Creation and Release of Digital Content for the Shuten-dōji Handscrolls

Digital content of the Shuten-dōji Handscrolls (collection of the Nezu Museum)

Top page of the Shuten-dōji Handscrolls attributed to Kanō Sanraku

Detail from Scroll 3, Chapter 3 of the Shuten-dōji Handscrolls by Sumiyoshi Hironao

　Following the launch in May 2025 (Reiwa 7) of digital content for the Shuten-dōji handscrolls by Sumiyoshi Hiroyuki (six scrolls, held by the Grassi Museum of Ethnology in Leipzig; hereafter, “the Leipzig version”) on a dedicated image-viewing terminal in the Library of the Tokyo National Research Institute for Cultural Properties (see the Monthly Report for May 2025: https://www.tobunken.go.jp/materials/katudo/2391511.html), we have additionally made available, on a limited basis, digital content for two Shuten-dōji handscrolls in the collection of the Nezu Museum: one attributed to Kanō Sanraku (three scrolls; hereafter. “the Sanraku-attributed version”) and another by Sumiyoshi Hironao (eight scrolls; hereafter. “the Hironao version”).

　The Sanraku-attributed version vividly conveys the story of Shuten-dōji, making full use of the handscroll format through its disciplined brushwork and richly layered colors. The Hironao version, composed of an unprecedented eight scrolls, has drawn attention in exhibitions at the Nezu Museum and elsewhere, and can be regarded as a work that inherited the style of the Leipzig version. Because handscrolls are characterized by their long, continuous horizontal format, no printed publication exists that allows an overview of an entire image of a scroll from either the Sanraku-attributed or the Hironao versions. Although these digital contents are limited to on-site viewing and do not permit copying or printing, users are able to freely enlarge and examine each scene of the scrolls, which contain an abundance of pictorial detail. We hope that they will prove useful as research materials.

https://www.tobunken.go.jp/joho/english/library/library_e.html

This digital content was supported by JSPS KAKENHI Grant Number JP22H00623, “Study on Shuten-dōji Handscrolls.”

Raw Materials Essential to Intangible Cultural Heritage – New Movement Related to Common Reeds, Raw Material for Rozetsu of Hichiriki in Kanmaki and Udono Areas

Common reed riverbed burning this year (February 15, 2026)

　The Department of Intangible Cultural Heritage has been conducting investigations and research on raw materials essential to intangible cultural heritage. Common reeds grown in the riverbed of the Yodo River in the Kanmaki and Udono areas of Takatsuki City, Osaka Prefecture, are well known for being suitable for rozetsu (reed) of hichiriki (Japanese traditional flute) used for gagaku (Japanese traditional classical court music). It has been five years since a two-consecutive-year cancellation of the riverbed-burning event normally held every February occurred, because of unsuitable weather and the COVID-19 pandemic. Due to this two-year suspension of the riverbed-burning, the common reeds had become intertwined with overgrown wild vines and withered. Though this situation was challenging, new movements to conserve the common reed riverbeds have begun this year.

　Activities to remove the wild vines were led mainly by the Common Reed Management Office of the Gagaku Conference, including raising contributions, recruiting volunteers, and disseminating related information. At the same time, a stable and sustainable framework was explored. The General Incorporated Association, the Gagaku Association was founded in 2023, triggered by the challenges of stable acquisition of common reeds in the Kanmaki and Udono areas. Members of Shikibu-shoku Gakubu (Music Department) of the Imperial Household Agency, Holder of Important Intangible Cultural Property, Gagaku, were engaged in this Society from the preparation stage and became members of the Association. This means that a connection was made between the Important Intangible Cultural Property of Gagaku classical court music and the common reeds in the Kanmaki and Udono areas.

　Furthermore, the “Common Reed Conservation Consortium for Hichiriki, Musical Instrument of Gagakku” (hereafter, the Common Reed Conservation Consortium) was founded in June 2025 as a collaboration among the Gagaku Association, the Udono Association for Common Reed Riverbeds Preservation, the Kanmaki Working Union, and Takatsuki City to continuously make efforts to inherit gagaku and conserve common reeds in the given areas. As observers, the Agency for Cultural Affairs, which controls the cultural property administration, and the Ministry of Land, Infrastructure, Transport and Tourism, which manages these areas, have taken part in the Common Reed Conservation Consortium. With these movements, the dissemination activities became more active to raise awareness about the importance of the intangible cultural property: gagaku, and its raw material: common reeds.

　In addition, as these frameworks were well established, a subsidy for operating expenses to conserve and utilize National Treasures and Important Cultural Properties, for the conservation of common reeds for hichiriki, was granted to the Common Reed Conservation Consortium by the Cultural Property Conservation Operating Expenses (Business Category: Conservation Technique for Cultural Property). Takatsuki City also decided to grant “a subsidy for the conservative operation for common reeds for ‘hichiriki’: musical instrument of gagaku,” and started investigations to ensure a stable supply of common reeds for hichiriki is maintained, to prepare for the weeding operation from the new fiscal year.

　In the areas where the operational schemes to conserve the common reed riverbeds were started, the annual activity to burn the riverbed was conducted on Feb 15, 2026. The mayor and officials of Takatsuki City and related parties of the Gagaku Association participated. We could hear some visitors’ conversation: “The common reeds here seem to be used for a gagaku musical instrument.”

　The Department of Intangible Cultural Heritage continues to conduct investigations and research on movements to conserve raw materials essential to intangible cultural heritage. “The Report on Common Reeds, Raw Materials of Rozetsu for Hichiriki: Mainly on the Kanmaki and Udono Areas of the Riverbed in the Yodo River” will be published at the end of March 2026. We will be happy if you can read it.

Recording Live Performances of Heike: the Eighth Session

Mr. KIKUO Yuji

Mr. TANAKA Naoichi

Mr. HIYOSHI Shogo

　The Department of Intangible Cultural Heritage has been recording live performances of Heike (or Heike Biwa). Heike faces the crisis of not being inherited by the next generation, because of a recent absence of sufficient successors. This series of recordings has been conducted with the cooperation of the Heike Narrative Research Society, led by Dr. KOMODA Haruko, Professor emeritus of Musashino Academia Musicae, and other members of the society, including Mr. KIKUO Yuji, Mr. TANAKA Naoichi, and Mr. HIYOSHI Shogo, since 2018. The eighth recording session of “Kōyō (Colored leaves)” (the first half of the piece) and “Yokobue” (the entire piece) was held in the Tokyo Research Institute for Cultural Properties (TOBUNKEN) Performing Arts Studio on February 19, 2026.

　The first half of “Kōyō” features an episode of Emperor Takakura, related to Kōyō (colored leaves), which is also the title of this piece. Emperor Takakura loved Kōyō and planted the trees, the leaves of which turn red. In the early days just after his enthronement, an official made a blazing fire with the colored leaves to warm his sake drink. Emperor Takakura did not blame him for this activity; instead, he smiled and was impressed as he considered it very artistic. It is a rare scene with humor in the tale of Heike for a chamberlain to be worried about this official’s misconduct. The last scene of this episode is slowly concluded to highlight the gentleness of Emperor Takakura, who referred to the poem by Bai Juyi: “In a forest, we burn red leaves to warm sake up.”

　The theme of “Yokobue” is the sad love of Takiguchi Nyūdō and Yokobue. Takiguchi Nyūdō made up his mind and left Yokobue to become a priest as his love with her was never permitted. Though Yokobue followed him, he did not see Yokobue, as he was afraid that seeing her could weaken his resolution. Depicting Nyūdō’s emotional conflict is the highlight of this piece. In Heike, this part is narrated in a tune called “Shirakoe.” Shirakoe has a limited melody, a rather flat tone, and this scene is narrated quite apathetically. Narrating such a dramatic scene in a relatively flat tone highlights its tragedy. This technique—using emotionless sounds and intonation during highly emotional scenes—is also sometimes found in shamisen music.

　Our department has been recording live performances of Heike focusing on the acquisition and restoration of pieces that have been passed down in Nagoya from the Maeda School of Heike. This project is approaching completion. In the next fiscal year, we plan to complete the Heike series with live recordings in the ninth and final session. We also plan to hold a public research seminar that will include this recording session on December 8, 2026. Please stay tuned.

Experts Meeting on the Safeguarding of Cultural Heritage in the Republic of Sudan

A scene from the expert meeting held at the Tokyo National Research Institute for Cultural Properties

A scene from the meeting at the Agency for Cultural Affairs

　The Tokyo National Research Institute for Cultural Properties has been commissioned by the Agency for Cultural Affairs to carry out the “Project for Formulating Preservation and Restoration Policies for Museums in Sudan Damaged by the Armed Conflict” as part of the FY2025 Emergency International Contribution Project for the Protection of Cultural Heritage (Expert Exchange). As part of this project, four experts from the Republic of Sudan were invited to Japan, and an expert meeting and consultation meetings were held from February 24th to 27th, 2026. This project was implemented following the success of a workshop and related symposium held in Tokyo in August 2026, as part of the Agency for Cultural Affairs’ FY2025 Activities for Exchanges in International Cooperation for Conservation of Cultural Heritage, “Project for Sudanese Cultural Heritage Expert Capacity Building Workshop” (https://www.tobunken.go.jp/materials/katudo/2398816.html).

　Ongoing armed conflict broke out in the Republic of Sudan in April 2023, and many cultural heritage sites and museums remain at risk. This project aims to provide expert advice for the rehabilitation of museums damaged in the armed conflict.

　The expert meeting was held at the Tokyo National Research Institute for Cultural Properties on February 24th. From the 25th to the 27th, we visited the Agency for Cultural Affairs, the Ministry of Foreign Affairs, the Japan International Cooperation Agency (JICA), and the National Museum of Ethnology, and held consultation meetings to receive expert advice from each organization.

　The four experts invited to Japan on this occasion were as follows:
・ Dr. Abdelrahman Ali (Head of the Culture Unit, UNESCO Khartoum / former Director General, National Corporation for Antiquities and Museums (NCAM)
・ H.E. Mr. Khalid Fathalrahman (Director, ICESCO Center for Civilizational Dialogue)
・ Dr. Shadia Abdrabo (Deputy Director (Museums Sector), National Corporation for Antiquities and Museums (NCAM))
・ Mr. Elnzeer Tirab (Director, National Ethnographic Museum)

　The four experts who visited Japan are all responsible for the protection of museums and cultural heritage in the Republic of Sudan. Holding the experts meeting with such individuals in Japan was meaningful in recognizing the current situation surrounding Sudan’s cultural heritage and considering methods for future cultural heritage restoration.

A New Approach to Winter Moisture Damage Mitigation for the Conservation of Wooden Structures Built inside a Rock Cave

Installing sheet coverings to suppress ground moisture evaporation and setting up monitoring instruments inside the rock cave

Natadera Temple main hall during the February field survey

　The Center for Conservation Science is conducting research on environmental management for the preservation of wooden structures built inside rock caves, commissioned by Natadera Temple. Natadera Temple, located in Komatsu City, Ishikawa Prefecture, is a religious site where indigenous Hakusan beliefs are combined with Buddhism. Its wooden main hall, designated as an Important Cultural Property, is constructed within a rock cave formed by natural erosion. In such an environment, conditions of high humidity are likely to occur due to moisture supply from the ground and the high thermal capacity of the surrounding rock, leading to risks such as condensation and wood decay.

　To date, we have analyzed the causes of the high humidity through long-term monitoring of temperature and humidity within the cave and implemented seasonal ventilation strategies based on these findings. The results have been published in Science for Conservation, No. 65. These measures have led to a certain level of improvement in the humidity conditions within the cave. In particular, during winter, increasing airtightness to suppress the intrusion of cold outdoor air has been found to be effective in reducing condensation on the wooden main hall and lowering humidity levels within the cave. However, reducing the relative influence of moisture evaporation from the ground remained a challenge.

　In response, in autumn 2025, a new winter-specific measure was introduced: a simple sheet covering to suppress moisture evaporation from the ground. A follow-up survey conducted in February 2026 confirmed that no problems have occurred so far. Further analysis of monitoring data will be carried out to evaluate the effectiveness of this measure and to propose appropriate operational methods.

　The field survey in February was conducted under snowy conditions. Despite this, the interior of the cave was warmer than the outdoor environment, providing an opportunity to experience its characteristics as a natural shelter. Environmental management for cultural heritage requires addressing multiple factors such as climate and site conditions. We will continue to explore optimal environmental control strategies while maintaining harmony with the natural environment.