| ■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 |
|
Lecture by Tsuchiya Takahiro at Department of Research Programming
Lecture by Mr. Tsukamoto Maromitsu at The Museum Yamatobunkakan
Lecture by Nakano Teruo, the Deputy Director General of the Institute
Lecture by Mr. Shirasu Joushin at Hiroshima University
The Institute holds a public lecture every autumn in order to disclose the results of our research on art history. This public lecture is the 43rd with the first held in 1966. Since 2006, we have established a common theme titled “The Dynamics of Interaction between Objects and People”, and four researchers from both within and outside the Institute gave presentations on October 2nd and 3rd.
On October 2nd, Tsuchiya Takahiro, a researcher in the Department of Research Programming of the Institute, presented a lecture titled “Creating a ‘foreign country’: A Study of the Genjo Sanzo-e”, and Mr. Tsukamoto Maromitsu, a curator of The Museum Yamatobunkakan , presented a lecture titled “Japanese Buddhist Monk Viewed from the Song Dynasty: Buddhism/Land and the World of Exchange of Cultivated Things”: They intended to dig into how Japan in medieval times and China during the Song Dynasty viewed and recognized each other, using a picture scroll from the Kamakura Period, the transfer/exchange of cultivated things in the eastern Asia, and the social context of the time.
On October 3, Nakano Teruo, the Deputy Director General of the Institute, gave a lecture titled “Optical Investigation of Central Asian Mural Paintings Brought Back by the Ohtani Mission”and Mr. Shirasu Joushin, lecturer at Hiroshima University, had a lecture called “The Tibet Ohtani Mission and the Tibetan Religious World”. They tried to reevaluate the works discovered by the Ohtani mission from the viewpoint of art history based on recent optical investigation, and reviewed the responses of Japan, England, China and Russia concerning the activities of the Ohtani mission at that time.
These four individuals’ presentations reexamined the relationship of Asia to Japan in respective pre-modern and modern periods from the viewpoint of the broad effects and actions of goods, art objects, cultivated things and cultural properties, and the various activities of the people related to those goods. They were well suited to the common theme of The Dynamics of Interaction between Objects and People and were very exciting. The audience on these two days number totals of 133 and 125 people respectively, and questionnaires taken on both days showed that the lectures satisfied many people. We would like to continue disseminating the Institute’s research results in the future.
At the entrance side of the lobby
At the center of the lobby
At the recesses of the lobby
Starting September 18 (Friday), the Department of Research Programming is in charge of a panel exhibition at the entrance of Institute titled “Investigation and research of Buddha statues, using X-ray photography”. This exhibition was planned to introduce the investigation and research that has been conducted up to now, with the cooperation of the Center for Conservation Science and Restoration Techniques, as part of the research project of the Department of Research Programming titled “Cross-Disciplinary Study of Art Materials and Techniques”. The panel exhibition is scheduled to be held until the end of this year.
From September 25 to 27, 2009, a symposium titled “Tracing Japanese Buddhism” was held in commemoration of 50 years since the founding of the Center for Japanese Studies of University of California, Berkeley. The American, Japanese and European researchers who are majoring in Buddhism-related areas, such as Buddhist religion, Buddhist history and Buddhist art history, met and gave many lectures and reports. Vivid discussions were held with nearly 80 participants each day, offering precise opportunities to learn about each other’s research results. On the first day, there was a panel discussion on Buddhism art history on the topic of “Numinous Materials and Ecological Icons in Premodern Japanese Buddhism”, Sarai made presentations on the Healing Buddha of Jingoji temple, an outstanding statue sculpted from one wood, of the early Heian Period, as one of the panelists. Other panelists conducted reports that included the latest information, such as knowledge on recent research results about the species of trees used for carved wooden statues. In the US there seems to be many unknown things about Buddhist statues, partly because there is small number of researchers on Buddhist sculptures in Japan. We wish to positively promote international exchange, making use of opportunities like this, so that people will be interested in Japanese Buddhist statues.
Imaizumi Yusaku’s Kijishu: Volume 2 includes sketches of Korin Yatsuhashizu, and the figure pattern and color note in sketch specifies that the original art work was Tales of Ise Yatsuhashizu which currently belongs to Tokyo National Museum.
Since the Institute opened in 1930, it has collected and arranged materials concerning cultural heritage. We are making efforts to catalog them so they can be released to public and viewed; however, among the materials which we have accumulated over nearly 80 years, there are some materials which have not been released for public viewing and have not been arranged. Kijishu by Imaizumi Yusaku, introduced in this article, is one of the works which has been in obscurity for a long time. Mr. Imaizumi Yusaku (1850 – 1931) worked for the Education Ministry, Tokyo Fine Arts School (current Tokyo National University of Fine Arts and Music) and Tokyo National Museum, and sustained the art administration of modern Japan together with Okakura Tenshin. Kijishu is Imaizumi’s autobiographical diary collection, dated from 1887 to 1913 and totaling 38 volumes in all. In these diaries he recoded the art works he appraised and investigated in detail with his sketches. These diaries were found by Mr. Yoda Toru (Saitama City Culture Promotion Agency) who was a student at that time, during an arrangement of materials. The authenticity was confirmed by Ms. Yoshida Chizuru, a visiting researcher at our Institute, who already had records through her research of Imaizumi Yusaku. Ms. Yoshida is now writing a new work about Kijishu, and made an interim report at the workshop of Department of Research Programming on September 30. Imaizumi’s records of wide-ranging antiquities have attracted great interest of researchers majoring in various fields, and we have recognized the importance thereof.
2008 Annual Report of National Research Institute for Cultural Properties, Tokyo
We have published the 2008 Annual Report of National Research Institute for Cultural Properties, Tokyo. TheAnnual Report comprehensively describes what the Institute achieved in its activities last year. The contents include the organization of Institute, annual plans and project reports, other research activities, private research achievements, research exchanges, major stored materials, and Institute-related materials.
One copy of the Annual Report are distributed as reference material to each national and prefectural art gallery and museum, prefectural and government-designated city board of education, buried cultural property center, and university library that has a cultural property research department.
The Annual Report is also posted on our Website inPDF format.
ICN Amsterdam Head Office, Laboratory of Materials. The shelves on the right are full of various plastic products lined up by color. They were collected by researchers at flea markets and other locations.
As part of the documentary material research promoted by the Department of Research Programming, we performed a survey from August 2 to 13 centering on the Tate Gallery in the UK and Netherlands Institute for Cultural Heritage (ICN).
Various experimental styles and materials were used for modern and contemporary works of art because recently how those works will be passed down to future generations has become a big issue. With one work, the process of decay itself is an innate part of the work, while with another, new materials, including plastics, are used. These are new challenges for the organizations and specialists engaged in the conservation and restoration of cultural heritage.
This survey focused on the International Network for the Conservation of Contemporary Art (INCCA; based inside ICN in Amsterdam) and, as a part of the project, the Interview with Artists project performed by Tate in London in which they interview with living artists about their works, archive the records of them and open them to the public systematically. We visited related organizations and listed to relevant personnel in order to find out how Europe is tackling new challenges related to modern and contemporary art.
As a noteworthy achievement, we got great suggestions on the issue of originality and the conservation thereof, the topic of the international research assembly held last year by the National Research Institute for Cultural Properties, Tokyo. Additionally, we were deeply interested in the relationship between the three parties – ICN (the Netherlands version of the National Research Institute for Cultural Properties, Tokyo), the INCCA network in ICN, and the Tate, Britain, which is shouldering one INCCA project. They were presenting a model of how a new project should be run while confronting the globally-shared difficult situation, such as shortfall in funds, human resources, and privatization of organizations. We will introduce anew the details on this matter in the Bijutsu Kenkyu (Journal of Art Studies) published by the Department of Research Programming.
The Kuroda Seiki Exhibition held at the Shimane Prefectural Iwami Art Museum from July 18 (Saturday) to August 31 (Monday) attracted some 15,177 visitors. The daily average number of visitors was a record since the opening commemorative exhibition of the Iwami Art Museum. More than 80 percent of the visitors answered exit questionnaires conducted by the museum on August 1. Many visitors came from the prefectures near Shimane – approximately 30% from Hiroshima, 10% from Yamaguchi – and all respondents said they were satisfied with the exhibition. A variety of devices were used to advertise this exhibition such as distributing tissue pouches with painting of “Lakeside”, reproducing and giving the first 30 visitors each day a reproduction of the paper fan with Uchiwa painted in “Lakeside”. We carried out the following related events, which attracted many participants: a lecture on August 1 by Ms. Yamanashi Emiko of our Institute’s Department of Research Programming titled “Modernization or Japanese paintings and Kuroda Seiki”, a workshop producing drawings and paintings in watercolors using a model wearing similar Kimono to that in “Lakeside” on August 8, and a lecture titled “Kuroda Seiki and Mori Ogai” on August 29 by the head curator of the Iwami Art Museum, Ms. Kawanishi Yuri. Next year, the Kuroda Seiki Exhibition will be held at the Iwate Museum of Art.
Researching the folding screen owned by the Portland Art Museum
The Portland Art Museum in Oregon, founded in 1892, is the oldest museum on the West Coast of the US. Among approximately 42,000 works stored in the museum are some 4,000 Asian art works. For four days from August 17 to 20, 2009, Mr. Watada Minoru, Mr. Tsuchiya Takahiro and Ms. Emura Tomoko of the Department of Research Programming examined more than 30 works in the Portland Museum produced from the Muromachi to the Edo Period, including Japanese paintings, folding screens and kakefuku and created research records for each work. For works with a poor storage state, they recorded the damage status in detail, and did research and examination from the standpoint of art history, discussing with the curators in charge at the Portland Art Museum. There were some works which have not been introduced up to now and some excellent and important works, and despite the limited time we were able to do significant research. We will announce the results at an Institute research meeting and will introduce those works in the Bijutsu Kenkyu (Journal of Art Studies) and other journals to further enrich the art materials and make efforts toward international research exchange.
We recently received an offer of donation of a glass dry plate and prints of swords from Otsukakogei-shinsha Co., Ltd. (Sueharu Sato, President and CEO). Delivery to the Institute was completed on Monday, August 10. The Archives Section of the Department of Research Programming, which received the donation, is planning on organizing the donated materials starting with the prints with an eye toward utilizing both the glass dry plate and the prints as the Institute’s cultural heritage materials.
The site of Kuroda Seiki Exhibition held at the Shimane Prefectural Iwami Art Museum
To commemorate the achievements of Kuroda Seiki and contribute to the development of regional culture, we have jointly held the Kuroda Seiki: Master Western-style Painter of Modern Japan exhibition with the host museum every year since 1977. This year, the exhibition is being held at the Shimane Prefectural Iwami Art Museum from July 18 (Saturday) to August 31 (Monday). 147 oil paintings and drawings including designated Important Cultural Properties “Lakeside” and “Wisdom, Impression, Sentiment”, a sketch block, and letters are to be exhibited. The paintings of Kuroda Seiki can be tracked from his early to later years.
Iwami is the birthplace of Mori Ogai, a great literary figure in the Meiji Period. Ogai went to Germany to study hygiene as an Army doctor and stayed there from 1884 to 1888. During this time, he frequently visited art museums and theaters and became familiar with artｓ. After returning to Japan, he added art criticism to his literary activities. When Kuroda Seiki submitted “Wisdom, Impression, Sentiment” to the Second Hakubakai during a debate about nude drawings, and received bad press, Ogai stated that he himself admired this work. Later in life, Ogai became the first Director of Teikoku Bijutsuin (Imperial Art Academy), and when he died in 1922, Kuroda was his successor: Thus, the two had various points of contact.
The Iwami Art Museum exhibits materials related to Ogai in the regular exhibition room along with the Kuroda Seiki exhibition. The works of Kuroda and his teacher Raphael Collin and the works of western painter/chirographer Nakamura Fusetsu, who wrote Ogai’s epitaph, are exhibited together so that visitors can learn about the friendship of cultural figures in the Meiji (1868-1912) and Taisho (1912-1926) Periods.
2009 Profile of National Research Institute for Cultural Properties, Tokyo
The 2009 Profile of National Research Institute for Cultural Properties, Tokyo has been published.
Profile visually and comprehensively introduces the activities, training sessions, advice and instructions, graduate education, international symposiums, open lectures, transmission of information, printed publication, and other such projects featured by our Institute’s research organizations, departments, and centers in the past year. The Profile is published in Japanese and English.
Copies of Profile are distributed to national and prefectural art galleries and museums, prefectural and government-designated city boards of education, buried cultural property centers, university libraries that have cultural property research departments, embassies, and friendship associations by one copy for each as reference material.
Copies of Profile are also distributed at the Kuroda Memorial Hall and the Research Institute, together withTobunken News, for use by the general public. Profile is also posted on our Website in PDF format.
Mr. Marukawa’s workshop
The Institute has accumulated various materials from its investigation and research into tangible and intangible cultural properties in various fields. As such, the Institute has invited Mr. Marukawa Yuzo, Associate Professor (by special appointment) of the National Institute of Informatics, as a visiting researcher. In cooperation with him, we are trying to determine the best method of publicizing the data on material accumulated by our Institute so that they can be used effectively. As part of this project, Mr. Marukawa presented a lecture entitled “Transmitting Information on Art Data Spread by Association” on June 23. He introduced an association retrieval system that allows cross-searching of multiple databases designated by the retrieving person. He then showed how to use the system and demonstrated association retrieval using the data owned by our Institute. We concentrate on the collection and storage of materials as basic data, and plan to more carefully examine our electronic information disclosure methods going forward.
Investigative Commission of the Five Hundred Luohan stored at Daitoku-ji
The Department of Research Programming has started a project entitled “Survey Research on Applications of High-definition Digital Images” and has proceeded with investigative research that aims to create image data that is essential for research in art history and the developmental utilization thereof. As part of this project, we concluded a research agreement with the Nara National Museum that allowed us to survey and photograph the Five Hundred Luohan stored at Daitoku-ji in May 2009 (refer to the article in the May 2009 Monthly Report). We held a research conference on June 15 to further examine the research obtained in the survey in which we invited Mr. Taniguchi Kosei, Ms. Kitazawa Natsuki and Mr. Ide Seinosuke (visiting researcher of the Nara National Museum, professor of Kyushu University) from the Nara National Museum. Our staff members Tanaka, Tsuda, Shirono, Torimitsu, and Tsuchiya participated as well.
After the survey in May, we processed the photographed images one by one; inscriptions which were unclear during the survey became legible. At the subsequent research conference, we confirmed the inscriptions and interpreted the dates, painters, and dedicators thereof. We are planning a second survey in the coming autumn with reports to be submitted in the following years. Most importantly, Shirono reported on the factors behind the deletion of this painting’s inscription, and we reconfirmed that this survey has significant meaning.
A “quick report” of the achievements of this survey and research conference can be seen at the Sacred Ningbo, the Origin of 1300 years of Japanese Buddhism: Everything Has Come from Here exhibition (http://www.narahaku.go.jp/exhibition/2009toku/ningbo/ningbo_index.html) (link rot) held by the Nara National Museum. A complete picture of the inscriptions in the Five Hundred Luohan stored at Daitoku-ji, along with the background of creation of this painting, will be revealed at this exhibition.
Photograph of the investigation held at Nara National Museum. (The existence of inscriptions is confirmed using light source equipment that emits light of various wavelengths)
The Department of Research Programming has concluded a Contract for Optical Survey and Creation of High Definition Digital Content regarding Buddhist Art with Nara National Museum and has been carrying out joint research. As part of this contract, we studied and photographed the Five Hundred Luohan stored at Daitoku-ji from May 11 to 17, 2009 at Nara National Museum.
Daitoku-ji’s Five Hundred Luohan is a very important work in art history, and a total of one hundred pieces of artwork were created by artists Lin Tinggui and Zhou Jichang from Junki 5 (1178) in Ningbo in Southern Song over a period of almost 10 years. Out of the existing 96 pieces (excluding the complementary works made in the Edo period), 37 pieces in total have been confirmed to have inscriptions, but these descriptions difficult to decipher with the naked eye due to aging deterioration.
This survey started with the goal of learning about these inscriptions using optical methods such as fluorescent recording, and an additional 11 inscriptions (43 inscriptions in total) were confirmed. This is a meaningful finding not only in terms of art history, but also in terms of the history of this period and the history of religion.
A conference will be held in mid-June by persons involved from both organizations based on the images shot during this survey, and will serve as investigation material for the second survey scheduled to be performed in autumn. Additionally, these survey results will be presented in part at Sacred Ningbo, the Origin of 1300 years of Japanese Buddhism: Everything Has Come from Here (http://www.narahaku.go.jp/exhibition/2009toku/ningbo/ningbo_index.html) (link rot). It will also be summarized as a report sometime in or after the next fiscal year through further survey and investigation.
On May 12, Mr. Tsuda Tetsuei and Ms. Sarai Mai of the Department of Research Programming conducted X-ray transmission photography and fluorescent X-ray non-destructive analysis of a copper bodhisattva in a pensive pose with one leg pendent from Hyakusaiji temple in Shiga as part of the current two-year plan, Investigation of and Research into Statues in Omi in Ancient and Medieval Times, Centering on Previously Undisclosed Statues such as Hidden Buddha Statues, at the National Research Institute for Cultural Properties, Tokyo. Funds for investigation and research were provided by the Idemitsu Culture and Welfare Foundation, and Mr. Inuzuka Masahide and Hayakawa Yasuhiro of the Center for Conservation Science and Restoration Techniques offered their services as well. At 13:00 on May 12, the statue was brought into the Institute by the two curators from the Miho Museum who then conducted joint research with us and the resident priest of Hyakusaiji temple. The main purposes of this research were to examine the structure using X-ray transmission photography in order to check whether the head and body of the statue, where reconnection was visible at the breast, were created around the same time, and also to check the copper components in both parts using fluorescent X-ray non-destructive analysis. The statue will be open for viewing by the public this summer at Miho Museum.
In May 2009, we created a new children’s website aimed at elementary and junior high school students. In the section entitled “All about working at Tobunken”, visitors can learn about the activities of the National Research Institute for Cultural Properties, Tokyo in card format.
We hope that children will take advantage of this website together with the What’s the National Research Institute for Cultural Properties, Tokyo?
(http://www.tobunken.go.jp/~joho/japanese/publication/kids/2008.pdf) (link rot) children’s brochure published last July for their independent research projects during summer vacation. Please take some time to visit the website at http://www.tobunken.go.jp/kids/index.html.
Mr. Hieda Kazuho being interviewed
At the Education Ministry’s Art Research Institute after evacuation to Sakata City, Yamagata - Mr. Hieda (far right), and Mr. Umezu Jiro (far left) who was a staff member of the Institute
The Japanese-style painter Hieda Kazuho (born in 1920), holder of the Cultural Order, is Professor Emeritus of Tokyo University of the Arts and a founding member of Sougakai. He graduated from Tokyo School of Fine Arts in 1943, and from the following year he worked for the Art Research Institute, the former National Research Institute for Cultural Properties, Tokyo, as a temporary employee for one year.
The institute is currently editing Text Edition of 75-year history of National Research Institute for Cultural Properties, Tokyo, which will be published this year. As such, we interviewed many associated persons to ask them about the history of the Institute so that we can compile records.
On April 14, we visited Mr. Hieda at his home in Tokyo, and he talked his early years at the Institute. In 1944, when war damage increased because of air attacks and the Institute was forced to evacuate its materials, Mr. Hieda took part in the evacuation work. He told us that he stayed at an evacuation home – Sakata City, Yamagata – for half a year, to protect the materials, until he received call-up papers in August 1945, and went home to Nara to enter the army. In the train that was on the way home, he found out about the end of the war. Despite his advanced age, he gave us an interview that lasted over 90 minutes, and we have a record of his valuable experience.
So (Imagine)
The Department of Research Programming has made public its database for retrieving art documents starting from October of last year (during trial operation). The database consists of 268,000 cases and allows users to browse, from an overwhelming amount of data, art documents published between 1966 and 2004 by using three search categories: editors/authors, keywords and titles of journals. The Department, whose major goals are to accumulate and disseminate information, is now promoting collaboration with other sites to enhance dissemination. One such collaboration is with the unique association retrieval site “So (Imagine) ” that was started by the National Institute of Informatics. Mr. Nakamura Yoshifumi, a researcher of the National Institute of Informatics and a visiting researcher in our Department from this year, demonstrated the operation of this site at a research seminar of the Department held on April 21. If the art documents retrieval database is successfully associated with “So (Imagine),” we expect that a simultaneous display of information from various fields, not just that of art, will be possible.
“Samurai with artistic taste...”
(Sino-Japanese War Graphics Vol. 10)
From “Drawing and Painting Soldiers from the Edges of the Japan-China War Battlefront and Art” (Kawada Akihisa) There were many drawing and painting soldiers in the battle area of the Japan-China War, and their artworks were widely known as a war pictures with reality.
The Department of Research Programming has issued the collected papers of 26 domestic researchers, as shown in the title above. This document is an achievement of the project study “Integrated research on modern and contemporary art.” As a research edition of “A Study of Exhibits from Art Exhibitions of the Showa Era – Pre-World War II Volume”, basic data compilation issued in 2006, the trends of art before World War II are shown from the viewpoints of each researcher from various perspectives. The document targets the various genres of paintings and sculptures, engravings, photographs, and art works based on trend of the exhibits and art galleries, and it also includes themes particular to the pre-World War II period, such as proletarian art and war pictures. Please examine the various issues regarding art in the Showa Era. We hope that they will offer you new findings and help you to raise awareness of the issues involved.
Refer to the pages issued by the Department of Research Programming for the titles of papers and the authors.
http://www.tobunken.go.jp/~joho/japanese/publication/book/showaki.html
This document is available from Chuokoron Art Publishers. http://www.chukobi.co.jp/products/detail.php?product_id=383
Mr. Tsuda Tetsuei and Ms. Sarai Mai of the Department of Research Programming will start this year to investigate and research important sculptures in Shiga Prefecture in a two-year plan, Investigation of and Research into Statues in Omi in Ancient and Medieval Times, Centering on Previously Undisclosed Statues such as Hidden Buddha Statues (representative researcher Tsuda Tetsuei). The two received funds for the investigation and research from the Idemitsu Culture and Welfare Foundation, and received cooperation from the research staff, who have special bonding with Shiga Prefecture, centered on Miho Museum. As our first project, we investigated the seated Avalokitesvara statue (245.3 cm high) at the Kannondo of Tendaishu Zensuiji Temple on Mt. Iwanesan in Koga City from the early morning until the evening of Sunday, April 26. The existence of this statue was generally unknown up to now, and this is the first project to move it. Based on the style of the statue, it was probably carved in the late Heian Period, and it was kept in relatively good condition. We were given a glimpse into the abundance and versatility of the cultural properties of Shiga Prefecture, where such a great work existed unnoticed by most people.
