Tokyo National Research Institute for Cultural Properties - Publications
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Assumption regarding Accent in the Noh Chant “Matsukaze” in the Muromachi Era
Get PDFIt is said that the traditional music of Japan reflects the accent in Japanese which is realized by pitch. Research until now has shown that the scores of such genres of music as shomyo (Buddhist sutra music), heikyoku (chanting of the Tale of Heike played to the accompaniment of heike biwa ), and gidayubushi (narrative accompanied by a shamisen in bunraku puppet theater) reflect the accent used at the time of their composition.
The purpose of the present paper is to show, using the noh chant “Matsukaze” as an example, how noh chants of the Muromachi era are used to investigate the accent system of Kyoto in the same period. The paper will also explain how accent is assumed for words lacking descriptive evidence by extrapolating from their structure and their accentual classes. By comparing the goma marks for “Matsukaze” in Go-on san-gyoku shu , a text on noh chants by KOMPARU Zenchiku, and those by KOMPARU Yoshikatsu, this paper attempts to clarify how goma marks found in books of noh chants for the Muromachi era reflect the accent of the time.departmental bulletin pape
Analysis of the Painting Materials Used in Amida Shoju Raigo-zu (Descent of Amitabha and the Heavenly Multitude)
Get PDFThe three scrolls of Amida Shoju Raigo-zu (Descent of Amitabha and the Heavenly Multitude), a national treasure, collected in the Koyasan Yushi-hachimanko Juhachi-kain is one of the largest paintings of raigo-zu in the Heian period.Amitabha in the center of the painting has now become brownish.Recent study has pointed out that parts of Amitabha’s lotus seat and clothes may have been decorated by reverse leafing, a technique in which gold leaf is applied on the back side of the silk.
In 2011, scientific investigation using a portable X-ray fluorescence spectrometer and digital single lens reflex camera with macro lens was carried out to confirm the reverse leafing and painting materials.Based on information obtained from the scientific investigation, painting samples were drawn using different kinds of colorants.
From the scientific investigation and observation of the painting samples, the following facts were revealed.On the back side of the silk where the body,clothes and lotus seat of Amitabha were painted,reverse leafing technique had been used.On the front side where the body of Amitabha was painted,gold pigment had been used.Clothes and lotus seat had been painted with pigments and organic dyes from the front side of the silk and further decorated with kirikane, a technique in which designs and patterns are expressed by thin strips of gold leaf.Thus it was found that the technique used in this painting is very unique as compared with those used in other Buddhist paintings of the same period.journal articl
Suzuribako with design of an autumn field in maki-e : restoration report : the cooperative program for the conservation of Japanese art objects overseas : No.2013-1
Get PDFブロツワフ国立博物館 (ポーランド共和国) 所蔵 National Museum in Wroclaw, The Republic of Poland漆工品 Urushi craft work平成 25 年度修復事業 2013 Japanese Fiscal Yearboo
Episode from The Tale of Genji : restoration report : the cooperative program for the conservation of Japanese art objects overseas : No.2012-2
Get PDFシンシナティ美術館（アメリカ合衆国） 所蔵 Cincinati Art Museum, United States of America紙本金地着色 屏風装 6 曲 1 隻 Color on paper with gold leaf, six-panel folding screen平成 24 年度修復事業 2012 Japanese Fiscal Yearboo
Phase-out of Methyl Bromide and Ten Years Thereafter
Get PDFThe use of methyl bromide (MB)was banned in Japan as in other developed countries from 2005. Before that, MB was used widely as insecticide for conservation of cultural property in Japan from the 1970’s. The most popular was fumigation by using a mixed product of MB and ethylene oxide which has a fungicidal effect. The 9th Meeting of the Montreal Protocol on Substances that Deplete the Ozone Layer in 1997 resolved the phase-out of the production/use of MB from 2005 in developed countries.At first,application of critical methyl bromide use (CMBU)for the conservation of cultural property was considered in Japan. But after researches on MB use in and out of Japan and also by discussions in a committee established by the Agency for Cultural Affairs (Bunkacho),the authorities decided not to apply CMBU. In the present article the authors describe the overall activities before and after the 9th Meeting and the movement towards the use of a sustainable alternative (IPM) in the ten years following the phase-out.journal articl
Environment of Temporary Storage Rooms in a Closed School at Soma City in Fukushima Prefecture
Get PDFIn order to determine whether it is appropriate to store cultural objects affected by tsunami,classroom environment in a school,which had been closed at the time of disaster, was investigated. The classrooms were used for temporary storage of cultural objects evacuated from the area in Fukushima Prefecture restricted by the Fukushima Daiichi Nuclear Power Plant disaster.Some cultural objects affected by the tsunami following the 2011 off the Pacific coast of Tohaku Earthquake in Minamisoma city were also stored there.
Before transporting the cultural objects, the room windows were closed with styrofoam to reinforce light shielding and heat insulation.Temperature,relative humidity and illuminance in the classrooms were measured from February to August 2015.Temperature of the rooms having windows sealed with styrofoam gradually changed from about 7℃ to 35℃.Relative humidity in classrooms where dehumidifiers were installed was controlled under 60% r.h. in humid summer season. lluminance of the rooms having windows sealed with styrofoam did not exceed 100 lux. In rooms where light shielding and heat insulation were not reinforced, illuminance was high and variation in temperature and humidity was large every day.Thus,it was made clear that reinforced light shielding and heat insulation are essential in order to use a closed school as a storage.journal articl
Akasegawa Genpei and The Yamanote Line Incident – Anonymity as a Clue
Get PDFIn 1963, Akasegawa Genpei formed Hi-Red Center (HRC) with Nakanishi Natsuyuki and Takamatsu Jirô. The “anonymity” that characterizes their activities can be considered an important element in Akasegawa’s own individual activities. This article indicates how the Yamanote Line Incident carried out by Nakanishi, Takamatsu and others played an important role in Akasegawa’s recognition of anonymity as a characteristic.
With his participation in Neo-Dada as opportunity, the 1960s marked a time when Akasegawa turned away from his previous involvement with traditional paintings and began to create objects from trash and discarded materials. However, starting in 1963, around the time of the founding of the HRC, Akasegawa turned to works using model 1,000-yen notes and wrapping arts. This was the period in which Akasegawa, Nakanishi and Takamatsu participated in the discussion meeting of the Keishô magazine, held to summarize the Yamanote Line Incident of the previous year. From the manifesto recorded in the invitation to the Yamanote Line Incident and the interchange between speakers in the discussion meeting, we can discern at least two types of anonymity. One is the literal meaning of anonymity related to naming, and the other is the anonymity gained when agitation extinguishes differences between the self and the other, when individuality is stripped away. These concepts also appear in Akasegawa’s essay “Spy Rules” published the following year, and in his model 1,000-yen notes and wrapping art. And yet, noteworthy in all cases is the fact that anonymity does not mean total namelessness. As can be seen in the critiques at the time by Miyakawa Atsushi and Ishiko Junzô, the difference between namelessness and anonymity, this remaining in the vague state before namelessness, is one of the characteristics found in Akasegawa’s activities.
While Akasegawa may have been interested in the potential of anonymity prior to HRC, at the very least it was the Yamanote Line Incident that made him aware of this interest. This vague form of anonymity can be recognized as one of the original and personal aspects of Akasegawa’s later activities.journal articl
黒田清輝、久米桂一郎宛 藤島武二書簡（三）
Get PDFContinuing on from Bijutsu Kenkyû No. 416, this issue introduces the 24 letters and postcards written by Fujishima Takeji to Kuroda Seiki and Kume Keiichirô, from the letter to Kuroda Seiki dated July 4, 1898 to the letter addressed to Kuroda dated December 1921.
From letter number 29 (July 4, 1898) to letter number 37 (November 24, 1905), we see how Fujishima strove to create works for entry in exhibitions. Letter number 34 shows his discouragement and anger at not being selected as a Ministry of Education overseas student for the following year. Given the lineup of Western-style painters at the Tokyo Bijutsu Gakko, Fujishima should have followed after Okada Saburô, Wada Eisaku and Asai Chû, in the handing out of overseas scholarships, but that year the Nihonga painter Shimomura Kanzan and decorative arts specialist Sakuraoka Sanshirô were chosen for that honor. The following year Shirahama Akira, a specialist in drawing education, was chosen. In Fujishima’s letter to Kuroda we can read his anger at school president Masaki Naohiko, and his despair.
On May 13, 1910, Fujishima returned from his overseas study and was appointed teacher at the Tokyo Bijutsu Gakko, and thus was made a high rank 7/class 1 civil servant. Upon this occasion Fujishima constructed a large separate painting studio near his home. The letters from this period indicate that he had a hard time raising the funds for building, and sold the works he had painted in Europe to the art school.
The Bunten exhibitions were inaugurated in 1907, while he was still overseas. Upon his return he was not named to the judging panel, and had to have his works judged alongside his pupils. However, the conservative stance of the judges meant that their works were not very well received. From this dissatisfaction, Fujishima, along with Ishii Hakutei, Yamashita Shintarô, Arishima Ikuma and others, petitioned the Ministry of Education to establish a second division in the Western painting section of the Bunten for the display of works in new styles. The Ministry rejected the request and so the requesters left the Bunten and set up their own independent exhibition, which they called the Nikaten, or second division exhibition.
In Fujishima’s letter to Kuroda dated August 2, 1914, he said that he had been recommended as a judge for the 8th Bunten, but had sent his refusal to Fukuhara Ryôjirô, Vice Minister of Education, and conversely that he also was cutting his connection with the Nikakai group. However, his letter to Kuroda the following day stated that that morning both Fukuhara and Masaki had visited him and persuaded him to change his mind, and thus he took up the role of judge. Hence while previously it had been thought that it was Kuroda’s persuasion that led to Fujishima remaining in the Bunten, finally it was not Kuroda who kept Fujishima in the Bunten, but rather these top Ministry officials.
However, in the midst of the setting up of the Nika group and exhibition, Fujishima was ordered away on an official trip to the Korean Peninsula. Fujishima sent a picture postcard of Moranbong (in present-day Pyongyang) from Korea and this is important evidence regarding his itinerary.
Examining the letters overall reveals that Fujishima frequently worried when he was creating paintings and thus we can understand why there were many instances where he could not complete a work. Further, even though after Okakura Tenshin left the school, Kuroda became the most influential person at the Tokyo Bijutsu Gakko, from what we gather from the people involved in Fujishima’s affairs, clearly it was actually the school’s president Masaki who wielded more power than Kuroda.journal articl