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


Researching Medieval Glass in Japan – The 8th Seminar Held by the Department of Art Research, Archives and Information Systems

A scene from the seminar

 At the 8th seminar organized by the Department of Art Research, Archives and Information Systems on December 24th, 2019, HAYASHI Yoshimi––a Part-time Lecturer at Tokai University––delivered a presentation titled “Researching Medieval Glass in Japan – Based on the Outcomes in 2018 and 2019.”
 Dr. Hayashi has been researching the history of glass in East Asia for many years. For this seminar, she introduced a part of her outcomes from the collection and observational research of Japanese glass products manufactured between the 13th and 16th century, which she has researched after writing her doctoral dissertation in 2018. The actual state of Japanese medieval glass has been almost unknown due to the rarity of its unearthed products. However, in recent years, glass products manufactured during the aforementioned period have been excavated in Kyoto, Hakata and other areas. An improved understanding of Japanese medieval glass is expected based on these products, which will add to the existing literature and materials. Dr. Hayashi mentioned the following three key aspects in the research of Japanese glass produced between the 13th and 16th century: (1) Getting a whole sketch, (2) Determination of production areas, and (3) Consideration from historical and broad-based viewpoints. Then, she presented her views on the manufacturing technique and origin of the glassware unveiled, through her study of written and excavated materials.
 Ms. INOUE Akiko, director of the Association for Glass Art Studies, Japan, also attended the seminar as a commentator so as to facilitate a discussion on various front-line topics pertaining to glass history studies, proceeding step-by-step alongside a few researchers.


Lecture on the “Cruciform Sword” as a Commemorative Event of the Local History Society of Minakuchi Town, Koka City

水口郷土史会での講演

 The Department of Art Research, Archives and Information Systems has been leading in the research and study of the “Cruciform Sword (Minakuchi Rapier),” possessed by Fujisaka Shrine in Minakuchi, Koka City for six consecutive years. In fiscal 2019, to pack up our research, we released our outcomes through a presentation at the ICOM Kyoto, made mainly for overseas experts (https://www.tobunken.go.jp/materials/ekatudo/819071.html), and the 53rd open lecture of the Institute for the public (see the Monthly Report of November: https://www.tobunken.go.jp/materials/katudo/819201.html). Following these, on November 9th, we had a great opportunity to deliver a lecture as an event commemorating the 60th anniversary of the foundation of the Local History Society of Minakuchi Town, Koka City, where this Western-style sword has been handed down to the present time. Under the title of “Challenging the Enigma of ‘Cruciform Sword’ Possessed by Fujisaka Shrine,” jointly with Ms. NAGAI Akiko, curator of the Minakuchi Museum of History and Folklore in Koka City, partner of our research, we reported the research outcomes and historical significance of this sword to local people. The audience of as many as 100 people gathering in the local venue, located just opposite to Fujisaka Shrine, listened to our research report with much interest.
 We feel that giving this lecture has allowed us to partially fulfill our research obligation. Returning our attention to preparing our research report with joint researchers, we will tentatively wrap up the study of this Western-style sword.


Presentation and Information Sharing for ICFA Committee, ICOM Kyoto “The Minakuchi Rapier, European Sword Produced in Japan

Presentation for ICFA committee at ICOM Kyoto

 For a week, from September 1st to 7th, ICOM Kyoto 2019, the 25th General Conference was held at the Kyoto International Conference Centre as its main venue.
 At the ICFA’s (International Committee for Museums and Collections of Fine Arts) individual session “Asian Art in Western Museumns, Western Art in Asian Museums II,” KOBAYASHI Koji from the Department of Art Research, Archives and Information Systems delivered a presentation titled The Minakuchi Rapier, European Sword Produced in Japan jointly with Ms. NAGAI Akiko from the Koka City Minakuchi History and Folkroe Museum.
 The Minakuchi Rapier (cruciform sword possessed by Fujisaka Shrine in Koka City) was produced in Japan modeled on a European sword, which was brought Japan in the early 17th century. We have been researching this sword together with experts at home and abroad since 2013. Part of the processes and outcomes have been reported through the articles, “the 10th Seminar Held by the Department of Art Research, Archives and Information Systems ‘Study of the Western Cruciform Sword Possessed by Fujisaka Shrine in Koka City’” (https://www.tobunken.go.jp/materials/katudo/243895.html) and “Research of the Western-style Cruciform Sword Possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture by an Expert from the Metropolitan Museum of Art and an Initial Report at the 7th Seminar Held by the Department of Art Research, Archives and Information Systems” (https://www.tobunken.go.jp/materials/katudo/247392.html).
 For this presentation, the later result of analyzing the sword blade at SPring-8 (large-scale synchrotron radiation facility) and historical examination from an overall point of view was added. This presentation aimed at disseminating to the world, including Europe and the United States, the fact that such Western swords existed in Japan in the 17th century when cultural exchange was occurring globally, and that a sword was imitated at that time and has been handed down up to the present time.
 At the fully occupied presentation venue, the audience showed much interest in the existence of such a cultural property in Japan through a variety of questions and discussions, including on the background of producing a Western sword replica.


Formation Process of Namban Lacquer and Its Dating: Seminar Held by the Department of Art Research, Archives and Information Systems

Ongoing Seminar

 At the 6th Seminar held by the Department of Art Research, Archives and Information Systems on September 24th, 2019, KOBAYASHI Koji, Head of the Trans-Disciplinary Research Section, delivered a presentation titled “Formation Process of Namban Lacquer and Its Dating – Examination Especially Focusing on Christian Portable Oratory.”
 There is no consensus on when and how Namban lacquer, which was produced in Kyoto and exported mainly to Europe and America in the early 17th century, started to be utilized. So far, among portable oratories, in which Christian sacred paintings are placed, much attention has been paid only to the ones produced as Namban lacquer. The presenter comprehensively examined the portable oratories produced for Japanese Christians as well, which continued to be handed down to this day in the Sendaiji and Shimo-otowa areas in Ibaraki City, Osaka, well-known as settlements of crypto-Christians; these oratories include the one owned by the General Library of the University of Tokyo, which has a the painting of Christ by NIWA Jacob, who learned painting in seminary in Japan, in addition to the Namban lacquer portable oratories scattered around the world. Among them, a group of oratories without decorative pattern on metal fittings were extracted and compared with a makie decorated Chinese-style chest owned by Toyokuni Shrine, with a miniature shrine ornamented by Namban lacquer patterns of Kodaiji-style makie and raden decoration made for a statue of TOYOTOMI Hideyoshi possessed by Richi-in Temple in Misaki Town, with a relatively older makie shelf having metal fittings, and others. As a result, the presenter concluded that the oratories with no decorative metal fittings are the oldest, estimated to have been produced between the latest 16th century and the earliest 17th century.
 This dating of older oratories matches the presenter’s dating of Namban lacquer lectern, which had been estimated to be produced from the early 17th century, i.e., a little later than oratories.
 The examination was aimed at exploring the formation process and dating of Namban lacquer. If these results are accepted, it might become a catalyst for reconsideration of various issues involving painters or production areas of sacred paintings and frames placed in the portable oratories, on the reality of Christianity and trade in Japan around the early 17th century as well as the relations between TOYOTOMI Hideyoshi /the Tokugawa shogunate and the Anti-Christian Edicts/Christian missions.
 At the seminar attended by Dr. TAKEDA Eri, a restorer of Western early paintings, Professor KOIKE Tomio from Tsurumi University, and many other researchers in related fields from the art museums organizing exhibitions of lacquerware from the Momoyama period, lively discussions were held on diverse topics, right from methodology to various other aspects.


Shapes of Metal Materials Used for Hira Maki-e Technique—Seminar by the Department of Art Research, Archives and Information Systems

Ongoing seminar

 For the fifth seminar in FY 2018, held on October 2nd by the Department of Art Research, Archives and Information Systems, Dr. Yoshimi KAMIYA from Kanazawa University delivered a presentation titled “Shapes of Metal Materials Used for Hira Maki-e Technique—Mainly Focusing on Namban Lacquer Examples .”
 Hira Maki-e (flat maki-e) is one of the Maki-e (Japanese lacquer technique sprinkled with gold or silver powder) techniques started in the Azuchi–Momoyama period. Compared to the existing mainstream techniques such as Togidashi Maki-e (polished maki-e) and Taka Maki-e (raised maki-e), it is a simpler technique, where gold or silver powder is sprinkled over the pattern drawn with Urushi lacquer. This technique is considered to have been used for maki-e works in Kodaiji style and Namban lacquerware produced in Kyoto as exports to Europe and Americaby orders from Europeans.
 The shapes of the metal powders found on lacquer fragments from Namban lacquerware and similar works produced in the early 17th century, which can be found both at home and abroad, as well as those for maki-e lacquer works made by the presenter for comparison, were observed carefully in a non-destructive manner by using a scanning electron microscope (SEM) and reported.
 As a result, Maru-fun, round powders rasped off from the metal body were found for a piece of Namban lacquerware. However, some pieces for in which powder made from gold foil had been used was were recognized for the first time. And even, indicating the possibility that powder. This discovery requires us to re-examine the actual states of production techniques, producers, and workshops for exported lacquer in the early Edo period. This is also an important fact when considering the process of how Keshi-fun Maki-e (maki-e technique using powder from metal foil) first appeared and its history.
 For the seminar, Mr. Kazumi MUROSE, a holder of Important Intangible Cultural Property (maki-e) and lacquer art historians in and around Tokyo were invited for an active discussion about the kinds of materials the reported metal powders originate in, the relationship with maki-e masters or artisans depicted in the paintings of craftsmen (Shokuninn-e), the need of factual research in maki-e technical history, and issues on the definition of maki-e.
 This presentation revealed the fact that observation of fallen lacquer fragments with an electron microscope is very effective for verification of lacquer production techniques, particularly maki-e technique. Further accumulation and study of analyzed works are much expected for the positioning of and attaching significance to each reported case. Deepening of this research may contribute to clarification of the actual state of the painting technique history since metal powder is among the materials used widely not only for lacquerware but also for paintings.


History and Significance of Raden (Mother-of-Pearl Decoration) Craftwork in Thailand― Seminar Held by the Department of Art Research, Archives and Information Systems

Workshop hosted by the Department of Art Research, Archives and Information Systems

 In Thailand in the 18th century and after, exquisite raden craftwork in which an enormous number of tiny seashell parts are finely combined, has developed. If you have already visited the Grand Palace and Wat Pho famous for Reclining Buddha in Bangkok, the capital of Thailand, you may know it. The raden craftwork has been still continued, although not very extensively. However, there have hardly been any studies on the history of Thailand’s raden; its transition and social significance has not been researched not only in Japan but also even in Thailand. At the 9th seminar held by the Department of Art Research, Archives and Information Systems, Prof. Tomohito TAKATA of Siam University who is specialized in Buddhism art history in Thailand gave a presentation on the history of Thailand’s raden in the early-modern and modern times.
 Mr. Takata, first of all, explained that raden works in Thailand are seen on the doors and windows in Buddhism temples, on the pedestal bowl offerings for monks, and on the sutra boxes and Cabinets, they had been donated closely related to Buddhism, and they had been made rather exclusively with strong relationship with the royal family of Thailand. Further, he chose, as the analysis subjects, the temple doors whose dates of making or construction are accurately known and divided the history of raden from the 18th to the early 20th century into three periods according to the differences in the main motifs, patterns and techniques utilized. The three periods are the 1st period (from the middle of the 18th century to the beginning of the 19th century), the 2nd period (from the first half to the middle of the 19th century), and the 3rd period (from the latter half of the 19th century to the beginning of the 20th century). Based on this, he further pointed out that, in the 1st period when the patterns and motifs only included tendril patterns and portrait of the deities in which external influences were hardly observed, the Buddhism values such as the three realms of existence were expressed in raden works like in other wooden sculptures and paintings. In contrast, the 2nd period characterized by appearance of the story of Ramayana as well as Chinese decorative patterns reflects diplomatic relations with China and East Asia during this era. Further, in the 3rd period when the patterns that expressed forms of medallions in raden were made, new relationship between Thailand and the West as well as an increase in power of the royal family gave influence over raden crafting.
 The workshop also included participation of Ms. Ayumi HARADA, expert in Thai art history, from Kyushu National Museum and Prof. Norihiko OGURA from Department of Crafts (Urushi-Art) of Faculty of Fine Arts, Tokyo University of the Arts. Ms. Harada gave us comments on the origin of Thai raden, external relations, etc. from the expert’s point of view. Further, Prof. Ogura delivered opinions from a viewpoint of an artist. The workshop also contained active discussion about relationship with Japanese raden works of the 19th century that have been discovered successively in Bangkok in recent years. The workshop could also serve as a good opportunity to recognize significance of Thai raden that had not often been subject to academic discussions.


Research of the Western-style Cruciform Sword Possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture by an Expert from the Metropolitan Museum of Art and an Initial Report at the 7th Seminar Held by the Department of Art Research, Archives and Information Systems

Research by Dr. Pierre Terjanian
Presentation at the Seminar of the Department

 The cruciform sword possessed by Fujisaka Shrine in Minakuchi, Koka City, Shiga Prefecture is a slender Western-style sword, which is said to have been owned by feudal lord Yoshiaki KATO (1563-1631) who served Hideyoshi TOYOTOMI and Ieyasu TOKUGAWA, the founder of the Kato family ruling the Minakuchi Domain in the Tokugawa Shogunate. This sword of excellent workmanship is formed completely differently from those used in Japan or in Asia. A survey conducted by domestic specialists in 2016 revealed that this was a rapier produced in Europe between the 16th and early 17th century and that this is the only Western-style sword handed down to the present time in Japan (reported in TOBUNKEN NEWS No. 65). However, the research conducted at that time did not address some essential problems, such as whether this sword was made in Japan or brought to Japan from Europe, and around which year it was manufactured.
 To resolve these problems, we invited Dr. Pierre Terjanian, Arthur Ochs Sulzberger Curator in Charge, Department of Arms and Armor, Metropolitan Museum of Art in New York, which boasts the world’s leading rapier collection. After conducting research in Minakuchi, Dr. Terjanian presented his considerations on this Western sword under the title “European Renaissance Rapiers and the Minakuchi Rapier” at the 7th seminar held by the Department of Art Research, Archives and Information Systems.
 According to his consideration, the copper hilt was obviously made in Japan, and the sword blade was probably made in Japan or in Asia, not in Europe. The original European rapier, on which the Minakuchi rapier was modeled, would have been manufactured between 1600 and 1630, but closer to 1630. Moreover, this sword displays less practicability.
 His view unveils a new fact utterly unknown so far that Japanese people scrutinized a Western sword from Europe and even manufactured a reproduction of it in the early 17th century in Japan. On the other hand, another fact was also found: that a unique technique was used to connect the hilt to the blade with an advanced screw structure, which has not been confirmed in European rapiers. You can understand that such a unique feature resulted from much effort and ingenious attempts by Japanese artisans of the day who worked hard to accurately reproduce an unfamiliar Western sword with the knowledge and techniques they had.
 Thus, the research of a Western-style sword handed down in Minakuchi reveals various facts about the metalwork techniques of the early 17th century and about the acceptance of foreign culture. We will proceed with further research and study, including the issue of where and how this sword was manufactured and by whom. We are planning to disclose the actual situation of this sword and its historical backdrops.


International Symposium: In Search of the Multiple Origins of Namban Lacquer

Proceedings of the symposium
Discussion during the symposium

 Namban lacquer, which is characterized by its unique style, was made upon the request of Portuguese , Spaniards and others who visited Japan in the latter half of the 16th century and thereafter. It was made in Makie(gold powder lacquer technique) workshops in Kyoto and exported to Western countries up until the first half of the 17th century. Namban lacquer came to be known in Japan around the late 1930s. Quite a few pieces have been brought back to Japan from around the 1970s and found their way into museums and galleries all over the country. Recent investigation has revealed that many pieces are still owned by Christian facilities and other places in Spain and Portugal. In recent years, many exhibitions focusing on Namban lacquer have been held both in and outside Japan, and many of you may have actually seen them before.
 One of the major characteristics of Namban lacquer is its appearance, that is, a Western-style vessel decorated by Japanese traditional Makie and Raden (mother-of-pearl decoration). In addition, based on multiple studies, including art-historical, historiographical, organic chemical, wood antomical, conchological, and radiological studies, of its patterns, materials, and techniques, it has become clear that this object is a characteristic cultural asset strongly reflecting the Age of Commerce by having elements from not only Europe and Japan but also various Asian regions, such as East Asia, Southeast Asia, and South Asia.
 With the aim of specifically confirming these multiple characteristics of Namban lacquer and sharing the recognition, the symposium was held at the Tokyo National Research Institute for Cultural Properties (TNRICP) for 2 days on March 4th and 5th, 2017, where 12 reports were presented by 11 domestic and foreign experts and enthusiastic discussions were held. Further, the number of participants in this symposium totaled 25 persons from overseas (Europe, the US, and Asia) and 160 persons from various places in Japan, reflecting a growing interest in Namban lacquer among people in Japan and overseas.


The 10th Seminar Held by the Department of Art Research, Archives and Information Systems “Study of the Western Cruciform Sword Possessed by Fujisakae Shrine in Koka City”

A Scene from the 10th Seminar

 Fujisakae Shrine is located in Minakuchi, Koka City, Shiga Prefecture, the predecessor of which was Yoshiaki Reisha Shrine founded in the early 19th century in order to enshrine feudal lord Yoshiaki KATO, Founder of the family, governing Minakuchi area in the Edo period. The shrine has a variety of treasures, which are said to have been possessed by Yoshiaki. The Western style sword with a black lacquer sheath, which is said to have been granted by Hideyoshi TOYOTOMI, is one of them. Mostly intact in form, this sword is in no way inferior to the rapiers produced in Europe from the 16th to the 17th century. Although it seems to be the only Western sword handed down to the 21st century in Japan, the rapier has been stored at the Minakuchi Museum of History and Folklore in Koka City for many years without attracting much concern so far.
 In September 2016, the rapier was investigated from art historical and physicochemical perspectives by the five members of Ms. Akiko NAGAI (Board of Education in Koka City), Mr. Toshihiko SUEKANE (Tokyo National Museum), Ms. Motoko IKEDA (Kyoto National Museum), Prof. Kazutoshi HARADA (Tokyo University of the Arts), and me, Koji KOBAYASHI. The summary and the outcomes of our study were reported at the 10th Seminar Held by the Department of Art Research, Archives and Information Systems held on February 24th, 2017.
 The presentations made by the members are “Historical Background on the Western Cruciform Sword Stored at Fujisakae Shrine” by Ms. Nagai; “Study of the Substantiality and Age of the Rapier Handed Down to Fujisakae Shrine – Reconnaissance with Museum Collections, Excavated artifacts and eary modern genre paintings” by Kobayashi; “Regarding the Western Sword Housed by Fujisakae Shrine” by Mr. Suekane; “The Western Sword Possessed by Fujisakae Shrine: X-ray CT Scanning and Fluorescent X-ray Analysis” by Ms. Ikeda; and “The Western Sword Belonging to Fujisakae Shrine – Comparison with Overseas Materials –” by Prof. Harada. The outcomes of our preliminary study were presented from diversified perspectives, including the reference to historical backdrops on swords and related artifacts, the study of hilt patterns and production techniques from the viewpoint of the metalworking history, the report of the data obtained through CT scanning and fluorescent X-ray analysis, and comparison with rapiers stored overseas, in addition to topics on Fujisakae Shrine and Yoshiaki KATO.
 Furthermore, whether this Western sword was produced at home or abroad is an important issue in considering the craftsmanship in the Momoyama period and its historical evaluation. We discussed the issue by exchanging various opinions and views after the presentations, which did not result in any consensus. We recognized the importance of this sword and the necessity of its further research anew.


The 6th Seminar Held by the Department of Art Research, Archives and Information Systems

On-going Seminar

 At the 6th seminar in 2016 organized by the Department of Art Research, Archives and Information Systems on October 25th, 2016, Koji KOBAYASI, Head of the Trans-Disciplinary Research Section, made a presentation titled “Japanese Lacquerware Motifs and Techniques Prevalent during the Late Keicho Period to the Early Kan-ei Period – Dialog between Painting Materials and Lacquerware Passed Down” from the perspective of material culture history. At this presentation, he compared and studied the contents drawn in the picture of “Maki-e Craftsman” composing a folding screen depicting various craftsmen possessed by Kitain Temple in Kawagoe City as an important cultural property and the same picture shown in one of Maekawa family’s books owned by Suntory Museum of Art as an original picture depicting various craftsmen of Kitain Temple’s so as to reconfirm the conventional view that these pictures were painted in the early 17th century. Then, he regarded it as reasonable to consider the landscape age of “Kabuki Picture Scroll” and “Picture of Play in the Residence (folding screen of Sououji Temple)” stored at the Tokugawa Art Museum as important cultural properties as the 1610s (between the late Keicho period and the early Genna period) and around 1630 (around the early Kan-ei period) respectively from several perspectives not referred to in past theories. In addition, he pointed out the possibility that you may recognize the living conditions of those days drawn fairly extensively and accurately in these genre paintings.
 As lacquerware having large vine and wisteria patterns and painted lacquerware using silver powder are often depicted in these pictures, he suggested that these lacquerware patterns and techniques were prevalent in the early 17th century (between the late Keicho period and the early Kan-ei period). He also suggested that the pained lacquerware, lacquerware made for trading with Europeans who visited Japan, and painted lacquerware using silver power with large vine and wisteria patterns passed down to today may be produced in this period.
 The relation between the contents/expressions of genre pictures in the early modern period and the historical reality is an unsolved issue due to the diverse views posed by scholars in art history and history. During the argument after the presentation of this research, that issue was referred to, leading to active discussion among the participants.


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