| ■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 |
|
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.
Inspection of a funori harvesting site
Consultation with Kamitsushima Fishery Cooperative
The Center for Conservation Science of Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been commissioned by the Agency for Cultural Affairs to conduct research on “Tools and Raw Materials Used in Fine Arts and Crafts.” We are carrying out this project in collaboration with the Department of Art Research, Archives and Information Systems and the Department of Intangible Cultural Heritage. In this regard, on May 13-14, 2025, we visited Tsushima City, Nagasaki Prefecture, to conduct a survey on a material called “funori.”
Funori is a collective term for species of seaweeds belonging to the Genus Gloiopeltis in the Family Endocladiaceae, with ma-funori (Gloiopeltis tenax) and fukuro-funori (Gloiopeltis furucata) being the primary varieties used in a variety of applications. Funori is often bleached, sun-dried, and processed into a sheet-like form known as “ita-funori.” Paste made by cooking funori in water is widely used in the production of arts and crafts (such as textiles, plaster, brushes, and so on) and in cultural property restoration. In particular, its solubility in water makes it highly valued in restoration works, as it can easily be removed with water. Based on this characteristic, funori is used for temporary surface coating to protect artworks during restoration. Conservators also consider it to have a cleaning effect, making it an indispensable material for cultural property restoration.
However, due to a shortage of workers and changes in the environment, it has become increasingly difficult to obtain funori.
Most of the funori used as adhesive is harvested in Tsushima and the Goto Islands. For this survey, we visited Kamitsushima and Mitsushima, which have fishermen’s cooperatives, accompanied by Mr. OKAMURA Kazuyuki of the Agency for Cultural Affairs and Mr. OWAKI Toyohiro of Owaki Manzo Shoten Co., Ltd., a valuable manufacturer in the production of dried funori, along with representatives from the Nagasaki Prefecture of Fisheries Co-operative Association. We held a lecture meeting with seaweed harvesters about the uses and importance of funori, with lectures about the methods of funori cultivation by Ms. SAITSU Mako of the Tsushima Fisheries Industry Extension and Guidance Center, Tsushima Development Bureau, Nagasaki Prefecture, and representatives from TOBUNKEN, followed by a meeting to discuss stable supply. The participants expressed great interest in the efforts to increase production mentioned by Ms. SAITSU, making it a very valuable opportunity for discussion. We also inspected the local harvesting sites and observed the growth conditions of funori.
In the current situation in which the procurement of tools and raw materials is becoming difficult, this was a valuable opportunity to once again recognize the importance of collaboration and cooperation among various organizations to move forward together.
