Tokyo National Research Institute for Cultural Properties - Publications
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Restoration Report: Cabinet with Floral Design (The Ashmolean Museum University of Oxford)
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Record of Workshop: Conservation of Urushi Objects at Museum fur Ostasiatische Kunst, Koln
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The Long Landscape Handscroll: Towards a Re-Evaluation of Sesshu
Get PDFSesshû Tâyô (1420-1502/06?) was a Zen monk who painted during the latter half of the 15th century, during Japan's Muromachi period. Labeled a painting master and a painting great in Japan today, our previous understanding of Sesshû has been little more than a tentative analysis, framed in the limited image of the modern “artist.” This is true to the extent that there are no records today that give us a definitive answer about how Sesshû or his paintings were understood by his contemporaries.
In order to create a more realistic evaluation of this painter, we must first examine the known facts behind his rale. As such, in this case, all we have are Sesshû's actual remaining works. Indeed, the extant works are nothing more than a fragment of his full output. The oeuvre does not tell us about Sesshû the artist or Sesshû the man. Indeed our understanding of Sesshû himself is but a rough sketch, given that the information remaining about him is quite fragmentary. Imagining a whole from these few and disparate parts can provide some feedback on that fragmentary understanding. This then enriches the overall image, and in turn, enriches our understanding. In this process we can become aware of fragments that had not been previously acknowledged. Different viewpoints are linked at unexpected places and gradually that which is grasped of the entirety grows. In this process it is necessary to reposition, redefine individual facts, whether his paintings or even Sesshû himself.
This article is such a study, and there is the impression that at last certain of the fragments are linked up. Then, advancing from the process of individual proof, I would like to advance to the stage of gathering up the fragments while considering the entire image.
This article attempts to position Sesshû as one of the countless kanga-shi (Chinese-like style painters, or painters who were of military class background who painted in a Chinese-like style), who existed across the history of Japan. This process will reconsider the Handscroll of Landscape of the Four Seasons (also known simply as the Long Landscape Scroll, dated to the 12th month of 1486, Mohri Museum), from the vantage point of a kanga-shi painter.
In fact, historical documents exist that suggest that around the spring of 1487 Sesshû painted landscapes in the style of Xia Gui on the shôji sliding door panels for Ôuchi Masahiro (1446–1495). This evidence of Sesshü's actual role as a kanga-shi painter can also clarify the meaning of the Long Landscape Scroll, a work painted immediately before the Ôuchi work and one consisting of landscapes in the Xia Gui style. Undoubtedly, around the time when Sesshû was painting the Long Landscape Sscroll, he would have had a variety of information regarding the paintings of the Chinese Southern Song painter Xia Gui that he would have received from the Ôuchi family that commissioned the shôji works. This would have added to the knowledge Sesshû already had of Xia Gui style, and would have lead to the creation of the Long Landscape Scroll, which acted as a gahon (pictorial model) of Xia Gui's landscape style, a tool for his painting studio. Rather than just Sesshû's own self-determination, it would be closer to the truth to say that Ôuchi Masahiro ordered Sesshû to make such gahon, expecting it would be a tool for use by the next generation.
In addition to the Long Landscape Scroll, there are several other extant works that could be considered pictorial models for Sesshû. And indeed, the majority of extant Sesshû works fall into this gahon category, and Sesshû is not unique in this regard. These materials can be considered the best tool for us today to reconsider Sesshû in his true historical perspective as a kanga-shi painter, the system in which he worked and the pictures he produced within those conditions.journal articl
Akimoto Shatei and Meiji Era Nihonga (Part II)
Get PDFThis is an extremely fascinating collection of essays for those who are interested in the artistic expression of Japanese medieval portraits, regardless of media, whether painting or sculpture. As suggested by the book’s title, the discussion of nise-e, or realistic portraiture, in Section II, and the discussion of the individual painting, Portrait of Myôe Meditating in a Tree (on Mt. Ryôgasen near his temple Kôsanji), in Section III, are the focal points of this book. However, the positioning of a discussion of handscroll paintings in Section I is a special feature of the book. If one considers the number of essays contained in this book and divided into three sections, logically Section II is the focal point of the book in line with the title.
The connecting thread that runs through all of the essays is that the reception of Song dynasty Chinese painting in Japan supported the process of establishing the genre of portrait painting in the Kamakura period, while keeping in mind the politics of the times. For example, regarding the discussion of realistic portraiture that forms the core of the book, the author clarifies that the standards and original forms of the genre can be found in Chinese painting, and that Confucian philosophy was brought to Japan at the same time as the painting style. In addition, in his concluding remarks the author addresses the issue of period divisions within the realistic portraiture genre. He should be highly praised for his dividing the overall period into early, middle and late periods, and for his discussion of the characteristics of each. Undoubtedly, after the publication of this book, any study of Kamakura period portraiture must begin with a thorough reading of this volume.
Bibliography:
Itô, Daisuke, Shôzôga no jidai – Chûsei keiseiki ni okeru kaiga no shisôteki shinsô, The University of Nagoya Press, Nagoya, December 2011. [In Japanese only, no English title or subtitle provided in the publication, English translation of book title prepared solely for this review.]journal articl
History of Protective Shelters in Japan
Get PDFHistory of protective shelters in Japan is reviewed as a part of the history of conservation science in Japan. The Shelter covering the Main Hall of Ujigami Shrine in Kyoto goes back to the Kamakura period (ca. 13 C) and is probably the oldest standing protective shelter in Japan. The origin of that shelter and one covering the Golden Hall of Chusonji Temple may go back to the late Heian period (ca. 11 - 12 C). There are many evidences –foundation stones, roof tiles and other accessories for holy buildings near stone pagodas, contemporary archives, and graphical drawings– showing the existence of shelters covering stone pagodas during the middle age in Japan (ca. 12 - 16 C). Not a few protective shelters built in the early modern age (17 - 19 C) still exist, covering main halls of shrines, and are designated as important cultural properties by the central or local government. Some shelters built in the early modern age were purposed to protect the historic value of the covered monuments, not the religious value, and the construction of shelters for such a purpose may be regarded as an initiation of conservation science in Japan. After WWII, many protective shelters were established, covering excavated sites for their conservation and practical use. Observation of the monuments covered with historic shelters will enable us to evaluate their merit. Such observation will also contribute to future consideration on the kind of shelter that is effective for the conservation of monuments.journal articl
Overview on the Legal Definition of and the Export Restriction upon Cultural Properties in the World
Get PDFRecently more and more countries are paying attention to their own cultural aspects, especially protecting cultural properties from being dispersed outside their jurisdictions.
Essential for that purpose is a clear distinction of cultural properties from other general goods. When we look into legal definitions of cultural properties in principal countries, three elements can be extracted: time, creator, and quality. To be a cultural property, some countries require that many decades have passed, that creators have passed away, or that monetary or metaphysical qualities are inherent.
Once cultural properties have been legally defined, we can ask who will be allowed to apply those definitions upon respective cultural properties. Relevant laws in each country nominate a responsible person and prescribe procedures. To apply definitions in this way is for protection, and protection per se is, in general, beneficial to owners. In this sense, many laws do not always refer to ownership. However, the exercise of administrative powers and individual ownership may conflict; it may go against the current tendency toward free trading in the world and the modern guarantee of properties rights for their owners. So, it is hardly possible, in principle, to restrict the exportation of undesignated cultural goods.
Today there appear many emotional or sentimental arguments about the treatment of selfdefined or potential cultural properties or even seemingly cultural products, but we should remember that without designation or without special reason no administrative exercise can intervene under the name of protection. That is the rule of law.journal articl
Microorganisms in Kitora Tumulus during Intermittent UV Irradiation between Restoration Works (2010)
Get PDFIn the Kitora Tumulus, almost all of the paintings on the side walls and the star charts on the ceiling were relocated in 2008, except for those which might have been hidden by a thin layer of mud on the walls. Therefore, controlling measures such as intermittent UV irradiation have been applied since March 2009 to control microoraganisms on the plaster. Intermittent UV irradiation has been performed in the stone chamber of Kitora Tumulus in interval periods between relocation works of the plaster walls without paintings. Growth of most fungal mycelia was suppressed effectively. Dark colored fungi such as a black basidiomycetous fungus Burgoa sp. were sometimes observed, but there was not much problem as a whole. Many species of microorganisms were isolated from nine samples from the stone chamber interior at the sampling in May and October 2010. But the microbiota was almost similar to the ones which we observed in surveys of the last several years. Microorganisms seem to survive at places where sufficient UV light does not reach, such as inside cracks of the stones, inside mud layer, and inside gels of biofilm.journal articl
The Effect of Traditional Preservative Interventions for Panel Painting in Romania
Get PDFIn this paper the impact of two traditional Romanian treatments using “red petroleum” and propolis solution, respectively, are studied in terms of actual efficiency and consequence on wooden artifacts are studied. The application of red petroleum and that of propolis solutions are still widely adopted and popular techniques in preservative conservation in Romania but the impact of these solutions is not well known. It is important to know the effect of treatments on the physical and structural characteristics of artifacts, not only for understanding the influence on the present conditions of art but also for foreseeing future behavior. These treatments using traditional Romanian products are compared with one using a commercial antifungal product, Biotin R, which is utilized as reference to control the effectiveness of “red petroleum” and propolis.journal articl
On-site Analysis of Glass Objects Existing in Okinawa Prefecture Using a Portable X-ray Fluorescence Spectrometer
Get PDFOkinawa was originally called Ryukyu; it was an independent kingdom with a unique culture. Located southwest of Japan, it flourished as a base for trade among China, Korea and Japan. Ryukyu was placed under the control of the Shimazu domain in the Edo period and was colonized by Japan during the Meiji period. During the Second World War, Okinawa was the only battlefield in Japan where Americans landed. A large number of cultural objects existing in Okinawa were catastrophically damaged by the War.
The Okinawa Prefectural Board of Education carried out a survey of glass and bead objects existing in Okinawa prefecture in 2008-2010. This report describes the results of on-site analysis of glass objects in Okinawa using a portable X-ray fluorescence spectrometer. Some unique glass objects using several kinds of beaded glass existed in Okinawa. Bottle-shaped objects, partition objects, tray-shaped objects and necklaces were analyzed in the present survey.
The results showed that most beaded glass was classified into lead-glass group despite the differences of lead contents. All of red, yellow and green-colored glass was categorized as leadglass. Red and yellow glass was colored with iron oxide, and green glass with copper oxide. However, some blue-colored glass was categorized as lead glass, while some was not. The coloring materials for blue-colored glass were found to have been copper oxide and cobalt oxide.
Detailed characteristics of glass objects in Okinawa is expected to be made clear by further investigation of the distribution of materials and place of production.journal articl
Study on Urushi Objects Excavated at Takashima Underwater Site
Get PDFIn recent years, many urushi objects have been excavated at Takashima Underwater Site. These objects are thought to have been used in the Mongolian attack on Japan in 1281. Several analyses and observation using a microscope were conducted.
As a result, some techniques different from traditional Japanese ones were found to have been used in making these objects.
(1) Bone powder was found to have been mixed into the foundation. This is an ancient Chinese technique.
(2) The thick black urushi layers of some bows contained many particles of red lead pigment (Pb3O4).
(3) Elemental analysis by Py-GC/MS revealed that these black urushi layers were composed of urushiol. Moreover, much dry oil had been blended into the urushi.
(4) It is known that mixing lead pigment into urushi reduces the fluidity of urushi which gains a certain creamy effect. This produces a certain amount of thickness in the urushi film but decreases the durability of the hardened film.
(5) Although boiling is one way to harden dry oil like paulownia oil as a coating film, another method that has been traditionally used is to add lead pigment into dry oil. This is known as mitsuda technique.
(6) It is possible that this technique was chosen because it was effective in mass producing weapons like bows and other expendable items.journal articl