| ■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 |
|
A scene from the symposium: Presentation (by Ms. TAKAYAMA Yuri)
Discussion at the symposium
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) was founded in 1930 as a result of the legacy of KURODA Seiki (1866-1924), a painter known as the “father of modern Western-style painting in Japan.” The Kuroda Memorial Hall, where KURODA’s works are now displayed and exhibited as a facility of the Tokyo National Museum, was originally built as the Art Research Institute, the predecessor of TOBUNKEN. To commemorate the 100th anniversary of KURODA’s death in 2024, TOBUNKEN hosted a symposium, “KURODA Seiki, His Research and Evaluation Today: On the Occasion of the 100th Anniversary of His Death,” on January 10 in the seminar room of the Kuroda Memorial Hall where the Art Research Institute was founded.
The symposium presentation titles and respective presenters were as follows:
Keynote Speech: On the Painting Works of KURODA Seiki: From the Perspective of a Kozu Kojin (Mr. SHIOYA Jun, Special Researcher Chair, TOBUNKEN)
Presentation 1: KURODA Seiki and Raphael Collin: Some Perspectives (Ms. MITANI Rika, Joshibi University of Art and Design)
Presentation 2: After KURODA Seiki: Aspects of “Government Exhibition Academism” in the Showa Period (Ms. TAKAYAMA Yuri, Fukuoka Prefectural Museum of Art)
Presentation 3: Learning from KURODA Seiki and his Influence to Local areas: The Case of a Native of Tottori Prefecture (Ms. TOMOOKA Maho, Tottori Prefectural Museum)
The symposium was held simultaneously in-person and online and attended by 63 people. Ms. TOMOOKA was unable to come to the symposium due to heavy snowfall in the San’in region, so she had to give her presentation online at short notice, but the symposium went without a hitch, including the discussion that followed his presentation. We hope that this symposium, which reassessed KURODA Seiki’s artwork from the viewpoints of his relationship with French modern art, his influence on the Japanese modern Western-style painting scene, and the spread of his style to the provinces, based on the latest research results, will serve as a catalyst for rethinking the study of Japanese modern art. The contents of this symposium will be published in our research journal “Bijutsu Kenkyu” No. 447 (scheduled for publication in November 2025).
The Department of Art Research, Archives and Information Systems actively promotes academic exchange by inviting international researchers to present their research findings. At the 9th research meeting, held on January 21, Prof. Kim So-yeon from Ewha Womans University in South Korea, who was a visiting researcher at Tokyo National Research Institute for Cultural Properties (TOBUNKEN) from December 2024 to February 2025, delivered a presentation titled “Depicting Mount Geumgang: Changes in the Perception and Visualization of Mount Geumgang in Modern Korea.”
Mount Geumgang, renowned as one of the most famous mountains on the Korean Peninsula, has long been a subject of literature and painting. However, significant changes occurred in the modern era with the development of railway infrastructure and tourism. These transformations influenced the ways in which the mountain was represented. Prof. Kim analyzed various media that depicted Mount Geumgang and highlighted two key points: (1) Unlike in the Joseon period, when only the inland “Inner Geumgang” was depicted, the coastal “Outer Geumgang” also came to be represented; and (2) a gendered distinction emerged in these representations, with “Inner Geumgang” being associated with femininity and “Outer Geumgang” with masculinity.
Prof. Kim’s study, which incorporated materials such as photographic postcards and illustrations from travel guides, underscored the potential for constructing art history through diverse media. It also reaffirmed the relevance of art history in relation to broader issues such as tourism and gender studies.
The research meeting attracted a large number of students and scholars from both within and outside the institute. The question-and-answer session was particularly lively, fostering an active exchange of ideas.
Presentations by international researchers offer valuable opportunities to engage with different academic perspectives and methodologies, distinct from those prevalent in Japan. By serving as a “hub” for academic exchange between Japan and the international research community, TOBUNKEN aims to contribute to Japanese scholarship from a more multifaceted perspective.
Venue for the lecture ‘The Work of an Art Librarian’ (Photo courtesy of Sen-oku Hakukokan Museum Tokyo)
A slide from the lecture ‘The Work of an Art Librarian’
On December 6, 2024, KIKKAWA Hideki, Head of the Modern / Contemporary Art Section at the Department of Art Research, Archives and Information Systems, was invited to give a lecture titled “The Work of an Art Librarian at the ART with” series held at Sen-oku Hakukokan Museum Tokyo. The ART with series features experts from various fields related to art, offering insights into their professions for a broad audience of art enthusiasts.
In this lecture, Mr. KIKKAWA presented a wide range of specialized librarian skills based on his career not only at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) Library, but also at the Art Library of the Museum of Contemporary Art Tokyo and the Art Library of the National Art Center, Tokyo. In particular, he discussed the enjoyment of supporting researchers and curators in their studies and creating frameworks that enhance the value of library collections through cataloging and compiling bibliographies on artists.
TOBUNKEN engages in collaborative efforts among experts from various fields to preserve cultural properties for future generations. Librarians well versed in art materials also play a crucial role in supporting these efforts, considering the future of cultural properties and continuing to safeguard them. This lecture provided an opportunity not only to introduce their work, but also for Mr. KIKKAWA to reflect once again on its significance. He has expressed that nothing would be more gratifying to him than for art enthusiasts, professionals from other fields, or students who attended the lecture to have found the role of an art librarian appealing and had deepened their interest in the preservation of cultural properties.
On December 15, 2024, a group of researchers from Korea, France, and the U.S. visited the library of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). The group had come to Japan for a research presentation at the Korean history Forum, held at Dokkyo University from December 13 to 14, and TOBUNKEN was selected as a destination to visit during their stay in Japan. Guided by Mr. TASHIRO Yūichirō, the group took a tour of the Institute’s collection of books and rubbings, which have been collected since 1930.
Among the missions of the Archives Section of the TOBUNKEN Library* are to provide information on cultural properties to experts and students and to create an environment for the effective use of such materials. We hope that the materials of our institute, which are of high value by international standards, will be widely utilized not only in art history research, but also in Asian history research and historical research in general, and will contribute to the development of research on cultural properties that are the common heritage of all humankind.
*The Archives Section provides usage guidance for undergraduate students, graduate students, museum staff, etc. If you are interested, please apply after reading the guidance
(https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html
(Japanese only)).
The seminar
At the 8th Seminar of the Department of Art Research, Archives and Information Systems held on 18 December 2024, Ms. TSUKIMURA Kino, Researcher of the Department of Art Research, Archives and Information Systems, gave a presentation entitled “Basic Research on the Nagao Museum – Towards a Clarification of its Relationship with the Art Research Institute.”
The Nagao Museum was established by NAGAO Kin’ya (1892-1980) and his wife Yone (1889-1967), the founders of Wakamoto Pharmaceutical Co. Ltd., at their villa ‘Senko Sansō’ (Kamakura, Kanagawa Prefecture) in 1946. The museum had many masterpieces in its collection, such as Tea-Leaf Jar with a design of wisteria by NONOMURA Ninsei (now in the MOA Museum of Art, in Shizuoka prefecture), Tachi Signed Chikushūjū Sa (Named “Kōsetsu Samonji”) (now in the Fukuyama Museum of Art), and Shrike in barren tree by MIYAMOTO Musashi (now in the Kuboso Memorial Museum of Arts, Izumi). Over time, however, NAGAO Kin’ya and Yone gradually gave up these works and the museum was dissolved around 1967. More than half a century has passed since the de facto closure of the museum, and the actual operation of the museum and the status of entire collection are still unclear.
However, when purchasing and exhibiting works, Kin’ya and Yone were closely involved with staff members of the Art Research Institute (Bijutsu Kenkyūjo), the predecessor of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). It is noteworthy that Kin’ya participated as a board member in the activities of the Bijutsu Konwa-kai and the Society of Friends of Eastern Art (Tōyō Bijutsu Kokusai Kenkyūkai), which were based at TOBUNKEN, and had the opportunity to introduce the collection to researchers.
The lecture raised the possibility that the interaction between the NAGAO couple and art historians was related to the evaluation of the Nagao Museum collection, as a result of an examination of relevant documents remaining at TOBUNKEN.
The presentation was followed by a lively exchange of views, including valuable testimony from researchers with knowledge of the situation at the time of the museum’s dissolution. The Nagao Museum is important for the history of the transmission and evaluation of works, and future research will be conducted to gain a fuller understanding of the museum.
The Presentation
The Department of Art Research, Archives and Information Systems organizes research seminars to be conducted not only by staff from the Tokyo National Research Institute for Cultural Properties, but also external researchers for presentations and research exchange. At the seminar in November, Mr. EGAITSU Michihiko, Deputy Director of the Yamaguchi Prefectural Museum of Art, gave a presentation titled “Study of HASEGAWA Tōtetsu.”
Regarding HASEGAWA Tōtetsu, records of the IWASA Family Genealogy show that the younger brother of IWASA Matabei’s eldest son, Katsushige, was adopted by HASEGAWA Tōhaku, called himself HASEGAWA Tōtetsu Setsuō, and painted sliding doors in the azalea room of Edo Castle. It had previously been thought that he was the same person as “Tōtetsu Sakyō Setsuzan” in the HASEGAWA Family Genealogy and that “HASEGAWA Tōtetsu,” who was described in Ryūjō Hikan as the painter of the azalea room of Edo Castle.
Although Tōtetsu’s work “White Plum Blossoms Screen” (owned by the Minneapolis Institute of Art) is well known, there are few other existing examples and documents, and he was a painter whose work is largely unknown. In this presentation, Mr. EGAITSU presented many works that are considered to be by Tōetsu, such as “Willow and Camellia Screen” which bears the signature “by HASEGAWA Totetsu,” or based on the latest research findings, and presented new documentary information, such as the fact that HASEGAWA Tōtetsu’s name appears as one of the “accompanying members” of Shōjūraikōji temple in the temple historical document “Raikōji Yōsho,” and that his name is also recorded as a poetic immortal artist in the “On miya Zōei-ki” (Record of the Construction of the Shrine) of Usa Hachiman Shrine in Bizen Province, and discussed HASEGAWA Tōtetsu’s artistic career. In the question and answer session following the presentations, many researchers participated, including commentators Mr. TODA Hiroyuki (Imperial Palace Museum of the Imperial Collections) and Mr. HIROMI Nobuhiko (Idemitsu Museum of Arts), as well as Mr. MIYAJIMA Shinichi, who has made numerous contributions related to our understanding of HASEGAWA Tōhaku, and a lively research discussion was held.
Research on a hand scroll at the Kuboso Memorial Museum of Art, Izumi
Research on The Yamazaki Bridge
The Kuboso Memorial Museum of Arts, Izumi, located in Osaka Prefecture, is owned by the Izumi Municipal Government and opened in 1982. It has a collection of Japanese and Oriental antique art, and is engaged in various cultural promotion activities, including exhibitions. In January 2024, the Tokyo National Research Institute for Cultural Properties signed a memorandum of understanding for joint research with the Kuboso Memorial Museum of Arts, Izumi, and is conducting research on the museum’s collection of artworks.
In March 2024, an optical survey was conducted on the Kamakura period hand scrolls “The Tale of Ise” and “Komakurabe Gyoko Emaki” (both designated as Important Cultural Properties). In November 2024, optical research was also conducted on hanging scrolls such as “Yamazaki Bridge” and “Shrike in barren tree” (both Important Cultural Properties). In particular, this survey, we investigated whether we could record images that would make the inscription at the bottom of “Yamazaki Bridge” easier to distinguish, and also photographed the materials and techniques used to express “Shrike in barren tree,” a well-known excellent ink painting by MIYAMOTO Musashi. Based on the results of this research, we will carry out joint research and will continue to make the results known through exhibitions and educational outreach activities at Kuboso Memorial Museum of Arts, Izumi.
Students, viewing the collection of books at the library of TOBUNKEN.
On Nov 26, 2024, a group from the Tokyo University of the Arts visited the TOBUNKEN Library of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
The students, led by Prof. KATAYAMA Mabi, took a tour guided by Mr. TASHIRO Yūichirō, Researcher of the Department of Art Research, Archives and Information Systems of the Institute’s collection of books, which have been collected since 1930. This tour focused particularly on the “URITATE (Japanese-style auction) catalog” collection, which holds significant value for research on the history of crafts. Mr. TASHIRO provided explanations, incorporating insights from his own research, to help deepen the understanding of the URITATE (Japanese-style auction) catalog as a resource.
Our Archives Section* is responsible for providing information about materials related to cultural heritage and creating an environment that enables their effective utilization. A distinctive feature of our institute is the parallel progression of these efforts with the daily investigative research conducted by our researchers, forming two integral pillars of our activities.
We hope that the invaluable materials of our institute, which are of significant value on a global scale, will be utilized by students who will shape the future, contributing to a deeper understanding of cultural heritage and the advancement of research with a long-term perspective.
*The Archives Section provides usage guidance for undergraduate students, graduate students, museum staff, etc. If you are interested, please apply after reading the guidance
(https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html
(Japanese only)).
Lecture by Ms. OSAKA Yukiko
Lecture by Mr. KAWASHIMA Tadashi
The Department of Art Research, Archives and Information Systems of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) plans a “Public Lecture” to be held every fall, inviting a wide audience from the public to hear researchers present their research results. The 58th Public Lecture, “Look at Form, Read Form” was held in the TOBUNKEN seminar room on November 1 and 2, 2024.
On the first day, lectures were presented titled “The Relationship between Search and Keywords in Databases” by Mr. OYAMADA Tomohiro (Chief Researcher of the Department of Art Research, Archives and Information Systems) and “Digital Archives in the Age of AI: Toward Preservation, Inheritance, and Utilization of Culture” by Ms. OSAKA Yukiko (Research Fellow of the Center for Global Communications (GLOCOM)), showing the future possibilities of digital archiving of cultural properties.
On the second day, the lectures were “History of Appreciation of Korean Ceramics: The Formation of Collections in Korea,” presented by Mr. TASHIRO Yūichirō (Researcher of the Department of Art Research, Archives and Information Systems) and “History of Appreciation of Chinese Ceramics: Acceptance and Transition of Chinese Ceramics in Japan in Modern Times,” presented by Mr. KAWASHIMA Tadashi (President of Mayuyama & Co. Ltd. and Director of the Tokyo Art Dealer Association). These lectures introduced the changing values of Korean and Chinese ceramics.
There were 139 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.”
Koryū Sōka Kuden Hisho (held by the Tokyo National Research Institute for Cultural Properties)
Chinese books published during the Ming dynasty, known as Ming editions, were swiftly imported into Japan and profoundly influenced Japanese culture from the Muromachi period through the Edo period. A notable example is Ping Shi (『瓶史』), authored by Yuan Hongdao (袁宏道) in 1600, during the 28th year of the Wanli reign. Ping Shi was brought to Japan by at least 1629 (Kanei 6), and during the late Edo period it was enthusiastically embraced by the literati, leading to the establishment of numerous Sōka (Minimalist flower arrangement) schools. This influence is evident in the successive publications of ikebana-related texts from the 18th century onwards, such as Honchō Heishi Nageire Kishinonami (1750), Heika Anshū Fū Heiwa (1785), and Heishi Kokujikai (1809, 1810).
However, the details of Ping Shi’s reception in the earlier 17th century remain unclear. At the 6th seminar held by the Department of Art Research, Archives, and Information Systems on October 29, 2024, Ms. ONO Mayumi, Head of the Japanese and East Asian Art History Section of the Department of Art Research, Archives and Information Systems, presented her findings on the influence of Yuan Hongdao’s Ping Shi during the early Edo period. Her presentation, titled “The Reception of Yuan Hongdao’s Ping Shi in Early Edo Japan: Introducing FUJIMURA Yōken’s Kadōsho,” shed light on this underexplored history. Ms. ONO introduced a newly discovered kadōsho (flower arrangement manual), Koryū Sōka Kuden Hisho, which reveals that FUJIMURA Yōken (1613–1699) revered Yuan Hongdao. Yōken not only embraced the principles of Ping Shi, but also founded a distinct school of Sōka. A prominent tea master of the 17th century, Yōken served as the head of the Gofuku merchant house Jūniya in Kyoto and worked for the TŌDŌ family. He studied Chinese classics under MIYAKE Bōyō (1580–1649) and trained in tea ceremony under the Yabunouchi and Enshū schools before becoming a disciple of SEN Sōtan (1578–1658). Known for his excellence in Chinese poetry and his diverse tea practices, Yōken also demonstrated exceptional skill in flower arrangement. The session featured valuable commentary from Associate Professor YAMAMOTO Yoshitaka of the National Institute of Japanese Literature, who provided insights into Ping Shi.
Yuan Hongdao’s philosophy of flowers—emphasizing that placing a single branch in a vase is akin to immersing oneself in nature—resonated deeply with Edo-period sensibilities. The Seminar fostered discussions among experts from various fields about how this philosophy was received and evolved into different schools of ikebana during the Edo period. Building on these discussions and the textual analysis of Koryū Sōka Kuden Hisho, future research will continue to delve into the nuanced reception and development of Ping Shi within Japan’s ikebana traditions.
Orientation for ARLIS/NA Japan Study Tour (October 21)
Visit of related facilities (TOBUNKEN, October 21)
Discussion at the symposium “International Collaboration in Art Archives and Libraries” (October 22)
The Art Libraries of North America (ARLIS/NA), founded in 1972, is an organization of more than 1,000 librarians, visual archivists, curators, faculty, students, artists, and others specializing in art and architecture. ARLIS/NA conducted a study tour in Japan for the first time, with 16 members visiting Japan. As part of the tour, an international symposium entitled “International Collaboration in Art Archives and Libraries” was held on October 22, 2024, jointly hosted by ARLIS/NA and the Tokyo National Research Institute for Cultural Properties (TOBUNKEN).
In the first part of the symposium, Mr. KOBAYASHI Yoshiyuki, Senior Librarian, Digital Information Department, National Diet Library, introduced “Japan Search: National Platform of Digital Archives,” and Mr. KIKKAWA Hideki, Head of Modern/Contemporary Art Section, Department of Art Research, Archives and Information Systems, introduced the modern and contemporary art archives held at TOBUNKEN. In Part II, “ARLIS/NA: Case Studies of Japan-related Collections,” Mr. Dan Lipcan of Peabody Essex Museum (read by Ms. YASUDA Seira of Boston Architectural College), Ms. Emily Matthews of the University of Illinois, Ms. Alexandra Austin of Pratt Institute, and Ms. Elizabeth Smart of Brigham Young University Library, and visual artist Ms. Angela Lorenz introduced Japan-related materials from their institutions and other content and activities closely related to Japan. The discussion was led by Ms. YAMANASHI Emiko, Director of the Chiba City Museum of Art and Visiting Researcher at TOBUNKEN, and was followed by a lively exchange of information among the 70 participants, including ARLIS/NA members and experts from Japan.
The study tour also included visits to related institutions, namely the University Library of the Tokyo University of the Arts, the Research and Information Center of the Tokyo National Museum, the Research Library of the National Museum of Western Art, the National Diet Library, the Art Library of the Museum of Contemporary Art Tokyo, the Aizu Museum, the Central Library and The Waseda International House of Literature (The Haruki Murakami Library) at Waseda University, tand he Art Library of National Museum of Modern Art, Tokyo. We are especially pleased to have visited the Art Library of the National Museum of Modern Art, Tokyo. We would like to take this opportunity to thank the persons in charge at each of these institutions for their hospitality. We hope that this symposium and the visits to related institutions will provide an opportunity for mutual exchange between ARLIS/NA members and professionals working with cultural properties in Japan.
Discussion by presenters
The watercolor painting Koropokkuru no Mura (“The Village of Koropokkur”) (1907, Tokyo National Museum) by OTA Tōu was created based on the latest findings of anthropology at the time. On September 6, a study session was held at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on this work, which was on display in a thematic exhibition, “A Centennial Memorial: Kuroda Seiki and the Pioneers of Modern Japanese Painting” (August 20 – October 20) at Tokyo National Museum. The panelists were Ms. YOSHIDA Akiko (a researcher of the Department of Art Research, Archives and Information Systems, in charge of the exhibition), KURATA Aiko (University of Tokyo), Mr. SHINAGAWA Yoshiya (Tokyo National Museum), and Ms. SASAKURA Irumi (Hokkaido Museum of Northern Peoples), who discussed the work in turn from the perspectives of art history, cultural resources studies, archaeology, and cultural anthropology.
Koropokkuru no Mura was painted as a depiction of the living conditions of “prehistoric people” set in Japan 3,000 years ago, as stated on the reverse side of the painting. It is known that OTA relied on the theories of anthropologist TSUBOI Shogoro, referred to archaeological artifacts and other materials available at the time, and carefully sketched the area around Omori Kaizuka (a shell mound) to prepare the painting. OTA intended to exhibit this work in the “Fine Arts” category of the Tokyo Industrial Exposition in 1907, but was denied entry in that category, and the work was exhibited as “Educational and Academic” material in the end.
In a respective presentation, Ms. YOSHIDA first introduced an overview of this work, and after analyzing the trend of award-winning paintings in the art category at the Tokyo Industrial Exposition, she inferred why Koropokkuru no Mura was not recognized as a work of art at the time. Next, Ms. KURATA, who discussed Koropokkuru no Mura in her recent book Gako no Kindai (“Professional Painters in the Modern Era”) (University of Tokyo Press, 2024), in Chapter 8, “‘Japanese Antiquity’ in the 40’s of the Meiji Era (1907-1912)” (pp. 309-331) discussed relationships between this painting and theories of TSUBOI Shogoro, and the position of the painting at the Tokyo Industrial Exposition. Next, Mr. SHINAGAWA analyzed the scene in the painting from an archaeological perspective, as a reproduction of an actual ancient site. He also introduced how the work was collected by the Tokyo National Museum. Next, Ms. SASAKURA pointed out that the tools, clothes, and dwellings depicted in the work have elements in common with those of the northern peoples, and pointed out possible sites and materials that OTA may have referred to through the work of TSUBOI. Finally, a discussion ensued with questions and comments from the audience.
This session was a new attempt to examine this painting, which has been marginalized between artworks and academic materials, from cross-disciplinary perspectives that received a great response from the audience. reports on the results by each presenter will be published in “The Bijutsu Kenkyu (The Journal of Art Studies)” in a future edition.
Examples of Gallery Yamaguchi Papers: Gallery Guide (山304), Print works by NOMIYAMA Gyoji (山185), OKAMOTO Atsuo / Jan van Munster (山043) Note) The figures in parentheses are call numbers.
Examples of Gallery Yamaguchi Papers: Architectural Sculpture Monument by TATEHATA Kakuzo (山147), Photographs of works by Hotel New Otani, Tama Art University, Riccar Building, and National Institute of Technology, Oita
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that a catalog of “Gallery Yamaguchi Papers” is now available on our website.
The Gallery Yamaguchi, a gallery specializing in contemporary art, was established in March 1980 on the third floor of the Yamato Building in Ginza 3-chome, between Matsuya Department Store and Showa Street, and was managed by YAMAGUCHI Mitsuyko (1943-2010). In an era known as the “rush to open art museums,” the gallery mainly presented solo exhibitions of young Japanese artists in their 30s and 40s who would lead the next generation of artists, mainly featuring large-scale abstract paintings and sculptures. It is also known as a gallery that has produced outdoor sculptures and environmental sculptures for plazas and parks on commission. In response to the growing scale of contemporary art works, in April 1991, the gallery moved into the SOKO Gallery premises, which opened in Shinkiba, Tokyo, as the “Gallery Yamaguchi SOKO.” In August 1995, these two galleries were consolidated and moved to the Kyobashi 3-chome Keiei Building. This became one of the most important galleries in this period, contributing greatly to the spread of contemporary art in Japan by holding exchange exhibitions with overseas galleries as part of its international exchange activities.
The Gallery Yamaguchi Papers cataloged here were donated to the Tokyo National Research Institute for Cultural Properties through the intermediary SASAKI Shigeo (1931-2024) when the gallery closed in 2010 following the passing of the gallery’s manager, and consists of some 570 files, with a total length of approximately 9 meters. Among them are files on artists containing documentation such as photographs and press releases, as well as gallery management documents, which may provide important facts that were not previously available to the media such as newspapers and magazines of the time.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to facilitate the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
• Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Archives (documents) information can be found at the bottom of this page. the Gallery Yamaguchi Papers are accessible in our library.
• Gallery Yamaguchi Papers
https://www.tobunken.go.jp/joho/japanese/library/pdf/archives_GalleryYamaguchi.pdf
SASAKI Shigeo (December 21, 2018, TOBUNKEN)
Part of the artist's files: UEMAE Chiyu
Part of the artist's files: ‘A（ア）’ line artist
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that the database “Materials Donated by SASAKI Shigeo’s Contemporary Art Document Center (Artists’ Files)” became available on our website on September 25, 2024.
SASAKI Shigeo (1931-2024) began collecting art works in the 1960s while working at a city bank, and also collected materials on contemporary art from the mid-war period onward. After his retirement, he opened the Contemporary Art Document Center in 1994 in a room of his house, where he provided museum curators and researchers with access to his collection of various materials to support their research and other activities. As an art collector, he visited galleries in Tokyo and had a network of gallery owners and other collectors. One of the characteristics of this collection is that it was actively collected with the archival function of the Contemporary Art Document Center.
In 1997, the Institute received approximately 450 cardboard boxes of materials from this group to supplement the collection of materials in the field of contemporary art, which it had not been able to fully collect until then. Since then, we had received regular deliveries of materials until 2018. We had published a “CD of the Catalogue of SASAKI Shigeo’s Contemporary Art Document Center” (2002) and a “CD of Gallery-related Data of the Catalogue of Materials Donated by SASAKI Shigeo’s Contemporary Art Document Center” (2006), and have provided other information to researchers as well. The release of this database reflects the latest state of organization and allows us to provide this information via our website for more convenient access.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to enable the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
◆Database “Materials donated by the Contemporary Art Resource Center led by SASAKI Shigeo (artist files)
https://www.tobunken.go.jp/materials/sasaki_artistfile
◆ Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Displayed poster material
Panel set up at the venue
Mr. KATAKURA Shumpei had the opportunity to attend Digital Humanities 2024 (DH2024), held from August 6 to August 9, 2024, at George Mason University in the United States. DH2024 was the largest annual international conference in the field of Digital Humanities, a discipline that aims to achieve new discoveries by integrating computing and the humanities.
Since the 2022 fiscal year, Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been involved in “The Investigation of Tools and Materials Used for the Preservation and Restoration of Fine Arts and Crafts” as part of the Agency for Cultural Affairs’ “TAKUMI Project,” and the Department of Art Research, Archives and Information Systems is in charge of the “Archiving of Cultural Property Restoration Records” initiative. This project is of great importance, as it focuses on preserving crucial information about the restoration records of cultural properties in an appropriate form for future generations. Given the international significance of this endeavor, it is essential to communicate our presence and progress on a global stage.
In this context, Mr. KATAKURA, a guest researcher attended DH2024 and presented a poster titled “Constructing a Database of Cultural Property Restoration Records,” sharing the progress made in the archiving process up to the previous fiscal year. The content of his presentation was based on work by Mr. TARASHIMA Satoshi and Mr. KATAKURA Shumpei, “Creating a Database of Arts and Crafts Restoration Records” (Gekkan Bunkazai, Issue No. 722, 2023), which he encourages us to refer to for more details.
The audience was particularly interested in the types of records that have been kept during the restoration of cultural properties in Japan and how these records have been accumulated and preserved over time. Many expressed a strong desire to see the database currently under development. Although the database is not yet publicly available, Mr. KATAKURA assured them that it will be released in the future and encouraged them to stay tuned.
This project is entering a critical phase, and we will continue our efforts to disseminate information internationally. Mr. KATAKURA hopes you will continue to follow our progress with interest.
Installing displays in an exhibition room
Research meeting at TOBUNKEN
The year 2024 marks the 100th anniversary of the death of KURODA Seiki (1866-1924), a painter who bequeathed funds for the establishment of the Art Institute, the predecessor of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN). To commemorate this, we held a special exhibition at the Tokyo National Museum. The exhibition consisted of KURODA’s works and modern paintings from the Tokyo National Museum’s collection, and introduced the process of “YŌGA: Western-style painting” gaining the status of “art” as “adventure.”
First of all, with KURODA Seiki’s masterpiece “Wisdom, Feeling, Emotion” (1899, Meiji 32), we introduced an attempt that originated from Western allegorical painting to depict abstract ideas using the human nude. In Japan, where the human nude was not depicted or viewed as an aesthetic object, nude painting was criticized as immoral, but KURODA questioned these concepts about nude paintings using human Japanese models in this painting. “Wisdom, Feeling, and Feeling” was introduced at the Paris World’s Fair in 1900 (Meiji 33) as “Etude de Femme” (Study of a Woman). It can be seen as an attempt to have a dual nature: to show the Japanese audience a method of expressing ideals through nudity, and to Western audiences the existence of nude paintings depicting Japanese people.
In this exhibition, we also exhibited works that show the boundaries of “art” at the time of their creation. ODA/OTA Tōu’s “The Village of Koropokkur” (1907, Meiji 40) was based on the theory of anthropologist TSUBOI Shōgorō that the “Koropokkur,” which appears in Ainu folklore as “people who live under the butterbur leaves,” are the indigenous people of Japan’s Stone Age. ODA/OTA wanted to exhibit this work as an artwork at the Tokyo Industrial Exposition in 1907 (Meiji 40). On the contrary, the judges of the art department were puzzled by the unprecedented expression and refused to judge the work, and in the end the work was exhibited as material for “education and curatorship.” At that time, the concept of “art” was still in its infancy, and it can be said that the treatment of “The Village of Koropokkur” revealed the differences in perception between the creator and the judges. Regarding this work, an interdisciplinary study meeting was held at TOBUNKEN on September 6, which included consideration from a cultural-historical perspective and an examination from the perspectives of archaeology and cultural anthropology.
At the end, the materials from the collection of TOBUNKEN were exhibited. Bijutsu Kenkyujo, the predecessor of TOBUNKEN, was founded in 1930 (Showa 5) by the legacy of KURODA Seiki. KURODA left a will in which a portion of his inheritance was to be used to promote art projects, but it was the art historian YASHIRO Yukio who embodied the contents. YASHIRO, who studied Renaissance art while studying in England and Italy, published the book “Sandro Botticelli” (Medici Society) in 1925 (Taisho 14), which was highly acclaimed as a presentation of fresh perspective. In particular, the viewpoint of recognizing the unique aesthetics of partial drawings brought a new perspective to the history of Western art at that time. The policy of collecting art photographs, which was emphasized by YASHIRO, has been continued in the current collection of materials of TOBUNKEN. In this exhibition, some materials, including “Sandro Botticelli” and a diary by KURODA Seiki, were exhibited from TOBUNKEN, and the significance of the institute as a base for art research was introduced.
The period between the 1920s and 1930s was pivotal for art exchanges between Japan and China. During this time, the study of Chinese art history began to take shape in Japan, led by figures such as OMURA Seigai (1868–1927) and NAKAMURA Fusetsu (1866–1943). Recently, historical documents such as the “China Travel Diary” by OMURA Seigai, who was a professor at the Tokyo Fine Arts School (Tokyo University of the Arts, today), have shed light on various aspects of the art exchanges between Japan and China. However, there is still a need for research that considers the social sentiments and artistic trends in both countries during that time.
At the 4th Seminar of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) held on July 23, 2024, Ms. GOTO Ryoko, a visiting researcher of TOBUNKEN, gave a presentation titled “Yu Shaosong (余紹宋) and the History of Calligraphy and Painting in Modern China.” Ms. GOTO has long been involved in the study of OMURA’s “China Travel Diary.” Through this research, she has highlighted the significance of this period in the development of Chinese art history. Her presentation focused on Yu Shaosong (1883–1949), who studied in Japan and authored the “Annotated Bibliography of Calligraphy and Painting” (published in 1931). Ms. GOTO explored Yu Shaosong’s connection with Japan and his role in shaping the history of calligraphy and painting in modern China.
Yu Shaosong was a scholar active during the 1920s and 1930s. His book, “Annotated Bibliography of Calligraphy and Painting,” is still highly regarded today as the first specialized reference book on Chinese calligraphy and painting literature. However, for many years, little was known about Yu Shaosong himself. Recently, with the publication of “The Diary of Yu Shaosong” and other materials, his role in China’s modernization has begun to attract scholarly attention. Yu Shaosong came to Japan in 1905, where he studied law at university. After returning to China, he became a government official, eventually serving as Vice Minister of Justice in 1921. Meanwhile, he studied painting under the grandson of Tang Yifen (1778–1853) and thoroughly researched art history and biographies of painters, gradually making his mark in the art world. In 1927, he retired from government service to pursue a career as a scholar, calligrapher, and artist.
Ms. GOTO traced Yu Shaosong’s life, his research on painting, and his practice of calligraphy and painting. She analyzed not only his “Annotated Bibliography of Calligraphy and Painting,” but also other works such as “Essentials of Painting Methods” (published in 1926) and the art journal “Epigraphy, Calligraphy, and Painting” (published from 1934 to 1937) to assess his place in the history of Chinese art studies. Ms. GOTO argued that Yu Shaosong, who gained Western insights through his time in Japan, critically examined traditional Chinese calligraphy and painting culture using a revivalist approach known as the Movement for Systematic Organization and Re-evaluation of National Cultural Heritage, which became one of the foundations of modern Chinese art research. External experts attended the seminar, engaging in meaningful exchanges of opinions on the development of Chinese and Oriental art history in modern China and Japan.
Examples of the Striped House Museum of Art / Striped House Gallery Papers: Documents about the Apartheid Non! International Art Festival (1990), University of the End of the Century, Tokyo (1993-2000) (Call Number [In Japanese] : ス162, ス261 )
The Striped House Building
As part of the research project “Research and Compilation of Materials on Modern and Contemporary Art,” we are pleased to announce that a catalog of “Striped House Museum of Art / Striped House Gallery Papers” is now available on our website.
The Striped House Museum of Art was established by the photographer Mr. TSUKAHARA Takuya (born 1937) in May 1981 in Roppongi 5-chome, Minato-ku, Tokyo, as a private art museum that held many retrospectives of deceased artists, mainly of contemporary art, as well as solo exhibitions of young artists. The museum also had a reputation for discovering artists, and was known not only for its art exhibitions, but also for regularly organizing mini live performances, one-man shows, Rakugo events, and recitation readings. Although the museum closed in 2000, a gallery has been operating on the third floor of the Striped House Building since December 2001. The Striped House Gallery Papers were donated by the gallery through an arrangement by SASAKI Shigeo (1931-2024) around 2010, and were organized in about 300 envelopes containing materials related to individual events and artists. These envelopes also included documentary photographs, press releases, and other materials, which may provide important facts that were not available in the media such as newspapers and magazines of the time.
The research project “Research and Compilation of Materials on Modern and Contemporary Art” is intended to enable the conduction of research on modern and contemporary Japanese art works and materials, to promote research exchange based on this research, and to establish an efficient collection and publication framework for materials related to contemporary art. We hope that you will make use of these documents, which are now available in the library, as evidence for solving problems encountered in research on cultural properties, including contemporary art, and as an opportunity to conduct new research in various fields.
• Library Visitor’s Guide
https://www.tobunken.go.jp/joho/english/library/library_e.html
Archives (documents) information can be found at the bottom of this page. The Striped House Gallery Papers are accessible in our library.
• Striped House Museum of Art / Striped House Gallery Papers
https://www.tobunken.go.jp/joho/japanese/library/pdf/archives_StripedHouseMuseumofArt.pdf
Students and professors, observing a rubbing
On May 11, 2024, a group from the Asian History Department of the School of Humanities and Social Sciences, Waseda University, visited the TOBUNKEN Library of the Tokyo National Research Institute for Cultural Properties. The students, led by Mr. YANAGISAWA Akira (Professor, specialist in the history of the Qing Dynasty), Mr. KAKINUMA Yōhei (Professor, specialist in the history of ancient China), Mr. UEDA Kihei-narichika (Lecturer, specialist in the history of ancient Korea) took a tour, guided by Mr. TASHIRO Yūichirō, of the Institute’s collection of books and rubbings, which have been collected since 1930.
One of the missions of the Archives Section of the TOBUNKEN Library* is to provide information on cultural properties to experts and students, as well as to create an environment for the effective use of such materials. We hope that the valuable materials of our institute, which are of high value even by international standards, will be widely utilized not only in art history research, but also in Asian history research and historical research in general, and contribute to the development of research on cultural properties that are the common heritage of all humankind.
*The Archives Section provides usage guidance for undergraduate students, graduate students, museum staff, etc. If you are interested, please apply after reading the guidance
(https://www.tobunken.go.jp/joho/japanese/library/application/application_guidance.html (Japanese only)).
The presentation
The National Archives and Records Administration (NARA) in Washington, D.C., USA, is the nation’s record keeper, preserving and managing historically valuable government records. Established in 1934, NARA holds the “Charters of Freedom” – the Declaration of Independence, the Constitution, and the Bill of Rights – as well as diplomatic documents, war-related documents, immigration records, veteran’s service records, and others that form the nation’s “memory.” The holdings are vast and diverse, including 13.5 billion pieces of paper, more than 137 million meters (450 million feet) of film, 41 million photographs, 40 million aerial images, 10 million maps, charts, and architectural drawings, and 837 terabytes of electronic records (as of October 2023).
NARA has been accepting transfers of audiovisual records (such as films and videos) along with related materials documenting their production process over many years. At the 2nd seminar held on May 14, 2024, Ms. YAMANAGA Naomi, an Associate Fellow of the Department of Art Research, Archives and Information Systems, presented a report titled “Audiovisual Records and Related Materials Created by Government Agencies.” The report detailed the findings of an on-site survey of these related materials conducted in August 2022.
According to information from the Textual Records Series Register (1990) provided by the archivists, their new building (Archives II) handling special media holds approximately 300 series of related materials, and digitization has been progressing in recent years. This presentation described the wide-ranging contents of related materials, including production files, scripts, correspondence, index cards, and interview transcripts, accompanied by photographs. In the subsequent question-and-answer session, various opinions were exchanged regarding the necessity of preserving and managing records that are created in the course of production activities and ensure their context. Based on this discussion, the presenter will continue to explore ways to contribute to the preservation of such related materials.
