著者

中山 俊介 小堀 信幸

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.52, pp.275-287, 2013-03-26

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Outside the museum of local history and culture managed by the town and located next to the Iejima Port in Iejima, Okinawa prefecture is a small silver torpedo-shaped boat. It is known as a “tank boat.”A “tank boat”is defined as “a boat using the fuel tank of an aircraft to catch octopuses and other fish in a reef.”Traditionally in Okinawa, wooden boats called sabani were used in reefs and coastal regions for fishing. It was these “tank boats”that people of Okinawa engaged in fishing depended on temporarily after having lost many tools necessary for life as a result of damage caused by the Pacific War. An investigation of museums in Okinawa where such “tank boats”are preserved and exhibited revealed that there are several such museums. This is a report on the investigation in the form of interviews held in February 2011 at each of these museums concerning documents and the present condition of such “tank boats.”

著者

竹之内 裕 川野邊 渉

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.37, pp.99-123, 1998-03-31

著者

早川 泰弘 城野 誠治

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.57, pp.91-100, 2018-03-23

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The Illustrated Scrolls of the Legends of Shigisan (Shigisan engi emaki) held at Shigisan Chôgosonshiji temple is a major extant example of Heian period painting that presents pictorializations of many of the legends related to Myôren, a saintly monk credited with later having revived the temple. The set consists of three handscrolls, with the first scroll known as The Scroll of the Rich Man of Yamazaki (Yamazaki chôja no maki) or The Flying Granary Scroll, the second scroll known as The Scroll of the Rite of Spiritual Empowerment for the Engi-Era Emperor (Engi kaji no maki), and the third scroll known as The Scroll of the Nun (Amagimi no maki). The Tokyo National Research Institute for Cultural Properties conducted an analysis of the colorants used in all three scrolls by X-ray fluorescence spectrometry (XRF) during 2011-2012. Measurements (dia. 2mm) were taken at 707 places over the three handscrolls by using a portable device. Both Ca and Fe were detected in the XRF analysis of the Shigisan engi emaki at almost all of the sites measured. Cu, Zn, Ag, Au, Hg and Pb were detected in the areas with pigment, depending on the colors used and the thickness of their application. Ca and Fe were discerned in areas that had almost no pigment usage. It was determined that these elements come from the paper ground itself. In one section of the Engi scroll, Fe-based yellow ochre pigment was used. Although Cu is a principal element in the green color of malachite and the blue color of azurite, Cu-based pigments containing small amounts of Zn were found in the blue areas of the Yamazaki scroll only. Au was particularly conspicuous on the bowl in the Yamazaki scroll, the Buddhist wheel (rimpô) in the Engi scroll, and the great Buddha (Daibutsu) in the Nun scroll, where the gleam of gold color is almost invisible to the naked eye today. Numerous instances of orange pigment appearing as an underlayer for gold-colored pigments could also be discerned, and thus it was determined that a Pb-based orange color pigment was used to heighten the gold color effect. Conversely, the sites where Ag was detected on the Engi scroll were further characterized by the concurrent discernment of small amounts of Hg, although it is not possible at present to identify the source of this Hg. Hg, which is a principal ingredient in red-colored pigment cinnabar, was detected at almost all of the sites where red color was confirmed on the Shigisan engi emaki. While there are many instances where only line drawing was used to depict the figures in the Shigisan engi emaki,there are numerous instances of sites where traces of Pb could be detected on faces, hands and other places. This portable XRF device has been previously used in pigment analysis on the National Treasure Tale of Genji scrolls (Tokugawa Art Museum and Gotoh Museum), and the National Treasure Ban Dainagon scrolls (Idemitsu Museum of Arts). The use of the same device and the same parameters means that the analysis results for the different artworks can be compared directly.

著者

木下 稔夫 上野 博志 中里 壽克 宮田 聖子

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.37, pp.34-45, 1998-03-31

著者

川野邊 渉 宮尾 健吾 田島 弘之 西口 裕泰

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.39, pp.59-63, 2000-03-31

著者

西川 杏太郎 中里 壽克

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.16, pp.45-54, 1977-03-31

著者

樋口 清治 岩崎 友吉

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.7, pp.61-68, 1971-03-29

著者

江本 義数

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.14, pp.51-54, 1975-03-31

著者

化学研究室 修理技術研究室

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.4, pp.39-46, 1968-03-30

著者

小峰 幸夫 林 美木子 木川 りか 原田 正彦 三浦 定俊 川野邊 渉 石崎 武志

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.50, pp.133-140, 2011-03-31

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Extensive survey of beetles with sticky insect traps (about 27,000 traps) in about seventy historic buildings in Nikko World Heritage site was performed from the end of April to August 2010. Several species of Anobiid were found on the sticky traps: Priobium cylindricum, Trichodesma japonicum, Sculptotheca hilleri, Hadrobregmus pertinax, and Oligomerus japonicus. Some of them had caused severe infestation at certain buildings. There is little information about the anobiid species, but from the sporadic patterns of numbers of anobiids on sticky traps in many buildings over fairly vast areas, it is supposed that these anobiids may inhabit the natural places (forests) around the historic buildings. Nicobium hirtum is a well known anobiid which infests wooden objects and buildings in Japan. But surprisingly, we did not observe the species in the surveys in the Nikko area. Adult insects were most significantly caught on sticky traps from May to July. Since there is little information about these kinds of anobiids, this trapping survey provided important information about the characteristics of the insects and ideas for appropriate countermeasures to protect the buildings from the insects.

著者

早川 泰弘 古庄 浩明 青木 繁夫 オタベック アリプトジャノフ

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.52, pp.59-70, 2013-03-26

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Republic of Uzbekistan is located approximately in the center of Central Asia and has many cultural heritage sites along the ancient Silk Road. The largest museum in Tashkent, the capital of Uzbekistan, is The State Museum of History of Uzbekistan. The Museum, belonging to the Academy of Science of Uzbekistan, and the Japan Foundation have been promoting projects on the protection of cultural heritage and development of human resources in Uzbekistan since 2008. As part of these projects, the National Research Institute for Cultural Properties,Tokyo conducted lectures and practical investigation on the research of cultural property using a hand-held X-ray fluorescence spectrometer in The State Museum of History of Uzbekistan in September 2012. Material analysis was conducted of several statue objects excavated from Fayaztepa ruins (southern Uzbekistan,1th-4th century),fragments of wall paintings from Afrasiab ruins (Samarkand, 7th-8th century) and Varahsha ruins (Bukhara, 6th-7th century) that are on display in the Museum. Gypsum was primarily used in most of the objects for coloring white. However, lead white was found for coloring bright white in the fragments of wall paintings excavated from Afrasiab and Varahsha ruins. Red materials including four types were identified: iron oxide red, minium, cinnabar, and a combination of cinnabar and minium. It was found that yellow material was only yellow ochre. There were objects from which trace amount of arsenic was detected. These might be derived from realgar with orange color or orpiment with yellow color. Only lapis lazuli is found as blue coloring material. Black material was considered to be carbon black. Furthermore, it was found that high purity gold leaf was used for decorating the surface of statue objects. Green coloring material was not found among the objects investigated. The present investigation was performed on only a few objects collected in The State Museum of History of Uzbekistan. However, it is certain that useful information about coloring materials was obtained from the investigation using only X-ray fluorescence analysis. It is hoped that preservation of cultural heritage and development of human resources of Uzbekistan will progress well in the future. Furthermore, it is expected that scientific research for understanding materials and production techniques of objects will be carried out systematically, and data obtained accumulated steadily.

著者

早川 泰弘 三浦 定俊 大森 信宏 青木 繁夫 今泉 泰之

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.42, pp.1-18, 2003-03-31

著者

中里 壽克 江本 義理 立田 三朗

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.7, pp.1-12, 1971-03-29

著者

北野 信彦 小檜山 一良 竜子 正彦 本多 貴之 宮腰 哲雄

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.53, pp.67-79, 2014-03-26

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During excavation in the center of Kyoto (O-ike site) from 2003 to 2004, many fourlobed jars were excavated. These jars were used to stock imported urushi paint from Thailand or Cambodia from the end of the 16th to the first half of the 17th century. At the same site many traditional urushi paint tools produced in Japan during the Momoyama cultural period were also excavated. Results of elemental analysis by Py-GC/MS showed that the urushi paint was composed of Melanorrhoea usitata, Rhus vernicifera, Rhus succedanla,or their mixture. But there is no idea as to what objects,other than nambanstyle exported lacquerware,imported urushi paint was used for. Analyses of five lacquerware excavated at O-ike site showed that the urushi paint was compound of a mixture of Rhus vernicifera and Rhus succedanla. This result is material evidence that imported urushi paint was used on urushi objects in Japan.

著者

中里 壽克

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.24, pp.1-16, 1985-03-23

著者

松岡 秋子 島津 美子 邊牟木 尚美 影山 悦子 山内 和也

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.49, pp.265-274, 2010-03-31

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The National Research Institute for Cultural Properties, Tokyo and The Institute of History, Archaeology and Ethnography, Academy of Science, Tajikistan have been conducting conservation activities for mural painting fragments which are part of the collection of The National Museum of Antiquities of Tajikistan. The painting fragments excavated in Kala-i Kakhkakha are currently the main subject of our studies and conservation treatments. The image of the mural was painted by "a secco" technique on the loess rendering as in other mural paintings in Central Asia. The fragments were consolidated in the 1970's using Polybutylmetacrylate (PBMA). However, they are still structurally unstable. The fragments should be realigned closely together and mounted. In parallel with the conservation and inventory making of the fragments, treatment on one of the fragments' groups, KH7-1, was carried out. The main treatment processes consisted of cleaning of the surface, consolidation of the fragile rendering and surface layers, assembling of the fragments, and mounting. Further procedures for other fragments with multiple damages would be to find an appropriate application for consolidation of the rendering and the surface layer, and better mounting materials and methods.

著者

中山 俊介 大河原 典子 池田 芳妃 安部 倫子

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.51, pp.243-248, 2012-03-31

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The Filmon endless sound-belt,the subject of this report,is a celluloid sound recording media manufactured in 1937 by Nihon Filmon Co.,Ltd.at what is now Komae-shi,Tokyo. The sound belt was developed in Japan to overcome the short recording time possible on SP records,which at that time was the mainstream recording media in the world. It is an extremely short-lived recording media that disappeared in about 3 years with the development of magnetic tapes for recording. Although short-lived, the sound belt made long recordings at one stretch possible,which could not be done with SP records. Thus,valuable recording of kiyomoto, nagauta and other types of Japanese music have remained. The Department of Intangible Cultural Heritage of the National Research Institute for Cultural Properties, Tokyo and The Tsubouchi Memorial Theatre Museum Waseda University have embarked on a joint study and digitization of the Filmon endless soundbelts in collections of the Institute, the Museum and other museums as well as in private collections. This report discusses the method that has made it possible to restore and to re-listen to deteriorated (hardened, deformed) or severed Filmon endless sound-belts.

著者

中山 俊介 大河原 典子 安部 倫子

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.52, pp.243-247, 2013-03-26

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In the previous issue of this bulletin (Science for Conservartion 51, published in 2011), a report was made on a method for restoring deteriorated (hardened or deformed)Filmon Endless Sound-Belt. The previous method employed the typical characteristic of celluloid, that celluloid is a heat-reversible material. In other words,it starts to soften when temperature exceeds 65℃ and becomes completely soft when temperature exceeds 85℃ and reaches 100℃, but regains its hardness and resilience when cooled. However, there were several problems with this method. For instance, there was a risk that the unwound tape would become damaged in the process of rewinding it and that applying too much heat would damage the sound grooves. This year the previous method was revised to solve these problems and soften the sound-belt so that it can be replayed.

著者

加藤 寛

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.39, pp.64-77, 2000-03-31

著者

北野 信彦 本多 貴之 佐藤 則武

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.49, pp.25-44, 2010-03-31

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The present paper is a report on the study of the red coating paints used at the Nikko-Toshogu Shrine constructed during the early Edo period, particularly those newly built in the Genna age or reconstructed in the Kan,ei age. The coating methods used were simple, just one coating layer applied directly on the surface of the structure with no foundation underneath. This is very different from the method used for repair in the middle and late Edo period in which several layers of urushi coating were applied over a thick foundation. The raw materials of the pigments used for the reddish brown coating paints were mineral hematite (α-Fe2O3) containing much quartz (SiO2). Since some old documents record that akatsuchi was offered by the Tsugaru daimyo to the Tokugawa shogunate and that toshu was used as one of the red coating materials on wooden architecture at the Nikko-Toshogu Shrine, it is our understanding that these red pigments (mineral hematite containing much quartz) are the same materials as akatsuchi and toshu. Moreover, as a result of PY-GC/MS analysis of these coating materials, it became clear that urushi coating material to which a great amount of drying oil, starch and animal glue had been added was used as coating paint. Many of these coating materials were used accordingly to suit the character or the importance of each building.