Optical Investigation of the “Yamazaki Bridge”—The 6th Seminar Held by the Department of Art Research, Archives and Information Systems for the 2025 Fiscal Year

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.

The Canon and Tradition of the Kano School The 5th Seminar of the Department of Art Research, Archives, and Information Systems

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.

Donation of Books Formerly Owned by KIRA Fumio

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.

Participation in an Academic Seminar Held at Wat Ratchapradit

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.

Participation in the 2025 World Forum for Intangible Cultural Heritage

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.

Presentation at the 15th International Congress on the Deterioration and Conservation of Stone (Stone 2025)

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.

Visit to the Getty Conservation Institute and Exchange Meeting on Research into Sustainable Collection Environments

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.

International Course on Conservation of Japanese Paper 2025

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.

A Research Survey into Stucco Decorations and Clay Statues (Part 7)

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.