Tokyo National Research Institute for Cultural Properties - Publications
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An Analysis of Daily Reports of the Great Hanshin-Awaji Earthquake and a Comparison of Cultural Heritage Rescue Activities at Three Disasters Based on Daily Reports
Get PDFIn order to overview rescue activities for cultural properties at the Great Hanshin-Awaji Earthquake, the Great East Japan Earthquake, and the Kumamoto Earthquake, a quantitative analysis based on daily reports description was done. The three disasters were compared, using the attributes of participants, the types of cultural properties damage situations, and the contents of activities as parameters. By applying factor analysis, one of multivariate analysis methods, frequently appeared 19 patterns for rescue activities were extracted. Moreover, chronological shifts in rescue activities and characteristic features were identified based on factor scores.
As a result, it became clear that the patterns of rescue activities resemble between the three disasters, and they are fundamentally included in the patterns of rescue activities at the Great East Japan Earthquake. However, each rescue activity has its own characteristics. Therefore, continuous data archiving for future rescue activities would be necessary.journal articl
【Series】 Forum on Intangible Cultural Heritage and COVID-19 Report on First Forum: “Traditional Performing Arts amid COVID-19 Pandemic”
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Intangible Cultural Heritage in Khokana : Festivals and Annual Events in Kathmandu Valley, Nepal
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How Modern Korean Painters Pursued Asian Painting through Art Studies Abroad, Focusing on Modern Polychrome Painters
Get PDFAs art education ideas developed in the modern era, traditional Korean painters experienced change both internally and through their interactions with the outside world. In terms of the latter, Korean painters' experiences in the world shifted from simple tourism to study abroad. This phenomenon became all the more noticeable when the holding of the Joseon Art Exhibition officially confirmed the transition to Asian painting forms. All the more Korean painters traveled to Japan for study, and painting styles were directly handed on through student-teacher connections, with both trends greatly impacting the restructuring of Korean traditional painting.
Around 1920 Korean students entered renowned small-scale private painting schools known as gajuku, including the Denshindo gajuku. This article focuses on the Denshindo gajuku and Yeongil Lee, a major modern era polychrome painter, as it considers his study in Japan and his role in Korean polychrome painting. Working from Changwhan Kim's research on Japanese paintings in Takinogawa on the outskirts of Tokyo, this article traces Kim's path from his training period to his return to Korea, where he worked as the country's first newspaper illustrator.
Korean painters could learn about Japanese paintings at both gajuku and at other art schools and art institutions in Japan. This study also noted that major polychrome painters such as Hanbok Lee, a government-sponsored student at the Tokyo Art School, Eunho Kim and Wuseok Choi all studied abroad, experimented with their painting styles immediately after their overseas study and made diverse thematic changes through the use of new materials.
In addition, this article examines how the characteristics and cases of study abroad expanded after the 1930s in terms of both the number of students involved and their study destinations. During this period, an increasing number of Korean students traveled to Japan for study in art or in other disciplines, and this meant that art institutions with lower admission standards opened, further enhancing the study environment in Japan. In line with trends exhibited by their Japanese contemporaries, Korean painters such as Geunbae Choi studied both Japanese and Western painting, as they pursued multiple study experiences in diverse settings including gajuku. As the second generation of Korean students began their studies in Japan, Eunho Kim's experiences led him to have his students complete a certain period of study in Korea followed by study in Japan. This era also saw study destinations spread outside Tokyo and study periods lengthen. Maljo Jeong, who graduated from the Kyoto Municipal Painting School and settled in Kyoto, is a good example of this trend.
As part of its efforts to further explicate trends of modern era Korean polychrome painters, this article introduces a color-printed pictorial which includes some Joseon Art Exhibition works whose originals have been lost and have only previously been known in black and white illustrations.journal articl
The Painting Style of the Kasugamiya Mandala in the Seikadô Bunko Museum of Art
Get PDFAmong the several extant Kamakura period and later Kasugamiya Mandala, the example today in the Seikadô Bunko Museum of Art is particularly large. Unlike typical examples of Kasugamiya mandala, which are characterized by their detailed depiction of the various Ten Kasuga Shrines deities and their Honji-Butsu equivalents, along with sacred deer seen at the peak of Mt. Mikasa in a separate section at the top of painting, the major characteristic of Kasugamiya Mandala can be seen in the combination of elements from other mandala types, such as the Honjibutsu Mandala, Honjaku Mandala and Shika Mandala, which has the Kasugamiya Mandala serve as a sort of compendium of Kasuga worship. This format of one large hanging scroll of a single width of silk is rare, with only one comparable example known in the MOA Museum of Art version. Both of these works have essentially the same measurements and the same iconography, and thus it is highly likely they are both based on the same model. These two works have shared distinctive motifs, and thus can be seen as having a special production background among extant examples of Kasugamiya Mandala.
The distinctive iconography is related to Kôfukuji, a Buddhist temple which normally influenced the Kasuga Shrine, namely the presence of two buildings, the Dangiya and the Issaikyô-zô. In addition to their appearance in the MOA version, these two buildings are only seen in the Nezu version (ICP), and hence are extremely rare. Further the creation of a section at the top for the depiction of the gods and Buddhas itself is rare, and the Seikadô Bunko and MOA versions are also the only example of the attachment of tanzaku-shaped cartouches giving the names of the Suijaku-shin deities and shrine buildings. This type of characteristic can be seen on the Hie Sannô Mandara in the Nara National Museum, and thus we can sense a shared worship format between the two. Rather than being used for actual worship, the Nara National Museum version would have been used in rituals performed to conjure the deities and Buddhas in worship of the Hie deity. It is highly likely that the Seikadô Bunko version would have also been used for such rituals. The Nara National Museum version was likely made as a substitute for the emperor making a pilgrimage to the shrine, as can be surmised by the colophons inscribed on the backs of other versions.
However the painter of the Seikadô Bunko version insisted on clear color usage. This feature and similarities seen in his tree and figure depiction suggests that the painter was part of the Takashina Takakane studio, active in the late Kamakura period. The slight changes in Takakane's style thus indicate it is a superb example of late medieval period Shinto painting. Further because this work was created by a court painter, it is highly likely that the commissioner or recipient of the work was from either the court or the small circle of aristocracy. Judging from its commissioner, the Seikadô Bunko version can be seen as having the same quality as the Nara National Museum Hie Sannô Mandara. Thus while the Seikadô Bunko version is thought to have been used in the same type of rituals that would have centered on temple families, etc., various questions remain, such as whether or not this was related to the Kôfukuji Dangiya and what was the occasion for the creation of such an unusual Kasugamiya Mandala.journal articl
Effect of Washing Procedure for Emission Test Using Sampling Bags
Get PDFEmission test using sampling bags is widely performed in various fields. In museums, the emission test is used for investigation of emission gases from materials and artifacts because it is a simple procedure using portable instruments. However, from bags made of plastics, some chemical substances may be emitted and they may influence the analysis results of emission test. Thus, it is necessary to reduce chemical substances from bags before the test. For this purpose, there are two methods: one method is washing bags by air exchange, and the other is by heating at high temperature. In the present study, effects of these washing methods were investigated.
Many chemical substances were detected by gas chromatograph-mass spectrometry from bags that were not washed. N, N-dimethylacetamide and phenol were strongly detected. Amount of total volatile organic compounds (TVOC) was calculated to confirm the total cleanliness of a bag. In order to evaluate the washing by air exchange, air was exchanged up to three times. As a result, TVOC amount was reduced, but emission amounts of each chemical substance remained above recommended value. For evaluating the washing by heating, bags were heated at 80℃ for 1 hour and repeated five times. TVOC amount was reduced with heating times. Emission amounts of each chemical substance except N, N-dimethylacetamide met requirements after heating five times. Also TVOC amount of air in larger bags was reduced by heating as well as that in smaller bags. From these results, it is concluded that washing method by heating is effective in reducing emission from bags.journal articl
Possibility of Solute Impregnation Method for Waterlogged Wood by Controlling Solvent Evaporation
Get PDFIn the conservation treatment of waterlogged wood, impregnation of a solute into wood for stabilization can be processed by immersing the whole wood in a chemical solution. However, since the penetration of solutes by diffusion is generally very slow, the efficiency of the process is severely limited. Though various types of chemicals have been proposed so far as impregnant for waterlogged wood in order to improve the efficiency of the impregnation process, the principle of impregnation itself has not changed significantly. In the pr esent study, the efficient method of impregnating chemical into waterlogged wood was examined based on the principle which was different from the conventional one. As a result of the preliminary experiment with PEG for impregnant, it is suggested that permeation and accumulation of solutes by advection can be efficiently progressed by immersing the waterlogged wood in the solution with the upperpart of it exposed to the air and controlling temperature and evaporation rate of the solvent. Also, the dimensional stability of the wooden sample after solidification of PEG was excellent. The experiment also suggested that there is the necessity of controlling the solvent evaporation rate properly so as not to exceed the rate at which the solution is absorbed into the wood. It is considered that the permeability of the solution inside wood is affected by the structure of wood, the degree of deterioration of wood and the viscosity of solution.journal articl