Tokyo National Research Institute for Cultural Properties - Publications
Not a member yet
4079 research outputs found
Sort by
継承的同時代性としての伝統─無形文化遺産に反映されたジェンダーにまつわる社会構造に関する考察─
Get PDFThis paper discusses the relationship between intangible cultural heritage (ICH) and genderrelated societal structures. The author examines the dynamics of this relationship by approaching gender in ICH using two different methods of inquiry. The paper focuses specifically on Japan and particularly on traditions belonging to the category of intangible folk cultural properties, including practices such as festivals, annual events and folk performing arts. In the first study, all legally protected ICH properties in one specific region are examined to analyze patterns pertaining to participation and to discuss lingering societal structures as visible in traditional practices. In the next study, the results of a series of interviews with practitioners of traditional folk performing arts in various parts of the country are analyzed to identify common patterns in relation to gender circumstances and to discuss how the societal structures of today affect transmission and participation. The results point to two key findings in particular, the first concerning the deep interlinkage between heritage and societal structures in terms of gender dynamics and the second concerning the differential conditions for men’ s and women’ s participation.departmental bulletin pape
The Six Realms Paintings (Rokudô-e) of Shôjuraigôji and the Ritual Space for Nyohokyo Offerings: A Medieval Transformation from Enma-dô Structures to the Hanging Scroll of King Enma’s Court
Get PDFThe Shôjuraigôji version Six Realms Paintings (rokudô-e,referred to here as the Shôjuraigôji version) consists of 15 hanging scrolls. Twelve of the scrolls depict the Six Realms of the illusory world, namely hell, the realm of hungry demons, realm of animals, asura, humans, and gods. Two of the scrolls depict how reciting the nembutsu incantation saves one from descending into hell. One scroll depicts souls being judged by Enma, King of the Afterworld. In terms of dating, inscriptions from the first restoration on the hanging scroll’s old roller bar suggests that they were made no later than that inscription’s date of 1313 (Shôwa 2), and, in general, sometime during the latter half of the 13th century.Poem square (shikishi) shaped cartouches set off in the upper section of each hanging scroll present inscriptions that are primarily based on the Ôjô yôshû, compiled and annotated by the Tendai priest Genshin (942-1017) in 985 (Kanna 1) at Shuryôgon’in on Mt. Hiei. The painting contents are similarly based in general on this source. The previously mentioned restoration inscription noted the provenance of these scrolls, indicating that they were the sacred treasure of Yokawa Ryôzen’in. This further deepens the connection between this work and Yokawa, which can be considered the sacred site of Ôjô yôshû’s compilation. However, the influence from this source varies from scroll to scroll, from roughly to intricately influenced. In particular, there is considerable divergence in terms of both the poem square inscriptions and the painting contents between those seen on the four Suffering in the Human Realm scrolls and the one King Enma’s Court scroll.In a previous article on the King Enma’s Court scroll, I clarified that the text of the poem square inscription on this scroll was edited from a broad survey of texts related to Enmaten and Enma-ô. I also clarified that the painting composition was based on the Enmaten Mandala of the Eleven Deities type which was distributed by the Shingon sect, with the addition of iconography related to the various kings of the afterworld as seen in the Ningbo lineage Ten Kings iconography and the Ten Kings Sutra excavated at Dunhuang. Further, regarding the Suffering in the Human Realm scrolls, recently Abe Mika has newly introduced three different types of transcriptions, namely the Ninnaji version Rokudôshaku, the Shôren’in version Rokudô kôshiki, and the Tosotsudani version Rokudôshiki. In particular, we can discern a close connection between the main text of the Ninnaji version and the poem square inscription texts and painting contents of the Shôjuraigôji version Suffering in the Human Realm scrolls.In this manner the Shôjuraigôji version used as its starting point the samvega concept of escaping the suffering of samsara and turning to the worship of Enmaten (Enma-ô, King Enma), as the central worship image of rites known in Shingon as enma tenku, and in Tendai, as Myôdôku. These rites prayed for benefits in the real world, namely protection from calamity, longevity, protection from illness, and safe birth. These paintings were formulated by using this basis and then further layering on prayers for rebirth in Pure Land paradise through the intervention of the Nijûgozanmaie rites. In other words, these paintings are large-format hanging scroll paintings created against a backdrop of Esoteric Buddhist style Pure Land worship. This fact further suggests the nature of the place where these paintings would have been used when they were produced.Based on the above state of research, in this article I reconsider the production aims of the Shôjuraigôji version in terms of the actual religious nature of the place called Yokawa Ryôzen’in, where this version was handed down. After presenting an overview recent studies about the Shôjuraigôji version in Chapter 1, in Chapter 2 I also survey the textual research on Enma Hall, mainly compiled by Abe Mika. Then, in Chapter 3, I position the Shôjuraigôji version within the lineage of Enma-dô structures built in various regions of medieval Japan. By decree of Emperor Toba (1103-56), an Enmatendô was built at Anrakujuin in 1140 (Hôen 6). Influenced by this structure, in 1223 (Jôô 2), Sen’yômon’in Kinshi (1181-1252) commissioned the building of the Enmadô at Daigoji, and thus determined the trend towards linking Esoteric Buddhist Enmaten with Pure Land beliefs. In particular, influence from the Daigoji Enmadô spread widely through the Kamakura period, and sacred precincts representing hell or the afterlife were built in various regions. The Shôjuraigôji version was produced within such trends. Here I discuss this process through an examination of the iconographic composition of all 15 scrolls in the set.Finally, in Chapter 4, I turn my attention to Yokawa Ryôzen’in. When Genshin founded Ryôzen’in, it had an image of Sakyamuni as its central worship image, and was a site for sermons on and discussion of the Lotus Sutra. Then, I focus on how, in the 13th century, Ryôzen’in occupied an important place as a sacred site for sutra transcription and memorial services. I consider how Ryôzen’in was linked with the Nijûgozanmaie rites carried out at Kedai’in, which had built at Yokawa during Genshin’s time as the pair for Ryôzen’in. Through these considerations, I position the Shôjuraigôji version as the fusion of Exoteric Buddhism and Esoteric Buddhism, and Pure Land belief systems that occurred during medieval Pure Land worship. In Chapter 4, I note how Enma is often positioned as the supervisor of beneficence in historical sources related to medieval Nyohokyo offerings, and focus on the fact that the rebirth destination for those who recite the nembutsu is Toriten (Trayastrimsa Heaven) as depicted in the Karmic Merit of Nenbutsu Recitation as Explained in the Sutra of Precepts for Laymen scroll of the Shôjuraigôji version. Thus, I discuss the possibility that the Shôjuraigôji version was created in close connection to the Nyohokyo offerings and memorial offerings conducted at Ryôzen’in.Through these various observations, in this article I clarify the following two points about the Shôjuraigôji version. First, this set of paintings was created with the aim of prayers for peace and wellbeing in this world and the afterlife through a linking of Esoteric Buddhist worship of Enmaten with Pure Land rebirth worship. In contrast to previous studies that have examined the composition of the fifteen scrolls based on the Ôjô yôshû while also recognizing their partial inconsistency with the Ôjô yôshû, this paper offers the concept that the fifteen scrolls were used with the King Enma’s Court scroll as the central deity. Second, the production of this painting was closely connected to the 13th century situation in Yokawa, namely the revival of the Nijûgozanmaie rituals at Kedai’in and the revival of Ryôzen’in as the locus for Nyohokyo offerings and memorial services. A sense of the multi-layered nature of medieval Pure Land belief systems that incorporated conventional and esoteric teachings and rituals is reiterated by these findings. Thus, we can say that further room remains for deepening our understanding and interpretation of the Shôjuraigôji version as a representative artistic example of this multilayered nature.journal articl
An Attempt to Apply α-Amylase for Conservation Works on Paintings to Be Reassembled with Starch Paste After the Treatment
Get PDFIn the conservation of East Asian paintings, most conservators deal with treatments which involve removing backing paper without any damage to the objects. As some paintings show their backing paper seriously deteriorated with paste, conservators need to take more time than in normal conditions to remove such backing paper. Enzyme treatment, especially α-amylase treatment is a possibility to remove the backing paper in this situation. On the other hand, it is necessary to consider the treatment of deactivation of the enzyme, because most paintings are re-pasted to be reassembled by starch paste after enzyme treatment. If α-amylase is still active after removing the old backing paper, the new backing paper cannot be pasted. This study aimed to apply α-amylase for mounted paintings and documents, for which starch paste is intended to be used after the treatment. First, the effectiveness of α-amylase in artificially aging paste was examined. Next, applications of ethanol to deactivate α-amylase were attempted. The enzyme acted on the sample of artificially aging paste, but the effect was slightly weaker than the samples with fresh paste. The ethanol treatment completely deactivated the enzyme in the case of an under the 1 vol% concentration enzyme solution. However, in the sample with the 2 vol% enzyme solution, the new backing paper sample shows lower adhesive strength even after the ethanol treatment.journal articl
World Heritage Seminar, FY 2022 Re-question on Landscape as Cultural Property
Get PDF東京文化財研究所文化遺産国際協力センターが令和4（2022）年12 月26 日に開催した世界遺産研究協議会：「文化財としての『景観』を問いなおす」における講演及び討議の内容を書き起こして収録したものboo
A Correction Method of Three-Dimensional Measurement Values Attained by Digital Microscope ―Preliminary Verification to Improve the Accuracy of Fiber Measurements―
Get PDFThese days, surveys using digital microscope are common methods in the field of cultural properties. Especially,athree-dimensional measurement can get values of objectʼs height. It is useful not only for three-dimensional objects such as archaeological remains and sculptures, but also for objects with microscopic differences in elevation such as silk painting. However, there are concerns about measurement differences in three-dimensional measurement methods due to sample conditions or measurement conditions. It is necessary to correct differences in three-dimensional measurements. The aim of this verification was to exactly measure the height of the threads of painting silk using the three-dimensional measurement function. Two types of samples were used in this experiment. Both samples were measured by three-dimensional measurements. Then, the two samples were buried in resin, the cross sections were polished, and the length of the thread cross section was measured by two-dimensional measurements. (The values obtained in this measurement were treated as the actual measurements.) The values obtained by the two measurement methods were compared with the values by the three-dimensional measurements. Thereby, the corrections of the three-dimensional measurement values based on the two-dimensional measurement values could be made. There are other issues regarding the values attained by digital microscopes. For example, the values measured by different models of digital microscopes could not be compared with each other. However, the correction method examined in this study made it possible.journal articl
楽器を中心とした文化財保存技術の調査報告６
Get PDFThe Department of Intangible Cultural Heritage considers the manufacture of musical instruments, techniques for their repair, the manufacture of tools necessary for the production of the instruments and repair techniques, and the manufacture of materials necessary for these as important restoration techniques to support the traditional performing arts of Japan and has been conducting an investigation since 2017. This report is a sequel to the “Investigation Report on Techniques for Preserving Cultural Properties with a Focus on Musical Instruments 5” and provides an outline of seven cases of investigation conducted from February to December 2022.
Japan, pursuant to the Law for the Protection of Cultural Properties, has a system by which preservation techniques are selected, and holders and holding groups of these techniques are recognized. However, the present investigation has been conducted on holders and holding groups that are considered important regardless of selection or recognition. The content of the investigation has been organized into the following seven items in this order for each instrument: 1. Name of the holder of the technique, 2. Date of birth of the holder, 3. Address or place of investigation, 4. Date of investigation, 5. Investigator, 6. Overview of the holder, 7. Observation of the investigator.
This year, as in the year before last, many conservation techniques for cultural properties were greatly influenced by Covid-19, and the necessity for investigation was felt all the more. Nevertheless, the investigation was not able to be conducted as scheduled due to the pandemic. Continuous attention needs to be given to both the current state of conservation technologies and the impacts of Covid-19.departmental bulletin pape