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Topics of the Eleventh Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage and Issues Raised through Discussions
Get PDFThe Eleventh session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage was held from 28 November to 2 December, 2016 in Addis Ababa, Ethiopia. During the session, 33 elements of intangible cultural heritage (ICH) were inscribed on the Representative List of the Intangible Cultural Heritage of Humanity (hereinafter, Representative List), including Japan’s nominated element “Yama, Hoko, Yatai, float festivals in Japan.” Another element, “Falconry, a living human heritage” is also remarkable in terms of the addition of five countries as State Parties concerned to an element on the Representative List. In total, the number of States Parties concerned became 18.
As for the Representative List, while the Evaluation Body recommended 19 files to be referred back to the States Parties asking for more precise information, 15 elements were inscribed on the list. Some newly-elected Committee Members had a role to play in the inscription of such a large number of elements on the list, reversing the recommendations of the Evaluation Body. These Committee Members insisted that the information requested by the Evaluation Body was obtained at the Committee from the States Parties concerned and that the nominated elements deserved inscription on the list. However, evaluation should be made only based upon information described on the nomination files submitted by the States Parties. For this reason, such supplemental information should not be taken into consideration. It seemed that some Committee Members took the most advantage of being at the Committee, as if they could make any decision, no matter whether it is consistent with the regulations, such as the Operational Directives, or not.
It is considered that the Secretariat of the Convention for the Safeguarding of the Intangible Cultural Heritage and the Committee Members that keep distance from the above-mentioned member states should be more active in improving such a situation. After the discussion about the activity of the Evaluation Body, many States Parties, NGOs and even the Committee Members pointed out the problems of the decision-making processes of the Committee, saying, for example, that the procedure was far from the principles and that the professionalism of the Evaluation Body should be respected. This shows that many stakeholders took the discussion of this session very seriously. On the other hand, more detailed explanation by the Secretariat about criteria for inscription on the Representative List would be crucial in helping the States Parties prepare their nomination files. Highly experienced States Parties on safeguarding ICH like Japan can also support such efforts to improve the implementation of the Convention. For Japan, ICH in emergency, which was one of the agenda of the Committee, is also an important theme, as it has been affected by a series of catastrophic natural disasters in these years. It should make efforts to conduct research and disseminate research results on this topic, especially the role of ICH for resilience of communities.departmental bulletin pape
Notebook on the Investigation in the South Sea Islands by Tanabe Hisao
Get PDFThe musicologist Tanabe Hisao conducted investigation of traditional music and dance of the South Sea Islands (Nanyo-gunto), what is now Micronesia, in 1934 on commission from Nanyo-cho, the then government office of the South Sea Islands. The Department of Intangible Cultural Heritage received from Tanabe’s surviving family a field notebook written by Tanabe during this investigation. An examination of the notebook revealed that most of its contents were excerpts from ethnographical materials concerning the South Sea Islands. Although there was very little entry about Tanabe’s own investigation, analysis of this notebook showed that Tanabe placed importance on ethnographical information that he collected in his investigation.departmental bulletin pape
Seminar on the Transmission of Intangible Cultural Heritage (Traditional Techniques) III: Super-techniques of the Meiji Period Now－ Utilizing Craftwork of the Meiji Period Today
No full textThe Department of Intangible Cultural Heritage has been holding a series of seminars entitled “Transmission of Intangible Cultural Heritage (Traditional Techniques)” annually since fiscal 2014. The theme for the third seminar, which was held jointly with Public Interest Incorporated Foundation, Sen-oku Hakuko Kan on October 17 and 18, 2016, was “Super-techniques of the Meiji Period Now.” The following report focuses on one of the sessions in the seminar, “Utilizing Craftwork of the Meiji Period Today,” and presents the edited transcription of the discussion in that session.
Among craftworks of the Meiji Period, in this seminar special emphasis was given to porcelain, in particular to Arita ware. The first day consisted of reports and a discussion on the theme. On the second day visits were made to two exhibitions, “Meiji Kogei: Amazing Japanese Art” at The University Art Museum of the Tokyo University of the Arts and “400th Anniversary of the Birth of Arita Porcelain: The Compelling Beauty of Arita Ceramics in the Age of the Great International Expositions” at Sen-oku Hakuko Kan.
On the first day, researchers involved in the Sen-oku Hakuko Kan’s exhibition were invited to make reports so as to reconfirm the process by which Arita ware of the Meiji period has been handed down to the present. Following these reports by Moriya Miho (part-time lecturer, Jissen Women’s University and Kokugauin University), Nagaseko Minako (curator, Gakushuin University Museum of History) and Kajiyama Hiroshi (curator, The Museum of Ceramic Art, Hyogo), Suzuta Yukio (director, The Kyushu Ceramic Museum) presented a lecture on Arita ware of the Meiji period. The reports and the lecture were based on the speakers’ contributions to the catalogue for the exhibition and a collection of studies (both with the same title as the exhibition; both published in 2015; the former by Sekai Bunka Publishing Inc. and the latter by Nishinippon Shimbun Co., Ltd.)
In the second half of the day, Harada Kazutoshi (The University Art Museum, Tokyo University of the Arts), Yamazaki Tsuyoshi (Kanazawa College of Art), Nagasaki Iwao（Kyoritsu Women’s University), and Arakawa Masaaki (Gakushuin University) joined Suzuta in a panel discussion on the theme “Utilizing Craftwork of the Meiji Period Today.”
Recently, attention is given to the detailed techniques of Meiji period craftwork, and many exhibitions have been held. Examining craftwork of the Meiji period that has been passed down to the present serves as one of the ways to consider “craft techniques,” in other words intangible cultural heritage, of the Meiji period. In that sense, researchers in fields of both tangible and intangible cultural properties are expected to supplement each other rather than to work separately. Providing opportunities for discussions that will enhance interest in the protection of intangible cultural heritage is considered important.departmental bulletin pape
Application of Bioaerosol Measurement for IPM Zoning in Museums
Get PDFMicrobial air measurement for IPM zoning in museums is usually conducted by airborne mold samplers and agars to detect the presence of viable mold that directly poses risks for mold growth on cultural properties.Recently, bioaerosol measuring devices that
detect biofluorescence have been developed. These devices provide results immediately with easy operation than if airborne mold samplers were to be used because there is no need for cultivation. In the present study, the availability of bioaerosol measurement for IPM zoning in a museum facility was tested. The results of measurement using a bioaerosol measuring device (Microbe Sensor
BM-300C, Sharp Manufacturing Systems) at the truck yard and unpacking space in Mie Prefectural Museum as well as outside showed that biofluorescence detected at each area shifted in parallel with each other and had strong correlation coefficients.The truck yard and unpacking space could be classified as the same zone which is affected by outside air containing a huge number of viable airborne mold in summer.
When measured at the entrance, public space and temporary exhibition room, which are next to each other and are partitioned with automatic doors,it was found that during the hours when the museum is closed, biofluorescence detected at the entrance and public space had strong correlation coefficient,while that in the temporary exhibition room had no relationship. From the result, the temporary exhibition room could be classified as an isolated zone.On the other hand,during open hours,correlation coefficients between each area became almost comparable because visitors mix the air among these areas.
In conclusion it may be said that since bioaerosol measurement can classify areas in museum facility and evaluate environment change in a period of a day, microbial air measuring method can be applied for IPM zoning in museums immediately and with more
ease than airborne mold measurement.journal articl
Study on Conservation Environment and Salt Crystallization on Brick Cultural Heritage: The Case of “Museum of Kiln”in the INAX Live Museum
Get PDFThere is increasing interest in modern heritage, especially brick heritage, and its conservation and registration as cultural property have been examined actively. Many examples of brick heritage suffer from salt crystallization and,for the conservation of such
heritage, it is necessary to eliminate supply of moisture and control the environment.
As a basic study to examine deterioration and effective measures for conservation, surveys were conducted at the “Museum of Kiln”in the INAX Live Museum on June 30, July 7 and July 8, 2016.
The environment in the “Museum of Kiln”is air-conditioned and is not influenced by outside air. On the inner and outer walls of the kiln in the museum, various kinds of noticeable salt crystallizations were observed through analysis using an X-ray diffractometer: calcite(CaCO3), thenardite(Na2SO4), epsomite(Mg2SO4・7H2O), astrakhanite(Na2Mg(SO4)2・4(H2O)), gypsum(CaSO4・2H2O), aphthitalite(K3Na(SO4)), eugsterite(Na4Ca(SO4)3・2(H2O))and halite(NaCl). Depositions of thenardite were concentrated in the northern half of the kiln, whereas those of epsomite were confirmed in the southern half and the roof.Halite was identified only on the southeastern inner wall of the kiln,which was heated and dried by an indirect lighting placed near the wall.It seems that salt crystallizations tend to occur on brown bricks,which were made at low temperature, and cause significant deterioration.
The possibility of using a portable X-ray diffractometer was also evaluated as a non-invasive analytical method for investigation of cultural properties on site.journal articl
Application of ATP＋AMP Swab Test for Paper Documents Damaged by Tsunami
Get PDFPaper documents damaged by the tsunami that accompanied the Great East Japan Earthquake have been treated in Iwate Prefecture Museum since April 2011. However, it is difficult to confirm whether the deteriorating factors,such as fungus and bacteria,have been removed from the treated paper documents or not.
ATP (adenosine triphosphate)＋ AMP (adenosine monophosphate)swab test method used in food hygiene field is a method for quickly measuring the degree of cleanliness. In order to evaluate the degree of the biological deteriorating factors of paper documents damaged by tsunami, ATP ＋ AMP swab test was applied for research on the tsunamidamaged paper documents in Iwate Prefecture Museum. In addition, microorganisms of dirt, such as soil and sand,which were collected from the paper documents were detected using cultivation.
As a result,it was found that the degree of biological deteriorating factors of the paper documents declined after they were treated by removal of dirt with water, sterilization using sodium hypochlorite and dechlorination with water. Although mold growth was observed on dirt collected from an untreated document,there was no mold growth on dirt collected from a document washed with water. The result showed that the conservation method taken in Iwate Prefecture Museum is effective for the sterilization of paper documents damaged by tsunami. Further case studies are required in order to verify the effectiveness of ATP＋AMP swab test method on cultural properties.journal articl
研究資料 黒田清輝宛 五姓田義松書簡 影印・翻刻・解題
Get PDFThrough a thorough reading of the 25 letters from Goseda Yoshimatsu (1855-1915) to Kuroda Seiki (1866-1924) now in the Tokyo National Research Institute for Cultural Properties (TNRICP), this article aims to use the focus on their exchange to clarify the background details of the sales of Yoshimatsu’s older works. The Western style painter Goseda Yoshimatsu was active in the first half of the Meiji period, while Kuroda Seiki was active during the latter half of that period. Their only know opportunity for contact was during the brief time that they were both in Paris. Given that they were thought to have not been in contact, the 25 letters sent by Yoshimatsu (with probably more sent but not preserved) are considered to be somewhat of a mystery. Another mystery is why there are a relatively large number of paintings by Yoshimatsu among those by painters active in the Meiji period today in the collection of the Tokyo Bijutsu Gakko (present-day Tokyo University of the Arts). These letters by Goseda are an important tool in the solving of these two mysteries. In terms of the dates of the letters, seven of the letters were sent in 1908 (Meiji 41), five in 1909 (Meiji 42), nine in 1910 (Meiji 43), one in 1911 (Meiji 44), one in 1914 (Taishô 3), and one that is undated but surmised to have been sent in 1909. Thus the content of these letters date to Yoshimatsu’s final period and are important for understanding his overall activities during that period. The first section of this article provides an overview of the impression received from these letters. The fact that few of the words written in these letters are messy belies the previously indicated belief that he was a drunkard. Further the negotiations advanced through these letters include areas meant to pique Kuroda’s interest, thus indicating Yoshimatsu’s negotiation skills and social understanding.
The second section focuses on Yoshimatsu, and begins by providing evidence of his life's hardships, which form the immediate background for this group of letters. Sales records of Yoshimatsu’s artworks indicate his income fell greatly in 1907 (Meiji 40), and it was Kuroda who suggested a specific means of overcoming this dilemma. He proposed that Yoshimatsu sell his older works that he owned to the Tokyo Bijutsu Gakkô. We can imagine that he was poor because he was having difficulties selling his newer works. While this gives the negative impression of having to pay back loans, we can surmise that the sales of older work did not necessarily have a bad connotation for Yoshimatsu. If we can only discern a negative or passive meaning, then surely we must think that he would not have maintained the will to sell the works over several years. Rather we can discern that Yoshimatsu had some internal desire for his own works to be handed on. This could have been because he learned from his experiences in France that the national art academy has reference works, and that various museums have works that they store and display.
The third section focuses on Kuroda, and considers the reason for collecting Yoshimatsu’s works from Kuroda’s point of view. Since the establishment of the Western painting division of the Tokyo Bijutsu Gakko, there was the need to provide students with reference works that demonstrated a certain level of skill, and yet at the same time, few appropriate works were available. Thus Yoshimatsu’s works were acquired to fill this gap, and emphasis was placed on the works from his Paris period. We can easily surmise that these works were good examples of the types of French painting that Kuroda championed at the time. Then if we look at the group of works collected by Kuroda, we can see that their focus gradually shifted towards works from the early Meiji period. It is surmised that this was in order to construct a history of Meiji period Western style painting. These paintings were collected in the Meiji 40s (1907–1912), just when an actual history of Western style painting in Japan from the beginning of the Meiji period was being formulated. Kuroda was in a suitable position to be the editor for such a history, in spite of his own shallow personal relationship with early Meiji period western style painting. Hence he may have set out to collect large numbers of works from a wide array of artists, and we can consider that this may be why he ended up collecting a large number from Yoshimatsu. This collection of Yoshimatsu’s works owned by the Tokyo Bijutsu Gakko then became the core group used for the evaluation of Yoshimatsu throughout the Shôwa period (1926–1989). Both Yoshimatsu and Kuroda mutually and intentionally contributed to the formation of the collection, and this group of letters is meaningful for its description of the details of that process.journal articl
Materials for Art Research: Letters from Kuroda Sadako to Her Adopted Son Kuroda Seiki
Get PDFThe Kuroda Seiki-related materials housed at the Tokyo National Research Institute for Cultural Properties include important letters recording his interactions with his family, such as letters from his adoptive father Kuroda Kiyotsuna (1830-1917), his adoptive mother Sadako (1842-1904) and his birth father Kuroda Kiyokane (1837-1915).
During his first study period in France, from 1884 through 1893, Seiki wrote regularly to his adoptive parents in Japan, as they had requested. The majority of his mother’s replies received by Seiki while in France were included in envelopes that his adoptive father sent to him. Seiki’s letters to Sadako were written in kana so that she could easily read them. Sadako would convey the content of Seiki’s letters to Kiyotsuna, and then in response to their contents, Sadako would write long letters in kana to Seiki, conveying Kiyotsuna’s thoughts and news about the family. The letters exchanged between adoptive mother Sadako and Seiki thus served as conduit between father and son, who directly exchanged only a few letters.
This article introduces more than 70 letters from Sadako to Seiki that wished him well on his path to learning more about painting and becoming a painter, speak of the warm encouragement he received from Kiyotsuna and Sadako, and provide information about his family.journal articl
Report on Gidayu no fushi to tejun by Toyozawa Hirosuke Ⅶ
Get PDFToyozawa Hirosuke VII (1878 – 1957) is a shamisen player of gidayu-bushi joruri (shamisen music used in bunraku , one of the representative classic performing arts of Japan). Gidayu no fushi to tejun (Demonstrations of representative melody patterns used in gidayu-bushi joruri ) is a set of SP records (13 records) in which Hirosuke plays the shamisen and sings the basic melody patterns of gidayu-bushi joruri . This set is said to have been recorded in September 1931 and November 1932.
That this set of records is included in the collection of the Institute has already been made public in a list published in 1966, but the contents of the records have not yet been reported in detail. The present report includes the names of the melody patterns performed by Hirosuke, the specific texts of the repertories from which the names are taken and the names of the repertories themselves.
This set is a valuable audio material that provides information about the transmission of gidayubushi joruri before World War II.departmental bulletin pape