| ■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 |
|
Scene from the poster presentation
Posters on display
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in a project called the “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts”—part of a project headed by the Agency for Cultural Affairs, the “TAKUMI Project,”—since the 2022 fiscal year. On October 3, 2025, at the 29th annual training session organized by the Association for Conservation of National Treasures (ACNT), a key deliverable of this project was presented as a poster presentation highlighting the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts).
ACNT is a group of specialists dedicated to the conservation and restoration of cultural properties, particularly fine arts and crafts such as paintings, calligraphies, books, documents, and historical materials. As of the 2025, ACNT had ten member studios with approximately 140 registered specialists. ACNT is certified as the preservation organization for mounting and restoration techniques, which are nationally designated as “Selected Conservation Techniques.” Many technicians and specialists from across the country participate in its annual training session, with 376 attending in the 2025 fiscal year.
On the presentation day, Mr. ASAKA Hiroshi (Museum of the Imperial Collections, Sannomaru Shozokan) and Mr. WATADA Minoru (First Cultural Properties Division, Agency for Cultural Affairs) delivered lectures on the appreciation and preservation of portraits and ink paintings. Alongside reports of restoration cases by member studios, TOBUNKEN participated in the poster presentation under the title “On the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts): Project Report of the Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” (presenters: Ms. YAMANAGA Naomi, Mr. OYAMADA Tomohiro, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko from the Department of Art Research, Archives and Information Systems). The presentation included details on research procedures, database structure, scope of content, outlook and challenges, and methods of use.
At the venue, numerous questions and comments were received from restoration technicians, museum personnel, and graduate students studying cultural property restoration. Furthermore, valuable information was obtained on restoration records that have become increasingly difficult to inherit in recent years for various reasons. These insights will be fed back into the project, ensuring ongoing resource development of restoration records and effective operation of the database.
Exhibition honoring the Giuseppe Tucci Collection (Museo delle Civiltà, Rome)
Research room of the Historical Archives of the Italian Chamber of Deputies
Exterior view of the Alinari Foundation for Photography
The Department of Art Research, Archives and Information Systems conducts investigations on Japanese art materials and the historical documents that reveal their historical context. In October 2025, we carried out field research in Italy, visiting institutions in Rome and Florence to examine related materials.
In Rome’s EUR district, we visited the Museo delle Civiltà (Museum of Civilizations), which houses collections formerly belonging to the National Museum of Oriental Art and the Luigi Pigorini National Museum of Prehistory and Ethnography. At the museum’s Arti e Culture Asiatiche (Asian Arts and Cultures) department, we met with Dr. Pierfrancesco Fedi to conduct object-based research and consult on the museum’s holdings. Our discussion included valuable exchanges of information concerning the Giuseppe Tucci Collection—the foundation of the museum’s Asian holdings—and the Pigorini Collection, which incorporates works from the collection of Vincenzo Ragusa and KIYOHARA Tama.
We also visited the Archivio Storico della Camera dei Deputati (Historical Archives of the Italian Chamber of Deputies), located in Rome’s Rione Pigna district, and met with the Director, Paolo Massa. During the meeting, we were able to confirm the existence and location of primary sources related to cultural exchanges and artistic diplomacy between Japan and Italy during the Mussolini regime. These documents are invaluable records that illuminate the realities of cultural administration within Italo-Japanese diplomatic relations and offer crucial evidence for understanding the intersection between cultural policy and political intent in that period.
The Historical Archives of the Chamber of Deputies was established in 1848 during the Kingdom of Sardinia to support parliamentary activity. After moving to the Palazzo Montecitorio in 1865, the archives served as the intellectual foundation of the legislature for more than a century. The archives were opened to the public in 1988, and in 2007 the Polo Bibliotecario Parlamentare (Parliamentary Library Center) was established to coordinate services with the Senate Library. The documentary heritage of the Chamber of Deputies comprises original records produced and acquired by the Chamber since 1848, as well as private papers related to parliamentary politics. Digitized inventories, photographic archives, and portions of digital collections can be accessed through the archive’s website (https://archivio.camera.it/).
In Florence, we visited the Fondazione Alinari per la Fotografia and met with its Director, Dr. Claudia Baroncini. The foundation inherits the legacy of the company Fratelli Alinari—Italy’s first photographic studio established in the nineteenth century—and is dedicated to the preservation of its photographic heritage and the promotion of a culture of photography. The foundation is currently preparing to open a museum and makes its holdings accessible online. Many photographs donated to TOBUNKEN in 2023 by the family of MORIOKA Ryūzō were produced by Fratelli Alinari, and the art-historical photographs collected by YASHIRO Yukio are also known to be linked with a photographer who belonged to the studio. During our meeting, we introduced TOBUNKEN’s photographic archives and ongoing research activities, and exchanged information concerning potential collaboration.
[On Materials of MORIOKA Ryuzo https://www.tobunken.go.jp/materials/ekatudo/2059906.html] .
Through this trip, we gained a renewed appreciation for the Italian understanding of archives not merely as repositories of documents, but as “sacred spaces for the preservation of memory.” This perspective is essential for treating cultural properties as a form of shared knowledge and offered us valuable insight into the relationship between the sharing and responsibility of knowledge within cultural heritage research.
Scene from Mr. KAWASHIMA's presentation
Scene from Mr. YAMGUCHI's presentation
Scene from the Q&A session (left: Mr. KAWASHIMA Tadashi; right: Mr.YAMAGUCHI Katsura)
Among the important book collections held by the National Research Institute for Cultural Properties, Tokyo, is that of uritate mokuroku (sale catalogues). These catalogues were booklets produced and distributed for the purpose of selling artworks owned by private individuals or distinguished families through uritatekai (sealed-bid sales). The Institute currently holds a total of 2,532 such catalogues published from the late Meiji period through the Showa period. This constitutes the largest collection of its kind among public institutions in Japan and is used on a daily basis for provenance research and other art-historical investigations.
In these uritatekai, artworks were traded through a unique bidding system mediated by facilitators and fudamoto (agents responsible for handling bids). This system differed significantly from auctions in which prices are driven upward through openly competing bids, and was instead grounded in traditional Japanese commercial practices. Today, however, while the catalogues themselves are frequently consulted, the institutional background and operational realities of the sales system are not always fully understood, and cases in which uritatekai are mistakenly equated with Western-style auctions are not uncommon. The Japanese art market has developed and evolved within a distinctive framework of transactions different from those of Europe and North America. To provide researchers with an opportunity to understand these mechanisms and deepen their comprehension of related materials, the 7th Research Meeting of the Department of Art Documentation and Archives, entitled “Understanding the Mechanisms of the Art Market,” was held on October 9.
The meeting was moderated by Mr. TASHIRO Yuichiro (Department of Art Documentation and Archives), who also organized the event. First, Mr. KAWASHIMA Tadashi (Chairman, Tokyo Art Dealers Association; President and Representative Director, Mayuyama Ryusendo) delivered a lecture entitled “On Uritate and Kokankai (Exchange Sales),” in which he explained the characteristics of the Japanese-style art market. This was followed by a presentation entitled “On Auctions” by Mr. YAMAGUCHI Katsura (President and Representative Director, Christie’s Japan), who introduced the Western model of the art market. Through these presentations, the structural differences between the Japanese and Western art markets emerged clearly. A question-and-answer session was held afterward, making the meeting a valuable opportunity for researchers to learn about the mechanisms of the art market, an area with which they rarely have the chance to engage in depth.
Art-historical research is not sustained solely by the knowledge of professional researchers such as museum curators and university faculty members. It is hoped that the Research Meetings of the Department of Art Research, Archives and Information Systems will continue to provide opportunities to incorporate diverse perspectives and to acquire insights broadly beneficial to scholarly research.
(Reference)
Uritate Mokuroku Digital Archive:
https://www.tobunken.go.jp/japanese/uritate.html
Reservation for dedicated terminals:
https://www.tobunken.go.jp/joho/japanese/library/application/application_uritate.html
Figure 1
Training room of the Gangneung Danoje Educational Training Center (equipped with musical instruments and costumes for training)
Figure 2
Theater associated with the Gangneung Danoje Educational Training Center
Figure 3
Dissemination Performance of Hahoe Byeolsingut Mask Dance Drama performance, fully occupied (temporary space, as the theater is under construction)
Figure 4
The outcome presentation held on the last day (at the Intangible Cultural Heritage Bureau of the Korea Heritage Service)
The Department of Intangible Cultural Heritage of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting research exchanges with the Korea Heritage Service (formerly the Cultural Heritage Administration) of the Republic of Korea since 2008. As part of this project, we conduct human resource exchanges by mutually dispatching researchers for research. In 2025, Ms. MAEHARA Megumi, Head of the Intangible Cultural Properties Section, conducted research in Korea on the theme of “Systematic Approach to Promoting Traditional Performing Art Training and Education Without Reliance on Heredity.”
Like Japan, Korea is experiencing a declining birthrate. This situation can impact the transmission of traditional performing arts to the next generation. Considering this circumstance, the research at this time focused on the activities of preservation societies for traditional performing arts in Korea and the “National Intangible Cultural Heritage Training” system, in which universities selected by the government participate in nurturing successors for traditional performing arts and others.
Gangneung Danoje festival (selected as the National Intangible Cultural Heritage of Korea: formerly 13th National Important Intangible Cultural Property) held in the Dano festival on the Lunar calendar and Hahoe Byeolsingut Mask Dance Drama (selected as the National Intangible Cultural Heritage of Korea: formerly 69th National Important Intangible Cultural Property), in which dancers wearing wooden masks perform welcoming dances for deities of villages, are both listed on the Representative List of the Intangible Cultural Heritage of UNESCO. Both preservation societies of these traditional performing arts have educational training centers and performance spaces (Figures 1, 2, and 3), and conduct performances and exhibitions for their dissemination, establish various curricula to nurture successors, and hold presentations of their activity outcomes at their centers. Furthermore, Gyeongsang National University, Chonnam National University, and the Korea National University of Cultural Heritage, which were selected in the “National Intangible Cultural Heritage Training” system, make efforts to organize training for potential successors of traditional performing arts and craft techniques as a part of the university education, exploring ways to collaborate with preservation societies, though they are different organizations.
We recognized that we can learn a lot from these environments and systems to pass down traditional performing arts in Japan. Obviously, the participants face various challenges: how to manage an academic career while performing art skills, problems of over-tourism, how to build comprehensive collaborative relationships, and so on. We believe that Japan shares these challenges. We will make efforts to find ways to contribute to the transmission of traditional performing arts in Japan while further understanding traditional performing arts of Korea.
We thank the members of the Intangible Heritage Bureau of the National Heritage Service of the Republic of Korea for their heartfelt support from the research to the outcome presentations on the last day of the research trip (Figure 4).
Survey of brush making
Lecture at Fudenosato Kobo
Although a wide range of tools and raw materials are used in the preservation and restoration of cultural property, fine arts, and crafts, many are at risk of being discontinued in the future due to a lack of skilled successors and increasing difficulty in securing the necessary materials. In response to this situation, the Center for Conservation Science, Department of Intangible Cultural Heritage and Department of Art Research, Archives and Information Systems at Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in commissioned research on “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” as part of the project of the Agency for Cultural Affairs, “Support for the Management of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts.” This article introduces a field survey of brush making in Kumanocho, Hiroshima, held on October 21, 2025.
Brushes have been used for a long time traditionally in Japan as tools of painting and drawing, as well as for the preservation and restoration of cultural property. Makiefude brushes in particular are used for the preservation and restoration of lacquerware crafts, and there are not many craft artisans who can make them. For the project to reproduce the Hatsune Furnishings from the Tokugawa Art Museum’s Collection, brushes that could faithfully reproduce the intricate and exquisite techniques were needed.
For this survey, we visited Fudenosato Kobo and Hakuhodo Company, Limited. We were able to gain an overview of the history and techniques of making brushes in Kumano. A craft artisan carefully removed any hair that was damaged or facing the wrong direction at each step in the brush-making process and selected suitable hairs from a variety of types with diverse characteristics to produce the best possible brushes for a user. On observing this, we gained appreciation for the effort of craft artisans.
Like other traditional techniques, the brush-making industry also faces difficulties in procuring tools and raw materials. For example, hair is among the most important materials for brush-making, along with ramie threads for binding the base of the brush, combs for the refinement of hair condition during each process, and high-quality bamboo for the brush handle.
Over a long period of time, Hakuhodo Co., Ltd., and Mejiro Institute of Urushi Research and Restoration have established direct relationships with users and creators through interactive communication. Thanks to this, hope for improved procurement of the needed materials is beginning to appear little by little. Going forward, the Agency for Cultural Affairs and TOBUNKEN will join the relationship and make efforts to expand the network of raw materials producers.
Participants at the opening ceremony
Lecture on basic chemistry using molecular models
Practical session on waste solvents and their disposal
Since FY2021, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been offering training sessions that provide the scientific information necessary for cultural property restoration. These sessions incorporate insights gained from our research at TOBUNKEN. The program is designed for specialists with restoration experience in cultural properties, museum materials, library materials, and so on, and is intended for professionals with extensive practical field experience.
The fifth iteration of the training was held over three days from September 30 to October 2, 2025, with 16 participants in attendance. The lectures, which included practical sessions, covered the fundamental scientific knowledge considered essential for cultural property restoration. Researchers from TOBUNKEN delivered lectures on the essential chemistry required for cultural property restoration, including adhesion and adhesives, the science of paper and its deterioration, responses to biological issues, and the necessary precautions when using and disposing of laboratory equipment and chemicals.
In response to requests from conservators, we developed a more practical and field-applicable curriculum. Despite the limited time available, participants were highly engaged in proposing scientific approaches to real-world challenges, networking, and sharing information. Post-event surveys revealed positive feedback, with many participants rating the program as “extremely beneficial.” We also received specific requests for scientific insights to be applied in future restoration work. Taking these opinions into account, we plan to continue offering similar training programs on an ongoing basis.
Participants after the opening ceremony
Since FY2019, the Center for Conservation Science of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has put effort into training programs related to restoration treatments for cultural properties, inviting international specialists and implementing these programs in collaboration with partner institutions. Until last year, the workshops had been co-organized with the National Center for Art Research, Japan (NCAR). This year, the National Museum of Western Art (NMWA) was also added as a partner, making it a three-institution collaborative initiative.
The theme of this year’s program focused on “frames,” which, much like hyōsō (mounting) in East Asian paintings, have long played an essential role in the display and protection of paintings. Despite their close connection with artworks, the importance of frames has yet to gain sufficient recognition in Japan, and information on their conservation practice remains scarce. In light of this situation, Ms. BARROW Yukiko, Senior Conservator at the Victoria and Albert Museum (UK), was invited as the instructor for a three-day workshop titled “History, Technique and Conservation of Picture Frames,” held from October 29 to 31, 2025.
The morning lecture sessions took place in the seminar room of TOBUNKEN, where participants (67 in total) received a wide-ranging introduction, from the history and production techniques of frames to contemporary conservation approaches in the UK. In the afternoon, the venue shifted to the Conservation Studio of NMWA, where 15 selected participants engaged in hands-on training in gilding, toning, cleaning, and other conservation techniques currently practiced in the UK.
On November 1, an associated lecture titled “The History and Conservation of Picture Frames in Britain and Japan” was held. Ms. Barrow spoke on the history of frame conservation and the work of conservators in the UK, while Ms. NAKAE Kana, Curator at the Tokyo Metropolitan Art Museum (MOT), gave a lecture on the history of Western-style frames in Japan. The event was attended by 69 participants.
This workshop, marking the first collaborative effort among the three institutions, offered an integrated opportunity to study both the theoretical and practical aspects of frame history and conservation. The program proved highly fruitful and is expected to contribute to the future advancement of conservation and restoration practices in Japan.
UAV surveying on Filaka Island
Participants working on 3D model creation
The Japan Center for International Cooperation in Conservation held a workshop, titled, “Workshop on Unmanned Aerial Vehicle (UAV) Surveying of Archaeological Sites” in Kuwait on October 10-17, 2025, as a part of the Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage sponsored by the Agency of Cultural affairs. This workshop built upon previous workshops conducted in Bahrain and Japan, focusing specifically on large-scale surveying of archaeological sites such as cities and fortresses.
This training program was conducted in collaboration with the National Council for Culture, Arts and Letters (NCCAL), Department of Antiquities and Museums, and Kuwait University. A total of 15 experts from the institutions and the Kuwait National Museum participated. Participants received lectures on UAV, GNSS (Global Navigation Satellite System), and 3D digital documentation techniques, and then worked on creating 3D models of archaeological sites using sample data. Additionally, on Failaka Island in eastern Kuwait, all participants conducted UAV surveys of archaeological sites of the Hellenistic period. Using the captured data, they created 3D models and learned how to utilize the data for studies and how to perform large-scale surveys of archaeological sites.
Not only Kuwait, but other Gulf countries possess numerous cultural heritage sites. However, there is concern over a shortage of personnel to document and preserve this cultural heritage. It is hoped that learning such efficient methods will help resolve some of these challenges.
Practice of 3D photogrammetry at the burial mounds in Janabiyah
The Japan Centre for International Cooperation in Conservation of Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and Bahrain Authority for Culture and Antiquities (BACA) co-organized a workshop for 3D digital documentation at Bahrain National Museum from 28th to 30th October, 2015. This series of workshops was started from a request from BACA, which has been promoting the introduction of 3D digital documentation techniques to the field of conservation of cultural heritage. As previous workshops had been held in Bahrain and Japan, this time the workshop focused on the ‘3D documentation of built heritage’ for intermediate-level practitioners, welcoming 13 experts of cultural heritage, 11 from Bahrain and 2 from UAE.
On the first day of workshop, lectures were held regarding the documentation methods and utilisation examples of 3D digital documentation for built heritage. After the lectures, the participants tried to document a building by themselves using 3D photogrammetry and Lidar on smartphones at the Fakhro House in the World heritage site, the ‘Pearling path.’ On the second day, participants practiced the documentation with 3D laser scanning in the exhibition room of Bahrain National Museum in the morning, and documentation with 3D photogrammetry and RTK-GNSS of the burial mounds in Janabiyah in the afternoon. The third day’s topic was 3D data utilization. The participants learned methods to create contents for an online digital museum utilising the 3D data of the exhibition room of museum that they had documented by themselves on the previous day. They also learned to create 3D models of the burial mounds in Janabiyah with photogrammetry, and published the models on the digital twin platform ‘3D DB viewer,’ which was co-developed by The National Institute of Advanced Industrial Science and Technology and Nara National Research Institute for Cultural Properties.
The participants showed high motivation in applying these technologies in their daily practice in their respective fields of expertise such as archaeology and architecture, and expressed a willingness to learn further advanced methods. We would like to continue organising these opportunities for knowledge sharing in response to their needs.
This workshop was organized as a part of the project for Exchanges in International Cooperation for Conservation of Cultural Heritage funded by the Agency of Cultural affairs.
Scene from the seminar
The front cover of the leaflet
In 2024, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) signed a memorandum of understanding for collaborative research with the Kuboso Memorial Museum of Art, Izumi, and is conducting research on artworks in the museum’s collection.
The painting “Yamazaki Bridge” depicts the extraordinary story of how the principal deity of Hōshōji Temple, the Eleven-Faced Kannon Bodhisattva, transformed into an old man and built the bridge, located between present-day Ōyamazaki Town, Otokuni District, and Yawata City, where the Katsura River, Uji River, and Kizu River converge to form the Yodo River in Kyoto Prefecture. The work blends the dramatic miraculous tale of the bridge’s construction with depictions of the common people involved in its construction against the landscapes of Mt. Tennōzan and Mt. Otokoyama, and Hōshōji Temple.
This painting has garnered attention not only in art history study, but also in history and Japanese literature. Although the subtle details and auspicious inscriptions on the painting have become difficult to read due to aging, we have conducted two optical surveys to maximize the information available on the painting. At this seminar, Ms. EMURA Tomoko gave a presentation titled “Optical Survey of the Yamazaki Bridge Painting,” and Mr. KAWADA Masayuki, director of the Kuboso Memorial Museum of Art, Izumi, spoke as a commentator about the research history and issues of the Yamazaki Bridge Painting.
A leaflet on the Yamazaki Bridge Painting, published in March 2025, will soon be made available in the Tokyo National Research Institute for Cultural Properties repository. Furthermore, we plan to create digital content and publish it online to enable more researchers to view the high-resolution images. We hope that the results of this collaborative research will be widely utilized and deepen understanding of the work.
Scene from the seminar
Scene from the seminar
On September 16, 2025, the fifth seminar of the Department of Art Research, Archives, and Information Systems was held. Two presentations were given, deepening discussion on the canon and transmission of the Kano school from multiple perspectives.
Dr. MIZUNO Yuji (Associate Professor, University of Tsukuba) gave a presentation titled “Images of Confucius in the Tan’yū Style: On the Canon of Iconography,” in which he examined the significance of the pictorial style established by Kanō Tan’yū, which became widely accepted as a canonical model in early modern Japanese painting. While the Tan’yū style exerted strong influence across many genres, its role in Daoist and Buddhist figure painting—especially depictions of Confucius—has received relatively little scholarly attention.
Tan’yū formalized and refined the established medieval image of Confucius, reconstructing it into a new canonical prototype. His imagery spread widely to Confucian temples and domain schools throughout Japan, becoming a canonical image suited to ritual and educational contexts. Drawing on entries from the Kōyō Nikki (Official Diary, 1844), Dr. MIZUNO showed that the Tan’yū-style Confucius image was regarded as an institutional canon. He also noted that local versions often incorporated individual interpretations or decorative variations, showing that the canon was not rigidly fixed but dynamically transformed through both inheritance and adaptation. Furthermore, in the late Edo period, references to Wu Daozi’s style and medieval prototypes re-emerged, indicating a diversification within the canon beyond the Tan’yū model.
Next, Ms. ONO Mayumi (Head, Japanese and East Asian Art History Section) presented “A Study of Kanō Tsunenobu’s Waka Compositions.” Kanō Tsunenobu (1636–1713), patriarch of the Kobikichō branch of the Kano family, was an accomplished painter and an active waka poet. Records of poetry gatherings and existing anthologies reveal that his waka practice expanded his network among daimyō and cultured elites, contributing to the social standing of the Kano family. By exploring the relationship between his poetry and painting, Ms. ONO re-evaluated Tsunenobu as both painter and poet, highlighting his multifaceted creativity.
Through these presentations, the dynamic transformation of the Kano-school canon across time and region was underscored. The seminar provided a valuable opportunity to advance Kano-school studies through the dual perspectives of canon and individuality.
Some of the donated books
Our library has recently received a donation of books formerly owned by the late KIRA Fumio (1941–2022), a distinguished researcher in the field of ceramic history.
KIRA began his career as an editor after joining Zayuho Kankōkai, a publishing house specializing in art publications, where he worked under Saitō Kikutaro. While participating in the editing of major series such as The Complete Works of World Ceramics (1975–, 22 vols.) and The Complete Works of World Art: Oriental Art (1997–, 18 vols.), he conducted extensive field research around the world, advancing both editorial production and ceramic-historical research in parallel.
Among his wide-ranging achievements, he left particularly notable contributions to research on Southeast Asian and Korean ceramics. In 1984, he was among the first to report to Japan on the ceramic wares excavated in Mae Sot, Tak Province, in northwestern Thailand—finds that would later be recognized as highly significant in the study of Southeast Asian ceramic history. He served for many years as an executive committee member of the Oriental Ceramics Society of Japan and received the 20th Koyama Fujio Memorial Prize in 1999.
With the cooperation of his bereaved family, and as part of the project “Bibliographical Research on Japanese Oriental Art History [シ02],” in January 2025, researcher TASHIRO Yuichiro conducted a survey of the books remaining in KIRA’s home in Kagawa. The institute has received a selected portion of these materials, consisting primarily of foreign-language publications concerning Southeast Asian and Korean ceramics. Some of these volumes are not held by any other library in Japan, making this institute the sole holding institution.
Taken together, these resources are expected not only to support research in ceramic history, but also—when viewed in a broader perspective—to serve as Japan’s only available scholarly sources for deepening the understanding of this aspect of Asian culture. As a core institution for cultural heritage research in Japan, it is our hope that, rather than pursuing short-term results alone, we may preserve and pass down the scholarly legacy accumulated by our predecessors from a long-term viewpoint, thereby contributing meaningfully to Japan’s foundation of knowledge.
We would like to take this opportunity to express our heartfelt gratitude to the KIRA family for donating these academically invaluable materials.
Scene of the seminar (photo by Mr. YAMASHITA Yoshihiko)
Newly created dance performance “Dance of Mother-of-Pearl Doors, Pleasure of Japan and Thailand”
Explanation by an expert of FAD about the tools and materials using real objects
On September 10, 2025, the Fine Arts Department (FAD) of the Ministry of Culture of Thailand held an academic seminar titled “Ratchapradit Fine Arts: Connecting the Two Countries Through Mother-of-Pearl Inlay Art” at Wat Ratchapradit. Ms. FUTAGAMI Yoko, head of the Cultural Properties Information Section in the Department of Art Research, Archives and Information Systems, participated in the seminar.
Wat Ratchapradit is a first-grade royal temple established by King Rama IV. The doors and windows of its ordination hall feature lacquered panels crafted in Japan during the period of the temple’s establishment. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) provided technical support for the restoration of the panels and conducted research on them. The temple has also provided financial support for a study by the institute, with the objective of on-site preservation of the panels following their restoration.
The seminar began with opening remarks by Mr. Phnombootra Chandrajoti, the Director General of FAD. In the morning, Part One, titled “Preserving and Creating Art: A Heritage of Two Lands,” was held. During this section, monks from the temple and FAD experts presented on the restoration project for the door panels at Wat Ratchapradit. From the Japanese side, Ms. FUTAGAMI presented the concept of the panels’ restoration and study project. In the afternoon, Part Two, titled “From Integration to Creative Inspiration: Expanding for the Future,” was held. During this session, FAD experts presented outlines of an investigation conducted in June 2025 on the on-site preservation of the door panels after restoration and an investigation from November 2024 in northern Thailand on lacquering materials. TOBUNKEN experts participated in both investigations. From the Japanese side, Mr. YAMASHITA Yoshihiko, a lacquering expert and researcher, presented on the unique mother-of-pearl inlay with underpainting technique used for the door panels. Ms. FUTAGAMI presented the results of an investigation conducted in Japan in June 2024 regarding traditional materials, in collaboration with FAD.
On the same day, several events related to Japanese lacquered door panels were held at Wat Ratchapradit. The event featured an exhibition of real objects and informative panels detailing the techniques and materials used, a newly created dance performance titled “Dance of Mother-of-Pearl Doors, Pleasure of Japan and Thailand” performed by dancers from FAD, and Japanese food offered in food booths. Participants enjoyed all of these events. For the author, the seminar was also a good opportunity to share information about our activities with various Thai stakeholders.
Discussion in Session 3
Meditation at Jingwansa
ISHIMURA Tomo (author) of our institute participated in the 2025 World Forum for Intangible Cultural Heritage, an international forum held in Seoul, the Republic of Korea, on September 17th and 18th. This international forum is held annually by the National Heritage Service of the Republic of Korea and the International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region (ICHCAP). The forum was held at Jingwansa, a Buddhist temple located north of downtown Seoul. The opening ceremony featured a demonstration of a Buddhist ritual called “Suryukjae,” and traditional vegetarian cuisine was served for lunch. After the forum on the final day, participants also had the opportunity to try meditation.
This year’s theme was “Exploring Economic Activities of Intangible Cultural Heritage,” and discussions focused on the economic aspects of intangible cultural heritage. The forum consisted of a keynote speech by Mr. Ahmed Eiweida, followed by Session 1, themed “Exploring the Economic Value of ICH,” Session 2, “Community-Based Economic Activities and Sustainable Development,” Session 3, “Ethical Commercialization of ICH,” and a special session, “Local Perspectives: Economic Practices of Intangible Cultural Heritage in Korea.” Experts from around the world (Singapore, Timor-Leste, Hong Kong, Nepal, India, Indonesia, Malaysia, Botswana, the Philippines, Japan, and the Republic of Korea) participated as presenters and/or moderators.
The author gave a presentation in Session 3 titled “Protecting while promoting: Two designation systems for traditional crafts in Japan.” In Japan, there are two designation systems for safeguarding craft techniques: the Important Intangible Cultural Properties designation system under the Ministry of Education, Culture, Sports, Science and Technology’s “Law for the Protection of Cultural Properties,” and the designation system of Traditional Crafts under the Ministry of Economy, Trade and Industry’s “Act on the Promotion of Traditional Craft Industries.” The former primarily aims to protect craft techniques, while the latter primarily aims to promote them. While the two systems may appear contradictory by their names, they rather complement each other and contribute to the survival of craft techniques.
In the discussion part of in Session 3, issues surrounding intangible cultural heritage and intellectual property rights were also discussed. Concerns were expressed, particularly about intangible cultural heritage falling out of the hands of communities and into a state of over-commercialization and decontextualization. Regarding traditional crafts in Japan, the author spoke about the risk of inexpensive counterfeits being imported from abroad. The author also mentioned a case in which a foreign celebrity had previously attempted to use the name “Kimono” for a brand she designed, which sparked strong criticism from Japan. The relationship between intangible cultural heritage and artificial intelligence (AI) was also mentioned during the discussion, an issue that the author felt has not yet been sufficiently discussed in Japan overall.
The slogan “utilizing cultural properties” has been around for a long time in Japan, but participating in this forum reaffirmed that balancing preservation and utilization remains an important issue. It also gave me an opportunity to think about the possibility of further increasing the value of cultural properties/cultural heritage by having communities take an active role in preserving and utilizing them.
Oral presentation at Stone 2025
Study tour: visit to Notre-Dame Cathedral
From September 8 to 12, 2025, Dr. MIZUTANI Etsuko (author) participated in the 15th International Congress on the Deterioration and Conservation of Stone (Stone 2025), held at the Sorbonne University in Paris, France, and delivered an oral presentation. This congress, which takes place every four to five years, is an international forum on the conservation and restoration of sculptures and architectural structures made of stone and brick.
The congress brought together a wide range of participants, including conservation scientists and geologists studying the deterioration of stone and brick, practitioners involved in conservation and restoration, and experts in architecture and building physics. Presentations covered diverse topics, from fundamental studies on deterioration caused by air pollution and salt weathering, to new restoration techniques and practical conservation measures, as well as sustainable environmental control strategies and the evaluation of climate change impacts.
In her presentation, the author reported on research conducted at the Center for Conservation Science, Preventive Conservation Section, which focuses on improving the humid environment inside a rock cave housing a Buddhist wooden architecture, without relying on air conditioning, to preserve the structure. Following the presentation, the author received many questions and comments from researchers engaged in the preservation of cultural properties facing similar high-humidity challenges and others interested in sustainable environmental control. This provided an opportunity to exchange views on the potential for future collaboration.
Going forward, the author intends to continue actively disseminating research outcomes internationally, while also gathering the latest knowledge from around the world to further contribute to the preservation of Japan’s cultural heritage.
Scene from a research presentation in GCI
Scene of researcher exchange
As global warming has become a pressing global issue, the need for sustainable environmental management in cultural heritage preservation has also gained importance. In 2014, a joint declaration was issued by the International Institute for Conservation of Historic and Artistic Works (IIC) and the International Council of Museums – Committee for Conservation (ICOM-CC), calling for environmentally responsible approaches to preservation practices. At the Center for Conservation Science, Preventive Conservation Section, we have been pursuing research to explore sustainable environmental management methods suited to the preservation of cultural properties in Japan.
As part of these efforts, in August 2023 (Reiwa 5), a team from the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) participated in the “Changing Climate Management Strategies Workshop: Sustainable Collection Environments and Monitoring Object Response,” co-hosted by the Getty Conservation Institute and The National Gallery of Victoria in Australia, and since then have continued exchanges with researchers at the Getty Conservation Institute.
From September 24 to 26, 2025 (Reiwa year 7), we visited the Getty Conservation Institute in Los Angeles. Two years after the workshop, members of both TOBUNKEN and the Getty Conservation Institute presented updates on their respective research and engaged in discussions. Representing TOBUNKEN, Dr. MIZUTANI Etsuko (Researcher, Preventive Conservation Section, Center for Conservation Science) and Assoc. Prof. IBA Chiemi (Graduate School of Engineering, Kyoto University; Visiting Researcher of TOBUNKEN) delivered the presentations. Active discussions were held on topics such as Japan’s climatic conditions, the unique structural characteristics of cultural property materials, and measurement methods required for risk assessment of deterioration.
Following the discussions, we toured the research facilities and had the opportunity to interact with researchers from diverse disciplinary backgrounds. The Japanese case provides valuable insights into the challenges of managing conservation environments for cultural heritage in countries with humid temperate climates. This visit was a highly meaningful opportunity to re-examine environmental conservation research from an international perspective and to explore possible directions for future collaboration.
Pillboxes remaining at the former Aoto Airfield. Mt. Kaimon can be seen in the background.
Coral found in pillboxes (discovered during this survey)
Field survey in progress
As part of a collaborative research project with Minamikyushu City, the Restoration Technology Laboratory at the Center for Conservation Science, Tokyo National Research Institute for Cultural Properties (TOBUNKEN) is conducting research aimed at preserving concrete structures from WW2 that remain in the city. Among these, two pillboxes that remain at the former Aoto Airfield have few construction records, leaving many unknowns, such as who built them, when, for what purpose, what materials were used, and where the materials were sourced.
In September 2025, we conducted a field survey with Mr. SAKAMOTO Kota (Minamikyushu City Cultural Properties Division), Mr. YAMAKI Satoshi (Chiran Peace Museum), and Mr. TAGUCHI Kiminori (Kanagawa Prefectural Museum of Natural History), to shed light on the procurement of concrete materials for the pillboxes. Our investigation so far has revealed that the pillbox concrete contains fragments of shells believed to be marine, as well as worn ceramic and glass fragments typically found on beaches. Based on this, it was speculated that the sand used to make the concrete was collected from nearby beaches, and that shells, ceramic fragments, and broken glass had become mixed in during the process. Furthermore, Mr. TAGUCHI’s recent observations revealed that the pillbox concrete contained 1-2 mm black sand, transparent green olivine sand, and multiple pieces of coral. This combination closely resembled the sediments found on the coast around Mt. Kaimon, so this information served as a new clue for surveys of nearby coasts and river mouths.
As a result of the survey, on a beach about 10 km northwest of Mt. Kaimon, gravel with a similar composition to the sand, shells, coral, ceramics, and glass found in the pillbox concrete was confirmed. Furthermore, the location was also found to be convenient for procuring and transporting materials, as a railway line (Ishigaki-Kiire Line, opened in 1917) connected the Aoto Airfield, where the pillbox is located, to the coast, approximately 5 km away.
We are currently summarizing the results of this survey, taking into account the results of previous surveys, and plan to publish a report in the near future.
Practical work in restoration techniques for mounts
Visiting a hand-made paper (Homminoshi) studio
The ‘International Training Course on Conservation of Japanese Paper’ is jointly organized by the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the intergovernmental organization ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property). The course started in 1992 and has a good reputation. This year, 166 candidates applied and 10 trainees participated in the program from 25 August to 12 September.
Washi, traditional Japanese paper, is made of plant fiber from the kozo, a kind of mulberry tree. Characterized by its long fibers, it is thin yet strong, and its durability and texture that does not damage cultural properties make it an excellent restoration material. It is used for restoration of artworks in various countries.
The program included lectures on protection systems for paper and cultural properties of Japan and practical training in ‘Restoration Techniques for Mounts,’ which is a national designated restoration technique. While participants have already gained experience as paper conservators in their respective workplaces, the workshop provided an opportunity to reinforce appropriate knowledge, including skills of using Japanese tools and materials. Participants’ feedback has been positive and mentioned that they would share their experiences with colleagues and students upon returning home and recommend this training program to others.
This training program also aims to facilitate interaction among trainees themselves, between trainees and Japanese expert instructors, and with manufacturers of restoration materials and tools through field visits. These interactions are not only a benefit for participants but also an opportunity to motivate Japanese experts and manufacturers of tools and materials. We also intend to continue organizing future training programs with the aim of serving as a bridge between experts and manufacturers, who are experts in Japan and overseas engaging in conservation and restoration of cultural properties, and manufacturers of tools and materials for restoration of cultural properties.
Cleaning test at the Somma Vesuviana archaeological site
Survey of stucco decorations in the storage facility of the Selinunte Archaeological Park
Since 2021, the Japan Center for International Cooperation in Conservation (JCIC) has been involved in a research survey on stucco decoration and clay statues under the research project “Technology for the Conservation and Restoration of Cultural Heritage” program.
As part of this research, a team from JCIC visited Italy from September 8 to 26, 2025, to study archaeological sites of the Greek and Roman periods, including the Roman ruins of Somma Vesuviana, the Pompeii Archaeological Park, and the Selinunte Archaeological Park.
At the Somma Vesuviana site, we focused on a Roman-era decorated gateway excavated by a team led by the University of Tokyo. Based on a research plan prepared in the previous fiscal year, we conducted studies on the techniques and materials of the stucco decorations present at the site, and carried out various experiments on modern conservation and restoration methods.
Meanwhile, at the Selinunte Archaeological Park in Sicily, a meeting was held with the Director of the park to present and explain the objectives and significance of this research. As a result of the Director’s understanding and approval, official consent was obtained to include the park’s Greek-period stucco decorations as research subjects, and full cooperation was kindly extended to our study. Furthermore, since physical and chemical deterioration has been observed in the limestone used for the temples, the park expressed an interest in having us conduct research on possible measures to mitigate such deterioration.
In addition, the Soprintendenza di Palermo (Superintendence of Cultural and Environmental Heritage of Palermo), after reviewing and expressing its understanding of the aims of this project, kindly proposed that we also consider including Roman archaeological sites under its jurisdiction in the Palermo area as potential research subjects.
In summary, through the present field mission, it was confirmed that understanding and support for the objectives of this study are steadily expanding among relevant institutions. Moving forward, we plan to continue comparative research on the techniques and materials of stucco decorations from the Greek and Roman periods—focusing on the sites visited during this mission—to deepen our understanding of their structure and characteristics, while also advancing research on appropriate methods for conservation-restoration and site management.
The consultation meeting at TOBUNKEN
On August5, 2025, Dr. Simon Kaner, Head of the Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), and Dr. Eugenia Bogdanova, a researcher at SISJAC, visited the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), and we held a consultation on our joint project, “Shaping the Fundamentals of Research on Japanese Art.” This project began in 2013. As part of the project, SISJAC staff provide information on literature produced and exhibitions held that are related to Japanese art and culture outside Japan, primarily in the UK, to TOBUNKEN for inclusion in the archives database (https://www.tobunken.go.jp/archives/). Also, researchers of the Department of Art Research, Archives and Information Systems have been visiting the UK annually to conduct lectures, workshops, and research on such works.
At this consultation, we presented a report on our database project and discussed our researchers’ planned visit to the UK to take place in December. In the latter part of the consultation, Mr. Matthew James, a SISJAC staff member responsible for database operations, participated online from the UK. We specifically examined the methods and standards employed for gathering information outside Japan, and also the data entry procedures.
During the three years of the pandemic, when travel was restricted, trips to the UK and Japan were not possible, and research discussions were conducted primarily online. We have since resumed in-person research exchanges among staff members. However, we will continue to priorities convenience when arranging exchanges, for example by conducting discussions with overseas partner institutions using a combination of online and in-person methods.
