著者

早川 泰弘

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.56, pp.49-63, 2017-03-23

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The present report shows the analytical results of the materials used in Jiko-ji kyo held at Jiko-ji temple in Saitama prefecture. Jiko-ji kyo is a set of sutras composed of 32 volumes, decorated with gold, silver and coloring, that was produced in the Kamakuraperiod (13th century). All the sutras were restored over a period of 7 years since 2008 because many of their golden parts had peeled off and the color had changed. Nondestructive investigation using X-ray fluorescence analysis was conducted during therestoration process. As a result, both gold and brass materials were found from the parts where the golden materials had peeled off severely. Only brass materials could be found from the parts where the gold color had changed significantly. Careful judgment wasneeded to determine whether the brass found in the present analysis is original or from subsequent repairs. Up to now, it had been thought that brass began to be used after the early Edo period (16th century).Even if brass was found in a work produced before the Edo period,it was often thought that the work would be an imitation made after the Edo period. However,regarding the brass found in the present analysis,it can be judged that the brass is original because there is not any data or image to consider that brass had been used in past repairs.This analytical result shows that brass was used in the Kamakura period and in sutras.

著者

神谷 嘉美 加藤 寛

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.45, pp.251-258, 2006-03-31

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Lacquer called urushi, which is the only natural polymer produced in Asia, is polymerized by laccase to produce a beautiful coating. Recent studies have made it clear that urushi coating films are weak against ultraviolet irradiation and that exposure to ultraviolet rays could cause them to deteriorate. For example, flaking off of films, loss in gloss, or cracking might possibly occur. Restoration for conservation is, therefore, necessary for historic urushi objects. There are many experimental reports using a single-layer urushi coating film on a glass board, but there are few chemical research data of traditional restoration techniques using urushi. Therefore, in this study, samples of polished four-layer urushi coating films were first exposed to ultraviolet irradiation. Then the effect of restoration techniques for conservation was examined by applying two techniques, suri urushi and urushi gatame, on the deteriorated coating films. Through this study, it was verified that the appearance of the films changes differently with the two techniques. Suri urushi is suitable for adjusting the gloss, because gloss rises on the deteriorated films. Urushi gatame is suitable for restoration in general, because it suppresses changes of gloss and color in the restoration of cultural properties to a great degree. The results show that repair of and protection against deteriorated urushi coating films are possible by restoration techniques using urushi sap.

著者

見城 敏子

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.15, pp.1-8, 1976-03-31

著者

北野 信彦 本多 貴之

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.53, pp.1-18, 2014-03-26

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Nio-do style suit of armor was a novel design suit of armor in the Momoyama cultural period(from the end of the 16th to the first half of the 17th century). Characteristics of this suit of armor are the appearance of a naked male body and flesh(skin)-colored coating. The present paper is a report on the observation and analysis of this flesh(skin)- colored coating and makie technique used to make the Nio-do suit of armor owned by Ichinomiya City Museum. Several elemental analyses including those using a microscope,PY-GC/MS and X-ray diffraction pattern,as well as cross-section analysis by observation were conducted on small pieces of coating layers. As a result,it was found that the flesh(skin)-coloredcoating is a mixture of white lead(2PbCO3・Pb(OH)2)and vermillion(HgS)to which dried oil was blended. As for the makie,small gold(Au)grains were used in the technique of hiramakie (Kodaiji makie)with harigaki and kakiwari, characteristic of makie of theMomoyama cultural period. In Japan,dried oil paint was first used in the Asuka-Nara period(from the end of the 7th to the first half of the 8th century),but its use was discontinued until the Momoyama cultural period when,according to old documents,oil painting technique was importedfrom Europe. Then,in the Edo cultural period,dried oil paint such as mitsuda and chang paint appeared. It is assumed that this oil painting material and technique was applied in making the flesh(skin)-colored coating of the Nio-do style suit of armor and that the makie technique was one that is characteristic of the Momoyama cultural period.

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

田口 義明 加藤 寛 高橋 千恵

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.40, pp.84-92, 2001-03-31

著者

大川 昭典 増田 勝彦

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.20, pp.43-56, 1981-03-25

著者

大川 昭典 増田 勝彦

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.20, pp.43-56, 1981-03-25

著者

朽津 信明

雑誌

保存科学 = Science for conservation

巻号頁・発行日

no.51, pp.111-120, 2012-03-31

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History of shuri (repair)and shufuku (restoration)in Japan is reviewed in this paper. The word shuri is now used for recovery of a function,while shufuku is used for recovery of a state. The concept of shuri may be regarded almost as old as the use of tools by human beings. The word shuri can be found in Kojiki,the oldest history book in Japan. The word shufuku was already used with the meaning "recovery of a state"at the latest by the 9th century. From the study of old collections of ancient tales, the existence of past people whose theory of shufuku was similar to that of present people can be confirmed. Even in the middle age (13th century), those people respected authenticity. There are not a few existing cultural properties which have documents showing that they were restored in the past. If such past shuri and shufuku are studied,not only the past concept and methods but also the results can be understood. Such a study will help in predicting what will happen after examining similar shuri and shufuku in the future.