| ■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 |
|
“Yamazaki Bridge” Digital Content – Top Page
Image Comparison Page
Engi text (Inscription) Page
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) concluded a memorandum of understanding for joint research with the Kubosō Memorial Museum of Arts, Izumi in 2024 (Reiwa 6). Under this collaboration, research has been conducted on works in the museum’s collection, and a research meeting on the painting “Yamazaki Bridge” was held in September 2025 (Reiwa 7). (https://www.tobunken.go.jp/materials/katudo/2403901.html))
With the aim of making the results of the optical investigation of “Yamazaki Bridge” widely available, we created digital content for the work and have now released it as an open-access resource. The site provides explanations in both Japanese and English regarding the work and the research methods used. Users can freely zoom in and out while comparing high-resolution color images of the painting with near-infrared and fluorescence images.
In many historical artworks, the surface of the painting becomes difficult to see due to aging, making it challenging to identify depicted elements and fine details with the naked eye. In the near-infrared images, however, ink line drawings can be observed with remarkable clarity, while fluorescence images reveal features such as areas of infill silk carried out during past restorations and differences in coloring materials. In addition, for the engi text (inscription) located at the bottom of the painting, we developed photographic methods and image-processing techniques designed to make the characters easier to discern. Previous studies have relied primarily on the text in an accompanying document dating to the late Edo period. Now that the characters on the painting’s surface can be more readily examined, it has become possible to undertake more in-depth analysis. Further advances in research are therefore anticipated.
We invite you to explore the pictorial space of this work and experience the atmosphere of the Kamakura period that it evokes.
The Kazaire Memorial Service at Honpō-ji Temple
Digital content screen
The Lotus Sutra Mandala scrolls preserved at Honpō-ji Temple, an ancient temple in Toyama City, Toyama Prefecture, are a unique and large-scale example consisting of a set of 22 large-format panels that visually illustrate the contents of the 28 chapters of the Lotus Sutra. Believed to have been created between the first and third years of the Karyaku era (1326–1328) at the end of the Kamakura period, they are also valued for their confirmed date of origin. Every year on August 6, during the Kazaire Memorial Service, the Lotus Sutra Mandala is hung inside the main hall of the temple and explained to the congregation, offering a tangible sense of how this deeply rooted local ritual has been passed down to the present day.
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) received a donation of high-resolution image data from Dr. HARAGUCHI Shizuko (Nara University), who has long been engaged in research on the Honpō-ji Lotus Sutra Mandala, captured during her research. Using this data, the Institute created digital content featuring color and infrared images of all 22 panels of the Lotus Sutra Mandala, as well as images of accompanying materials. We began limited public access to this content within the TOBUNKEN Library in March 2026.
（https://www.tobunken.go.jp/joho/japanese/library/library_collection/index.html#digitalcontents）
Although the Hokke-kyō Mandala Painting at Honpō-ji Temple is an extremely valuable example of its kind, it has rarely been exhibited as a complete set due to the large number of panels involved. Furthermore, because the illustrations in published books are limited in scope, it had not been possible to examine the details sufficiently. The digital content released on this occasion allows users to zoom in on specific areas of the painting and compare them with infrared images. We hope this will serve as an opportunity for many people to discover the rich world of the Lotus Sutra Mandala.
For information on accessing the digital content, please visit the TOBUNKEN website:
https://www.tobunken.go.jp/joho/japanese/library/library_collection/index.html
We would like to express our sincere gratitude to Honpō-ji Temple for their cooperation and support in making this available to the public.
*Affiliations listed are as of that time.
The Seminar
At the 10th seminar held by the Department of Art, Research, Archives and Information Systems at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on March 16, 2026, research presentations were given by Ms.MAIZAWA Rei (Department of Art, Research, Archives and Information Systems) and Dr. OKU Takeo (Musashino Art University).
First, Ms. MAIZAWA presented a report titled “Research Report: The Bronze Standing Statue of the Eleven-Faced Kannon at Hase-dera Temple,” providing an overview of the Eleven-Faced Kannon statue at Hase-dera Temple in Nara. The Hase-dera temple statue is a gilt-bronze statue of the Buddha created during the Kamakura period and is believed to be a standing statue of the Eleven-Faced Kannon modeled after the principal image of Hase-dera Temple. Ms. MAIZAWA examined the statue’s style and iconography and pointed out that it exhibits unique characteristics in its casting techniques.
Following Ms. MAIZAWA’s presentation, Dr. OKU delivered a research presentation titled “A Reexamination of the Statues of the Thousand-Armed Kannon and the Twenty-Eight Attendants in the Main Hall of Rengeō-in.” It is well known that the Main Hall of Rengeō-in Temple (Sanjūsangendō) in Kyoto was originally built in 1164 but was destroyed by a major fire during the Kamakura period and rebuilt in 1266. Regarding the Twenty-Eight Attendants—the retinue of the principal image of the Thousand-Armed Kannon—Dr. OKU first noted that, based on an entry in the Sankai-ki (a diary from the Heian period), these figures were present at the time of the temple’s founding. He further pointed out that many of the extant statues were created during the Heian period at the time of the temple’s founding, and that even those statues created anew during the Kamakura period generally followed the style of the original statues from the founding era. He argued that the dates of creation for the Twenty-Eight Attendants statues could be determined based not only on their artistic style but also on the characteristics of their production techniques; his argument was highly persuasive, drawing on the insights gained from his many years of experience in the field of cultural property restoration. He also discussed the possibility that the statue of Basūsen among the Twenty-Eight Attendants reflects a devotion to Mount Wutai in China, and touched upon the original vision of Retired Emperor Goshirakawa-in at the time of the temple’s founding. Dr. OKU’s presentation made a significant contribution to the history of research on the Twenty-Eight Attendants of Rengeōin, and following the presentation, participants engaged in a lively exchange of views, making it a highly productive seminar.
Examples of the films in the YANAGISAWA collection
A database screen
Ms. YANAGISAWA Taka (1926–2003), who served for many years at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), remained active until the end of her life as a leading scholar in the history of Japanese Buddhist painting, and through her meticulous and keen observational skills, authored numerous papers that form the foundation of the field’s scholarly history. After Ms. YANAGISAWA’s passing, most of the large collection of photographic film stored at her home was donated to the Aesthetics and Science of Arts Laboratory at Keio University, where she had taught; however, a portion of the film—believed to have been taken in connection with her work at TOBUNKEN—was accepted by the Department of Art Research, Archives and Information Systems.
Now, more than 20 years after Ms. YANAGISAWA’s passing, we have completed a digitization of the entire collection of 1,297 items—comprising positive film shot during surveys conducted both domestically and abroad, as well as collected prints—and published a list of them on the TOBUNKEN website: https://www.tobunken.go.jp/materials/yanagisawa_film.
The positive film contains footage shot with infrared video cameras, which were still rare at the time, making it an invaluable resource for understanding the history of TOBUNKEN, which incorporated scientific methods into cultural property surveys from the early postwar period. The digitized images are available for viewing in the TOBUNKEN Library. Please visit our website for details on how to access them.
https://www.tobunken.go.jp/joho/english/library/application/application_image.html
Examples of the materials in the SUGANUMA collection at the Library
A look at the material organization process
Mr. SUGANUMA Teizō (1900–1993) worked at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) before becoming a professor at Keio University, where he devoted himself to the study of early modern Japanese painting, particularly literati painting, and authored numerous papers and books. The materials he collected during his tenure at the university were long kept in a research room at Keio University, and were donated to TOBUNKEN in 2023 by Mr. KAWAI Masatomo (Professor Emeritus, Keio University), who took over the Keio laboratory. Most of the materials consist of mounted paper prints; in addition to early modern paintings—primarily literati paintings—the collection includes photographic materials of screen paintings, architecture, and sculpture gathered by Mr. NISHIKAWA Shinji (1920–1999), a leading authority on the history of Japanese sculpture and a former professor at Keio University.
With the cooperation of Mr. YASUNAGA Takuyo (Seijō University), the Department of Art Research, Archives and Information Systems has been working to organize and catalog the materials in its collection, and has now made catalogs for all materials and digital images of the microfilms available on the TOBUNKEN website: https://www.tobunken.go.jp/materials/suganuma_print. In particular, the collection of literati paintings and screen paintings includes works of which the current whereabouts are unknown, as well as works that have changed hands since their original creation; as such, this collection is an invaluable resource for contemporary research on these works. The actual materials are stored in cabinets in the TOBUNKEN Library and are available for viewing on-site. Please click here for information on how to use the Library.
Scene from the seminar
Materials in the collection of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) are open to researchers and broadly used, but in fact, there are not many items that shed light on the process of their collection itself. In this seminar, focusing on “Handwritten Materials of KIMURA Shohachi” in the collection of TOBUNKEN, Mr. TANAKA Jun (Visiting Researcher, Director of the Okawa Museum of Art), who was in charge of the collection of those materials while in office, and Ms. ARAI Yumi (Associate Professor, National Institute of Technology, Nara College), who has been conducting research on the materials based on literary studies in recent years, took the stage to elucidate the significance of those materials and report on the results of their research.
First, in his presentation titled “On the History of Collecting Materials of KIMURA Shohachi in TOBUNKEN,” Mr. TANAKA reported on how he had been collecting, transcribing, and researching those materials in collaboration with other institutions for nearly three decades, and introduced the testimony of a former collector of those materials who had interacted with KIMURA, in which he stated that KIMURA was a compulsive notetaker who kept a notebook with him in every room at home and wrote in it randomly.
Next, in her talk titled “On Issues Related to the Making of “Gathering for Pan” ― focusing on a “Production Note by KIMURA Shohachi from Showa 5th to Showa 11th” in the collection of TOBUNKEN,” Ms. ARAI focused on diaries from the early Showa period among those materials, sorted out the situation of materials in a complex chronological order, and discussed descriptions related to painting production, focusing on one of his representative works, the oil painting “Gathering for Pan,” 1928, in the collection of the Kitano Museum of Art.
The image of the “random notetaker” as described by Mr. TANAKA, and KIMURA’s writing style as described by Ms. ARAI, in which the contents were written at different times in the same diary, were matched perfectly. Guided by such episodes, opinions were actively exchanged on the human image of KIMURA while looking at the real materials during the Q&A session.
This seminar was a valuable opportunity for researchers of art history and literature studies to come together to exchange opinions on situations of the early Showa period through documents of a painter.
Image of a screen from the “Database of Photographic Materials Formerly Held by Kokka-sha.”
The Department of Art Research, Archives and Information Systems has opened a database for public access called the “Database of Photographic Materials Formerly Held by Kokka-sha.”
Kokka is a scholarly journal devoted to Japanese and East Asian art, founded in 1889 by figures such as OKAKURA Tenshin and TAKAHASHI Kenzo. It remains one of the oldest continuously published art journals in the world. Established at a time when Japanese art faced the risk of dispersal, the journal sought to introduce its value to a global audience and to promote the preservation of cultural heritage. The title Kokka (“The Flower of the Nation”) is said to derive from the founding statement: “Art is the essence of a nation.”
The collection of photographic materials formerly held by Kokka-sha (the publisher of Kokka) comprises images accumulated and preserved over many decades through the editorial process of Kokka, which has spanned more than 130 years. From its inception, the journal has placed a strong emphasis on the quality of visual reproductions, employing techniques such as collotype printing by leading photographer OGAWA Kazumasa, as well as woodblock prints produced by master craftsmen. These materials are grounded in records generated through rigorous editorial practices and constitute an important foundation for art historical research.
To facilitate scholarly use of these resources, a portion of the materials donated by Kokka-sha has been made publicly available through this database. Emphasizing timely access and the sharing of research materials, the database will be expanded and updated on an ongoing basis.
https://www.tobunken.go.jp/materials/kokka-sha_photo
SAKOUCHI Yuji delivering his presentation
A scene from the discussion
In the study of modern and contemporary art, while it is natural to focus on the artists who create the works, it is also important to investigate and examine the critics who evaluate these artists and works, and pass our knowledge of these artists and their works on to future generations through the writings of these critics.
At the Seminar Held by the Department of Art Research, Archives and Information Systems held on March 4, two researchers gave presentations focusing on SOEDA Tatsurei (1888–1971), who left behind numerous works, including A History of Struggles in the Japanese Art World (published in 1924), Appreciation of Nanga and Literati Painting (published in 1934), and Hanko and Fuko (published in 1955).
In his presentation, “SOEDA Tatsurei and His Materials,” Mr. SAKOUCHI Yuji (Kosugi Hoan Museum of Art, Nikko) shed light on SOEDA’s life and achievements, which had previously been largely unknown. This was followed by a presentation by Mr. HORI Yoshio (Fukushima Prefectural Museum of Art) titled “SOEDA Tatsurei and His Interactions with Japanese Painters from the East and West as Seen in Correspondence,” in which he introduced letters addressed to SOEDA from Japanese painters from both the eastern and western regions—including KANASHIMA Keika, TSUCHIDA Bakusen, DOMOTO Insho, KATAYAMA Nanpu, and SAKAI Sanyo—thereby shedding light on a facet of their interactions.
The research presented by these two scholars is based on an investigation of materials passed down through the SOEDA family, conducted with the support of the Idemitsu Museum of Arts. The seminar was attended by Ms. INO Azusa (Kawagoe City Art Museum) and Mr. TANABE Ken (Kosugi Hoan Museum of Art, Nikko), who participated in this research, as well as Ms. ENAKA-SOEDA Satoko (Professor Emerita, Showa Women’s University), who is SOEDA Tatsurei’s granddaughter. During the discussion following the presentations, opinions were exchanged regarding SOEDA’s place in art history and the future utilization of the surviving collection of materials, interspersed with recollections from Professor ENAKA.
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.”
Scene from the seminar
On February 17, 2026, a seminar was held by the Department of Art Research, Archives and Information Systems at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Focusing on the systematic organization and public release of artists’ materials, which has progressed significantly in recent years, this seminar examined the practical implementation of archive construction concerning two artists, MOCHIZUKI Katsura and MATSUZAWA Yutaka. We considered how artists’ materials should be passed on to future generations, focusing on both the “preservation” techniques for records and the “utilization” practices through exhibitions and digital archives.
In Part 1, “Regarding Materials Related to MOCHIZUKI Katsura,” SHIOBARA Rieko of the Azumino City Board of Education first reported on the process and future prospects of material research in the local community. Subsequently, TANIGUCHI Eri of the National Center for Art Research and YAMANAGA Naomi, Associate Fellow of the Department of Art Research, Archives and Information Systems, provided an interim report on the significance of the methods used for the acquisition, arrangement, and public release of these materials.
In Part 2, “Regarding the Former Collection of MATSUZAWA Yutaka,” Mr. TSUCHIGA Motonori of the Prefectural Nagano Library introduced the initiatives of “SHINSHU Digital Commons,” which aims to become a regional “intellectual commons,” and the mechanisms of digital archives that include artists’ materials. Finally, Mr. KIKKAWA Hideki, Head of the Modern and Contemporary Visual Arts Section of the Department of Art Research, Archives and Information Systems, discussed the role of the TOBUNKEN Library as a node for multi-layered activities and provided an outlook on mechanisms for accepting and making these artists’ materials function within the library.
Following each report, a discussion and Q&A session was held, moderated by Mr. SHIOYA Jun, Senior Researcher of TOBUNKEN, and Mr. KIKKAWA. Lively exchanges took place regarding the challenges of opening such artists’ materials to society and their potential as social infrastructure.
This seminar served as an important opportunity to continue exploring concrete strategies from both practical and research perspectives, such as how various institutions and research teams can leverage their respective expertise to share roles and functions to pass on the value of the vast amounts of generated materials to the next generation.
Consultations at the Sainsbury Institute for the Study of Japanese Arts and Cultures
Lecture at SOAS
The Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), located in Norwich, United Kingdom, is one of the leading centers for the study of Japanese art and culture in Europe. Since fiscal year 2013, the Tokyo National Research Institute for Cultural Properties has continuously carried out joint projects with SISJAC. As part of this collaboration, the Department of Art Research, Archives and Information dispatches researchers to the United Kingdom each year to engage in consultations and deliver lectures. In fiscal year 2025, two researchers— Mr. TASHIRO Yuichiro and Ms. YOSHIDA Akiko—visited the UK for this purpose.
During this visit, on December 4, Mr. TASHIRO delivered a lecture entitled “Japanese Residents of Colonial Korea and Their Relationship with Ceramics” at Earlham Hall, University of East Anglia. This lecture was held alongside presentations by Simon Kaner, Director of SISJAC, and Lera Mason, a Professor at the University of East Anglia. A panel discussion involving all three speakers followed the lectures.
After the lecture, Mr. TASHIRO and Ms. YOSHIDA met with SISJAC members, including Associate Professor Eugenia Bogdanova-Kummer, to discuss future collaborative projects. On this occasion, Ms YOSHIDA, who is also scheduled to give a lecture in the following fiscal year, delivered a presentation, and through an exchange of views, participants discussed approaches to fostering more productive research exchange from the next year onward.
On the following day, December 5, the delegation traveled from Norwich to London. Under the moderation of Bogdanova-Kummer, Mr. TASHIRO gave a lecture entitled “Japanese ‘Kottō’ Culture and Korean Ceramics” at the School of Oriental and African Studies (SOAS), University of London. A discussion with students enrolled at SOAS followed the lecture.
In addition to such research exchanges, the Department of Art Research, Archives and Information is also working jointly with SISJAC on a database project that involves compiling information on exhibitions of Japanese art held in Europe and North America*. Moving forward, by strengthening collaboration with SISJAC through the dual pillars of “research” and “archives,” the Institute hopes to contribute further to academic research in both Japan and the United Kingdom.
*Information on Art Exhibitions and Film Festivals Held Outside Japan
A tour, guided by Mr. KIKKAWA Hideki
On December 18, 2025, a delegation from the National Museum of Modern and Contemporary Art, Korea (MMCA) visited the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Founded in 1969, MMCA is a national museum under the Ministry of Culture, Sports and Tourism and currently operates four venues, in Gwacheon, Seoul, Deoksugung, and Cheongju. Unlike many contemporary art museums in Japan, MMCA also includes modern art within its scope of collection and research, and is widely recognized as a leading institution representing modern and contemporary Korean art.
In June, the Department of Art Research, Archives and Information Systems at TOBUNKEN conducted a project titled “Survey of the Current State of Art Archives in Korea”* as part of the broader research initiative “Comprehensive Research on the Sharing of Research Findings and Scholarly Information on Cultural Properties” (Project Code: SH01). During this survey, representatives of the Institute visited and examined the archives of MMCA. This time, in a reciprocal exchange, representatives from MMCA visited Japan. The delegation consisted of three members: archivist Ms. Lee Ji-hee (이지희), Research Fellow; Ms. Park Hye-seong (박혜성), Curator; and Ms. Kim Su-jin (김수진), Head of the Collection Management Division.
Prior to this visit, Mr. KIKKAWA Hideki, Head of the Department of Modern and Contemporary Visual Arts, and Mr. TASHIRO Yuichiro, Research Fellow of the Department of Cultural Property Archives, who had visited Korea in June, held an online meeting on October 15 with MMCA archive staff. During this meeting, they delivered a presentation on the history of TOBUNKEN, and on the formation process and distinctive characteristics of its collections. Building on these preliminary exchanges, the focus of the present visit was placed on viewing and examining actual archival materials.
Guided by Mr. KIKKAWA and Mr. TASHIRO, the delegation toured the reading room and storage facilities in sequence, examining a wide range of materials. Particular attention was given to gallery and exhibition-related materials concerning Korean (formerly referred to as Chosŏn) artists who resided in Japan. Since its establishment in 1930 as the Art Research Institute, attached to the Imperial Academy of Fine Arts, the Institute has accumulated materials contemporaneously with their production. As a result, its collections are especially rich in resources related to modern and contemporary art, many of which hold significant value for the study of Korean art history. Similarly, MMCA has focused its collecting activities on modern and contemporary art, and the two institutions’ collections share many common characteristics.
In the discussions following the tour, it was confirmed that the collections of TOBUNKEN and MMCA are mutually complementary, and that further research collaboration could contribute meaningfully to the field of art history in both Japan and Korea. By moving beyond one-time exchanges and continuing to share information and deepen cooperation on an ongoing basis, it is hoped that a more fruitful and sustainable partnership can be developed.
*Activity Report, June 2025: “Survey of the Current State of Art Archives in Korea”
https://www.tobunken.go.jp/materials/katudo/2396756.html
Ms. FUJIOKA Naomi presenting her lecture
The Illustrated Mirror of Emperors from the Wall Paintings of Nagoya Castle's Honmaru Palace (Photographic Glass Plate)
Every autumn, the Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) organizes a “Public Lecture” to present the results of our researchers to the general public. The 59th Public Lecture, “Look at Form, Read Form” was held in the TOBUNKEN seminar room on November 13 and 14, 2025, featuring lectures by four researchers.
On the first day, Ms. TSUKIMURA Kino (Researcher of the Department of Art Research, Archives and Information Systems) presented on the topic of “Considering ‘Inscriptions’,” focused on inscriptions as important clues in art history research, in which she proposed a new research methodology for re-examining Japanese sword inscriptions from the perspectives of character shape and frequency of occurrence by character type. Also, Ms. FUJIOKA Naomi (Curator, Shimane Art Museum) presented her work in a lecture titled “The Paintings of the Monk-Painter Fugai Honko,” in which she examined the work of Fugai Honko, who left numerous paintings in Izumo Province (present-day Shimane Prefecture). Ms. FUJIOKA’s work demonstrated that the influence of woodblock printed books and Ike no Taiga strongly shaped Fugai’s choice of subjects and painting techniques.
On the second day, Ms. FUTAGAMI Yoko (Head of the Cultural Properties Information Section of the Department of Art Research, Archives and Information Systems), in her lecture, “Maki-e Craftsmen Who Went to Thailand: Tsuruhara Zenzaburo and Miki Sakae,” introduced previously unknown aspects of the treatment received by two Japanese maki-e craftsmen who were invited to Thailand in the early 20th century, and their production of lacquerware for the Thai royal family. Additionally, Ms. YAKUSHIJI Kimiko (Visiting Researcher in the Department of Art Research, Archives and Information Systems) presented work in a lecture titled “What Is the ‘Teikan-zu’ (Illustrated Mirror of Emperors)?” in which she examined how the originally Chinese book ‘Teikan Zusetsu’ evolved to become more diverse in Japan, attempting to redefine the concept through the works themselves.
There were 126 participants from the public attending on both days, and we received a positive reaction from the audience: about 90% of the feedback questionnaire responses were “very satisfied” or “relatively satisfied.” Additional comments from the participants further indicated high levels of satisfaction with the lecture content.
Data entry work for Yearbook of Japanese Art
Bibliograhic Records from Yearbook of Japanese Art
Nihon bijutsu nenkan (“Yearbook of Japanese Art,” hereinafter called “NENKAN”) is an annually published data book that presents trends in the art world in Japan compiled over the course of each year. It was first published in 1936 by the Art Research Institute of the Imperial Academy of Fine Arts, the predecessor of Tokyo National Research Institute for Cultural Properties (TOBUNKEN). Starting with the 2022 edition, published in January 2025, the “References Published in Periodicals ” section of the NENKAN was discontinued. Instead, the publication “Bibliograhic Records from Yearbook of Japanese Art,” which contains the section, has been made available on our website (https://www.tobunken.go.jp/
yearbook/articles_from_periodicals).
This database, like the printed edition, focuses on listing references according to classifications that reflect the content. Persons interested in researching literature related to a specific artist or art museum can search by keyword, just like in a general database. However, some of the literature classified in NENKAN under categories such as “preservation and restoration” and “cultural property administration” can be difficult to identify with appropriate keywords. For this reason, this database, which enables browsing literature by classification, is effective for understanding trends in each field that are difficult to grasp through keyword searches, as with the previous print version.
Currently, we are publishing bibliographies of magazines and newspapers published between January 1, 2021, and December 31, 2022, when print publication ended. Going forward, we plan to soon publish information on the latest literature published before 2020. Through these efforts, we will continue to maintain and develop the role that the print version of the NENKAN has played for many years, in providing a systematic understanding of trends in the art world in Japan. Since it currently takes about 10 seconds for the database to load, which can feel slow to some users, we are currently working to improve this speed.
Scene from the session
Presentation slide
The Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) manages approximately one hundred databases built with Claris FileMaker, a low-code development platform provided by Claris International Inc. Among them is the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts), developed as part of the Agency for Cultural Affairs’ project “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts.” On November 7, 2025, TOBUNKEN presented a report on this database at the Claris Conference 2025, organized by Claris International Inc.
A defining feature of this database is that each stage of the workflow—‘creating,’ ‘storing,’ ‘retrieving,’ and ‘displaying’ data—is not carried out within a single integrated system, but rather operated by utilizing multiple software tools while sharing only the data itself. In practice, data created with Microsoft Excel is imported into Claris FileMaker, while WordPress is used for public dissemination.
In a presentation titled “The High Flexibility of Claris FileMaker Supporting the Database of Restoration Records for Cultural Properties Without a Predefined Standard” (presenters: Mr. OYAMADA Tomohiro, Ms. YAMANAGA Naomi, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko, Department of Art Research, Archives and Information Systems), the speakers explained that this approach offered a high degree of flexibility at each development stage, enabling adaptable system design and quick adjustment of specifications. Under this agile-style development process, we will continue our efforts through ongoing trial and error, with the aim of designing and developing a database that will be of practical use to those engaged in restoration work.
The results of this fiscal year’s project will be announced on February 6, 2026 (https://www.tobunken.go.jp/info/event/2026/0206/ (Japanese only)).
On November 15, 2025, a monthly public lecture was held at the Heiseikan Auditorium of the Tokyo National Museum. Mr. TASHIRO Yuichiro, Researcher in the Department of Art Research, Archives and Information Systems (also serving concurrently as Researcher in the Oriental Art Section, Curatorial Research Department, Tokyo National Museum), delivered a lecture titled “Exploring the Beauty of Korean Ceramics.” This lecture was organized as a related program to the exhibition “A Journey through Asia at the Museum: 60th Anniversary of the Normalization of Japan–Korea Relations — Walking through Korea: Pathways of Korean Culture,” held at the Toyokan Gallery from September 23 to November 16.
The lecture began with an overview of the aesthetic characteristics of Korean ceramics across different periods, focusing primarily on works displayed in the exhibition, ranging from Goryeo celadon to Buncheong ware and white porcelain of the Joseon dynasty. Drawing upon the history of appreciation, the speaker then discussed differences in the ways Japanese and Korean audiences have perceived ceramics, incorporating personal experiences from his time in Korea.
This lecture was not merely an occasion for the transmission of knowledge, but also provided participants with an opportunity to directly observe and reflect upon the works through the exhibition itself. As such, it offered a meaningful forum for considering Korean ceramics from multiple perspectives. Looking ahead, alongside academic research activities such as publications and conference presentations, we aim to continue sharing the insights and outcomes gained through such endeavors with a broader public.
Reference:
Tokyo National Museum, Lectures and Courses
https://www.tnm.jp/modules/r_event/index.php?controller=list&cid=1&lang=en
The database screen
An Akamatsu records paper
The Cultural Properties Protection Division of Kyoto Prefecture holds a vast collection of materials related to a cultural property survey conducted within the prefecture, spanning from the WWⅡ period to the present day. In recognition of the importance and public value of these materials, which warrant preservation for future generations, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) and the Kyoto Prefectural Board of Education signed a joint agreement in 2018 concerning the digitization of these materials. Since then, we have been organizing the materials deposited by the Board of Education and constructing an archive.
We are now pleased to announce the public access to the catalogue and digitized database of the materials known as the “Akamatsu Records Papers,” which comprise the survey records of temple treasures in Kyoto prefecture. This is a record of the documents dated from 1941 collected in the comprehensive treasure survey conducted throughout Kyoto Prefecture. The survey was spearheaded by AKAMATSU Toshihide (1907–1979), who had served as Director of the Cultural Properties Protection Division. While some volumes are missing, the surviving collection comprises 92 ledgers and 21,871 investigation reports covering 1,581 temples. This is a unique database in which the information on cultural properties contained within all Akamatsu records papers previously held as internal documents by Kyoto Prefecture were digitized and have been catalogued as comprehensively as possible. Among the temple treasures surveyed are original items already lost to disaster or theft, making their records exceptionally valuable as they document the state of Kyoto’s temples as of over eighty years ago. Digital images of the records are available to view in the TOBUNKEN Library, and sections of the catalogue can be accessed via the website of TOBUNKEN. We are also progressively organizing other materials deposited by the Kyoto Prefecture Board of Education, which will be made available in due course.
It took approximately five years to digitize and organize the Akamatsu Records Papers, during which time five student assistants devoted considerable effort to data entry. We hope that this database will prove useful for research into cultural properties, and would like to express our heartfelt gratitude to all those who contributed to its creation.
In 2014, the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) established a database of cultural property information using WordPress (https://
ja.wordpress.org/), a web content management system, which is still in operation (https://www.tobunken.go.jp/
archives/). Insights gained through approximately ten years of operation have been reported periodically at academic conferences and related venues. Most recently, on November 2, 2025, at WordCamp Kansai 2025 (https://kansai.wordcamp.org
/2025/), a conference organized by the regional WordPress community, Mr. OYAMADA Tomohiro, Mr. ISHIBAI Hideyuki, and Ms. FUTAGAMI Yoko of the Department of Art Research, Archives and Information Systems, presented a session entitled “Reconsidering WordPress from the Perspective of Database Structure.”
While a large amount of information is publicly available regarding WordPress screen design and data input methods, relatively little attention has been paid to its database structure. At TOBUNKEN, WordPress has been employed as a platform for publishing cultural property information databases, and since the beginning of its operation we have addressed the challenge of how to effectively integrate this information into WordPress’s database architecture. In the recent session, we explained the data storage mechanisms of WordPress from this perspective, drawing on concrete examples from the databases that the Institute has made publicly available to date. The presentation also reported on experimental attempts to handle large image files in WordPress by converting them into text through Base64 encoding, and a comparison between WordPress and Omeka S (https://omeka.org/s/), a content management system specifically designed for publishing cultural property information.
During the question-and-answer session, concerns were raised about whether the Institute’s experimental approaches might lead to slower page loading times. While display speed is an important performance indicator for general websites, we explained that for TOBUNKEN, these experiments also served to examine the possibility of creating backups through printing text-based content.
Through this session, it became clear that the technical priorities involved in managing and preserving cultural property information differ from those of typical blogs or corporate websites, a perspective that attracted considerable interest from conference participants. Going forward, in addition to disseminating cultural property information, TOBUNKEN will continue to study optimal methods for its management and long-term preservation.
Scene from the poster presentation
Posters on display
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in a project called the “Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts”—part of a project headed by the Agency for Cultural Affairs, the “TAKUMI Project,”—since the 2022 fiscal year. On October 3, 2025, at the 29th annual training session organized by the Association for Conservation of National Treasures (ACNT), a key deliverable of this project was presented as a poster presentation highlighting the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts).
ACNT is a group of specialists dedicated to the conservation and restoration of cultural properties, particularly fine arts and crafts such as paintings, calligraphies, books, documents, and historical materials. As of the 2025, ACNT had ten member studios with approximately 140 registered specialists. ACNT is certified as the preservation organization for mounting and restoration techniques, which are nationally designated as “Selected Conservation Techniques.” Many technicians and specialists from across the country participate in its annual training session, with 376 attending in the 2025 fiscal year.
On the presentation day, Mr. ASAKA Hiroshi (Museum of the Imperial Collections, Sannomaru Shozokan) and Mr. WATADA Minoru (First Cultural Properties Division, Agency for Cultural Affairs) delivered lectures on the appreciation and preservation of portraits and ink paintings. Alongside reports of restoration cases by member studios, TOBUNKEN participated in the poster presentation under the title “On the Database of Restoration Records for Cultural Properties (Fine Arts and Crafts): Project Report of the Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” (presenters: Ms. YAMANAGA Naomi, Mr. OYAMADA Tomohiro, Mr. TARASHIMA Satoshi, and Ms. EMURA Tomoko from the Department of Art Research, Archives and Information Systems). The presentation included details on research procedures, database structure, scope of content, outlook and challenges, and methods of use.
At the venue, numerous questions and comments were received from restoration technicians, museum personnel, and graduate students studying cultural property restoration. Furthermore, valuable information was obtained on restoration records that have become increasingly difficult to inherit in recent years for various reasons. These insights will be fed back into the project, ensuring ongoing resource development of restoration records and effective operation of the database.
Exhibition honoring the Giuseppe Tucci Collection (Museo delle Civiltà, Rome)
Research room of the Historical Archives of the Italian Chamber of Deputies
Exterior view of the Alinari Foundation for Photography
The Department of Art Research, Archives and Information Systems conducts investigations on Japanese art materials and the historical documents that reveal their historical context. In October 2025, we carried out field research in Italy, visiting institutions in Rome and Florence to examine related materials.
In Rome’s EUR district, we visited the Museo delle Civiltà (Museum of Civilizations), which houses collections formerly belonging to the National Museum of Oriental Art and the Luigi Pigorini National Museum of Prehistory and Ethnography. At the museum’s Arti e Culture Asiatiche (Asian Arts and Cultures) department, we met with Dr. Pierfrancesco Fedi to conduct object-based research and consult on the museum’s holdings. Our discussion included valuable exchanges of information concerning the Giuseppe Tucci Collection—the foundation of the museum’s Asian holdings—and the Pigorini Collection, which incorporates works from the collection of Vincenzo Ragusa and KIYOHARA Tama.
We also visited the Archivio Storico della Camera dei Deputati (Historical Archives of the Italian Chamber of Deputies), located in Rome’s Rione Pigna district, and met with the Director, Paolo Massa. During the meeting, we were able to confirm the existence and location of primary sources related to cultural exchanges and artistic diplomacy between Japan and Italy during the Mussolini regime. These documents are invaluable records that illuminate the realities of cultural administration within Italo-Japanese diplomatic relations and offer crucial evidence for understanding the intersection between cultural policy and political intent in that period.
The Historical Archives of the Chamber of Deputies was established in 1848 during the Kingdom of Sardinia to support parliamentary activity. After moving to the Palazzo Montecitorio in 1865, the archives served as the intellectual foundation of the legislature for more than a century. The archives were opened to the public in 1988, and in 2007 the Polo Bibliotecario Parlamentare (Parliamentary Library Center) was established to coordinate services with the Senate Library. The documentary heritage of the Chamber of Deputies comprises original records produced and acquired by the Chamber since 1848, as well as private papers related to parliamentary politics. Digitized inventories, photographic archives, and portions of digital collections can be accessed through the archive’s website (https://archivio.camera.it/).
In Florence, we visited the Fondazione Alinari per la Fotografia and met with its Director, Dr. Claudia Baroncini. The foundation inherits the legacy of the company Fratelli Alinari—Italy’s first photographic studio established in the nineteenth century—and is dedicated to the preservation of its photographic heritage and the promotion of a culture of photography. The foundation is currently preparing to open a museum and makes its holdings accessible online. Many photographs donated to TOBUNKEN in 2023 by the family of MORIOKA Ryūzō were produced by Fratelli Alinari, and the art-historical photographs collected by YASHIRO Yukio are also known to be linked with a photographer who belonged to the studio. During our meeting, we introduced TOBUNKEN’s photographic archives and ongoing research activities, and exchanged information concerning potential collaboration.
[On Materials of MORIOKA Ryuzo https://www.tobunken.go.jp/materials/ekatudo/2059906.html] .
Through this trip, we gained a renewed appreciation for the Italian understanding of archives not merely as repositories of documents, but as “sacred spaces for the preservation of memory.” This perspective is essential for treating cultural properties as a form of shared knowledge and offered us valuable insight into the relationship between the sharing and responsibility of knowledge within cultural heritage research.
