Ms. MITANI Rika, Joshibi University of Art and Design)
Presentation 2: After KURODA Seiki: Aspects of “Government Exhibition Academism” in the Showa Period (Ms. TAKAYAMA Yuri, Fukuoka Prefectural Museum of Art)
Presentation 3: Learning from KURODA Seiki and his Influence to Local areas: The Case of a Native of Tottori Prefecture (Ms. TOMOOKA Maho, Tottori Prefectural Museum)
The symposium was held simultaneously in-person and online and attended by 63 people. Ms. TOMOOKA was unable to come to the symposium due to heavy snowfall in the San’in region, so she had to give her presentation online at short notice, but the symposium went without a hitch, including the discussion that followed his presentation. We hope that this symposium, which reassessed KURODA Seiki’s artwork from the viewpoints of his relationship with French modern art, his influence on the Japanese modern Western-style painting scene, and the spread of his style to the provinces, based on the latest research results, will serve as a catalyst for rethinking the study of Japanese modern art. The contents of this symposium will be published in our research journal “Bijutsu Kenkyu” No. 447 (scheduled for publication in November 2025).
The Department of Art Research, Archives and Information Systems actively promotes academic exchange by inviting international researchers to present their research findings. At the 9th research meeting, held on January 21, Prof. Kim So-yeon from Ewha Womans University in South Korea, who was a visiting researcher at Tokyo National Research Institute for Cultural Properties (TOBUNKEN) from December 2024 to February 2025, delivered a presentation titled “Depicting Mount Geumgang: Changes in the Perception and Visualization of Mount Geumgang in Modern Korea.”
Mount Geumgang, renowned as one of the most famous mountains on the Korean Peninsula, has long been a subject of literature and painting. However, significant changes occurred in the modern era with the development of railway infrastructure and tourism. These transformations influenced the ways in which the mountain was represented. Prof. Kim analyzed various media that depicted Mount Geumgang and highlighted two key points: (1) Unlike in the Joseon period, when only the inland “Inner Geumgang” was depicted, the coastal “Outer Geumgang” also came to be represented; and (2) a gendered distinction emerged in these representations, with “Inner Geumgang” being associated with femininity and “Outer Geumgang” with masculinity.
Prof. Kim’s study, which incorporated materials such as photographic postcards and illustrations from travel guides, underscored the potential for constructing art history through diverse media. It also reaffirmed the relevance of art history in relation to broader issues such as tourism and gender studies.
The research meeting attracted a large number of students and scholars from both within and outside the institute. The question-and-answer session was particularly lively, fostering an active exchange of ideas.
Presentations by international researchers offer valuable opportunities to engage with different academic perspectives and methodologies, distinct from those prevalent in Japan. By serving as a “hub” for academic exchange between Japan and the international research community, TOBUNKEN aims to contribute to Japanese scholarship from a more multifaceted perspective.
