Tokyo National Research Institute for Cultural Properties - Publications
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Research Report on Transmission of the Azuma School Nigenkin, a Two-Stringed Zither
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祭り・民俗芸能の一時的な担い手を対象化する ─東京都三宅村の祭り・民俗芸能を事例として─
Full text linkWhile today's practitioners of festive events and performers of folk performing arts have become diverse, bearers of intangible folk cultural properties, including festive events and folk performing arts, are still viewed as fixed entities. The issue is in connecting the diversification of these bearers to cultural property protection measures. In this paper, I focus on the process of responding to disasters and population decline in relation to festive events and folk performing arts on Miyakejima Island, which experienced an island-wide evacuation for about four and a half years, and investigate the difference in the roles between bearers who are primary residents and temporary bearers. Based on the result of this survey, I examine the relationship between the bearers of intangible folk cultural properties and protection measures thereof.
Many festive events and folk performing arts have traditionally been passed down in Miyakejima (including the rituals of Misako Shrine, the rituals of Omisako Shrine, the annual festival of Toga Shrine, the lion dance of Hatsuuma, and the Kamikuchi Gozu Tenno Festival). Some have been discontinued, but for those that continue to be held today, such as the lion dance of Hatsuuma and the Kamikuchi Gozu Tenno Festival, core organizations such as preservation societies and youth groups play an essential role with the cooperation of indirect supporters such as temporary residents and others. Although most festive events and performing arts were suspended during the evacuation following the 2000 eruption, the islanders were able to resume their traditions by choosing to seek support not only from the government but also from the networks they built during their time of evacuation.
It is clear that bearers of festive events and folk performing arts are not limited to core organizations but can also include loose networks of individuals. However, these networks are often not necessarily regarded as providers of protection and support in cultural property protection measures. In the future, it will be necessary to develop a protection approach that includes these "indirect bearers." The flexible and autonomous capabilities of those who hold tangible and intangible cultural properties should be respected, and cultural property protection measures should shift away from documentation-centered measures.departmental bulletin pape
Technical Cooperation Project for the Conservation and Sustainable Development of Ta Nei Temple, Angkor - Progress Report of 2022 and 2023 -
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ブータンの伝統的石造民家保存のための建築調査 2023 年秋調査概報
Full text link本書は、2023 年10 月28 日から11 月4 日にかけて東京文化財研究所文化遺産国際協力センターとブータン内務省文化国語振興局建築遺産考古課（ Heritage Sites and Archaeology Division, Department of Culture and Dzongkha Development, Ministry of Home Affairs）が共同で実施したブータンの伝統的石造民家保存に向けた建築的・文化的価値の評価に関する調査について、暫定的な成果として日本側の見解をまとめたものである。boo
［特集］能登半島地震と無形文化遺産
Full text linkThe Noto Peninsula Earthquake of January 1, 2024 caused significant damage to both tangible and intangible cultural heritage. Although projects to rescue them are underway, it has become evident that rescuing intangible cultural heritage is quite challenging. One reason is that the physical damage to intangible cultural heritage is less apparent than the damage to tangible cultural heritage. Another reason is that conducting on-site surveys is difficult because the communities that hold elements of intangible cultural heritage are still facing post-disaster difficulties. Therefore, we collected newspaper articles to survey the impact of the Noto Peninsula Earthquake on intangible cultural heritage. Following the introduction in Chapter 1, this paper provides an overview of the rescue project for cultural heritage and the damage to intangible cultural heritage in the Noto Peninsula Earthquake in Chapter 2. Chapter 3 describes the methodology and overview of the newspaper survey. The results of the analysis of the impact of the Noto Peninsula Earthquake on intangible cultural heritage are presented with a focus on traditional performing arts in Chapter 4, traditional techniques in Chapter 5, and folk performing arts and festivals and events in Chapter 6. Finally, the challenges and prospects for safeguarding intangible cultural heritage in the aftermath of the Noto Peninsula Earthquake are discussed in Chapter 7.departmental bulletin pape
楽器を中心とした文化財保存技術の調査報告８
Full text linkThe Department of Intangible Cultural Heritage recognizes the manufacture of musical instruments and techniques for their repair, the manufacture of tools necessary for the production of these instruments and techniques for their repair, and the manufacture of materials for the above as important restoration techniques that support Japan’s traditional performing arts, and has been investigating these techniques since 2017. This report is a follow-up to the “Investigation Report on Techniques for Preserving Cultural Properties with a Focus on Musical Instruments 7,” detailing seven cases of investigation conducted from May to December 2024.
Under the Law for the Protection of Cultural Properties, Japan has a system for selecting preservation techniques and identifying the holders and holding groups of these techniques. However, the investigation focuses on holders and holding groups deemed significant irrespective of their selection or recognition status. For each musical instrument, the investigation is conducted based on the following seven items, in this order: 1. Name of the technique holder, 2. Date of birth of the holder, 3. Address or location of the investigation, 4. Date of the investigation, 5. Name of the investigator, 6. Overview of the holder, and 7. Observations made by the investigator.
Although COVID-19 has been reclassified from “new influenza and other infectious diseases” (category 2 equivalent) to “category 5 infectious diseases” as of 8 May 2023, the performance and teaching of traditional performing arts (classical performing arts, in particular) have yet to return to their pre-COVID-19 levels. In light of this situation, trends in cultural heritage conservation techniques that include production and repair techniques, which support the instruments essential to the traditional performing arts, continue to require close attention. It is in this context that the main investigation was conducted this year.departmental bulletin pape