| ■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 |
|
In The Cooperative Program for the Conservation of Japanese Art Objects Overseas, Japanese paintings in overseas collections are temporarily brought back to Japan for conservation. Every year, persons in charge from the collections concerned come to Japan to confirm the progress of restoration work and to select new mounting materials. Of the five items being restored this fiscal year, staff from three of the collections concerned visited the restoration studios with the persons from the Department of Research Programming who are in charge of the respective paintings.
Following is a list of the visiting staff, their respective collections and the dates of their visit. Jennifer Price, Curator of Asian and Non-Western Art, Kimbell Museum (United States); October 16
Andrea Wise, Senior Conservator, National Gallery of Australia; October 26
Wynne Phelan, Chief Conservator, The Museum of Fine Arts, Houston and conservation assistant Tina Tan; November 13
The restoration of these paintings will be completed by the end of March 2008. After being shown to the Administrative Committee of the Program, they will be opened to the public at the Tokyo National Museum.
The full-scale restoration of the Hikone Screen (collection of the Hikone Castle Museum), which took two years, was completed and the restored folding screen was exhibited to the public in a special exhibition held to commemorate the 40th anniversary of the construction of the castle. The Institute has held a joint investigation of the Hikone Screen with the Hikone Castle Museum from before the start of the restoration project. After the closing of the exhibition, photographs of the folding screen were taken and the condition of the surface that has been stabilized by restoration was investigated and documented by high-resolution digital images and near infrared images. A report on these results is in the final stage of editing for publication. New findings obtained through this investigation are expected to become valuable material not only for the study of the Hikone Screen but also for the study of the history of Japanese paintings as a whole.
Exhibition of the restored Hikone Byobu
Large panels introducing a part of the results of optical investigation
Since the previous fiscal year, the Institute has been conducting a joint investigation and research of the national treasure Hikone Byobu with the Hikone Castle Museum. For over 100 years, this painting had been disassembled and mounted as six separate panels. Moreover, there were stains and the pigment layer was progressively flaking. Due to these reasons, two years were spent in conducting full-scale restoration as a part of the System for Protecting Cultural Properties and under the guidance of the Agency for Cultural Affairs. As a result, the painting was remounted as a folding screen. Since the restoration has been completed successfully, an exhibition of the restored folding screen was held as a part of the memorial project for the 400th anniversary of the construction of Hikone Castle. Part of the results of optical investigation conducted on this painting was also introduced in large panels during the exhibition, which was held from September 28 to October 26. Detailed images that allow one to observe the delicate and microscopic expressions brought about by extremely outstanding painting skills as well as directions for colors and under-drawings invisible to the naked eye attracted many visitors and were well-received by them. Presently, a report on the results of the investigation is being prepared for publication by the end of this fiscal year.
Paul Pelliot, a French scholar on Sinology, investigating the Dunhuang documents (1908)
There were not many researchers like Pelliot who investigated the documents in the caves where they were actually discovered.
Preparations are being made now at the Department of Research Programming for the International Symposium on the Conservation and Restoration of Cultural Property that the Department will hold next fiscal year. After repeated discussions among members of the Department concerning the theme for this Symposium, it has been decided to look at cultural properties again with “the original” as the key word. For instance, although in the world of cultural properties “the original” is always an object of admiration, as is evident in activities related with reproduction, people’s understanding of what “the original” means varies from time to time and region to region. In such circumstances, we hope to tackle the question of how we are to transmit cultural properties to others, especially from the point of view of cultural archives with which the Department is concerned.
As a result of five discussions held before establishing the theme, it was decided to hold workshops on matters associated with “the original.” The first meeting was held on September 26 and Nakano Teruo (Department of Research Programming) presented a case study on the authenticity of documents on Dunhuang. These documents were found stacked in big piles at the Dunhuang Mogao Grottoes in 1900 but were later taken out of China repeatedly by adventurers and researchers from abroad. For this reason there are confusions concerning these documents, including the question of their authenticity. The group then held discussions on Dunhuang studies with Kato Masato of the Center for Conservation Science and Restoration Techniques serving as a commentator. On October 3, the group discussed the differences in the concept of “the original” between tangible and intangible cultural properties, focusing on bunraku and other classic performing arts, with Ijima Mitsuru of the Department of Intangible Cultural Heritage. In this discussion it was confirmed that in the case of intangible cultural properties the “original” is a matter that cannot be ignored in transmitting cultural properties for there is always the question of what is “the original” – is the way of the first performance in past history “the original” or is each performance considered “the original”? We hope to hold workshops on this theme from time to time and to develop them into the International Symposium next year.
Lakeside by Kuroda Seiki
This fiscal year the Department plans to publish a report on the results of multi-faceted research on Kuroda Seiki’s Lakeside (Important Cultural Property, 1897, oil on canvas) as part of the Department’s research project “Research on Materials for the Study of East Asian Art.” With this purpose in view, 6 experts from outside the Institute were invited on October 12 to a conference that was held to present an interim report. Presentations were made on topics related to this widely known painting, such as the background for its creation, history of its evaluation, history of the actual creation of the painting and the present condition of the painting, followed by active discussions. Much is expected of such in-depth and multi-faceted research on one work.
Investigation at the Yale University Art Gallery
Investigation at the Brooklyn Museum
The Department of Research Programming cooperates with the Center for Conservation Science and Restoration Techniques in its Cooperative Program for the Conservation of Japanese Art Objects Overseas, particularly from the art historical point of view concerning the restoration of Japanese paintings. Following the investigation held in Europe this spring, an investigation team composed of specialists in art history and conservation was organized with cooperation from the Department of Restoration Programming, Center for Conservation Science and Restoration Techniques and a conservator from outside the Institute. They visited museums on the East coast of the United States to select candidate works for restoration. On September 11 they visited the Yale University Art Gallery in New Haven, Connecticut and on September 16 the Brooklyn Museum in New York. They were surprised that both museums have collections of Japanese art of high quality. Although they were able to see only a part of those collections in this visit, it was found that several outstanding works from the Nambokucho period to the late Muromachi period (mid 14th century – late 16th century) were in urgent need of urgent, full-scale restoration. Discussions will now be held between the museums and the Institute, and a few of the works will be restored as part of the program for the fiscal year 2009. Following this investigation, the restoration team visited the Art Gallery of Greater Victoria and the Vancouver Museum in Canada to conduct additional investigation for candidate works to be restored during the fiscal year 2008.
Conducting questionnaire survey at The Hiratsuka Museum of Art (July 28, 2007)
This year’s regional exhibition, ”Kuroda Seiki: Master of Western-style Paintings of Modern Japan,” was held at The Hiratsuka Museum of Art from July 21 to September 2. A total of 12,746 people visited the museum during this period. The Shonan district where the museum is located was a place familiar to Kuroda Seiki from the time he returned to Japan from his study in France, and he has drawn many works on its ocean scenery. Since the exhibition was held at a place thus related to the artist, this year’s exhibition was well received by the public. On July 28 questionnaires were passed out to the visitors with the cooperation of the museum. Of the 279 visitors on that day, 161 persons (57 males, 95 females, 9 children; rate of response – 57.7%) responded. Individual comments like “There were many good works on display” and “It was good that we could see this exhibition at Hiratsuka” were given. In addition, the rate of satisfaction with the content of the exhibition in general was close to 100%, visitors choosing either “satisfying” and “rather satisfying.” Exhibition of works by Kuroda has been reopened at the Kuroda Memorial Hall from September 9. During the next year, exhibition is scheduled to be held at the Kobe City Koiso Memorial Museum of Art in Hyogo prefecture. We hope to do our best to make this regional exhibition more substantial than it was this year.
The inaugural issue of TOBUNKENNEWS DIGEST
The inaugural issue of TOBUNKENNEWS DIGEST has been published. TOBUNKENNEWS DIGEST is the English version of TOBUNKENNEWS. However, rather than being a simple translation of TOBUNKENNEWS (Japanese version), we will make a careful selection of articles to be included so that it may serve as an official bulletin published twice a year by the Institute for overseas readers.
Just as the purpose of TOBUNKENNEWS is to communicate to the public the various activities of the Institute in a way that is easy for everyone to understand, in TOBUNKENNEWS DIGEST we will endeavor to communicate to readers overseas, in a similar way, various activities of international cooperation that the Institute promotes.
The activities of the Institute in 2006 are summarized in the inaugural issue. From now on, two issues will be published each year in order to communicate the activities of the Institute as promptly as possible. We sincerely hope that TOBUNKENNEWS DIGEST will play a role in communicating a part of the work of international cooperation promoted by the Institute.
Annual Report 2006
Profile 2007
The Annual Report for the fiscal year 2006 and the Profile for 2007 have been published. The Annual Report is published each year to introduce comprehensively the various activities executed by the Institute during the previous year. The Profile, on the other hand, introduces in English and Japanese the various activities that the Institute plans to execute during the present fiscal year. Materials are presented visually to make it easier to understand these activities.
The Annual Report and Profile are distributed to national and prefectural museums, galleries and libraries of universities that offer studies in fields related to cultural properties. They are also available in PDF file from the Institute’s website.
The Profile, in particular, is also distributed to the public along with TOBUNKENNEWS at Kuroda Memorial Hall and the Institute.
Exhibition of Japanese Art held at Rome in 1930 Many works by such leading Japanese painters as Yokoyama Taikan were exhibited in tokonoma (alcoves) constructed at the exhibition site.
As a part of its research project “Comprehensive Research on Modern and Contemporary Art,” the Department of Research Programming is making preparations toward the publication of A Study of Art Exhibitions of the Showa Era (Pre-World War II) in 2008. This publication is a collection of articles on major art exhibitions held during the pre- World War Showa era, the data of whose exhibits have been published in 2006 in the Catalogue of Exhibits from Art Exhibitions of the Showa Era (Pre-World War II volume). Editorial meetings were held twice, in September 2006 and May 2007, and arrangements were made with prospective authors. Consequently, a total of 29 authors, most of whom are young researchers, have been asked to contribute articles from the point of view of their respective disciplines. At the core are the trends of exhibitions and art groups. But various genres such as paintings and sculpture, prints, photographs, craft art as well as themes particular to pre-World War II Showa era, such as proletariat art and war art, will be covered. Thanks to significant development in research in recent years, it appears that this publication will be a substantial study both quantitatively and qualitatively. We plan to hold workshops by the authors in order to exchange opinions so that the publication may be of high quality.
Research folders in the filing cabinet
Folder on Sotan taken out of the filing cabinet
As part of its “Research on Materials for the Study of East Asian Art” project, the Art Research Materials Section of the Department of Research Programming is conducting basic study of Sotan (1413-1481), the official painter of the Ashikaga shogun family during the Muromachi period. Last fiscal year, we first made a comprehensive collection of materials related to Sotan which we compiled into an archive that will serve as the foundation for our study. In executing this work, we used the method of the pre-World War II ”Corps of East Asian Arts” project that produced comprehensive results concerning some painters of the Muromachi period as reference. In the process of this work we were able not only to confirm what may be called the “universal usefulness” of the method of ”Corps of East Asian Arts” for the purpose of forming a foundation for research but also to confirm the fact that the various kinds of archives related to art history which were formed intermittently from before the war and continue to be formed from time to time even now and which are found at the Institute are still effective today.
This year by studying each material in detail and by making a general judgment of the collected materials, we are improving the quality of the materials so that we may achieve a closer and more accurate understanding of Sotan. The process of this phase of the project was presented at the 2nd In-House Research Seminar (July 10, “Study of Sotan” by Watada). Many parts of this presentation delved into more details when compared with the content of the public lecture given on October 28, 2006 (“Sesshu and Sotan” by Watada). We plan to publish the results of our study in The Bijutsu Kenkyu (The Journal of Art Studies).
Pamphlet for “Kuroda Seiki: Master of Western-style Paintings of Modern Japan”
“Kuroda Seiki: Master of Western-style Paintings of Modern Japan,” the regional exhibition for this fiscal year, began on July 21 at The Hiratsuka Museum of Art in Kanagawa prefecture and will continue until September 2. It is the Shonan district where this Museum is located that Kuroda frequently visited after his return from France and until his last years. It is also a place that played an important role in his creative activities. As is well known, after his return from his studies abroad, Kuroda influenced the art world by painting works that actively incorporated new plein air expressions. Some of such works were created at places near Hiratsuka, such as Oiso and Kamakura. For this reason also, this exhibition aims not only to introduce the art of Kuroda in general but also to provide an opportunity to allow many people to see the relationship between Kuroda and the Shonan district, by exhibiting “Rocks by the Water’s Edge” (1896) the subject of which is the Shonan district.
National Treasures which are at a 20% or greater risk of being subjected to inland intraplate earthquake with JMA seismic intensity of 5+ or higher within the next 50 years
(○ = architectures △ = those fine arts and craftworks indicated in red
Red and green lines indicate positions of inland active fault.)
(from presentation material for “Construction of GIS Database of Cultural Properties and Earthquake Hazard Assessment” by FUTAGAMI Yoko)
The National Research Institute for Cultural Properties, Tokyo holds in-house research seminars. During these seminars, researchers of the Departments and Centers in the Institute present the results of their research projects along topics they themselves have established, and all the researchers in the Institute are given opportunities to freely discuss their thoughts.
The first In-house Research Seminar was held on Tuesday, June 5. Futagami Yoko of the Japan Center for International Cooperation in Conservation presented her project entitled “Construction of GIS Database of Cultural Properties and Earthquake Hazard Assessment” in which she discussed the importance of using GIS as disaster prevention measures for cultural properties.
The schedule for forthcoming seminars is as follows:
2nd Seminar July 10, 2007
“Study of Sotan”
(WATADA Minoru, Department of Research Programming)
3rd Seminar Oct. 2, 2007
“Development of New X-ray Detectors for Cultural Properties”(tentative title)
(INUZAKA Masahide, Center for Conservation Science and Restoration Techniques)
4th Seminar Dec. 4, 2007
“Shelters for Buddha Images Carved on Rock Surfaces”(tentative title)
(MORII Masayuki, Center for Conservation Science and Restoration Techniques)
5th Seminar Jan. 8, 2008
“A Study on the Iconography of Buddhist Art”(tentative title)
(KATSUKI Gen’ichiro, Department of Research Programming)
6th Seminar Feb. 12, 2008
“Ningyo Joruri Bunraku”(tentative title)
(KAMAKURA Keiko, Department of Intangible Cultural Heritage)
7th Seminar Mar. 4, 2008
TBA
(MIURA Sadatoshi, Deputy Director General)
(Dates and contents are subject to change)
Standing Figure of a Bodhisattva, private collection
As a part of the Cross-Disciplinary Study of Art Materials and Techniques, a research project being undertaken by the Department of Research Programming, a hollow dry lacquer Figure of a Standing Bodhisattva (private collection in Tokyo) was investigated on Thursday, June 21. In hollow dry lacquer technique used for a Buddha statue, a clay mold is first made. Then hemp cloth is pasted to the surface of the mold after which the clay is removed from the mold to make a hollow. Finally an over-layering of lacquer stiffened with plant fibers is applied to the surface of the hemp cloth. As is already known, the manufacture of Buddha statues using this technique was popular in Japan during the Tempyo period (8th century), but there are very few existing examples today. In such a circumstance, this Bodhisattva figure is an example whose existence was not known until recently Although there are traces of gold foil applied with lacquer on its surface, which is thought to have been done after the figure was made, and traces of repair on damaged parts, the condition of its preservation is comparatively good. It is also to be noted that the figure has been transmitted in an almost complete form. From the expression of the precious chignon and the form of the face, it appears that the figure was manufactured either at the end of the 8th century or the beginning of the 9th century. However, as is the case with the investigation of hollow dry lacquer figures, it is true that a visual observation of the surface does not provide enough information as to how many layers of hemp cloth had been applied or to what degree restoration and later additions had been made. We hope to conduct X-ray photography of this figure, with the permission of the owner, in order to study the materials and techniques used so that we may better understand it.
Fuzokuzu, better known as Hikone Byobu since it was transmitted in the Ii family of Hikone, is rich with its composition that provides a narrative sense and the minute descriptions found in the figures and furnitures depicted. However, not much is known about the artist or the background for its creation. In addition, several interpretations have been made as to the fact that, the six pieces that constitute the folding screen have been passed down separately even though it is called a byobu (folding screen). As this screen will be restored over a period of 2 years from fiscal year 2006 as a project subsidized by the Agency for Cultural Affairs and Shiga prefecture, an investigation of the screen was conducted by the Hikone Castle Museum and the Institute. High-resolution digital images, infrared and photo-luminescence images were taken, and X-ray fluorescence analysis was made. Presently, we are editing the report on the results of our investigation that is scheduled to be published on the occasion of the opening of the exhibition “The National Treasure The Hikone Screen and the Refined Beauty of Koto Ware,” which will be held at the Hikone Castle Museum from September 28 to October 26. High-resolution images will be exhibited and a symposium will be held during this exhibition. In addition, the processes of restoration and points that have been elucidated through our investigation will be made public along with the restored screen.
A photograph taken during a field trip to China by Yashiro Yukio and his team in 1940. It is clear that at that time there was an advertisement for Jintan on a gate in Beijing.
Yashiro Yukio (right) and Odaka Sennosuke in the early days of The Institute for Art Research. On advice from Yashiro, Odaka pursued the study of East Asian art and made field studies throughout Asia in the 1930s. (from Naki Sennosuke wo Shinobu)
A meeting of The Japan Art History Society was held for three days, from May 25 to 27, at the Kyushu University, Kyushu National Museum and Chikushi Jogakuen University. On the first day I presented a paper entitled “An Aspect of Modernism in Asia as Seen from the Trademark for Jintan.”
The name Jintan in the title, of course, is a trade name; it is a product that is still being sold on market (Originally, it was sold as a portable medicine for all purpose and from the 1920 as a breath care product. It is now sold as a non-medical product.) From the time of its first sale in 1905, the image of a the name Jintan on the breast of a gentleman with a beard in full regalia has been known throughout the nation by means of advertisement on newspapers and billboards as a trademark for this product. Moreover, from the very beginning there was an attempt to expand its market not just domestically but also to mainland China, which shares the same kanji culture. As a result, but the end of the Second World War the company had branches throughout Asia and were engaged in advertising activities in different districts that were no less active than in Japan. Thus, in my presentation I explained, through the visual image presented by the advertisement for Jintan, how the company tried to present its product and how, on the other hand, people of Asia viewed this product. By selecting this topic as an aspect, I discussed the issues related to the study of art history and administration associated with fine arts from the 1910s to the 1930s from the point of view of “modernism in Asia.”
In my presentation, I placed focus on the study of Asian art that Yashiro Yukio (the director of The Institute of Art Research, the forerunner of this Institute, in its early years), Odaka Sennosuke (1901-33; a researcher in the Institute) and others conceived and the investigations that they conducted in different areas. The reason for doing so was that since one can already find a Jintan advertisement in the photographs taken by these researchers I thought that it is possible to verify, in the overlap of pre-War economic activities and studies on the humanities, the concept of “Asia” that the Japanese had at that time. For this presentation, I consulted the 75th Year of the History of the National Research Institute for Cultural Properties, Tokyo (tentative title), which will be published during this fiscal year, and the collection of research on Odaka Sennosuke, who is now being re-evaluated as a researcher of Asian Buddhist art. From this point, my presentation was not merely a presentation of a private study but also a report on one of the present circumstances concerning this Institute’s research on “art history.”
Exhibition of screens restored
Panel exhibitions showing the process of restoration
The National Research Institute for Cultural Properties, Tokyo is engaged in the cooperation of the conservation of Japanese art objects that are in the collection of art galleries and museums overseas and in conducting joint research concerning conservation of such objects with their respective institutions. On April 20, 5 paintings and 1 craftwork whose restoration was complete at the end of March 2006 were introduced to the Administrative Committee of the Cooperative Program for the Conservation of Japanese Art Objects Overseas. In addition, a special exhibition was held from May 15 to 27 at the Thematic Exhibition Room on the first floor of Heiseikan of the Tokyo National Museum so that this project may be more widely known. These objects are: Struggles of Genji and Heike Clans (a pair of folding screens; Osterreichisches Museum für Angewandte Kunst, Austria), Screens Illustrating Views of Kyoto and its Environs (a pair of folding screens; Royal Ontario Museum, Canada), Scenes from the Hogen Monogatari Tales (a folding screen; Naprstk Museum, Czech Republic), Meikocho (a folding screen; National Gallery in Prague, Czech Republic), Female Ghost (by Utagawa Toyoharu, a hanging scroll; ibid) and Makie Decoration Cabinet with Landscape and Human (Museo National de Artes Decorativas, Spain).
In fiscal year 2007, 5 paintings (4 new ones and 1 whose restoration will be continued from last year) and 4 craftworks (2 new ones and 2 which will be continued from last year) are being restored in Japan. These are: Kyoto Festivals (Hie Sanno Screen, a pair of folding screens; Museum of Fine Arts, Houston, USA), A Shinto Painting of Yuima (a hanging scroll; Kimbell Art Museum, USA), The Buddha and the Sixteen Protectors (a hanging scroll; National Gallery of Australia), Birds and Flowers (by Hagetsu Tosatsu, a pair of folding screens; National Gallery of Victoria, Australia), and The Descent of the Amitābha Trinity (Amida mit Seishi und Kannon, a painting on canvas; Museum Rietberg, Switzerland; second year of restoration), Large Box for Writing Implements (hakubako) (Ferenc Hopp Museum of East Asian Art, Hungary), Cabinet with Mounting, European influenced shape（Osterreichisches Museum für Angewandte Kunst, Austria), The Writing Desk with Flower Design with Nagasaki raden technique (National Museum in Krakow, Poland; second year of restoration), and The Cabinet with Drawer for Inro with Chinese landscape by Nagasaki raden technique (Museo D’Arte Giappone “Edoardo Chiosonne,” Italy; second year of restoration). In addition 2 craftworks are being restored at the overseas restoration studio at Museum für Ostasiatische Kunst in Cologne, Germany. These are: Mondlaute Japanese (Gekkin, (Museum für Vökerkunde Wien, Austria) and Ornamental Coffer with Flower and Bird Design, makie and raden technique（Museum für Ostasiatische Kunst, Germany）
Microfilm Explorer
The Institute has a collection of a great number of periodicals related to fine arts and has published and made available to the public an inventory of these periodicals. From April information concerning the Institute’s collection of periodicals in Japanese has been added to the information retrieval system and is available on the web site. One of the characteristics of the Institute’s collection is that it includes many periodicals related to fine arts that were published from the Meiji to the early years of the Showa periods. These periodicals are also valuable in that they provide historical information, such as that related to paper and printing techniques employed, of different periods. As is the case with many cultural properties, these periodicals must be conserved but must also be utilized. In order to conserve these periodicals, the Institute is making microfilms and CD-ROMs of these periodicals, taking into consideration the extent of deterioration, frequency of their use and other factors. With regard their utilization the public can access these microfilms and CD-ROMs while the originals are treated as valuable documents to be used only upon special request.
In time with the publicizing of the information in the Institute’s collection on the website, a Microfilm Explorer has been installed in the reading room. This equipment enables one to read microfilms on a computer and to make printouts
Leaflet for “Kuroda Memorial Hall:
The Works of Kuroda Seiki I”
In April 2007 the National Research Institute for Cultural Properties and the National Museum, both Independent Administrative Institutions, were integrated to form the Independent Administrative Institution, National Institutes for Cultural Heritage. On this occasion, works by Kuroda Seiki in the collection of the Kuroda Memorial Hall were exhibited in the Thematic Exhibition Room on the first floor of Heiseikan, Tokyo National Museum (April 10 to May 6) . Fourteen oil paintings and 8 sketches dating from the time Kuroda was studying in France to his later years were exhibited, including a representative and the most widely known Lakeside (nationally designated Important Cultural Property). These works introduce the essence of the art of Kuroda Seiki who revolutionized the mid-Meiji period world of western-style paintings in Japan through a new form of visual expression based on an awareness of plein air and color and supported by liberal philosophies.
Since the exhibition “The Mind of Leonardo – The Universal Genius at Work” was being held at the Museum during the same period, there was a record number of visitors, many of whom were able to appreciate the works of Kuroda as well. In that sense, this was a very good opportunity to make the works of Kuroda known to the public. Works by Kuroda will continue to be exhibited at the Kuroda Memorial Hall as before on Thursdays and Saturdays. The public will also be able to view the results of research on the artist and his works. The second of the series of exhibitions on the works of Kuroda is scheduled to be held at the Tokyo National Museum from November 6 to December 2.
