Tokyo National Research Institute for Cultural Properties - Publications
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モンゴルの壁画に使用された壁画材料分析について
Get PDFIn the present study an investigation was conducted to examine the materials used in the early and medieval mural paintings of Mongolia.
As part of the research the following sites were examined using an X-ray analysis (XRF), X-ray diffraction analysis (XRD), and scanning electron microscopy (SEM): the Shoroon Bumbagar tomb from the Turkicperiod (6th-7th centuries), the Kalabargason ruins from the Uighur period (8th-9th centuries), the imperial tombs from the Kitan period (11th-12th centuries) located in Baarin Hoshuu, Ulaantsav city, Inner Mongolia and the mural paintings of the Karakorum ruins (13th-14th centuries), once the capital of the Great Mongol Empire.
Hematite (Fe2O3) was detected in the red portion following an investigation of the Shoroon Bumbagar tomb, which dates back to the 6th-7th centuries. In addition, calcite (CaCO3) was identified from the plaster layer.
The investigation also revealed hematite formation in the wall paintings of the
Karabalgasun ruins of the Uighur period, in the orange, red, and brown parts, and azurite (Cu3(CO3)2(OH)2) in the blue portions. Meanwhile, calcite (CaCO3) was detected from the plaster layer.
A large amount of copper was noticed in the green pigment area during the investigation of the wall paintings of the imperial tomb of the Kitan period. This green pigment is estimated to be malachite. Cinnabar that was detected from the red part was assessed to be vermilion (HgS).
From the results of the investigation of the wall paintings of the Karakorum ruins of the Great Mongol Empire (13th-14th centuries), cinnabar (HgS) and red lead (Pb3O4) were detected from the red and orange parts, azurite from the blue portion, and calcite from the plaster layer.journal articl
Transmission of Textile Techniques of Modern Japan: With Focus on the History of Prefectures
Get PDFUntil now research on textiles has been made on the characteristics of manufacturing regions based on expression of designs and techniques employed. But interchange of information among regions has been limited to the regions where such information was transmitted. In the present study, focus is placed on the history of prefectures throughout Japan in order to obtain information nationwide. Information concerning interchange of textile techniques among regions as noted in these histories was sorted out.
Information related to textiles was selected from about 250 publications of the history of prefectures throughout Japan. Contents of a total of 5,115 items were categorized based on the following points.
* Were the textiles produced for sale or for domestic use?
* Were the textiles target of protection by the local governing bodies?
* How were raw materials procured?
* How were finished products dealt with?
Information concerning these points was thought important fundamental material for considering the transmission of techniques and distribution of products.
Items related to technical interchange were further categorized by raw materials (silk, cotton, indigo, benibana), tools and techniques as well as types of products (pongee or ikat).
Since some of the entries showed the factors that contributed to the transmission of techniques, for example intentionally transmitted by order of the domain or coincidentally brought in by people, they were also selected and arranged.
In the future, it is hoped that the actual situation of technical interchange in the modern period will be made clear.departmental bulletin pape
A Reconsideration of the Tang Tombs in Jinsheng, Taiyuan, Shanxi Province
Get PDFThe Tang tombs in Jinsheng (金勝) village, Taiyuan, Shanxi province are primarily from the Wu Zhou (武周) period, with their tomb owners of status grade 5 (五品) or less, given the shape and scale of the tombs. And yet, the funerary objects and screen paintings in the tombs suggest that their owners were of grade 3 or higher. The burial without coffin custom practiced in these tombs further suggest that these tombs were affected by the Sogdians and their Zoroastrian belief system in early medieval China.
The shape, scape and structure of Tang tombs in Jinsheng are all similar and they are close together, indicating a cultural commonality that reflects their owners' relatively similar political status and common cultural attributions. Also these aspects indicate that the owners had the same cultural origins, political careers and cultural attitudes. These factors do not rule out the possibility that these tombs were family cemeteries.
The Sassanian silver coins found with the owner's wife’s body and the manner in which the epitaph is written in Tomb No. 5 are features primarily found in Sogdian tombs in early medieval China. In other words, the group of Tang tombs in Jinsheng, Taiyuan was influenced by Sogdian Burial traditions.
The screen painting subject of Shuxia Laoren (樹下老人図, Gao Shi 高士, the old man under the tree) is primarily concentrated in the Tang tombs in Jinsheng. The appearance of this screen painting subject in the Taiyuan area Tang tombs is related to the tomb owner's role and stance in early Tang politics.
Brick epitaph records found in the Jinsheng No. 5 tomb describe the tomb owner's life and his remarkable career following Li Yuan (李淵), who raised arms against the Sui to become the founding Tang emperor.
Based on the Jinsheng No. 5 tomb epitaph record and given that the owners were people who rose in rebellion with Li Yuan, their funerary objects and screen paintings -- which were of a higher elite class type compared to the form and scale of their tombs -- were likely special gifts given by the early Tang dynasty. It is likely that the Jinsheng village was an area that the early Tang dynasty established as a cemetery for non-Han. This factor may be related to the burial of Sui dynasty Yu Hong and his wife in the nearby areas.journal articl
List of Recordings of Kodan at the Tokyo National Research Institute for Cultural Properties (2002-2020)
Get PDFTokyo National Research Institute for Cultural Properties has regularly been making recordings of performances of kodan (with focus on long repertory) since 2002. Following is a list of actual performances recorded from March 2002 to February 2020. The project is scheduled to be continued in the future.
Performances are recorded both audio-visually and stored at the Institute. Since the recordings are made for purposes of research and transmission, they are not for the time being intended to be made public. However, it is possible to access these recordings for the purposes mentioned above.departmental bulletin pape
