Tokyo National Research Institute for Cultural Properties - Publications
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旧機那サフラン酒製造本舗土蔵 鏝絵の保存修復に関する研究
Full text link独立行政法人国立文化財機構 東京文化財研究所 文化遺産国際協力センター技術支援研究室 令和6 (2024)年度 スタッコ装飾及び塑像に関する研究成果報告書boo
World Heritage Seminar, FY 2024: The soft edges of world heritage: Buffer zone and wider setting
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東京藝術大学未来創造継承センター大学史史料室（旧制東京美術学校部門）所蔵「中村勝馬関係資料」から見た工芸技術保護の実態Ⅱ―統制関連団体の実態―
Full text linkThe Department of Intangible Cultural Heritage of the National Research Institute for Cultural Properties, Tokyo, in cooperation with the University Archives, the Center of Creative Inheritance for the Future, Tokyo University of the Arts, began a project in 2023 to research materials related to Nakamura Katsuma, a holder of Important Intangible Cultural Property, Yūzen. The research, focusing on materials from 1942 to 1954, intends to clarify the actual state of intangible cultural property protection, the contributions made by Nakamura, and the significance of the materials in question.
This paper examines documents related to control associations in Japan during World War II and discusses the actual state of craft technique protection. Our examination focused the following two areas in particular: (1) the roles played the Dainihon Kōgeikai (greater Japan craft association), the Nihonbijutsu oyobi Kōgei Tōsei Kyōkai (control association for Japanese art and craft; an association formed by reorganizing the Dainihon Kōgeikai), and the Sangyō Kōgei Konwakai (industrial craft conference), all of which were instrumental in controlling craft techniques during the war and (2) the changes in hand-painted yūzen-related organizations in Tokyo and their relationship to the state’s control.
The Nakamura Katsuma documents related to the three organizations mentioned above reveal the actual operations of the Dainippon Kōgeikai and the Nihonbijutsu oyobi Kōgei Tōsei Kyōkai, both of which were state associations with branches. Through these branches, individual craft technicians were certified as Marugei (wartime Japan’s qualification for art preservation) or Marugi (craft preservation). Moreover, raw materials were distributed, sales were controlled, production quantities were allocated and registered, shōshi revenue stamps were issued, daily necessity craftworks were improved and standardized, and outstanding daily necessity craftworks were selected.
On the other hand, it has been known that at the Tokyo branch, hand-painted yūzen-related organizations submitted a petition through the Tokyo Shukō Senshoku Kogyō Kumiai (Tokyo handicraft dyeing industry association) to request an exception from the Regulations on Restrictions on the Manufacture and Sale of Luxury Items, a state regulation enacted in July 1940. Additionally, the first Marugi application was filed through the Tokyo Senkōgei Kumiai (Tokyo dyeing industry association), a voluntary association that preceded and was eventually integrated into the Tokyo Shukō Senshoku Kogyō Kumiai. However, about half of certified individuals at that time were non-technician representatives of producers of craft requiring preservation, key figures from related organizations, and individuals with entrepreneurial and management expertise. Our study reveals that in this historical context, as the president of the Tokyo Senkōgei Kumiai — a professional association of craft technicians — Nakamura Katsuma was committed to ensuring that support was extended to them. This reaffirms that the postwar system for protecting intangible cultural properties in Japan has changed significantly from the wartime situation, as only technicians capable of embodying the techniques are eligible for certification today.departmental bulletin pape
The Coorperative Program for the Conservation of Japanese Art Objects Overseas: Kumano Mandara: No. 2020-2
Full text linkモントリオール美術館（カナダ）所蔵 The Montreal Museum of Fine Arts, Canada絹本着色 掛軸装 1幅 Color on silk, a hanging scroll令和2年度修復事業 2020 Japanese Fiscal Yearboo
無形文化遺産の保護に関する第19回政府間委員会会合の概要と今後の展望
Full text linkThe nineteenth session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage was held in Asunción, Paraguay, from 2 to 6 December 2024.
At this session, all nominations were either inscribed, selected, or approved, including one file which was recommended to be referred back to the State Party by the Evaluation Body. This year, for the first time, new nomination forms were used for the evaluation, which resulted in a positive recommendation from the Evaluation Body due to the simplified and more understandable instructions on the form, especially for criterion R.2. Among these files, 20 files are recommended for inclusion in the Representative List or the List in Need of Urgent Safeguarding through the Dialogue Process.
Art of crafting and playing rubab/rabab, nominated by Afghanistan, Iran, Tajikistan, Uzbekistan, was inscribed on the Representative List. However, the recent situation in Afghanistan is far from respecting gender equality, diversity or the safeguarding of cultural heritage, it should be challenging to evaluate the nomination based solely on the information provided in the nomination file. Cultural practices and expressions linked to Balafon and Kolintang in Mali, Burkina Faso, Côte d’Ivoire and Indonesia, nominated as an extension basis including the State Party of Indonesia, was inscribed on the Representative List. The attached video and nomination file mainly explain the Indonesian Kolintang, and the similarity to the Balafon practice is unclear. The simplified nomination process is beneficial to States Parties in terms of ease of preparation of the files as well as the fact that the files are treated as outside the annual evaluation ceiling, but on the other hand, the simplified system makes it difficult to properly evaluate the files based on the information provided.
The results of the Global Reflection bring positive results in the evaluation of the nomination files. As mentioned above, there are still problems with the new evaluation system, but Committee members do not have to struggle to achieve positive results in the plenary, and the discussion is aimed at better implementation of the Convention. In this context, there are still some unexploited means by which Japan can disseminate information on the protection of intangible cultural heritage. It is the role of Japanese experts to contribute to the transmission of worldwide practices that might disappear if no action is taken, by sharing their experience on how to recognize, safeguard, and transmit intangible cultural heritage to future generations.departmental bulletin pape
民俗芸能のネットワーク化をめぐる現状と課題
Full text linkThis article is a revised version of a paper presented at the International Masked Arts and Culture Organization (IMACO) conference held in November 2024 in Andong, South Korea. The COVID-19 pandemic caused an increasing number of folk performing arts to be suspended or discontinued in Japan. One way to safeguard folk performing arts in such a situation is to establish a network. This article takes a step-by-step look at the current state of networking in folk performing arts to clarify the challenges involved.
First, the smallest network is the network within a local community. Here, we can see examples of how networks of folk performing arts groups can contribute to communication within the local community. Particularly after a large-scale disaster, folk performing arts groups have functioned as networks within their local communities to maintain social cohesion.
The second stage is the network between preservation groups of folk performing arts. For example, reconstruction councils established by folk performing arts groups after a large-scale disaster have functioned as support centers. Even before that, networks of performing arts associations and group liaison councils have been established to prevent the decline of folk performing arts. In recent years, networks have also emerged from movements to hold events and designate cultural properties.
The third stage is the nationwide network. Some networks were created following a nomination to the UNESCO Intangible Cultural Heritage list. These include the National Federation for the Preservation and Promotion of Folk Performing Arts Furyu and the National Council for the Succession and Promotion of Kagura. Networks bringing together similar folk performing arts have been effective in sharing information on a nationwide scale and in preserving, passing on, and utilizing the arts. However, as the Japanese government has a policy of nominating only nationally designated elements to UNESCO, the current issue is that very few performing arts groups may even participate in the nomination. Other nationwide networks include the Japan Folk Performing Arts Association and the National Federation of Cities, Towns, and Villages for the Preservation and Promotion of Folk Performing Arts, which do not focus on any one specific folk performing art. Both are valuable nationwide organizations, but the current situation is that they do not necessarily have a large membership.
Establishing a nationwide network requires information on where and what types of folk performing arts exist across the country. However, there is no system in Japan to comprehensively assess the current state of folk performing arts, nor is there a database that provides an overview of the necessary information. In light of this situation, the Tokyo National Research Institute for Cultural Properties has been working on developing just such a database. The work requires the collaboration of cultural property administrations, but no such fully functioning intergovernmental network exists at present.
Finally, there is no sufficient international network yet in Japan. Such a network is needed when conducting international joint research or making a multinational nomination to the UNESCO Intangible Cultural Heritage list. However, stakeholders involved in folk performing arts in Japan are practically interested only in domestic matters and rarely in international networks. Therefore, a future challenge lies in creating an international network.departmental bulletin pape