Tokyo National Research Institute for Cultural Properties - Publications
Not a member yet
4079 research outputs found
Sort by
研究資料 黒田清輝、久米桂一郎宛 藤島武二書簡（二）
Get PDFContinuing on from Part I of this article published in Bijutsu Kenkyu no. 415, this Part II introduces 15 letters and postcards written by Fujishima Takeji to Kuroda Seiki and Kume Keiichirô, ranging in date from the letter to Kume dated January 28, 1896 (Meiji 29) to the letter to Kuroda dated April 25, 1898 (Meiji 31).
Kume Keiichirô married in December 1895, and Fujishima sent him a letter of congratulations. Kume’s mother died on May 1, 1896, and as is well known, the Hakubakai was formed from the gathering of painters who attended her funeral.
A Diet meeting held on March 11, 1896 approved the bill to establish a Western painting department at the Tokyo Bijutsu Gakkô, and Kuroda was appointed visiting professor in charge of that department on May 15th of that year. On July 2nd, Kuroda sent a letter to Fujishima asking him if he would become the Assistant in the Western painting department at the Tokyo Bijutsu Gakkô, and Fujishima wrote his positive reply on July 4th. However, the middle school in Tsu where Fujishima was then employed objected to the move, and it took a while for efforts by Okakura Tenshin, then president of the Tokyo Bijutsu Gakkô, to convince the prefectural governor to release Fujishima from his contract in Tsu. Fujishima arrived in Tokyo on August 18th, and became assistant professor on August 21st.
Most of the letters that Fujishima sent to Kuroda after assuming his position at Tokyo Bijutsu Gakkô were related to administrative matters of the school. From these letters we know that Fujishima was involved in various duties at the school, from preparing entrance exams to such accounting duties as paying model fees.
The letter from Fujishima to Kuroda dated February 3, 1898 is an important document directly conveying how the classes in the Nihonga department were divided into three Japanese historical periods. Each class consisted of the students learning from the respective period’s art works. And yet, soon after, on March 29th, Okakura became embroiled in a scandal and was forced to resign. The Okakurafaction teachers clamored to offer their resignations, but in the end, most of them were fired and left the school. Fujishima’s letters convey the tenor and mood of this period of disturbance at the Tokyo Bijutsu Gakkô.journal articl
List of Filmon Endless Sound-Belts
Get PDFFilmon endless sound-belt, a type of records which can be used to record for a long time, was developed in Japan in the latter half of the 1930s. They were sold only for about three years and those remaining today are extremely limited in number. In fact, they have been practically forgotten even in Japan.
The National Research Institute for Cultural Properties, Tokyo has been conducting jointsurvey of Filmon endless sound-belts with Waseda University’s The Tsubouchi Memorial Theatre Museum, and a part of the results of that survey was made public in Research and Reports on Intangible Cultural Heritage No. 5 (March, 2011). Further survey has led to corrections and additions of information, and these are provided in this report.departmental bulletin pape
Honeycomb-like Weathering of Akasaki Pagoda, a Designated Cultural Property in Tottori Prefecture, Japan
Get PDFAkasaki Pagoda is a stone pagoda about 3m high located in the Hanamigata Cemetery of Kotoura town,Tottori Prefecture,Japan.Made of tuff,the Pagoda was built about 650 years ago,and has been standing there since then.The southwest side of the main body of the Akasaki Pagoda is severely weathered and shows a typical honeycomb structure. The maximum depth of erosion is estimated to be about 11cm.Such a structure is not observed on the northeast side of the Pagoda.Moreover,white salts composed of gypsum are formed inside the honeycomb holes. It is considered that these honeycombs were formed due to
natural reasons, mainly salt weathering. Comparison between the present and past conditions of the honeycombs, based on old photographs, leads to the conclusion that the honeycombs are still growing continuously. Because the Hanamigata Cemetery has been continuously managed since medieval time, trees or grasses have not existed near the Pagoda. For this reason, wind containing sea splash and solar radiation has easily been supplied to the Pagoda.The crystallization of the salts,e.g.gypsum,on the southwest side of the main body of the Pagoda is probably due to such a severe condition. In order to reduce further weathering of this Pagoda,installing a shelter for the Pagoda to reduce wind and solar radiation may be effective.However,discussion from the viewpoint of landscape and authenticity will be required before putting this measure to practice.journal articl
Reisho-jo : restoration report : the cooperative program for the conservation of Japanese art objects overseas : No.2011-4
Get PDFケルン市博物館東洋美術館 (ドイツ連邦共和国) 所蔵 Museum fur Ostasiatische Kunst, Museen Köln絹本著色 掛軸装1幅, 15世紀 A hanging scroll, color on silk, 15th century平成 23 年度修復事業 2011 Japanese Fiscal Yearboo
Fluorescence and Excitation Spectral Shift of Gelatin, the Main Ingredient of Glue: Effect of Its Concentration and Addition of Potassium Alum
Get PDFFluorescence and excitation spectra of aqueous solution of gelatin,the main ingredient of glue, under concentration of 1-10%, and the addition of potassium alum of 0.1-1% were measured.As a result,fluorescence band at maximum of 388 nm,excited at 275 nm,showed significant red-shift with increase in gelatin,which is considered to be due to the formation of tyrosine dimer and trimer. In addition, the excitation band at maximum of 340 nm for 460 nm fluorescence shifted to 370 nm. This is supposed to be due to an increase in the conjugated system in the triple-helical structure domain formed in the gelatin network. Moreover,the same excitation band also showed red-shift with increase in potassium alum from 340 nm (0%) to 355 nm (1.0%) in 1% gelatin solution.
These phenomena indicate that the observation of the spectral shift of fluorescence and excitation spectra of gelatin can give some physical and chemical information about glue, a traditional material of cultural objects.journal articl
Study on the Distribution of Temperature and Humidity in Exhibition Cases Equipped with LED Light Devices
Get PDFIn the present study, the distribution of temperature and relative humidity inside one of the exhibition cases in the temporary exhibition room of Mie Prefectural Museum due to heat generated from LED lighting devices was measured and their 3D distribution was estimated by computational fluid dynamics (CFD). The effects of installed silica gel humidity conditioner and air circulation system were observed from the measurements, and the main factors of the distribution of temperature were evaluated from the results of CFD.
As a result of measurements, it was found that the temperature inside the exhibition case was higher when there was no forced air circulation than when there was. The temperature at 4.5m from floor level was especially high in both circumstances, but with
forced air circulation the gradient of temperature distribution was lower in the direction of the height. As to the gradient of relative humidity distribution, no considerable difference was found between the two circumstances.However,the absolute humidity increased more with forced air circulation. It can be presumed that the air controlled with humidity conditioner was delivered more efficiently.
Estimations of temperature and humidity distribution by CFD were nearly the same as the results of measurements. From these estimated temperature distribution and air direction by CFD,turbulence of heated air and re-heating were observed at a high position on the exhibition case,and it can be presumed that these phenomena were the main factors for temperature increase when there was no forced air circulation.
Even though LED light generates less heat than incandescent or fluorescent light, the temperature inside exhibition case will increase.So we need to be continually careful when setting display lights. Also, for efficient humidity control, it is better that the air inside exhibition case be circulated all the time.journal articl
The Role of Soybean Juice as Seen in Texts on Skills for Dyeing: With Focus on Kon’ya chasome kuden sho (1666)
Get PDFThis fiscal year, the National Research Institute for Cultural Properties, Tokyo started to conduct fundamental research on materials and techniques related to textile cultural properties. Until now, most research on textiles has focused on styles and designs, and not much comprehensive research has been made that looks into materials and techniques. Of the materials used in textile cultural properties, that whose information is least organized systematically is “soybean juice.” In this paper, attention is given to soybean juice as a dye material and its use and effects are studied through an examination of Kon’ya chasome kuden sho published in 1666.
Today, soybean juice is used in jiire , a process required in yuzen dyeing and stencil dyeing just before dyeing. This jiire process promotes the infiltration of dye solution into the fabric and its moving about in the fabric while at the same time preventing uneven dyeing. According to Kon’ya chasome kuden sho, soybean juice of different concentration or soybean juice mixed with pigments was used. The process in which it was used also varied from before and/or after the process of dyeing to that of marking out. Such variations are thought to have been made so as to produce the desired color. It is hoped that studying information about soybean juice, to which attention had not been given much until now, will one day lead to the elucidation of many of the other skills that have already disappeared.departmental bulletin pape
Material for Art Research,Wooden Core, Dry Lacquer Standing Eleven-Headed Ekādaśmukha (Jûichimen-Kannon), Kanzanji, Shiga Prefecture
Get PDFRecent research has reconfirmed that the Standing Eleven-Headed Ekādaśmukha (Jûichimen-Kannon) sculpture (fig. h. 102.2 cm), handed down at Kanzanji in Shiga prefecture, is a wooden core, dry lacquer figure dating back to the Nara period.
In the intervening almost 1,200 years, most repairs have been done on the surface areas of the work, and thus surfaceonly examinations have meant that the details of its internal construct remained unknown. As part of basic research on the ancient and medieval statues of Shiga prefecture, Inuzuka Masahide of the Center for Conservation Science and Restoration Techniques and Japanese sculpture scholars connected to Shiga prefecture conducted a detailed examination of the work including X-ray photography. This article reports on those activities along with presenting the X-ray imagery taken during the investigations, with the hope that it will provide material for the future study of extant examples of Nara period wooden core, dry lacquer sculptures.
As shown in the X-ray images, the sculpture was made of a conifer wood that lacked a core and had growth rings. A single block of this wood was used for the section extending from the top of the hair to the tips of the tenons protruding from both feet, and on the right arm up to the wrist, and the elbow of the left arm. Separate pieces of wood were attached to the core head/body form to create the right hand, left forearm and hand, and the front of both feet. All of the extant attached sections are later additions.
According to the X-ray images, we can confirm that there were metal pins attached in two places to each ear, somewhat below the middle of the ear. These were used to attach ears made of separate wooden material. Other examples of Nara period wooden core, dry-lacquer sculptures that have attached ears made of other wooden materials include the Seated Ākāśagarbba (Kokuzô; Kakuanji) and the Standing Bodhisattva (Tôshôdaiji), both in Nara.
Inner carving was carried out on the back of the head, neck, back and waist areas, creating an almost square hollow, while rectangular carved windows were also opened in the buttocks and in the back of the legs. Each of those carved windows was used to do the inner carving, and the interior hollow pierces through the entire sculpture. Each of those carved windows was then fitted with a separate lid. The Amitabha Triad (Konbu’in, Nara) is another example of this type of Nara period wooden core, dry lacquer figure with a core head and body element fitted with rectangular carving windows in the back of the head and back, interior carving, and an interior hollow that pierces the entire sculpture, along with deep interior carving. This technique then continued and was used in the Seated Cintāman. icakra Avalokiteśvara (Nyoirin Kannon; Kanshinji) that is a representative example of early Heian period sculpture.
The X-ray imagery clarified that dry lacquer was used on this sculpture only in a light coating to fill in across the surface of the wooden sculpture. The important areas of dry lacquer filling are the hair on the head, the face, skin on the chest and torso, and the motif depiction on the garments. Of these, the X-ray images show that the cheeks, jaw and neck were all carved out and then only coated with a light application of dry lacquer. Flaking of the built-up dry lacquer has advanced on the surfaces of the hair, nose, chest and torso area, and the left leg, and has been partially reformed. In addition, the Buddha head on the top of the figure’s hair knot, all of the faces on the head, the nose, scarves hanging down the figure’s sides, the extant surface layer of metal leaf, the attributes (such as a rosary and a vase holding a lotus blossom) and the pedestal are all later additions.
Overall, the front view of this sculpture has been heavily repaired by later generations. However, the sides and back of the surface have been left predominantly as they were at the time of creation. Of those areas, the handling of the hair knot and the drapery motif seen on the right calf resemble those of the Standing Avalokiteśvara (Sho-Kannon; Renjôji, Nara), an extant example of a plain wooden Nara period figure. In addition, the Amitabha Triad at Konbu’in stands as an example of Nara period wooden core, dry lacquer sculptures that have the same type of above-noted separate square carving windows opened into the head and body areas, and have deep interior carving that pierces the entire figure. This similarity allows us to surmise that this work was created during the same period when this style was flourishing, namely ca. the 4th quarter of the 8th century, and that there is no reason to believe that the production date extends as late as the 9th century.
Kanzanji, where this sculpture has been handed down, is located in the far north of Shiga prefecture, close to Keisokuji, where three Nara period wooden core, dry lacquer Standing Guardian Figures have been handed down. Thus the four examples of wooden core, dry lacquer sculpture in Shiga prefecture confirmed today are all concentrated in this area. While the present sculpture is not well known today, it should be considered a noteworthy example of Nara period wooden core, dry lacquer sculpture.journal articl
Fungal Occurrence by Humidity Differences on Two Types of Substrates (Shihon and Kempon) for Japanese Paintings
Get PDFFungal occurrence by humidity differences on two types of substrates for Japanese paintings (shihon: Japanese paintings on paper, and kempon: Japanese paintings on silk cloth)was investigated.Mold growth was observed on samples of shihon and kempon,both types of which were made either using starch paste or without the paste.
Substrates inoculated with various mold species were placed under five conditions of relative humidity (RH):94%, 84%, 75%, 70% and 57%.Mold occurrence was observed for 20 weeks under room temperature between 20 to 25 ℃.
As a result, mold occurrence was observed in the environment of 94% RH after one month and,especially with samples using starch paste.However,in cases of environments of RH less than 84%,mold growth was extremely slow in all types of samples, just a few species having grown on the samples with starch paste in the observation period of 20 weeks even under the condition of 84%RH. Longer period of observation is necessary to grasp further tendency.journal articl
Change in Gas Concentration in a Display Case
Get PDFRecently, display cases in museums have improved in airtightness.On the other hand, there is a risk that artifacts in display cases may be exposed to chemical gases if there is gas emission from the interior materials used in the display cases. Also it is thought that gas concentration increases with time. However, change in gas concentration in display cases has not been made clear until now.To confirm such a change,it is necessary to repeat gas sampling in a specific time cycle and to keep the display cases closed during test period. But if the cases are kept closed, confirming change in gas concentration is difficult since measuring devices cannot be easily set or removed.In order to solve this problem,a display case was made for environmental testing and gas concentration was measured.
This paper reports the change in acetic acid gas concentration in the display case as confirmed by measurement. It also compares the acetic acid emission rate of the interior materials obtained from the measurement of the display case and that obtained from chamber test.
As a result, it was found that there was little difference in emission throughout the experiment. Gas concentration obtained by the measurement was corrected by removing the effect of gas sampling. This corrected gas concentration was consistent with that obtained through prediction formula based on initial gas concentration. In addition, emission rate of the interior materials obtained by chamber test and by the present measurement was similar. From these results, it was found that it is possible to predict change in gas concentration in display cases by obtaining initial gas concentration and that chamber test is an effective method to estimate gas concentration in display cases.journal articl