Tokyo National Research Institute for Cultural Properties - Publications
Not a member yet
4079 research outputs found
Sort by
Topics of the Thirteenth Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage and Issues Raised through Discussions
Get PDFThe Thirteenth session of the Intergovernmental Committee for the Safeguarding of the
Intangible Cultural Heritage was held from 26 November to 2 December, 2018 in Port Louis,
Republic of Mauritius. During the session, 31 elements of intangible cultural heritage (ICH) were
inscribed on the Representative List of the Intangible Cultural Heritage of Humanity
(Representative List) including Japan’s nominated element “Raiho-shin, ritual visits of deities in
masks and costumes.” In addition, “Ssirum (wrestling) in the Democratic People’s Republic of Korea”
and “Ssireum, traditional wrestling in the Republic of Korea” which had been recommended to be
inscribed on the Representative List by the Evaluation Body, these elements were integrated into
one element named “Traditional Korean wrestling (Ssirum/Ssireum)” upon requests from both
States Parties.
At this Committee, implementation of a dialogue mechanism between the Evaluation Body and
the States Parties concerned during the evaluation process was discussed because some Committee
Members strongly argued to adopt such mechanism. Main problem of the argument was that the
Committee does not have the function to amend the Operational Directives. The Secretariat also
pointed out it is not possible to change the recommendations of the Evaluation Body even if the
States Parties concerned make clarification of their files after the Body drafted its evaluation. But,
such dialogue was decided to implement on an experimental basis with a view to present possible
amendment of the Operational Directives.
The Committee Members which are in favor of the dialogue does not seem to be so conscious
about the difference of the structure and scale of the Advisory Bodies of the World Heritage
Convention and the Evaluation Body of the ICH Convention. The dialogue would be difficult to
implement in a similar way to the Advisory Bodies because of the difference. It is also seemed the
dialogue is limited to provide information about a specific file, such dialogue would not be so
beneficial to the States Parties to build their capacity to safeguard ICH in the long run.
In these circumstances, it is hoped that Japanese and other experienced experts and officers
will be interested in providing their knowledge and skills to study and safeguard ICH to other
States Parties for their capacity building and good implementation of the Conventiondepartmental bulletin pape
Materials for Art Research: Photographic Facsimiles of Letters Addressed to Kuroda Seiki
Get PDFThis article continues from the preceding issue's "Deciphering Kuroda Seiki's Letters" article, presenting photographic facsimiles of the following Kuroda Seiki related letters today in the Tokyo National Research Institute for Cultural Properties: 1) letter dated July 5, 1884 from Hashiguchi Naouemon, then in Paris, to Kuroda's stepfather Kuroda Kiyotsuna; 2) letter dated July 17, 1886 from Hashiguchi Bunzô, then in Paris to Kuroda Kiyotsuna; 3) letter dated Nov. 29, 1896 from Sugi Takejirô to Kuroda Seiki; and 4) letter dated March 2, 1897 from Sugi Takejirô to Kuroda Seiki.journal articl
Microbial Community Analyses of the Takamatsuzuka and Kitora Tumuli Using Molecular Methods
Get PDFCulture-dependent and -independent methods were applied to elucidate the microbiota involved in the biodeterioration of the 1300-year-old mural paintings, plaster walls, and stone chamber interiors of the Takamatsuzuka and Kitora Tumuli. Most isolated microorganisms were also detected as major by PCR-DGGE; however, several bacteria such as the phyla “Acidobacteria”, “Chloroflexi”, and “Cyanobacteria” were detected only via a culture-independent method (PCR-DGGE). Based on the results of this study, it was presumed that the microorganisms, such as bacteria and fungi, and mites and collembolans living in the tumulus environment invaded the stone chamber interiors of both tumuli. Moreover, it was thought that the organic acids (particularly acetic acid) produced from the microorganisms (e.g., Gluconacetobacter bacteria)not only damaged the plaster directly, but also provided nutrients to other microorganisms and enhanced their outbreaks. Major colonizers of the stone chamber interiors were assignable to ubiquitous microorganisms living in the Asuka-mura environment where both tumuli are located. To detect diverse microbiota in the tumulus samples, it was effective to use microbial community analysis using molecular methods combined with conventional isolation and cultivation methods.journal articl
Molecular Phylogenetic Assignment of Penicillium Isolates and Taxonomic Characterization of Penicillium sp. 2 Isolates from the Takamatsuzuka and Kitora Tumuli, and Their Implications for Biodeterioration Problems
Get PDFMolecular phylogenetic analyses based on nrLSU and ITS sequences of 85 and 66 Penicillium/ Talaromyces isolates from the Takamatsuzuka and Kitora Tumuli revealed that these isolates were divergent in the genus Penicillium. Novel lineages, which are considered undescribed or cryptic species, were detected. Therefore, further studies clarifying the identity of these isolates are warranted. Using an integrated analysis of phenotypic and genotypic characters, Penicillium sp. 2 isolates from both tumuli were identified as Talaromyces minioluteus Samson & al. (≡ Penicillium minioluteum Dierckx). Its brief description is provided herein. The relationship between the physicochemical characteristics of these isolates and their substrates (isolation sources) is briefly described; these include dissolution of calcium carbonate (CaCO₃)on GYC (Gluconobacter oxydans medium; Leibniz Institute DSMZ Medium No.105)agar plates and reddish soluble pigmentation on each agar plate. These characteristics may be related to the biodeterioration of plaster and rock substrates of both tumuli. This is the first study reporting T . minioluteus related to biodeteriorated cultural properties and a new addition to the fungal inventory of Japan.journal articl
研究資料 黒田清輝宛、杉竹二郎宛 山本芳翠書簡 影印・翻刻・解題
Get PDFThis article reproduces, transcribes and introduces the content of letters from Yamamoto Hôsui addressed to Kuroda Seiki and Sugi Takejirô, today preserved at the Tokyo National Research Institute for Cultural Properties.
The correspondence consists of 13 items addressed to Kuroda and one to Sugi, consisting of 11 sealed letters and three postcards in all. Of those, seven letters are dated 1895, referring to Hôsui’s activities immediately after he returned to Japan from serving as a painter in the military during the Sino-Japanese War. These will provide content that aids future research on Hôsui. The year 1895 saw the production of his major work Urashima, and others. This was the period that saw him develop full artistic production, and thus is an important year in a consideration of his oeuvre. There had also been few materials dating to this year regarding Kuroda, and thus these letters are important for their suggestion of his activities at the time. That year saw Kuroda mixed up in the nude painting debate. In addition, there was the opposition between the new and old schools in the 7th Meiji Bijutsukai exhibition, thus making it a transitional period in the history of Japanese modern Western-style painting. These letters exchanged between the two men during that year provide important information. The letters also touch on Morning Toilette, the painting that lit the flames of the nude painting controversy, and mention many of the other issues of the Western-style painting circles of the period. These materials are useful not only for their insight into Kuroda and Hôsui, but are also noteworthy for conveying one aspect of the period.
The information written in the letters adds new events to Hôsui’s timeline, such as the time when he returned from military duty and the process involved, his interactions with those involved in the Sino-Japanese War after his return, and background information on his painting Records of War: Meiji 27-28. The painter also touches on the poverty at the time, and so reveals the production environment surrounding the painter at the time.
As well, these letters provided Kuroda, then living in Kyoto, with an update on Hôsui’s activities in Tokyo. He asked about Kuroda’s progress in his painting, and even included a message for Kuroda’s new wife at the end of the letter. These factors show that Hôsui was concerned about Kuroda on both a public and private front. Hôsui had guided Kuroda on the path to becoming a painter during his study period in Paris. While their relationship is widely known, there have been few known examples of their correspondence. These letters provide a detailed view of the exchange between Hôsui and Kuroda, and their correspondence indicates the closeness of the relationship.
As indicated above, these letters provide an actual image of Hôsui and his interactions with Kuroda, and thus are extremely meaningful materials for art historical research.journal articl
Materials for Art Research: A Wooden Sakyamuni Sculpture at Jôgon’in, Shiga Prefecture – The Central Worship Image at Jionji, a Temple Established by Sasaki Ujiyori (1326-1370)
Get PDFJôgon'in, a massive Jôdo school temple in the Azuchi district of present-day Omihachiman city, Shiga prefecture, was established under the direction of Oda Nobunaga in 1576. Prior to building his castle at Azuchi, Nobunaga eradicated the Sasaki-Rokkaku family, the local clan lord of the area during the preceding Warring States period. This included the destruction of Jionji, the temple housing that family's ancestral burial ground. Nobunaga built Jôgon'in on the same site by forcibly moving buildings,a major Buddhist sculpture and priests from other places to the site. As a result, it has been thought that all traces of Jionji originally located on the site had been completely and thoroughly demolished, so that none remained.
However, what has been unknown is the fact that a wooden Seiryôji style Standing Sakyamuni sculpture (figs. 5-9, h. 156.7 cm) has been handed down in the Hondô (main hall) of Jôgon'in, a temple with the above noted history. At first glance this work can be seen as dating back to the Warring States period. Conservation work was carried out on this sculpture over the course of two years, beginning in the spring of 2015, returning it to as close as possible to its original state.
This article provides research material on this sculpture. I first examine the sculptural style, and indicate that it was produced by an In School busshi (sculptor) in the second quarter of the 14th century. Next, the memorial praise statement read during the third anniversary memorial ceremony for Sasaki Ujiyori (1326-1370) states that a Sakyamuni sculpture copying the central worship image in the Saga-Shakadô, Seiryôji, Kyoto was made and the sculpture placed as the central worship image in a temple with the title plaque Jionji. The newly restored Sakyamuni sculpture is that sculpture. This praise statement notes that Jionji was a branch temple of Saidaiji in Nara. Several medieval period documents that remain at Saidaiji underscore this statement. An examination of these documents and Sasaki Ujiyori's achievements indicate that Jionji was founded no earlier than 1334, and that at the latest it was fully established by 1340. This dating is in accord with the production date for this sculpture surmised on the basis of its style.
This sculpture has not previously been identified. And yet, it is now apparent that this was the central worship image of Jionji, established by the major Japanese medieval period figure Sasaki Ujiyori. I have introduced this sculpture and its history here to inform the world of its existence, an image that has been handed down unknown and unrecognized at Jôgon'in.journal articl
Research Note: Using Wordpress to Construct a Dynamic Website: With the Web Versions of Bukkosha kiji and Bijutsukai nenshi (Ihô) as Examples
Get PDFIn 1936, the Tokyo National Research Institute for Cultural Properties (hereinafter referred to as the TNRICP) began the annual publication of the Nihon bijutsu nenkan (hereinafter referred to as the Nenkan), reporting on the activities of the art world that year. Each new issue of this yearbook was published in the form of a continuation of the previous year’s information. The contents of the Nenkan can be largely divided into four types, and of those types, the Bukkosha kiji, or brief chronologies of art-related individuals who had died during that time period, were made available to the public on the TNRICP website starting in 2010. Another category, the Bijutsukai nenshi (Ihô), providing a brief chronology of the art world during the relevant year, were made available on the website in 2012. The texts of both were simply reformatted for static website usage, and this meant that they were not fitted with proper web-based database search functionality, such as by full-text search or by category classification. This meant that it was difficult to correlate individuals or events. In order to overcome these shortcomings, in 2013 we revised the texts of both as a webbased database using the WordPress content management system. WordPress was first developed as a system for operating blogs, is flexible and customizable, and applicable across a wide range of uses. In the case of the Bukkosha kiji and Bijutsukai nenshi (Ihô), the full-text search and category classification are part of the standard WordPress features. The auto link feature that shows the correlation between individuals makes full use of WordPress' flexibility.
Thanks to the revision of the web-based database using WordPress, and regardless of the fact that the contents of the texts of both were not changed, there has been a threefold increase of hits on the contents. A further analysis of the access log to see how users moved between the pages showed that users accessed numerous posts and moved between the two contents by using the full-text search or auto links. This usage method would be very difficult in the paper edition of the Nenkan, in which a year’s worth of information is bound into a single volume.
Our revision work and access log surveys show that WordPress is effective for building a web-based database, and shows the importance of how contents are made available to the public.
On the other hand, the various technologies introduced to the website via WordPress mean an increased network security risk. Unlike a static website where there is almost no freedom in usage methodology, dynamic websites such as a web-based databases, which gives users various functionalities, involve a high risk of misuse, such as data falsification. In conclusion, we must examine both usability and corresponding security risks as we develop dynamic websites.journal articl
Analysis for and Treatment of the Surface Colonizing Microbes on the Door Stone of the Torazuka Tumulus
Get PDFA processing trace left on the door stone of the Torazuka Tumulus at the time it was made is conserved in the exhibition facility built inside the burial mound of the tumulus. Although a periodic fungicidal treatment had been performed, the surface of the door stone was recently covered with microbial biofilms and fungal mycelium. Microbial colonization may cause not only biodeterioration of valuable stone surface but also disturbance of appreciation for viewers. For these reasons, culture-independent analysis was performed to reveal microbial communities in the biofilm. Furthermore, the respiration rate was measured before and after UV irradiation to assess the effect of the biofilm sterilization.
From the result of culture-independent analysis, it was found that the DNA in the biofilm contained bacterial sequences related to those of Chryseolinea sp. (14%) and Methylacidiphilum sp.(9%)and fungal sequences related to those of Exophiala sp.(95%)and Cladophialophora sp.(7%).It was found that UV irradiation treatment had almost no effect on the biofilm sterilization because the respiration rate was increased after the treatment.
Physical removal by manual labor was eventually chosen for removing the biofilm on the door stone. It was an effective method for decreasing the biofilm directly and for microbiological control in the long term by depleting the source of nutrition for heterotrophic microbes. On the other hand, repeated physical treatment has possibilities for artificial deterioration of the surface of the door stone. It will therefore be necessary to argue studiously about the tool, method, and frequency.journal articl
The Degradation State of the Wareishi Rock Cliff Sculpture Based on Multi-view Stereo
Get PDFThe Wareishi Rock Cliff Sculpture, carved in A.D. 1300 on a core stone of granite, designated as an important cultural property of the Hiroshima Prefecture, is located near a shoreline of the Sagi Island, Mihara City, Japan. It is pointed out by the local people that the sculpture seems to have recently been suffering from rapid degradation more and more due to the direct influence of tidal ebb and flow. The present three-dimensional shape of this sculpture was investigated through multi-view stereo technique in order to estimate the present degradation state exactly. On the other hand, the same technique was also applied on a replica of the sculpture made in 1986 using a mold and exhibited in the Hiroshima Prefectural History Museum. The difference revealed by the measurement between the present shapes of the sculpture and the replica can be basically regarded as the degradation of the sculpture during these 30 years. As a result, the difference between the shapes of the sculpture and the replica was detected mainly on the middle part of the core stone constituting a horizontal belt of ca. 20 cm parallel to the sea level, and the total area of the places where more than 3 mm displacement was detected constitutes ca. 0.56% of the whole measured area. Accordingly, the degradation of the Wareishi Rock Cliff Sculpture does not seem to be recently accelerated so much but to be progressing at not so different pace as the history of the sculpture, especially following the sea level rise. If the degradation extends up to the face of the sculpture in the future, some countermeasure may be required.journal articl