| ■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 |
|
Practical training session on the preparation of materials used for restoration at No. 1205 temple
Workshops and investigations on the conservation of mural paintings in the brick-made monument
From June 14 to 23, we conducted workshops on the conservation and restoration of mural paintings that have been conducted since last year, and carried out investigations on the environment inside the No. 1205 temple of the Bagan Monuments and damage conditions of its roof, as well as emergency restoration of collapsed parts of mural paintings. Workshops were held for three officials specialized in the conservation of mural paintings from the Bagan and Mandalay branches of the Department of Archeology and National Museum (DoA) of Myanmar’s Ministry of Culture. While inspecting past restoration cases involving mural paintings of Bagan temples, we debated such topics as causes of damages to mural paintings and the countermeasures. After that, the trainees had a practical training session at the No. 1205 temple to learn methods of keeping investigation records for an actual restoration of mural paintings, ways of preparing materials used for restoration, and other issues. Meanwhile, as a measure to address contamination and damages caused by beasts, birds, and insects, a problem pointed out in the investigation in fiscal 2014, we provided instructions on how to use termiterepellent and installation of the entrance door to the temple, and introduced the repellent in the temple together with the staff from the DoA. The trainees said that they would like to make use of what they learned in the workshops for other restoration projects, so the future utilization of the techniques can be expected.
Training session at Bagaya Monastery
The Fourth Session of Training on the Conservation of Wooden Buildings
We conducted the fourth session of training on the conservation of wooden buildings at the Bagaya Monastery in Innwa, and the Mandalay branch of Myanmar’s Department of Archeology and National Museum (DoA) from June 30 to July 11. Ten officials from the DoA and one graduate of Technological University (Mandalay) as an observer participated in the session. Following investigations of damaged parts on the floor framing and exterior walls as well as replaced materials, we also implemented exercises to keep a comprehensive observation record for railings surrounding the inner sanctum including carvings on them. While investigations by a group of several people have been conducted in the past training sessions, we gradually increased individual activities in the latest session, and each of the trainees made the final presentation at the end of the session. Their investigation reports were at a fairly high-level, indicating that the trainees are steadily acquiring the results of the training.
Practice with a Japanese calligraphic work during basic course
Making a folding screen during advanced course
This workshop is held annually as a part of our project to expand the understanding of tangible and intangible cultural properties, e.g. paintings and traditional mounting techniques, respectively. This year, it was held at the Asian Art Museum, National Museums in Berlin, with basic course, “Japanese Artworks on paper and silk” from July 8 to 10 and with advanced course, “Restoration of Japanese Folding Screen”, July 13 to 17.
In basic course, lectures and practical sessions were conducted on creation, preservation and utilization of Japanese art works on paper and silk for 20 participants. The lectures covered the topics of materials such as paper, pigments and adhesives, the protection system of cultural properties in Japan, as well as mounting culture. Based on the lectures, participants practice creating artworks and handling of hanging scrolls.
In advanced course, it was conducted for 10 participants on the practice of creating a folding screen, with related lectures and demonstration of its emergency treatment, regarding the traditional mounting techniques. During the course, each participants created a folding screen from underlying paper on wooden lattice core until applying of a painting, learning of its structure, functions of parts, tools and mounting techniques.
Restorers, museum curators and students from across Europe, Asia and Oceania participated in this workshop and discussed on various topics through the course. The conservators from the world pay attentions to the conservation of Japanese art works. The workshop will be conducted to contribute toward the preservation of Japanese cultural properties overseas for as many conservators as possible.
Silk thread for strings of traditional Japanese instrument
Cypress bark roof
Gathering the ramie plant
The Japan Center for International Cooperation in Conservation conducts surveys on the Selected Conservation Techniques and disseminates information about them to overseas as traditional techniques preserving and supporting Japanese cultural properties. In July 2015, we conducted surveys on the production of Silk thread for strings of traditional Japanese instrument, Cypress bark roof and Ramies in Showa Village.
Shamisen and koto are traditional Japanese musical instruments, and indispensable for presenting Japanese traditional performing art such as Bunraku and Kabuki. Strings made of synthetic fibers are also used nowadays, however those made of silk are said to have the best tone. It goes without saying that such strings support the play and sounds of the instruments. With the help of Association for Silk Thread for Strings of Traditional Japanese Musical Instruments, Kinomoto, in Shiga Prefecture, we conducted a survey on the process of zaguri (spinning silkworm cocoons into a thread). In recent years, the domestic sericultural industry has been declining, so the handing down of traditional techniques to later generations is becoming an important issue.
The cypress bark gathered from a standing tree has been traditionally used for roofing, and the technique has been used to build traditional temples and shrines. As such roof needs to be reroofed periodically, it is important to ensure good quality materials and to hand the technique down to later generations. Following a survey on the gathering of cypress bark conducted in October last year, we conducted a survey on the roofing at the Shotendo hall of Hozan-ji temple in Ikoma, Nara Prefecture, with the help of Tomoi Shaji Inc., a company belonging to Association for the Preservation of National Temple and Shrine Roof Construction Techniques, Inc..
Ojiya-chijimi and Echigo-jofu are textiles designated as the Important Intangible Cultural Properties under the Japanese law. These textiles are made from the ramie plant cultivated and processed in the village of Showa, Onuma District, Fukushima Prefecture. With the cooperation of Showa Village Association for Conservation of Karamushi Production Techniques and its members, we investigated the respective processes of gathering more than two-meter-high ramie plants, peeling the skin off, and extracting the fiber. Similar to other traditional craft industries, those engaged in the ramie production and processing have started to age, so training and developing successors and handing the technique down to later generations are becoming pressing issues.
The results of the survey will be compiled in a report and we plan to make a calendar for overseas users.
Photographing from a high altitude by remote shutter operation using a digital camera’s Wifi function and iPad.
Data processing using open-sourced software programs
Among the monuments of Angkor, many of which have been restored by various methods thanks to international cooperation, Ta Nei temple has never undergone full-scale restoration in the past and quietly remains unchanged as it was in a dense forest. In order to ensure an adequate conservation of the monument while also paying attention to the aspect of utilizing it for tourism without undermining its value, the National Research Institute for Cultural Properties, Tokyo, continues to provide technical assistance to APSARA (Authority for the Protection and Management of Angkor and the Region of Siem Reap) to draft a plan for the conservation and management project.
As for the three-dimensional photographic measurement at the remains using SfM (Structure from Motion), which began last year, we have been testing it to establish a method to keep records of the remains’ current conditions, which can be implemented by local staff members as cheap and easy as possible. In this mission conducted from May 27 to June 2, we photographed the remains in the inner side of the inside gallery and implemented the total station measurement of orientation points together with staff from APSARA. Next, we created a three-dimensional model of the ruin covering the inner side of the inside gallery by processing the obtained data using open-sourced software programs (Visual_SfM、SfM georef、Meshlab). While we are currently examining the accuracy of the model, if the method is established, it is expected to be applied not only to other monuments of Angkor but also to ones in other developing countries as a recording method that does not require special equipment or budgets.
Meanwhile, the outline and progress situation of the project were reported at the 24th technical session of the International Coordinating Committee for the Safeguarding and Development of the Historic Site of Angkor held on June 4 and 5 at the APSARA headquarters office. The collection of basic data including those necessary to create the model of the entire site will be completed within this fiscal year.
Physical property test
As part of the Japan International Cooperation Agency’s (JICA)’ Project for cooperation with the Conservation Centre of the Grand Egyptian Museum (GEM-CC), a training course on “Japanese Paper for Conservation Treatment (Fourth term)” was conducted for two staff members who are in charge of organic conservation of paper such as papyrus in the GEM-CC from the 8th to 17th June.
This training course is the last one of a series of four that we have held to apply the traditional Japanese conservation technique called “SOKO” to the conservation of papyrus. Trainees learned the outlines of Japanese conservation of cultural property as well as the basic SOKO technique such as lining in the NRICPT and conservation ateliers in Kyoto for eight weeks. In addition, we gave lectures and held practice sessions on methods of dyeing Japanese paper with natural dyes, as per requested. Having such a keen interest displayed through their diligent asking of questions and discussions with instructors indicated that they had learned much from the training.
They learned a method for constructing various physical property tests such as “Determination of tensile properties” and “Determination of stiffness” by using papyrus samples in this session. They also developed an understanding of data collecting and sorting, and how to analyze it.
This project seeks to foster and enhance cooperation among staff of the GEM-CC so that what is taught in training courses can spread and raise the standard as a whole. This is achieved by having trainees describe and teach what they have experienced and learned to their colleagues. They will design an action plan to apply the knowledge obtained to actual daily work after the roll out.
The outer appearance of the Phya-sa-shwe-gu temple
Investigation of the inner side of a structural crack by using an endoscope
Excavation survey to investigate a foundation structure
This project is intended to contribute to enhancing the conservation management system of historical buildingscomprising Myanmar’s Bagan monuments, and provides technical assistance aiming for updating the monument inventory and establishing a method to assess the conservation state of structures. At the same time, the project is also aiming for contributing to the human resources development for the Department of Archeology and National Museum (DoA) of Myanmar’s Ministry of Culture, which is in charge of the conservation and management of the monuments. We have been working on the two-year project since 2014.
Commissioned by UNESCO, the National Research Institute for Cultural Properties, Tokyo, has been taking part in the project, mainly the assessment of conservation states of architectural structures. So far, we have been putting our efforts into drawing up a rapid condition assessment sheet to effectively understand in a short time the overall conservation states of all buildings in Bagan built during the Bagan Dynasty period. As a next step, we started a study on methodology for an in-depth condition assessment of structural problems that are detected by a rapid assessment. Even among the monuments in Bagan, individual historical architectures differ significantly not only in their scales and structures, but also in locations and damage conditions. Thus, it is difficult to standardize the process of the in-depth condition assessment as we did for the rapid condition assessment, while it is considered possible to develop a certain pattern for detecting basic problems and creating a work flow. So, we decided to select the Phya-sa-shwe-gu temple (No. 1249) as it is an architecture with a typical scale and structure that has not undergone a full-scale restoration so far, and conduct a pilot case study for an in-depth condition assessment at the temple.
In a field study from June 11 to 19, we conducted detailed recording of crack distribution, non-destructive tests using a Schmidt hammer and an ultrasonic gauging device, a study on the inside of walls using micro drilling and an endoscope, and an excavation surveyto investigate the foundation structure together with an Italian expert in structural engineering, Myanmar engineers and staff members of DoA. On the last day, we discussed about an indoor strength test on brick samples taken from the temple at a research institution in Yangon.
The temple building’s structural degradation has been significantly progressing, and the outer wall of the back of the corridor is in a particularly dangerous condition. Through analysis of information and data obtained in the latest survey, we will examine the cause and mechanism of damage and continue the study aiming for presenting an appropriate diagnosis flow.
Production of onigawara roof ornament
Hand-spun ramie yarn in Miyako Island
Production of Ryukyu indigo
Bud picking of kozo plant that is used to produce Udagami handmade paper
The Japan Center for International Cooperation in Conservation conducts surveys on Selected Conservation Techniques to present their information overseas as traditional techniques to protect and support Japanese cultural properties. In June 2015, we conducted surveys on Roof ornaments, Hand-spun ramie yarn in Miyako Island, Ryukyu indigo and Udagami handmade paper.
For the tiling roof of temples and shrines, several types of tiles and ornaments are used, and it is necessary to hand down the traditional advanced skills and the techniques that can be used depending on the purpose to later generations. With the cooperation of Yamamoto Kawara Kougyou Ltd. in Ikoma District, Nara Prefecture, we surveyed the production processes of onigawara roof ornaments and other products.
In Miyako Island, there is a traditional technique to extract the fibers of ramie and hand-spin them to make ramie yarn. While it is an important technique for preserving and transferring Okinawa’s textile techniques including Miyako-Jofu designated as the Important Intangible Cultural Properties under the Japanese law, the ageing of skilled workers and training of their successors are becoming an urgent task.
Ryukyu indigo, which is also used for Miyako-Jofu textiles, is a dyestuff using a different type of indigo used in the main island of Japan, and the main production area of the material is currently limited to the Izumi area of Motobu town on the main island of Okinawa, indicating how valuable such materials are.
We also conducted a survey on the production process of traditional handmade Japanese paper using home-grown kozo plants (paper mulberry) at Fukunishi Washi Honpo in Yoshino District, Nara Prefecture. The Udagami paper of Yoshino is used mainly as the backing paper of hanging scrolls. It internationally receives high evaluation in the conservation and restoration of cultural properties such as calligraphies and paintings, and is widely used for such purposes. We will compile the results of the surveys in a report and produce a calendar for overseas.
A lecture underway
A post-conference workshop
From April 8 to 10, 2015, a conference entitled “Adapt & Evolve: East Asian Materials and Techniques in Western Conservation” took place mainly at the Brunei Gallery at the University of London. The conference was organized by the Book and Paper Group of the Institute of Conservation (colloquially known as ICON) in the UK.
The conference consisted of tours of relevant institutions in the City of London, group events (presentations and question-and-answer panels), and various workshops. MASUDA Katsuhiko (an emeritus researcher at the Institute, currently a professor at Showa Women’s University), HAYAKAWA Noriko (a senior researcher at the Institute), and KATO Masato (a head of the Resource and Systems Research Section at the Institute) reported on the results of projects such as international training in Conservation of Japanese Paper (JPC) and the Cooperative Program for the Conservation of Japanese Art Objects Overseas as well as studies of the materials used to restore cultural properties. In addition, post-conference workshops were conducted after the conference. HAYAKAWA Noriko and KUSONOKI Kyoko (an associate fellow of the Institute) explained the traditional adhesives used in the field of conservation in Japan, and showed how to make starch paste and they instructed attendees in its application.
According to the conference organizer, the conference was attended by about 300 people from around the world. During the question-and-answer session, the conference chair asked the audience about the JPC, and the answer revealed that 30 or more individuals who had completed the training were in attendance. Individuals who had completed other workshops organized by the Institute were also in attendance. Thus, the Institute plays a major role in introducing East Asian materials and techniques to Western conservation. In addition, many of the attendees asked that the Institute continue to provide information about conservation.
Making ornamental metalwork
Weaving gold brocade
Making a loom shuttle
The Japan Center for International Cooperation in Conservation has conducted surveys of Selected Conservation Techniques. The Center interviews the technique holders, asking about topics such as their work process, the circumstances of their work, and how societal conditions are affecting them. SHIRONO Seiji (an artificer in the Department of Art Research, Archives, and Information Systems) photographed them at work, their tools, and other items. In April 2015, surveys on the making of ornamental metalwork., gold brocade, and loom shuttles were conducted in Kyoto.
MORIMOTO Yasunosuke IV, the fourth-generation director of Morimoto Traditional Ornament Metalwork Co., Ltd., showed how to make ornamental metalwork and ritual decorations for temple and shrine buildings. Making ornamental metalwork involves a series of steps from shaping copper sheets to engraving a design, gold plating, and then finishing the metalwork. These processes were observed during this survey.
At Hironobu Textiles Co., Ltd., which makes traditional textiles (such as gold brocade) for mounting, HIROSE Kenji discussed the current state of Nishijin textiles, and he showed how to make gold brocade by weaving gold thread into the weft of a fabric. A tool that is essential to weaving fabric is a loom shuttle, which is a wooden tool that is passed through a loom to weave the weft of a fabric. HASEGAWA Junichi makes loom shuttles. HASEGAWA explained the various types and uses of loom shuttles and he showed how he makes shuttles.
Cultural properties need to be preserved, but the materials and techniques used to make those cultural properties also need to be preserved. The results of these surveys will be compiled in a report. In addition, plans are to create a calendar for overseas countries in order to publicize Japanese cultural properties and the materials and techniques used to create and preserve those properties.
Photographing mural paintings unearthed at the Penjikent site
Piecing together mural painting fragments unearthed at the Khulbuk site
From March 3 to 8, unearthed mural painting fragments were researched, pieced back together, and photographed at the Tajikistan National Museum, the Khulbuk Museum, and the National Museum of Antiquities of Tajikistan.
Four mural paintings (dated to the 7–8th centuries) that were unearthed at the site of the medieval fortified town of Penjikent in Sogdiana are being stored and exhibited at the National Museum of Antiquities of Tajikistan. These are a valuable scholarly resource given the limited number of similar paintings. The painting techniques and the state of their conservation were researched and the paintings were photographed in detail in order to better understand their value in terms of art history and the state of their conservation.
Fragments of mural paintings (dated around the 10–11th centuries) were unearthed at the Khulbuk site in the early 1980s. Since then, those fragments were simply stored in the Khulbuk Museum without any effort to piece them back together. During the research, these fragments were pieced back together and photographed. The mural painting fragments had been piled up in a wooden box for storage, so work began by transferring individual fragments to a plastic container and assigning each fragment a reference number. Fragments in each container were photographed and the condition of each fragment was recorded to provide basic information for use in conservation work.
Fragments of mural paintings (dated around the 8th century) from the Kala-i Kakhkakha 1 site are being stored and exhibited at the National Museum of Antiquities of Tajikistan. The current condition of them was recorded, and the fragments were visually inspected in detail.
The results of this study should effectively facilitate future conservation of mural painting fragments in the Republic of Tajikistan.
Practice conserving simulated mural painting fragments
As part of the “Networking Core Centers for International Cooperation in the Conservation of Cultural Heritage Project” commissioned by the Agency for Cultural Affairs, 2 mural painting conservators from the Department of Archaeology and National Museum (DoA) of the Ministry of Culture of Myanmar were invited to train in Japan from March 9 to 13, 2015. The training consisted of lectures on conservation of mural paintings and practice conserving those items, a visit to a restoration studio, and viewing of temple murals. The training further educated the Myanmarese conservators about conservation of wall paintings in Japan.
During the first half of the training, the conservators received lectures on aspects of Japanese murals (decorated kofun [ancient Japanese tombs], mural paintings in kofun, mural paintings on plaster found in temples, panel paintings, etc.) such as their history and the materials and techniques used to make them along with examples of their conservation. The conservators also received lectures on the materials and techniques used to conserve kofun mural paintings, and they practiced conserving simulated mural painting fragments. The trainees were highly interested in learning about materials and techniques, and they actively asked questions. In addition, trainees visited a restoration studio that restores Japanese works such as paintings and books. Trainees observed actual restoration work and they talked about basic policies regarding conservation in Myanmar and Japan. During the latter half of the training, trainees visited Kyoto and Nara and they viewed surviving murals in Houkai-ji, Horyu-ji, and Yakushi-ji. Trainees discussed the conservation of mural paintings with Japanese representatives as they closely observed mural paintings that were described in the lectures. The hope is to continue cooperation in the future so that the information taught during training will benefit projects to conserve mural paintings in Myanmar.
A survey at the National Gallery of Victoria
Japanese artworks in collections overseas play an important role in introducing foreigners to Japanese culture. However, there are few conservators of Japanese works overseas, so numerous works are not ready for exhibition, and those works are not properly conserved. The Institute conducts the Cooperative Program for the Conservation of Japanese Art Objects Overseas so that these Japanese artworks can be conserved and exhibited. The program facilitates cooperation in conservation of works overseas and it conducts workshops in an effort to conserve and restore such works. The current survey examined Japanese paintings in Australia in order to identify works for future conservation by the cooperative program.
From March 16 to 19, Institute researchers visited the National Gallery of Victoria and the National Gallery of Australia. The National Gallery of Victoria in Melbourne is Australia’s oldest art museum while the National Gallery of Australia in Canberra boasts the country’s largest collection of art. During the survey, the detailed state of hanging scrolls, a hand scroll, and folding screens (8 works in total) were examined and the works were also studied from the perspective of art history. The works will be assessed in terms of art history and works in need of urgent conservation will be identified based on the results of the survey, and works will be selected for conservation under the cooperative program. In addition, information gleaned from the survey will be provided to the curating institution in order to formulate future plans to exhibit and conserve the works.
2015 Calendar: Preserving Cultural Properties: Traditional Techniques from Japan
The Japan Center for International Cooperation in Conservation is studying Selected Conservation Techniques that must be preserved in order to preserve cultural properties. The center conducts interview surveys with the technique holders and the individuals from selected organizations, asking about their work process, the situation surrounding their work and their social environment and takes photographic records of them at work and their tools. Two versions of a 2015 calendar (a wall hanging version and a desktop version) for overseas were produced to inform the public of these efforts and provide information. The calendar is entitled Traditional Japanese Technique to Conserve Cultural Properties and it covers production of Japanese paper, production of sukisu bamboo screens for papermaking, plastering, dyeing with natural Japanese indigo, gathering Japanese cypress bark, Tatara smelting, and production of brushes for makie from among topics studied in 2014. All of the photographs were taken by SHIRONO Seiji of the Institute’s Department of Art Research, Archives, and Information Systems. These visually stunning images capture an instant highlighting the aspects of traditional materials and techniques, and explanations of each photograph are provided in English and Japanese. The calendar will be distributed to foreign agencies and organizations dealing with cultural properties to promote of understanding of Japanese techniques to conserve cultural properties and Japanese culture.
Manggha Museum of Japanese Art and Technology, Krakow (Poland)
During a survey of works in the collection
Numerous Japanese artworks can be found in European and American collections overseas. However, there are few conservators of these artworks overseas, and many of these works cannot be shown to the public since they have not been properly conserved. Thus, the Institute conducts the Cooperative Program for the Conservation of Japanese Art Objects Overseas in order to properly conserve and exhibit these works. Works in the Manggha Museum of Japanese Art and Technology were surveyed because of the museum’s fervent desire and need for help with conservation.
Located in Krakow (Poland), the Manggha Museum of Japanese Art and Technology is home to a number of the Japanese artworks found in Eastern Europe. The Kyoto-Krakow Foundation was founded by individuals such as the film and theatre director Andrzej WAJDA. The Manggha Museum of Japanese Art and Technology was established in 1994 with help from the foundation and private contributions and assistance from the governments of Japan and Poland. The museum’s collection centers on works collected by the art collector Feliks ‘Manggha’ JASIENSKI (1861–1929), and the collection includes a host of Japanese paintings such as ukiyo-e (woodblock) prints as well as pottery, lacquerware, and textiles.
A survey of paintings in the collection was conducted in 2 phases of January 13–23, 2015 and February 3–6, 2015. The first phase surveyed 84 paintings. Seven of these works were selected based on their value in terms of art history and their urgent need for conservation. The second phase examined these 7 works in detail in order to determine the time needed to conserve them and appropriate methods of conserving them.
Plans are to formulate a plan for conservation of the identified works and to conserve them under the Cooperative Program for the Conservation of Japanese Art Objects Overseas in the future. The information gleaned from the survey will be shared with curators and conservators at the museum so that these works can be conserved and exhibited.
Panel discussion at the seminar
As part of a project financed by a grant for operational expenses entitled Cooperation for the Conservation of Cultural Heritage in Southeast Asia, the Institute held a seminar on Wooden Buildings in Myanmar in its seminar hall on February 13.
Starting in 2013, the Institute has conducted studies and provided trainings on the conservation of cultural properties in Myanmar. Such efforts include the Networking Core Centers for International Cooperation on Conservation of Cultural Heritage project to safeguard the cultural heritage of Myanmar commissioned by the Agency of Cultural Affairs of the Japanese government. As a field of the cooperation is,the Institute has implemented a training program in survey techniques for the conservation of historic wooden buildings. There still is, however, a dearth of study accumulation, whether domestic or foreign, on wooden buildings in Myanmar themselves, and these buildings have yet to be fully understood.
Raymond Myo Myint Sein, a former professor at the Department of Architecture of the Rangoon Institute of Technology, is a pioneer in research on wooden buildings in Myanmar and Zar ChiMin, an associate professor at the Department of Architecture of Technological University (Mandalay), is a spirited young researcher. At the seminar, these two invited speakers and Japanese representatives gave presentations sharing the results of previous research on traditional wooden buildings in Myanmar. Then, discussion was made on the cultural significance of those buildings to Myanmar people and topics for the future research.
A report on the seminar featuring articles from the presenters and the details of the panel discussion waspublished, as well.
During an interview with the Director of the Sarawak Museum and other museum representatives (Malaysia)
Patan Durbar Square (Nepal)
The Japan Consortium for International Cooperation in Cultural Heritage conducted several surveys in partnering countries Malaysia and Nepal in February. The surveys had 3 goals: to gather information about the current state regarding issues with safeguarding of cultural heritage, to ascertain needs related to those efforts, and to explore the possibility for international cooperation.
In Malaysia, Consortium research members met with the Director of the Department of National Heritage from the Ministry of Tourism and Culture and other representatives. The meeting provided general information about the system for safeguarding cultural heritage at a national level. Afterwards, they toured through the historic cities of Melaka and George Town (World Heritage Sites) and the archeological site in the Bujang Valley of Kedah and examined the state of preservation of those sites. They also visited Kuching on the island of Borneo, where ethnic minorities continue to preserve their traditions. Consortium gathered informationabout the system and efforts to safeguard the area’s tangible and intangible cultural heritage, which differs from thoses in Malay Peninsula.
In Nepal, Consortium research members observed the UNESCO Japanese funds-in-trust project initialized to preserve cultural heritage in Lumbini (World Heritage site) and the management of the conservation of traditional buildings in the Katmandu Valley. They viewed intangible cultural heritage in forms of the Hindu festival of Maha Shivaratri and Gyalpo Lhosar (celebration of Tibetan New Year), and interviewed locals. In addition, Consortium visited the UNESCO Office in Kathmandu, the Ministry of Culture, Tourism, and Civil Aviation, the Department of Archaeology and the Kathmandu Valley Preservation Trust to gatherinformation.
A discussion of the safeguarding cultural heritage with representatives from ICHHTO
A mosque in Isfahan where tiles have been replaced over a period of 17 years
From January 7 to 23, the Japan Center for International Cooperation in Conservation (JCICC) conducted a field survey on the safeguarding of cultural heritage in Iran. The survey included 9 World Heritage sites in Iran. The survey was conducted in order to determine the current state in which Iranian cultural heritage is safeguarded and to explore the possibility of future international cooperation in this regard.
As of 2015, Iran is a cultural colossus with 17 World Heritage sites. A tour of cultural heritage sites such as Persepolis and Naqsh-e Jahan Square in Isfahan was conducted in cooperation with Iran’s Cultural Heritage Handicrafts and Tourism Organization (ICHHTO). JCICC personnel were able to hear directly from site managers about site preservation and restoration efforts and current issues regarding the safeguarding of cultural heritage.
In Tehran, JCICC personnel talked with Dr. M. TALEBIAN, the vice president of ICHHTO. JCICC personnel described projects by the Institute and they discussed the nature of future efforts to safeguard cultural heritage with Dr. TALEBIAN based on their inspection of cultural properties at different sites in Iran. In addition, JCICC personnel visited Iran’s Research Institute for Cultural Heritage and Tourism (RICHT), a leading research institute in Iran. JCICC personnel toured the RICHT and discussed cultural heritage with RICHT personnel.
Through the UNESCO Japanese Funds-in-Trust, Japan has previously provided support for restoration of the Chogha Zanbil ziggurat and the Arg-e Bam site that were ravaged by an earthquake in 2003. Thus, Iran has already engaged in cultural exchanges with Japan. The hope is that such efforts will foster greater cooperation between Japan and Iran and allow joint studies and conservation efforts with Iran in the future.
An explanation on using dry rubbings to document marks left by woodworking
The third session of training in conservation of wooden structures
From January 13 to 23, a training session was conducted at the Bagaya Monastery in Innwa and at the Mandalay branch of Myanmar’s Department of Archaeology and National Museum (DoA). Major topics of the training were survey methods to trace the history of modifications in building structures from the period of initial construction and applied building techniques. Trainees were 10 personnel from the DoA, an associate professor from the Technological University (Mandalay), and a graduate of the university as an observer. Some trainees used CAD images when they presented the results of surveys conducted in groups. Trainees appeared to be quite adept at sketching plans in comparison to when they started the training. Such evidence of trainees taking the initiative and the effectiveness of continued training is truly a joy to behold.
Work underway at pagoda No.1205
A survey of and training in the conservation of mural painting at brick temple ruins
From January 19 to 26, emergency steps were taken to preserve collapsing portions of mural painting at pagoda No. 1205 and conditions indoors and the state of damage to the pagoda’s roof were surveyed. These efforts began last year. The survey of the roof corroborated the assumption that damage was due to rain leakage and termite nests. Plans are to explore effective countermeasures to deal with these problems in cooperation with personnel from the DoA. In addition, training on surveying and documenting restoration of mural painting was conducted at the Bagan Archeological Museum. Trainees were 5 experts in mural painting restoration from the Bagan and Mandalay branches of the DoA. Surveying and documentation are seldom done during restoration efforts in Myanmar, so this training should teach attendees about basic surveying and documentation techniques and impress upon them the importance of those steps.
