Publication of Science for Conservation, Vol. 52

　“Science for Conservation” is the research bulletin of the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation of the National Research Institute for Cultural Properties, Tokyo. The latest edition, Vol. 52, was published on March 26, 2013. This edition features 4 papers and 22 reports on the latest findings from various projects by the Institute, such as research to conserve damaged cultural properties and results of studies of steps to combat biodegradation of the Kitora Tumulus. Starting with Vol. 1, every edition of Science for Conservation is available in PDF format on the Institute’s website (http://www.tobunken.go.jp/~ccr/pub/cosery_s/consery_s.html).

Conference on “Reducing Energy Use in Museums Considering Environments for Conservation of Cultural Properties” – LED lighting and reduced energy use

During the Conference (speech by FUJIWARA Takumi)

　Over the past few years, white LED technology has progressed dramatically. Improved color rendering and increased variation in color temperatures have reached the level where installing white LEDs as lighting for exhibitions can be considered. Such lighting requires color reproduction and creation of various lighting effects. That said, many museum staffs have expressed concerns about the effects of such lighting on materials, differences between objects viewed under that lighting and under conventional lighting, and whether power consumption can be reduced commensurate with the costs of installation. Given the need to share information on the development of white LEDs and the current state of exhibit lighting, a conference on reducing energy use in museums was held on Feb. 18, 2013.
　The Conference featured respective talks by two experts on development of LED technologies and two curators from art museums that installed white LEDs as exhibit lighting. One expert on the development of LED technologies, FUJIWARA Takumi, President of Light Meister Co., Ltd., discussed the basic principles of white LEDs and the latest technological trends. The other expert, MIYASHITA Takeshi of CCS Inc., talked about the development of new type of white LEDs, stimulated by violet LED, which emit light that is closer to natural light than that emitted by conventional white LEDs. MIYASHITA also talked about the installation of those LEDs in museums. The Yamaguchi Prefectural Art Museum installed white LEDs as exhibit lighting a while back. KAWANO Michitaka of the Art Museum described exhibits and staging that fully capitalized on the features of LED light sources, such as control of color temperatures. TAKANASHI Mitsumasa of the National Museum of Western Art described reduced energy use based on measurements. In addition, TAKANASHI described the characteristics of white LEDs from the perspective of someone who is constantly in contact with artworks, i.e. differences between oil paintings viewed under that lighting and under conventional lighting.
　Over the past few years, production of energy-inefficient incandescent bulbs has gradually diminished and halted as a step to combat global warming. In addition, the Minamata Convention on Mercury, which is expected to be adopted globally this October, is expected to dictate reduced production of products containing mercury after 2020. Continuing to use fluorescent lighting may no longer be limited. Installation of alternative lighting is inevitable for facilities handling cultural properties. Reflecting this fact, the Conference was attended by 130 individuals from around the country. The question-and-answer portion covered a range of topics, from issues concerning materials conservation such as elimination of ultraviolet radiation and temperature changes to issues concerning color temperatures and staging. In order to deal with issues raised during the Conference and to meet the needs of relevant personnel, we will continue to gather the latest information on organic electro-luminescence, the next generation of lighting to follow white LEDs, and we will continue to study and assess that lighting from the perspective of conservation. We will also convey the needs of museums and art museums to lighting developers and facilitate the use of these light sources as exhibit lighting.

Sixth study meeting held on traditional restoration materials and synthetic resins

A presentation during the study meeting

A general discussion during the study meeting

　On Thursday, January 24, the Center for Conservation Science and Restoration Techniques held a study meeting in a seminar room at the Research Institute on the theme of deterioration and repair of paint and other coloring materials in architectural cultural properties, one subject involved in traditional restoration materials. The content of this study meeting could be described as a continuation of the third study meeting held in FY2009, on current conditions and issues in study and repair of lacquers in architectural cultural properties, and the fifth in FY2011, on study and repair of traditional paints in architectural cultural properties. Historically, paint and other coloring materials such as those on the exteriors of architectural cultural properties have been subjected to repeated repair because they are liable to material degradation and bio-degradation in Japan’s climate.
　This study meeting provided the latest information on various issues related to these matters, from the individual perspectives of conservation and restoration science (paint and coloring materials and biology), structural repair sites, and administrative guidance. First, KITANO Nobuhiko of the Technical Standard Section discussed deterioration of paint and coloring materials, and then KIGAWA Rika, head of the Biological Science Section, identified topics related mainly to insect damage at the Shrines and Temples of Nikko World Heritage Site and mold damage at Kirishima-Jingu shrine, as examples of biodegradation of materials including paints and coloring, as well as examples of responses to such damage. Next, SHIMADA Yutaka of the Cultural Properties Division in the Department of Guidance of the Kyoto Prefecture Board of Education reported on examples of repairs to the paint and coloring of Iwashimizu Hachimangu Shrine and to the paint of the Phoenix Hall of Byodoin Temple, and HARASHIMA Makoto of the technical office of Itsukushima Shrine reported on an example of repairs to the paint of the main building of Itsukushima Shrine. Lastly, TOYOKI Hiroyuki, Architecture and Other Structures Division, Agency for Cultural Affairs, described an overview of the fundamental concepts behind repairs to paint and coloring materials currently conducted by the Agency. The meeting was well received by participants, who showed high levels of interest in the content of its themes because they were directly related to repair of paint and coloring materials.

Report on the “36^th International Symposium on the Conservation and Restoration of Cultural Property Microbial Biodeterioration of Cultural Property: Recent Topics on the Investigation of and Countermeasures for Biodeterioration of Outdoor/Indoor Properties and Disaster-affected Objects”

Keynote speech by Dr. Piero TIANO from Italy

Poster presentations

　Growth of microbes causes substantial deterioration of cultural properties, regardless of whether they are outdoors or indoors. Memories of the Great East Japan Earthquake are still fresh. The effects of water damage can soon lead to microbial deterioration of cultural properties that have been damaged by a disaster like an earthquake or tsunami. Surveys to ascertain the extent of damage and countermeasures against that damage are crucial. Thus, the Center for Conservation Science and Restoration Techniques hosted a symposium on the Microbial Deterioration of Cultural Properties at Heiseikan of the Tokyo National Museum from December 5 (Wed.)–7 (Fri.), 2012. Different departments of the Institute take turns hosting a symposium each year, and this year’s symposium marked the 36^th International Symposium on the Conservation and Restoration of Cultural Properties.
　The opening day of the symposium featured two keynote speeches by foreign experts, followed by a session on the biodeterioration of disaster-damaged cultural properties. The second day of the symposium featured a session on the biodeterioration of stone monuments and wooden structures outdoors. The final day of the symposium featured sessions on techniques to ascertain biodeterioration of cultural properties indoors and environmental factors for deterioration. The 3 days of the symposium featured 15 lectures as well as 23 poster presentations by presenters from Japan and abroad. The symposium encouraged an active discussion among the 232 participants (421 participants in total). The symposium was attended by numerous foreign experts from countries such as Italy, France, Germany, Canada, China, and South Korea. Symposia on the specific topic of microbial deterioration of cultural properties are seldom seen, and many of the experts from Europe who attended did so at their own expense. The symposium was truly an international symposium, allowing a substantial exchange of information. Sincere thanks are extended to the presenters and participants who enthusiastically collaborated with the Center for Conservation Science and Restoration Techniques.

Workshops on the Conservation and Restoration of Japanese Lacquer Works in the framework of the Cooperative Program for the Conservation of Japanese Art Objects Overseas

Introduction to traditional Japanese lacquer materials and techniques (workshop I )

Practicum on pressing using a wooden box (workshop III）

　The Japan Center for International Cooperation in Conservation conducted workshops on the Conservation and Restoration of Japanese Lacquer Works at Museum of the East Asian Art, Cologne, Germany from November 2 to 16. The workshops were held as part of the Cooperative Program for the Conservation of Japanese Art Objects Overseas with cooperation of the museum.
　The workshops targeted students, researchers, curators, conservators, and restorers and were attended by a total of 19 people from 11 different countries including the U.S. and Australia as well as European countries such as Sweden, Portugal, and the Czech Republic.
　The lectures covered concepts of restoration, materials, damage, survey techniques, and case studies of restoration of lacquer works, while practica consisted of exercises related to various types of conservation and restoration techniques, such as facing, cleaning, consolidation, and pressing of urushi lacquered films. Both the lectures and the practica were very well-received.
　Based on an idea of Dr. Schlombs, the director of the Museum of the East Asian Art, the museum enhanced exchanges with workshop participants through a tour guided by Dr. Rosch, the vice director.
　Japanese lacquer works have been exported since the 16^th century and have been stored in museums, art museums and palaces all over the world. Workshops should help participants gain knowledge and learn techniques to keep these lacquer works safe and pass them down to future generations.

The 26^th Study Meeting on the Conservation of Modern Cultural Heritage, “Conservation and Restoration of Goryosha, Japanese Imperial Carriages”

A presentation with technical drawings

　“Goryosha,” Imperial carriages, refers to special railway cars and automobiles used by Japanese Emperors and other members of the Imperial family. Since railways were introduced in Japan in the Meiji Period, the imperial carriages have been created. The first Imperial carriage is considered to have great cultural and artistic value, therefore, it has been designated as an Important Cultural Property. However, information on the object was not readily available. Thus, the Center for Conservation Science and Restoration Techniques held a study meeting entitled “Conservation and Restoration of Goryosha, Japanese Imperial Carriages” in the Institute’s basement seminar hall on November 30, 2012.
　The imperial carriages are said to be “moving works of art and craft” or “distillations of the culture of the Meiji Period.” They were specifically made for the Imperial family to use by employing the latest technologies and techniques at that time, so their furnishings and other features are extraordinary and remarkable. The carriages currently on display are 6 at the Railway Museum and 2 at the Museum Meiji-Mura. However, visitors are only able to look at their furnishings and exquisite interior decoration details through glass. At the study meeting, firstly, a specialist of industrial heritage talked about the technical aspects of the Imperial carriages and the development of the railways in Japan. Secondly, curators of the 2 museums preserving and displaying the Imperial carriages presented the characteristic furnishings and interiors of the objects. They also revealed approaches to and difficulty with daily maintenance and the way to display. Then, 2 conservators who worked to restore the Imperial carriages on display at the Railway Museum talked about actual restoration work done on the objects. It was worthy of special mention that an expert of industrial cultural heritage from Taiwan reported the Imperial carriages that were produced and left in Taiwan under Japanese rule between 1895 and 1945.
　The study meeting focused on not only the technical viewpoint of conserving railway cars, but also their cultural value in terms of the history of art and craft. The meeting had over 53 attendees and ended with a lively question and answer session with the presenters.

17^th Local Workshop on Materials Conservation held

Photo caption: A lecture on Pests by Researcher SATO Yoshinori

　Through various seminars and workshops, the Center for Conservation Science and Restoration Techniques provides information on knowledge and skills to individuals working to conserve materials in museums, art museums, and archives. The Local Workshop on Materials Conservation is conducted once a year in a specific region. Scheduled for 1 day, this workshop is for conservation specialists in that region. This year, the workshop was held in conjunction with the Committee of Okayama Prefectural Museums at the Okayama Prefectural Museum of Art on October 16^th. The workshop had 56 attendees. Lectures were given by SANO Chie (Head of the Conservation Science Section), SATO Yoshinori (Researcher in the Biology Laboratory), and YOSHIDA Naoto (Senior researcher) from the Center, and these lectures covered topics such as General Theories on Conservation Conditions, Temperature and Humidity, Climate Control, Light and Illumination, and Pests. The workshop was well-received even by individuals who were unable to attend the 2-week Training for Museum and Art Museum Conservators conducted by the Center each year in Tokyo. The lectures tended to discuss topics such as recommended conservation conditions and facilities, but the question “What if we don’t have such a facility?” was often raised. Clearly, individual museums and art museums have their own unique conditions, so offering a single answer to that question is difficult. With this in mind, Center personnel will strive to enhance their usual research and formulate answers in response to different situations.

“The 36^th International Symposium on the Conservation and Restoration of Cultural Property: Biodegradation of cultural properties and steps to counter it: The latest topics related to studies of conditions indoors and outdoors and steps to combat biodegradation of damaged cultural properties”

Microbial Biodeterioration of Cultural Property

　Degradation by microorganisms significantly affects cultural properties, regardless of whether they are indoors or outdoors. In addition, cultural properties that have been damaged by an earthquake, tsunami, or other natural disaster are soon susceptible to biodegradation due to water damage. Surveys of the extent of damage and steps to combat it are vital. The National Research Institute for Cultural Properties, Tokyo will hold an International Symposium on the Conservation and Restoration of Cultural Property on Dec. 5 (Wed.)–7 (Fri.), 2012 in Heiseikan of the Tokyo National Museum. In addition to guest lectures, the symposium will feature 22 poster presentations on biodegradation of cultural properties and steps to counter it. The symposium provides a forum for active discussion and exchange of information by domestic and foreign researchers and individuals who work with cultural properties, so numerous attendees are expected, including individuals involved in the protection of cultural properties, researchers, and students interested in the area of cultural properties. Applications will be accepted until Oct. 20^th. For details, see http://www.tobunken.go.jp/~hozon/sympo2012/. Please direct inquiries to sympo2012@tobunken.go.jp.

Training for Museum Curators in Charge of Conservation

Practice identifying insect pests that damage cultural properties

　Training for Museum Curators in Charge of Conservation is intended to imbue curators with the knowledge and skills needed to conserve cultural properties. This year’s training was conducted over 2 weeks starting on July 9^th, and participants consisted of 30 curators and administrators from around the country. The training curriculum primarily consisted of lectures and practice in 2 areas: (1) conservation conditions grounded in the natural sciences and (2) causes of the degradation of different types of cultural properties and steps to prevent that degradation.
　“Case studies” that involved putting conservation conditions into effect in actual settings took place at the National Museum of Japanese History in Sakura city, Chiba prefecture. Participants divided into 8 groups and conducted field studies and assessments of set conditions such as temperature, humidity, and illuminance. The following day, they reported their results.
　Training participants are anticipated to constitute a local nexus for conservation of cultural properties as they continue their work in museums. Application guidelines are distributed to individual facilities via municipal boards of education every February or so, so we look forward to your application.

Follow-up Training for Conservators

Training underway

　Follow-up Training for Conservators is conducted annually to inform individuals who have completed the Training for Museum and Art Museum Conservators of the latest findings in conservation. With 80 participants in attendance, follow-up training of this year was held on July 25. As noted below, the first half of follow-up training covered efforts by the Committee to Rescue Cultural Properties Damaged by the Tohoku Earthquake and Tsunami (Cultural Property Rescue Program) thus far. The second half covered approaches to dealing with conservation conditions by Institute personnel.

・Efforts to rescue cultural properties thus far (Ken OKADA, Head of the Center for Conservation Science and Restoration Techniques)
・Severe damage to facilities handing cultural properties and systems to protect those properties by large-scale disasters (Masayuki MORI, Senior researcher)
・Conservation conditions in the film repository (Chie SANO, Head of the Conservation Science Section)
・Surveys of conservation conditions, consulting, and recommendations by the Institute (Naoto YOSHIDA, Senior researcher)

　Each year, at least 10% of all individuals who have completed the training for conservators attend to follow-up training. This reflects the Institute’s hopes for better approaches to conservation conditions. The Institute will continue its efforts to accurately ascertain conservation needs in order to meet its expectations.

Environmental Conditions for Conservation of Cultural Properties published

Conditions for Conservation of Cultural Properties, edited by the National Research Institute for Cultural Properties, Tokyo and published by Chuo Koron Bijutsu Publishing Company

　In accordance with the Ministerial Ordinance to Revise Some of the Regulations Enforcing the Museum Act that was promulgated on April 30, 2009, Theories of Conservation of Museum Materials (2 credits) has been included in university or junior college courses to train curators. The course covers conservation of materials and exhibition conditions and will be required for accreditation as of this year. The National Research Institute for Cultural Properties, Tokyo has authored and edited what should be the standard text for the class and published it via Chuo Koron Bijutsu Shuppan. The book provides a basic knowledge of and skills for conservation of cultural properties in facilities handing cultural properties and outdoors. Much of the book deals with information related to the natural sciences, such as temperature and humidity and climate control. The book’s content has been carefully examined and selected so that even students in the humanities can readily understand it without a loss in quality. Another advantage of the book is that it is practical, so it can assist curators who are already involved in conservation. As mentioned earlier, the fact that the course is required has further emphasized the important duty that facilities handing cultural properties have to conserve those items. Drafting this text has been both an imperative and a joy for those of us at the Institute who have long been involved in studying conservation conditions. Hopes are that this text will teach students and shape their efforts.

Publication of Science for Conservation, Vol. 51

　Science for Conservation is the research bulletin of the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation of the National Research Institute for Cultural Properties, Tokyo. The latest edition, Vol. 51, was published March 31, 2012. This edition features 7 papers and 20 reports on the study and restoration of various cultural properties by Institute personnel. Paper copies are distributed only to relevant organizations and persons, but PDF versions will be available on the Institute’s website (http://www.tobunken.go.jp/~hozon/pdf/51/MOKUZI51.html) , so feel free to have a look.

The 25^th Conference on Conservation and Restoration of Modern Cultural Heritage “Use of Oil-based Paints in Modern Architecture in Japan”

Presentation on a restoration project in The Museum, Meiji Mura

Presentation by a researcher from the chemistry section of the German Museum of Technology

　On February 10^th, the Center for Conservation Science and Restoration Techniques hosted a study meeting on “Use of Oil-based Paints in Modern Architecture in Japan” in the Institute’s basement seminar hall. Oil-based paints were used in modern buildings from Meiji to Showa period. In recent attempts to restore these buildings, a frequently encountered problem has been the difficulty of identifying materials in paints. Even if they are identified, the original paints are often hard to obtain, so other materials have to be employed to repaint. Under this situation, specialists from the Agency for Cultural Affairs, museums – from both curatorial and science sections –, and a private company, met to discuss how the modern buildings, i.e. current cultural properties, were painted at that time, how those paints can be identified, why oil-based paints are hard to obtain now, and the steps that can be taken to solve these problems. Presentations were made concerning techniques to identify materials in paint samples and the difficulties in oil-based paints includes the historical background that they became obsolete because of their slow drying property. The speakers were actively engaged by the audience of 45, making the study meeting a meaningful one.

Conference on “Reducing Energy Use in Museums Considering Environments for Conservation of Cultural Properties”

Conference in session

Opening remarks by Takashi ISHIZAKI

　In the summer of 2011, electricity users served by Tepco and Tohoku Electric Power were asked to reduce power use (from 9 AM to 8 PM) by 15% from peak levels in 2010. How would museums and art galleries that handle important cultural properties survive? And what problems would they face as a result? The Center for Conservation Science and Restoration Techniques held a conference to review temperature and humidity settings in the exhibition and storage spaces of museums and art galleriess with a supplemental focus on “Reducing Energy Use in Museums and Art Galleries” (the event took place on February 17 (Fri.), 2012 in the Institute’s basement seminar hall and had 66 attendees).
　A Survey on Measures Taken to Reduce Museums’ Power Consumption in the Summer of 2011 was conducted from December 2011 to January 2012 with the cooperation of curators who had completed training for museum curators in charge of conservation. Results of the survey were summarized by Chie SANO. In most museums or art galleries, curators seek to avoid changing environmental conditions in storage rooms. At institutions that change the temperature of their galleries, the visitors experience discomfort and their stay in the galleries tends to be short. In some instances, insects and mold infestation and , odors are increased, and metal objects are corroded. In addition, there are concerns about a lack of temperature and humidity control resulting from changes in environment control settings.
　Mr. Osamu FUKUNAGA of the National Art Center, Tokyo discusses views on temperature and humidity settings at art museums. Cultural properties vary widely, lending institutions have different views, and local climates, building structures and designs, and curating vary. These facts preclude the establishment of uninform criteria for exhibition conditions, but communication to reach an agreement on those conditions is crucial, as Mr. FUKUNAGA noted. Ms Mitsue NAGAYA reported on controlling conditions following closure of a special exhibition gallery to reduce daytime power consumption in the summer of 2011. Ms NAGAYA presented examples of items that were kept in good condition through nighttime climate control.
　Takeshi ISHIZAKI reported on current trends and approaches overseas with regard to temperature and humidity settings to conserve cultural properties. ISHIZAKI cited reports of experiments on the extent of deformation in mock specimens intended to ascertain the effect of changes in humidity on the components of cultural properties. ISHIZAKI also indicated the extent of brief fluctuations in a well-controlled environment and he provided examples of research into an approach that allows some fluctuations in accordance with seasonal changes (temperatures are adjusted but humidity is constant).
　Last, Mr. Takashi MATSUO of the Shimizu Institute of Technology described the latest energy-saving technologies used in office buildings. Mr. MATSUO new techniques being tested in relatively large areas to efficiently use energy, such as utilizing shade and reducing peak energy use in conjunction with neighboring areas.
　New methods of controlling temperature and humidity by allowing temperature adjustments at a constant humidity or allowing greater fluctuations must be carefully assessed to determine if they truly have no effect on cultural properties, and assessments must be repeated, discussed, and understood by all relevant personnel. The Conference on “Reducing Energy Use in Museums Considering Environments for Conservation of Cultural Properties” provided a valuable opportunity to see the steps in risk management: new information on risk assessment is now available, and risk communication, or how that information is evaluated and shared among stakeholders, is becoming evident.

Study of biological deterioration in traditionally painted areas [of Kirishima Shrine]

Mold growing on areas painted oyster shell white

An on-site exposure test with a fungicide

　As part of a commissioned study on Development of Techniques to Prevent Color Paint Peeling at Kirishima Shrine and Work to Implement Those Techniques, the Center for Conservation Science and Restoration Techniques has studied biological deterioration of traditionally painted areas of Kirishima Shrine. Traditional painting techniques used organic substances such as animal glue and are usually susceptible to biological deterioration by microbes like mold. If mold grows, it can seriously mar a building’s appearance. Moreover, mold degrades the proteins in animal glue that serve as a binder, causing pigments to separate from the painted surface. Metabolites also cause pigments to discolor and dissolve. As a result, the physical deterioration of painted areas accelerates.
　Kirishima Shrine has suffered damage, i.e. extensive growth of mold, in areas that were painted traditionally with oyster shell white paint or ochre paint including walls of breezeways, the covered stone stairway, and the worship hall. This year, a microbiological study was conducted to identify the mold responsible and ascertain the impact of that mold on painted areas. Temperature and humidity changes on-site were also monitored and an exposure test with fungicides was also conducted to help devise optimal control measures.
　Environmental measurements revealed that the Shrine’s air temperature is lower than the air temperature of level ground and the Shrine has a relatively high relative humidity of about 70% as an annual average. The Shrine was found to have an environment conducive to the growth of indigenous microbes. During the on-site exposure test with fungicides, several agents were found to have fungicidal action, but some of the fungicides chemically reacted with the white paint and could lead to deterioration. One hundred and thirty-three fungal strains have been isolated from damaged areas. These strains were grouped based on colony morphology and analyzed phylogenetically and physiologically. Results indicated that 3 groups had highly prevalent fungal strains (i.e. they had the most strains isolated). These groups are presumed to play a major role in microbial deterioration of traditionally painted areas of Kirishima Shrine. Plans are to perform a more detailed analysis of the isolated strains and continue exploring measures to prevent and control microbial deterioration of areas with traditional oyster shell white paint and ochre paint in conjunction with exposure test results.

16^th Local Workshop on Materials Conservation held in Kumamoto

Workshop in progress

　The 16^th Local Workshop on Materials Conservation was held on Nov. 16^th and 17^th at the Contemporary Art Museum, Kumamoto The workshop had 68 attendees.
　The workshop seeks to send Institute personnel into local communities to teach basic knowledge about materials conservation to curators and administrators of cultural heritage. Seminars are conducted on topics such as general theory, temperature and humidity, lighting, climate control, and pest control. In addition, this session of the workshop was the first to feature a lecture on materials conservation in a “contemporary art museum.” Contemporary art museums are often designed based on concepts unlike those used in facilities dealing with works prior to the modern era. That said, contemporary art museums sometimes handle classical works, including national treasures , so persons in charge of cultural properties need to be aware of the characteristics of their individual facilities in order to safely conserve and exhibit those pieces. Such persons also need to handle those pieces appropriately. In addition, such persons are aware that the time has come for them to seriously consider the conservation of contemporary artworks with potential historical and artistic value. The fact is that we as curators are lacking in experience with and study of both works of contemporary art and the facilities curating them. Thus, the Institute hopes to actively ascertain the needs of current curators and highlight those issues.

Optical study of the Western Kings on Horseback screens

Study of the work through X-ray fluorescence analysis in the Suntory Museum of Art

　The Department of Art Research, Archives, and Information Systems and the Center for Conservation Science and Restoration Techniques performed optical studies of the Western Kings on Horseback screens (an Important Cultural Property) in the Suntory Museum of Art in 2010–2011. The Western Kings on Horseback screens are known to be masterpieces of early Western-style painting during the Momoyama Period. Together with the Western Kings on Horseback screens in the Kobe City Museum (an Important Cultural Property, currently with 4 panels in each), the screens constitute a pair of four-panel screens depicting 4 rulers on horseback and are said to have originally been wall paintings in Aizuwakamatsu Castle (Tsuruga Castle). However, numerous uncertainties remain regarding events leading to the production of these screens. The optical studies performed took high-resolution color images, infrared images, fluorescent images, and X-ray images of the screens. Depictions and colors were studied in detail and colorants were identified through X-ray fluorescence analysis. Results indicated that the colorants used in both works were primarily pigments used in Japanese-style paintings, but results did reveal that the gold leaf used in the background differed. Some of the study results were noted on a plaque in the exhibit hall of the Suntory Museum of Art during its special exhibition (October 26–December 4, 2011) entitled “Light and Shadows in Namban Art: The Mystery of the Western Kings on Horseback.”

5^th Conference on Traditional Restoration Materials and Synthetic Resins: Study and Repair of Traditional Paints Used in Architectural Cultural Properties

Observation of paint samples

　The Technical Standards Section of the Center for Conservation Science and Restoration Techniques held a conference entitled the Study and Repair of Traditional Paints Used in Architectural Cultural Properties in the Institute’s basement seminar hall on September 29^th (Thurs.). This conference reprised the theme of Study and Repair of Lacquers Used in Architectural Cultural Properties from the 4^th Conference that was held last year. Lacquers are exceptional traditional paints that symbolize Japan and are also restoration materials. The common perception is that paints used in architectural cultural properties that are being restored include only lacquers or pigments+glue. In actuality, however, research has revealed that various other materials, such as drying oils, pine resin, and persimmon tannin, have been used in paint in accordance with the period and conditions. The 5^th Conference examined a third type of paint that was neither a lacquer nor a glue. At the conference, I. KITANO began by raising several questions. Dr. Shigeru KUBODERA of the Institute for the History of Architectural Ornamentation Techniques then proceeded to talk primarily about the “Paint known as ‘chian [from Chian turpentine]’ and techniques for its application.” Next, Mr. Noritake SATO of the Nikko Cultural Assets Association for the Preservation of Shrines and Temples lectured on the status of paints other than lacquers used on the temples and shrines of Nikko from the viewpoint of a restorer. Last, Dr. Takayuki Honda of Meiji University explained the science of paint, with a focus on drying oils, and he also reported results of organic analysis of the paints actually used on the temples and shrines of Nikko. The lecturers’ talks were persuasive since they presented issues from the experts’ points of view, and attendees were also given the chance to observe paint samples and boards from the temples and shrines of Nikko brought by Mr. Sato.

Training Course for Museum Curators in Charge of Conservation

The case study in progress

　Training Course for Museum Curators in Charge of Conservation was conducted from July 11 to 22 (27 participants), marking the 28^th session of that course. Lectures and practics were conducted by instructors from the National Research Institute for Cultural Properties, Tokyo and other facilities to provide curators with knowledge and skill regarding conservation environment at facilities handling cultural properties and prevention of the degradation of different types of materials primarily from a scientific perspective. In addition, Yachiyo Folk History Museum provided a “case study” of a study of conservation conditions on-site. Participants divided into groups to examine set topics and announced their findings. An active discussion took place and questions were asked and answered.
　The training session in question featured an agenda that included a lecture on preparations for serious disasters and practica and demonstrations regarding emergency measures to preserve water-damaged photos and paper materials. Unfortunately, none of the attendees were from the Tohoku region, which had been heavily damaged by the recent Tohoku Earthquake and Tsunami, but participants from around the country were reminded of the affected region and the fact that they themselves could be victims of such a disaster. Seeing participants closely follow and observe lectures and practica so that they could prepare for a major disaster as might occur in the future was quite moving.

Follow-up training for Curators Responsible for Conservation

Lecture underway

　On June 27, a follow-up training course was conducted for individuals who had completed training for conservators. The course sought to instruct participants in the latest findings with regard to onservation environment. Under the subheading the Nature of Future Measures to Avoid Biodeterioration, the session included the following 3 lectures:
– Efforts in the event of biodeterioration (Sano Chie, Head, Conservation Science Section )
– Certification, from the Japan Institute of Insect Damage to Cultural Properties, for agents used in conservation (Miura Sadatoshi, Visiting Researcher, Director, Japan Institute of Insect Damage to Cultural Properties)
– The process of combatting biodeterioration via travelling exhibitions (Kigawa Rika, Head, Biological Science Section)
　In light of the reality of the vast damage to cultural properties done by the tsunami that accompanied the Tohoku earthquake, Ms. Kigawa gave a lecture on the subject of Initial Efforts to Rescue Cultural Properties. Participants were then given a demonstration of the “Squelch Drying technique,” which was one of the initial efforts used to preserve water-damaged paper materials.
The training session had 88 participants. Attendees represented close to 15% of the individuals who had completed training for conservators over the last 30 years or so. The Center was pleased to see such good attendance, and this turnout impressed upon us at the Center the need to continue improving ourselves by offering even better sessions in the future.