| ■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 |
|
“Biography of HISHIDA Shunso, Part I” from “Documents from the Meiji and Taisho Art History Compilation Project” Mr. ODAKANE Taro, a researcher at the Institute of Art Research, compiled a critical biography of the Japanese painter HISHIDA Shunso in 1938. The results were made public in 1940 as the 9th series of “Bijutsu Kenkyu Shiryo” (Art Research Materials).
On May 1, information on “Documents from the Meiji and Taisho Art History Compilation Project” was released on the Institute’s website “Material Archives.”
https://www.tobunken.go.jp/
joho/japanese/library/pdf/
archives_TOBUNKEN_MEIJITAISHO02.pdf
The Meiji and Taisho Art History Compilation Project was a prewar compilation project conducted by the Institute of Art Research, the predecessor of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), which focused on the collection of materials related to art of the Meiji and Taisho periods and the creation of critical biographies of artists. The “Meiji and Taisho Masterpieces Exhibition” held at the Tokyo Prefectural Art Museum (now the Tokyo Metropolitan Art Museum) in 1927 under the auspices of the Asahi Shimbun was so well received that a committee was set up to compile a history of Meiji and Taisho art. In 1932, the Institute of Art Research began a compilation project funded with the profits from the exhibition donated by the Asahi Shimbun Company. Many of the art books and magazines from the Meiji and Taisho periods in the Institute’s collection were collected through this project.
The materials that have been made available to the public at this time are review biographies of artists and manuscripts of original materials written by researchers who were involved in the project. Some of the materials, such as “Historical Materials of Oil Paintings by TAKAHASHI Yuichi” (owned by Tokyo University of the Arts), have already been published, but others are valuable because they are transcriptions of materials whose existence is unknown. Advance reservations are required to view the collection.
We hope you will make use of these materials, which convey the spirit of research on Japanese modern art during the period of the Institute of Art Research.
https://www.tobunken.go.jp/joho/japanese/library/special_collection/index.html
Dedicated terminal for viewing high-resolution optical survey images in the Library
Thumbnail overview of all six volumes
Enlarged view of the calligraphic text section
We have been conducting collaborative research with domestic and international scholars on the Shuten-dōji Handscrolls by Sumiyoshi Hiroyuki, discovered in Leipzig, Germany, in 2019 (hereafter referred to as the “Leipzig Scrolls”). As of May 22, 2025, we had made the entire six-volume Leipzig Scrolls available to the public as digital content in the Library of the Tokyo National Research Institute for Cultural Properties.
Handscrolls (emaki) are a horizontal narrative painting format. When printed in books, viewing the entire work at once requires significant reduction of the size of the image, making it difficult to observe details. With the digital content, however, users can freely scroll, zoom in and out on any section, and view transcribed text alongside the text image.
Volumes 1 and 6 of the Leipzig Scrolls returned to Japan for the first time and displayed to the public at the Suntory Museum of Art as part of the Shuten Dōji Begins exhibition, which ran until June 15, 2025. The exhibition concluded successfully with positive reception.
In the digital content format, users can also view every scene from Volumes 2 through 5, which were not included in the exhibition.
Please refer to the Tobunken Library Visitor’s Guide before accessing the content.
https://www.tobunken.go.jp/joho/japanese/library/library.html
Scene from the seminar
The Department of Art Research, Archives and Information Systems regularly invites distinguished scholars from abroad to deliver presentations as part of its research seminar series. This year, on May 21, we hosted Mr. Tim T. Zhang ¬from the Metropolitan Museum of Art in New York for a presentation titled “On the Grape Paintings by Motsurin Jōtō (Bokusai).”
Motsurin Jōtō (d. 1492), a Zen monk also known by the name Bokusai, was a devoted disciple of Ikkyū Sōjun (1394–1481). Following Ikkyū’s death, Motsurin dedicated himself to preserving and transmitting his teacher’s legacy. For Motsurin, the brush served as a crucial means for inheriting and embodying Ikkyū’s teachings as well as maintaining his monastic order after the master’s passing, as evidenced by his numerous calligraphic works, inscriptions on portraits, and inscribed paintings. The grape painting, in the collection of The Metropolitan Museum of Art, exemplifies this body of work.
In his seminar presentation, Mr. Zhang offered a close comparative analysis of the grape painting held by the Metropolitan Museum and the version housed in the Tokyo National Museum, meticulously examining the differences in artistic expression and historical context. He analyzed the five-character quatrain inscribed on the Met’s painting, which features the term rishu (lízhū in Chinese)—a precious pearl said to lie beneath a black dragon’s jaw. Mr. Zhang demonstrated how the term functions as a poetic metaphor for grapes. He argued that, within the context of Motsurin’s inscription, the grapes come to symbolize the wisdom attained through sudden enlightenment.
Mr. Zhang further observed that Motsurin appears to have touched the painted grapes with his inked fingers, leaving visible fingerprints. This physical act, he suggested, evidences his grasping of wisdom while also represents a deliberate, performative gesture grounded in the calligraphy and painting tradition of suiboku (zuìmò in Chinese, literally, “intoxicated ink”). By integrating this embodied act with the inscription’s emphasis on intoxication, Mr. Zhang revealed the work’s underlying intent to celebrate the enlightenment that Motsurin attained under his teacher’s guidance.
Mr. Zhang’s presentation illuminated the interplay between poetic symbolism and visual representation, and the immediacy of bodily traces embedded within the calculated composition. Through Motsurin’s brushwork and fingerprints, the seminar revealed how Buddhist wisdom and reverence for Ikkyū find tangible form in an interwoven practice of painting, calligraphy, and verse, known as the “Three Perfections,” leaving a deep impression on all participants.
This research seminar provided a valuable opportunity to broaden our international perspectives on the study of Zen monastic art in East Asia and opened new avenues for future collaboration and research.
We remain committed to actively inviting leading scholars from abroad and to fostering meaningful scholarly exchange on a global scale.
Performance by master HAYASHIYA Shojaku
Talk show featuring master HAYASHIYA Shojaku (right) and Mr. MIYA Nobuaki (left)
On May 23, 2025, a symposium entitled “Tokyo National Research Institute for Cultural Properties’ Recording Project for Performing Arts (Rakugo): Stories of Shohon Shibai Banashi by Master HAYASHIYA Shojaku” was held in the seminar room of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
The Department of Intangible Cultural Heritage has been conducting projects to record performances of intangible cultural properties, mainly classical performing arts, selecting genres and repertoires that are rarely performed in public. As part of this project, we have been recording live performances of the traditional Japanese stories called Shohon Shibai Banashi by master HAYASHIYA Shojaku since 2013, and now that the number of performances has reached sixty, we decided to hold a symposium to review the records of his performance works.
The symposium began with an opening remark and introduction given by Ms. MAEHARA Megumi, Head of the Intangible Cultural Properties Section, Department of Intangible Cultural Heritage, followed by a presentation by Mr. IJIMA Mitsuru, Visiting Researcher of TOBUNKEN, entitled “The Project to Record Performances of Shohon Shibai Banashi at the Tokyo National Research Institute for Cultural Properties,” and a presentation by Mr. MIYA Nobuaki, Associate Professor, Kyoto University of the Arts, entitled “The World of Shohon Shibai Banashi.” Next, the master HAYASHIYA Shojaku performed “Masakado” (without props) and ‘Suimon-mae’ (with props) from “Shinkei Kasanegafuchi,” and the event was recorded in front of the audience. In addition, in a discussion between master HAYASHIYA Shojaku and Mr. MIYA, master Shojaku shared stories of how he became attracted to and learned Shohon Shibai Banashi, as well as his thoughts on the future of Shohon Shibai Banashi. The event concluded with a closing remark by ISHIMURA Tomo, Director of the Department of Intangible Cultural Heritage.
These recordings of master HAYASHIYA Shojaku’s performances (Shohon Shibai Banashi) will soon be available to view (with a few exceptions) at the TOBUNKEN library. An announcement will be made on our website when these become available.
The Department of Intangible Cultural Heritage will continue to record classical performing arts that are rarely performed, and make them available to the public in an appropriate manner, in an effort to contribute to the preservation of intangible cultural properties.
Conference venue
Presentation scene (poster session）
Presentation scene (oral session）
From May 6 to May 9, 2025, three members of the Center for Conservation Science―Dr. AKIYAMA Junko (Head of Preventive Conservation Section), Dr. Chi Chih Lien (Associate Fellow, Analytical Science Section), and Ms. TERASHIMA Kai (Research Assistant, Analytical Science Section)—participated in the International Conference on Analytical Techniques for Heritage Studies and Conservation – TECHNART 2025, held in Perugia, Italy.
TECHNART is an international conference focused on scientific approaches to the analysis of cultural heritage. The 2025 program featured the latest developments in non-invasive, imaging-based analytical techniques such as Macro X-ray Fluorescence Scanning (MA-XRF), Macro X-ray Powder Diffraction Scanning (MA-XRPD), and Reflectance Imaging Spectroscopy (RIS), as well as studies on image analysis using machine learning and the development of environmentally sustainable conservation materials. (See: TECHNART 2025 program.pdf)
Dr. Chi presented a poster entitled “Analysis of Green Coloring Materials in the Takamatsu Matsudaira Family Illustrated Book on Natural History Using Hyperspectral Imaging.” Focusing on a designated tangible cultural property of Kagawa Prefecture, the study employed hyperspectral reflectance data and principal component analysis (PCA) to classify and identify the green colorants used. This approach, which integrates large-scale spectral datasets with statistical methods, proved effective for gaining insight into painting materials and techniques. Discussions and exchanges during the session further underscored the importance of developing comprehensive pigment databases and advancing multidimensional data analysis as shared international challenges.
Ms. TERASHIMA gave an oral presentation titled “Investigation on the Use of Smalt in 17th–18th-Century Japanese Illustrations Using MA-XRF and RIS-VNIR,” focusing on two-dimensional spectroscopic analysis of Edo-period paintings. This presentation highlighted the use of smalt (blue pigments made from cobalt-containing glass), commonly seen in Western oil paintings, in Japanese artworks, and discussed its unique application and coloring effects. Presentations by participants from the United States and Portugal on similar topics reflected international interest, providing valuable opportunities for comparative perspectives and deeper discussions.
Many of the international research teams included not only experts in conservation science and cultural heritage science but also developers of hardware and software for analytical instruments, demonstrating an interdisciplinary approach. While cross-disciplinary research is advancing in Japan as well, further expansion of venues for diverse presentations will be key to future development. Insights gained through participation in this conference will be integrated into ongoing and future research activities.
Survey on the façade elements of historic houses in Kirtipur
Kirtipur, located in the southwest of Kathmandu Valley in Nepal, is on the Tentative Lists of World Heritage Sites as the “Medieval historic settlement of Kirtipur.” However, due to rapid urbanization and damage caused by the Gorkha earthquake in 2015, the historic townscape of Kirtipur has been changing; notably, the number of privately owned historic houses has been decreasing, the degree of which has not yet been ascertained.
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the Kirtipur Municipal Government have been taking inventory of historic houses in Old Kirtipur, along with a pilot case study of preservation of a historic house.（https://www.tobunken.go.jp/materials/ekatudo/2385501.html）
During a mission that took place from May 23 to 31, 2025, TOBUNKEN staff, a Kirtipur Municipal Engineer, and a Nepalese expert conducted a survey for the inventory of historic houses, including a study on the façade elements of those houses. While 137 houses were listed in the previous survey, conducted in July of last year, this time we added more cases, bringing the total number of candidate houses to 164. Studies of the façade elements of all candidates revealed the features of the historic houses and layers of time that span the unique history of Old Kirtipur.
The collected data will be analyzed, including discussions regarding the materials involved in the construction, to clarify the criteria for what constitutes a “Historic House of Kirtipur.” This inventory of historic houses is expected to be not only useful as a record of historic houses in Kiritpur, but also as basic data for creating a regulatory framework to support the preservation of historic houses in Kiritpur.
Dr. Hisham Elleithy
Prof. Miroslav Bárta
On Saturday, May 10, 2025, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) held a symposium entitled “Archaeology and International Cooperation in Egypt.” This symposium is part of an annual series that has been held since 2021, each year focusing on a different region. It aims to promote the protection of cultural heritage through the sharing of archaeological research results, as well as reports on collaborative projects such as site conservation and capacity building.
This year’s symposium focused on Egypt and was structured in two parts: keynote lectures by invited researchers from Egypt and from the Czech Republic; and project reports from various sites of Japan’s international cooperation efforts in Egypt.
First of all, we were honored to receive a welcome address from Prof. Sakuji Yoshimura, President of Higashi-Nippon International University and a pioneering figure in Japanese Egyptology.
In Session I, Dr. Hisham Elleithy of the Supreme Council of Antiquities, Ministry of Tourism and Antiquities, Egypt, delivered a keynote lecture entitled “Recent and Ongoing International Joint Projects for the Egyptian Antiquities.” He presented archival work related to the Nubian Monuments Salvage Campaign, collaborative site management projects with France, South Korea, and Germany, and recent excavation achievements. This was followed by a lecture by Prof. Miroslav Bárta of the Czech Institute of Egyptology, Charles University, entitled “Cooperation on the Pyramid Fields: Abusir and Saqqara.” He presented an overview of the history of excavations conducted by the Czech team at the Abusir necropolis and introduced an ongoing re-excavation project at the so-called “Mariette Cemetery” in North Saqqara—originally explored by a French director of antiquities in the late 19th century but only fragmentarily published.
In Session II, the respective work and results of eight Japanese projects covering archaeological excavations, conservation, and capacity-building in Egypt were presented, entitled as follows:
“Conservation and Reconstruction of the Second Boat of Khufu” (Prof. KUROKOCHI Hiromasa; Ms. YAMADA Ayano)
“Wall Painting Conservation of the Mastaba Tomb of Idout” (Ms. SUITA Mariko)
“Excavation Project at North Saqqara” (Prog. Dr. KAWAI Nozomu)
“Excavation at Al-Khokha on the West Bank of Luxor” (Prof. Emeritus KONDO Jiro)
“Conservation of the Wall Paintings in the Royal Tomb of Amenhotep III” (Prof. NISHISAKA Akiko)
“GEM-CC (Grand Egyptian Museum Conservation Center) and GEM-JC (Joint Conservation) Projects” (Prof. TANIGUCHI Yoko)
“Excavation at Akoris” (Dr. HANASAKA Tetsu)
“Excavation at Kom al-Dibaʾ” (Prof. HASEGAWA So)
The symposium drew a significant number of researchers and graduate students, providing a valuable opportunity to reaffirm the importance of deepening archaeological knowledge through international collaboration. It also offered new prospects for academic contributions to cultural heritage preservation. Moreover, the event proved to be particularly meaningful by enabling participants to present their ongoing activities together with diverse Japanese projects beyond their institutional or team affiliations in one forum. The invited foreign experts also appreciated the opportunity to gain a comprehensive overview of the contributions being made by Japanese scholars in Egypt.
Investigation of artwork in the Museum of Art and Design Hamburg (Museum für Kunst und Gewerbe Hamburg)
Although many artworks produced in Japan are housed in institutions overseas—particularly in Europe and North America—there are only a limited number of specialists abroad who are well-versed in their conservation and restoration. As a result, when such works are undergoing deterioration or have sustained damage, it is often difficult to carry out restoration at the appropriate time and using suitable methods. Consequently, these artworks may not only become unavailable for exhibition or educational use, but also risk further deterioration.
In response to this situation, the cooperative program offers support for the conservation and restoration of Japanese artworks housed in museums, art galleries, and libraries overseas, either by bringing the artworks to Japan for restoration or by providing expert conservation advice.
Between May 26 and 29, 2025, a detailed investigation of the current condition of the work The Moon and Autumn Plants, a two-panel folding screen by IKEDA Koson, was conducted at the Museum of Art and Design Hamburg (Museum für Kunst und Gewerbe Hamburg). The museum had expressed concern regarding the condition of the work, which has not been exhibited in recent years.
The investigation revealed various forms of deterioration and damage, including flaking and loss of pigments, as well as weakening of the underlying support and lining paper. These findings confirmed that the artwork is in urgent need of conservation treatment. Additionally, it was found that the screen had undergone one or more previous disassembling restorations. During those treatments, the backing paper (karakami) and the wooden frame were reassembled in positions and orientations that differed from their original state.
Meanwhile, in the previous fiscal year, we conducted investigations and provided on-site conservation advice at the Baur Foundation, Museum of Far Eastern Art (Switzerland), the Museum Rietberg (Switzerland), and the National Museum in Poznań (Poland). Based on the findings of these investigations, preparations are currently underway to begin the restoration in Japan on the Emperor’s Visit, an eight-panel folding screen from the collection of the Museum Rietberg.
Survey of a house in Zhemgang province
Stone masonry house in Gasa province in northwest
Since 2012, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been continuously engaged in research on vernacular houses in Bhutan, in collaboration with the Department of Culture and Dzongkha Development (DCDD), Ministry of Home Affairs, Royal Government of Bhutan. The DCDD promotes a policy of preserving and utilizing vernacular houses by integrating them into the legal protecting framework of cultural heritage, while TOBUNKEN supports the initiative from academic and technical aspects. During a survey mission from May 13 to 23, 2025, two staff members of TOBUNKEN, one external expert from Japan, and two DCDD officials carried out the survey of traditional houses in middle, southern, and northwestern Bhutan.
Based on location information collected in advance by the DCDD, we surveyed three stone houses, one rammed earth house, and a bamboo house with post and beam structure in Zhemgang province in the south; three rammed earth houses and six stone houses in Trongsa province in the middle area; and two stone houses in Gasa province in the northwest. Among these, some upper-class houses were found to have extremely thick and substantial stone masonry walls.
As an overview of the traditional houses in Bhutan, rammed earth structures are dominant in the western area where the capital Thimphu is located, while stone masonry structures are so in the eastern and higher northern area. The previous joint surveys revealed that the border between the areas in which these two construction methods are applied is situated around Bumthang province in the middle of Bhutan. The survey conducted on this mission confirmed the architectural features of stone masonry houses in the south and northwest area of Bhutan and clarified a part of the border area of rammed earth house distribution, which is centered on the western area. It could be considered that the differences in construction methods are defined by the various local conditions, such as geographical features, natural resources, material supplies, availability of craftsmen, or by family status, social position, and so on. Further investigation into the distribution and coexistence of these two construction methods is expected to provide additional clues to understand the transition and transmission of the architectural methods of houses in Bhutan.
The surveys were conducted with the support of a JSPS Grant-in-Aid for Scientific Research (B) “Vernacular Stone Masonry Houses of Bhutan: A Study on the Architectural Characteristics and the Suitable Approach for Protection as Cultural Heritage” (Principal Researcher: TOMODA Masahiko).
