Tokyo National Research Institute for Cultural Properties - Publications
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Tales of Shinran : restoration report : the cooperative program for the conservation of Japanese art objects overseas : No.2015-4
Get PDFナショナル・ギャラリー・オブ・ビクトリア（オーストラリア連邦）所蔵 National Gallery of Victoria, Commonwealth of Australia
絹本着色 掛軸装 4 幅対 Color on silk, a set of four hanging scrolls
平成 27 年度修復事業 2015 Japanese Fiscal Yearboo
Series of instruments for protecting cultural property [26] Canada
Get PDF史跡モニュメント法、カナダ国立公園庁法
Historic Sites and Monuments Act, Parks Canada Agency Actboo
Materials for Art Researchs: The Yashiro Yukio-related Materials in the Duveen Brothers Records at the Getty Research Institute
Get PDFYashiro Yukio (1890-1975) was deeply involved in the founding of the Institute of Art Research affiliated with the Imperial Art Academy, which was the predecessor of the Tokyo National Research Institute for Cultural Properties. Yashiro studied in Europe from 1921 to 1925, particularly under the tutelage of Bernard Berenson (1865-1959). While there, he published his great work in English, Sandro Botticelli (1925, Medici Society). When Yashiro visited Berenson to ask for permission to study under him, Berenson was then the great scholar on Renaissance painting, living at I Tatti, a palace with large garden located on the outskirts of Florence. He was not affiliated with any museum or university, but rather earned his living as an independent scholar. This income is thought to have been thanks to a secret contract he concluded with the English art dealer Joseph Duveen (1869-1939).
In his own writings, Yashiro does not make direct mention of his own connection with Duveen. However, we have now learned of letters exchanged between Yashiro and the Duveen Gallery and other related materials related to Yashiro in the Duveen Brothers records housed in the Getty Research Institute. There are three letters written by Yashiro and 15 documents from the Duveen Gallery, spanning in date from the first Yashiro letter dated January 11, 1925 to the last Duveen Gallery letter dated July 8, 1927. These documents can be largely divided into three groups based on their contents. First, those related to Yashiro’s book Sandro Botticelli, namely those related to requests for photographs of Botticelli works for inclusion in the book and those related to critiques of the book. The second group is related to Yashiro’s request in 1927 that they send him copies of the picture compendia published by the Duveen Gallery. And third, those related to Yashiro’s departure from Europe in 1927 and his visits to the Duveen Gallery in New York.
According to these materials, Yashiro wrote to Duveen about his book, stating that he was a student of Berenson, and he wrote his own critiques of the works in the Gallery. Duveen hoped that through Yashiro European paintings could be introduced in Japan, and they also clarified Duveen’s evaluation of Yashiro’s Sandro Botticelli.
This article introduces the materials in the Yashiro file in the Duveen Brothers records at the Getty Research Institute, offers my own thoughts on the newly discovered information in those materials, and presents a Japanese translation of
all of the Yashiro-related materials in the Getty’s Duveen Brothers records.journal articl
The Power of Video Documentation : to Overcome the Crisis : Report of the 16th Conference on the Study of Intangible Folk Cultural Properties
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Topics of the Sixteenth Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage and Issues Raised through Discussions
Get PDFThe sixteenth session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage was held online from 13 to 18 December, 2021, as a result of Covid-19 pandemic. Although the meeting was held online, the number of agenda was almost the same as that at an ordinary meeting, because it had been planned to be held in offline modality just ten daysbefore the opening of the Session.
During the Session, 38 elements of intangible cultural heritage were inscribed on the Representative List of the Intangible Cultural Heritage of Humanity (Representative List). The Evaluation Body had recommended 36 files as inscription on the Representative List, which showed an effectiveness of the dialogue system between the Body and the States Parties concerned. Apart from the 38 elements, “Joumou Soup” was requested by Haiti to be examined on a fast-track basis by the sixteenth Session of the Committee because Haiti was hit by a series of impactful events such as an earthquake and a tropical storm as well as the assassination of the President, and the State Party hoped that the inscription would encourage its people. Inscription of this element on the Representative List was unanimously supported by the Committee Members, but it requires endorsement by the General Assembly of the Convention, because such fast-track inscription is not regulated by the Operational Directives for the implementation of the Convention for the Safeguarding of the Intangible Heritage (Operational Directives). The Committee also pointed out the necessity to establish a procedure to allow inscribing an element on such an exceptional basis.
At this Session, it was decided to recommend the revisions of the Operational Directives to the General Assembly in 2022. The revisions were based on the recommendation of the open-ended intergovernmental working group chaired by H.E. Mr. Oike Atsuyuki (Japan). Among the revisions, simplification of the process to inscribe elements on an extended or reduced basis helps new practices to be added to an existing element. The mandate of the working group was extended to continue discussions about revisions of the Operational Directives, which may increase the number of nomination files to be examined per year. It is hoped that future revisions will contribute in richness of diversity of the Lists of Intangible Cultural Heritage, not reduce the quality of nomination files.departmental bulletin pape
Jinkyusai (Catalpa-bow Festival) in Saijo-cho, Shobara-shi (formerly Nuka-gun), Hiroshima-ken
Get PDFThe Shinto priests of Hiroshima prefecture have transmitted rituals called “jinkyusai” or “yumikagura.” In this ritual, the priest sounds the string of a bow priest set on the floor and chants prayers and songs to the sound in order to worship the gods.
The present paper describes the jinkyusai transmitted by Shinto priests at Saijo-cho, Shobara-shi (formerly Nuka-gun), Hiroshima-ken, a ritual that has not been introduced much until now. Based on field study and interviews with persons concerned, it examines how the festival is held today and analyzes its characteristics.
The jinkyusai of Saijo-cho consists of three parts: welcoming the gods, entertaining the gods, and sending off the gods. Of the three, focus is placed on the second element – entertaining the gods with music and consulting the oracles. To do this, many prayers and ceremonies are created for the various godheads which the shrine parishioners worship.
The ritual of jinkyusai is characterized by the tone of voice which is used to chant the words, types of musical instruments employed (ceremonial implements), differences in sounding the bow and drum. When focus is placed on how the ritual is performed, we notice that many musical instruments are used and performed in a lively manner as the priests welcome and send off the gods. Contrary to that, when the priests express their wishes to the gods, the number of musical instruments is less and the tone of voice tends to become monotonous. In these ways, the jinkyusai is a ritual using various characteristics of performing arts in order to express communication with the gods.departmental bulletin pape