Nobuyuki 

Kamba

Conservation
Practices in
Museums
For Researchers and Museum
Professionals
Conservation Practices in Museums
Nobuyuki Kamba

Conservation Practices
in Museums
For Researchers and Museum Professionals
Nobuyuki Kamba
Tokyo National Museum
Tokyo, Japan

ISBN 978-4-431-56908-4 ISBN 978-4-431-56910-7 (eBook)

https://doi.org/10.1007/978-4-431-56910-7

Translation from the Japanese language edition: Hakubutsukan Shiryo no Rinsho Hozon Gaku by
Nobuyuki Kamba, © Nobuyuki Kamba 2014. Published by Musashino Art University Press. All Rights
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Preface

Of the many years of my experience in the conservation of cultural heritages, over

the last 20 years, I have noticed the high effectiveness of integrated practice of diag-
nosis, preventive conservation, and remedial conservation of cultural heritage. The
effect, of course, is that a higher level of stability and security is achieved for objects
and the environment when exhibiting and storing of cultural properties. The appro-
priate balance of diagnosis, preventive conservation, and remedial conservation is
important from the perspective of conservation of the object against the environ-
ment surrounding the object such as temperature and relative humidity, the human
environment of curators and visitors, and the physical stability of the object. By
approaching the object, the environment, and also the staff in such a way, the object
can be stabilized or treated, and can be exhibited and stored in a low-risk state.
Previously, I have conducted scientific research on conservation individually, such
as research on objects, research on the relationship between the environment and dete-
rioration of objects, and development and improvement of conservation processes.
I started my conservation activities, from an integrated perspective as it is now,
about 20 years ago when I started working at the Tokyo National Museum. About
20 years ago, the Tokyo National Museum was a facility that not only had a huge
number of objects handled, such as loaning, renting, replacements, and remedial
treatments, but also had many storage rooms and exhibition rooms that required
environmental improvements. The challenges faced by the museums were so diverse
and complex that they had no idea where to start. Therefore, it was necessary to
create new approaches that could deal with these complex and diverse issues.
In order to provide clear guidelines comprehensively for complicated intertwined
issues and situations in which clues to solutions are not visible, individual methodolo-
gies were integrated and applied to the museum as one package. Clinical conservation
has been created as a result of such conservation activities. In clinical conservation,
deterioration is considered to be caused by the interaction of people, objects, and the
environment, and the main theme is how to control the relationship of these three
factors. Therefore, the person in charge of conserving the object must consider not
only the object, but also the environment and people surrounding the object. In other
words, it is important to approach people, objects, and the environment, and it is

v
vi Preface

necessary to keep in mind that the situation will greatly change depending on the
approach. This book describes the conservation of cultural properties according to
the concept of clinical conservation with this background. In recent years, the one-
health approach has been attracting attention as a countermeasure against infectious
diseases. The one-health approach is a term that expresses the concept that stake-
holders work together to solve cross-cutting issues related to human, animal, and
environmental hygiene. It has a similar direction to the content of this book. It is
becoming more and more recognized internationally.
At 14:46 on March 11, 2011, a massive 9.0 magnitude earthquake occurred on
the sea floor about 24 km off Sanriku coast. In Japan’s own seismic intensity class
determined by the Japan Meteorological Agency, a maximum seismic intensity of
7 was observed in Kurihara City, Miyagi prefecture, and the epicenter extended
approximately 100,000 square kilometers from offshore Iwate to offshore Ibaraki,
about 500 km north-south and about 200 km east-west. The quake caused a massive
tsunami with a maximum run-up of 40.1m in some places, causing catastrophic
damage to the Pacific coast of the Tohoku and Kanto regions. The author has been
supporting the conservation of damaged objects at the Rikuzentakata City Museum
in Iwate prefecture since the earthquake, but his activities are based on the practice
of clinical conservation developed at the Tokyo National Museum during normal
times. First of all, the priority was given to understanding the condition of objects
contaminated with salt, sludge, mold, and various bacteria due to the tsunami, and the
environmental conditions of the closed elementary school where the objects were
carried and where there was no footsteps. Next, various measures were taken to
stabilize the objects and to improve the environment for conservation, thereby the
deterioration of the objects is suppressed. These activities are still ongoing today.
Damaged objects that have undergone the initial stage of treatment will be gradually
performed full-scale remedial treatment in the future. In this way, this experience has
verified that the methodology of normal times can be useful even in crisis situations,
and we are now reaffirming its effectiveness.
The Conservation Department of the Tokyo National Museum is a group of experts
from the field of conservation, arts, and history, who have worked together to solve
problems. In addition, clinical conservation has gradually grown and developed by
improving the accuracy of practical skills while verifying the results obtained. I hope
that this book translated with some changes in the order and contents of the Japanese
version, which summarizes the methodology developed in this way, will be useful
not only to those who aim to practice clinical conservation, but also to those who
work at museums and those who are interested in cultural heritages.

Tokyo, Japan Nobuyuki Kamba

Conservation Practices in Museum
with Integration of Diagnosis, Prevention
and Treatment

Fig. 1 Removal of facing papers affixed for protection during treatment of a hanging scroll

vii
viii Conservation Practices in Museum …

Fig. 2 During dismantling of a folding screen

Fig. 3 Investigation of folding screen structure using terahertz spectroscopic analysis

Conservation Practices in Museum … ix

Fig. 4 Rejoined side arms of a wooden Buddha statue with Japanese lacquer mixed with flour

Fig. 5 Examination of a mummy using X-ray radiography

Contents

1 Significance of Conservation of Cultural Heritages in Museums . . . . 1

1.1 Cultural Heritages and Museums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.1 Types of Cultural Heritages . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.2 Museum Facilities that Preserve and Exhibit Objects . . . . . . 2
1.1.3 History of a Political System of Preservation
of Cultural Heritages in Japan . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.1.4 Conservation of Original Section . . . . . . . . . . . . . . . . . . . . . . . 4
1.1.5 Traditional Technology and Science . . . . . . . . . . . . . . . . . . . . 5
1.1.6 Organizations that Bring Museum Objects to Life . . . . . . . . . 6
1.2 What Are the Risks to Conservation? . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.2.1 Risks Existing in Museums . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.2.2 Causes of Damage to Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.3 The Reasons for the Need of Clinical Conservation . . . . . . . . . . . . . . 10
1.3.1 Planned and Systematic Implementation
of Conservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.3.2 The Basic Three Elements for Conservation . . . . . . . . . . . . . . 11
1.3.3 Priorities in Conservation Activities . . . . . . . . . . . . . . . . . . . . 13
1.3.4 Costs in Conservation Activities . . . . . . . . . . . . . . . . . . . . . . . . 14
1.3.5 Practice of Clinical Conservation . . . . . . . . . . . . . . . . . . . . . . . 15
1.4 A Code of Professional Ethics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.4.1 ICOM Code of Ethics for Museum . . . . . . . . . . . . . . . . . . . . . 16
1.4.2 Code of Professional Ethics for the Japan Society
for the Conservation of Cultural Property . . . . . . . . . . . . . . . . 18
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2 Diagnosis of Museum Environment and Collections . . . . . . . . . . . . . . . 21
2.1 Relationship Between Preservation and Environment . . . . . . . . . . . . 21
2.1.1 Risk Concentration and Preventive Measures . . . . . . . . . . . . . 21
2.1.2 Causes of Degradation and Period
up to the Degradation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.2 Monitoring and Evaluation of Environment . . . . . . . . . . . . . . . . . . . . 29

xi
xii Contents

2.2.1 Clarify the Target of Monitoring . . . . . . . . . . . . . . . . . . . . . . . 29

2.2.2 Necessary Guideline for Optimization . . . . . . . . . . . . . . . . . . . 36
2.3 Diagnosis of Objects and Recording of It . . . . . . . . . . . . . . . . . . . . . . 44
2.3.1 Examination of the Condition of Objects . . . . . . . . . . . . . . . . 44
2.3.2 Diagnosis of the Condition of Objects . . . . . . . . . . . . . . . . . . . 46
2.3.3 Recording to Conservation Charts . . . . . . . . . . . . . . . . . . . . . . 50
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
3 Environment and Preventive Conservation . . . . . . . . . . . . . . . . . . . . . . . 63
3.1 Improving the Environment and Preserving Objects . . . . . . . . . . . . . 63
3.1.1 The Significance of Control of Environment . . . . . . . . . . . . . 63
3.1.2 Preventive Conservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.1.3 Applying Risk Management . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.1.4 Case Example at Exhibitions . . . . . . . . . . . . . . . . . . . . . . . . . . 66
3.1.5 Case Example at Store House . . . . . . . . . . . . . . . . . . . . . . . . . . 72
3.2 Safe Transport of Museum Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
3.2.1 Fundamental Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
3.2.2 Case Example of Transport of a Large Buddha Statue . . . . . 86
3.3 Preparation of a Safe Environment by Storage Box . . . . . . . . . . . . . . 90
3.3.1 Stabilizing Temperature and Humidity . . . . . . . . . . . . . . . . . . 90
3.3.2 Protection from Scratches, Soiling, and Impact . . . . . . . . . . . 94
3.3.3 Caution for Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4 Deterioration and Remedial Conservation . . . . . . . . . . . . . . . . . . . . . . . . 101
4.1 Preliminary Examination for Treatment . . . . . . . . . . . . . . . . . . . . . . . . 101
4.1.1 Diagnosis and Recording of Condition of Objects . . . . . . . . . 101
4.1.2 Conservation Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
4.2 Roles of Preventive Treatment and Full-Scale Treatment . . . . . . . . . 105
4.2.1 Reasons for Deterioration with Age . . . . . . . . . . . . . . . . . . . . . 105
4.2.2 Preventive Treatment and Full-Scale Treatment . . . . . . . . . . . 107
4.3 Conservation Reports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
4.3.1 Reports by Conservators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
4.3.2 Reports by Owners and Persons Keeping Objects . . . . . . . . . 113
4.3.3 Digital Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
4.3.4 Recording of Moving Images . . . . . . . . . . . . . . . . . . . . . . . . . . 114
4.4 Case Examples of Full-Scale Treatment . . . . . . . . . . . . . . . . . . . . . . . . 114
4.4.1 Archaeological Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
4.4.2 Art Craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
4.4.3 Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
4.4.4 Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.4.5 Ethnographical Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Contents xiii

5 Environmental Protection and Role of Museums . . . . . . . . . . . . . . . . . . 149

5.1 Coexistence with a Decarbonized Society . . . . . . . . . . . . . . . . . . . . . . 149
5.1.1 Global Warming and Regulations . . . . . . . . . . . . . . . . . . . . . . . 149
5.1.2 Efforts and Challenges for Making Reductions . . . . . . . . . . . 154
5.2 Preparedness to Natural Disaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
5.2.1 Rescue Operation of Cultural Heritages . . . . . . . . . . . . . . . . . 157
5.2.2 Stabilization of Damaged Objects by Seawater . . . . . . . . . . . 166
5.2.3 Crisis Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
6 Education and Disseminate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
6.1 Disclosure of Conservation Activities . . . . . . . . . . . . . . . . . . . . . . . . . 173
6.1.1 Showing Our Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
6.1.2 Showing to Visitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
6.2 Conservation Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
6.2.1 Training Specialists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
6.2.2 Broadening the Importance of Conservation . . . . . . . . . . . . . 181
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Chapter 1
Significance of Conservation of Cultural
Heritages in Museums

1.1 Cultural Heritages and Museums

1.1.1 Types of Cultural Heritages

In the Act on Protection of Cultural Heritages established in 1950 is a fundamental

system concerning protection of Japan’s cultural heritages. In Article 2 of the General
Provisions of the Law for the Protection of Cultural Heritages, cultural heritages
are categorized and defined into six fields of tangible cultural heritages, intangible
cultural heritages, folk culture objects, monuments, cultural landscapes, and historic
buildings.
1. Tangible Cultural Heritages: Tangible cultural objects, including building,
pictures, carvings, folk crafts, writings, calligraphy and books, and old
manuscripts upon which are placed high historical and artistic value. Tangible
cultural heritages include land and other objects that form an integral part of
these. Archaeological objects and historical objects of high scholastic value are
also tangible cultural heritages.
2. Intangible Cultural Heritages: Intangible cultural products of high historical
and/or artistic value to Japan that include theater, music, and craft skills.
3. Folk Cultural Heritages: Folk cultural heritages are those objects essential for
understanding of transitions in the ways of living for Japanese that includes
daily necessities, and also occupation and religious beliefs and annual events.
And as well as clothing, implements, houses used in the above ways of living
are included.
4. Monuments: Cultural Heritages of high historical and/or artistic value for Japan
include shell mounds, ancient tombs, site for forts, castle remains, old residences
and other ruins. Historical sites of artistic and/or academic value that include
gardens, bridges, ravines, beachfronts, mountains and others. Fauna are also
categorized in this type of cultural object and include their habitats, breeding
grounds, and migration. Flora, including natural habitats, and also geographical

© Springer Japan KK, part of Springer Nature 2022 1

N. Kamba, Conservation Practices in Museums,
https://doi.org/10.1007/978-4-431-56910-7_1
2 1 Significance of Conservation of Cultural Heritages in Museums

features and minerals belong to this category and include land providing unique
natural phenomena, which are highly valued by Japan for their academic value.
5. Cultural Scenery: Cultural heritages of scenic places formed by the climate of
corresponding regions and the way of living and livelihoods of people in regions
requiring understanding for the way of living and livelihoods of Japanese.
6. Traditional Buildings: Traditional buildings that combine with the surrounding
environment to form a historical essence and are of high value.

1.1.2 Museum Facilities that Preserve and Exhibit Objects

Objects to be protected under the Act on Protection of Cultural Heritages are as

previously stated, however, to these are added objects for preserving and exhibiting
to the public by museum facilities and these include flora and fauna, minerals, fossils,
meteorites among natural historic objects of academic value. This section shows a
part of the Japanese Museum Act and introduces the definition of the Act that these
objects are subject to preservation and exhibition.
According to Act 1, this law is based on the spirit of the Social Education Law
(1949 No. 207), which provides for necessary items concerning the establishment and
administration of museums, and also promotes the social development of the museum
with the purpose of contributing to the development of education, academics, and
culture of Japanese citizens. In Act 2.3, “museum objects” means objects collected,
stored, or exhibited by museums including electromagnetic records. And in Act 3.1
these are specifically real objects, specimens, reproductions, models, documents,
Preamble s, photographs, films, records, etc. Act 3.4 and 3.5 mention that these
museum objects shall be considered as a subject of research on history, preservation
and exhibition.

1.1.3 History of a Political System of Preservation of Cultural

Heritages in Japan

Cultural heritages of Japan are those passed down until the early-modern times
as private home treasures of the Imperial Household, noble families, and warrior
families, treasures of temples and shrines, and the citizen. Until that time, a national
political system for protecting and preserving such treasures did not exist. Leading
into the Meiji Restoration in 1868, the new Meiji government issued the Ordinance
Distinguishing Shintoism and Buddhism to establish Shintoism as a state religion.
Buddhism lost its momentum rapidly due to the execution of the Edict, leading to
‘Haibutsu-kishaku’ means a movement to abolish Buddhism and the destruction of
Buddhist facilities, statues, and objects in various places which with the assistance
of rapid westernization after the Meiji restoration also came the sweeping in of
the anti-Buddhism movement. The earliest ordinance concerning cultural heritages
1.1 Cultural Heritages and Museums 3

in Japan is the ‘Edict for the Preservation of Antiquities and Old Items,’ which was
announced by the Meiji government in 1871. Items were classified into 31 categories,
which later became the standard for cultural asset categorization. “Jinshin Kensa,” the
first investigation on cultural heritages in Japan, was conducted from May through
October of 1872 one year after the Edict. Based on this Edict, and a checklist of
“Antiques and Old Items” was submitted to the government by temples and shrines
mainly in the Kinki region.
At that time, economic impoverishment of temples was extreme and multitudes
of treasures were parted with by their owners to move out the extreme economic
distress. The Horyuji-Temple, one of the most historical temple in Japan, donated
a portion of their temple treasures to the Imperial Family Household, for which
subsidies have been granted for temple’s building repair and also prevent the loss or
disappearance of the rest of temple treasures. Donated items at that time have been
preserved and exhibited as treasures of the Horyuji-Temple at the current Tokyo
National Museum. Okakura Tenshin and Ernest Francisco Fenollosa, who at that
time emphasized preservation of Japanese art, in 1888 in the Bureau of Provincial
Inspection of National Treasures established in the Imperial Household Ministry,
conducted an inspection with Ryuichi Kuki. That inspection focused on old temple
and shrine treasures have been handed down from generation to generation that
numbered approximately 215,000 pieces of object by 1897. In 1897, the “Law for
The Preservation of Old Temples and Shrines” was established and the subsidy called
“conservation fund” was released for conservation of applicable cultural heritages.
In addition, the law objected for prohibiting the disposal and foreclosure of cultural
heritages. Despite this system being only for temples and shrines, the law is significant
as the first subsidy program in Japan.
Entering the Showa Period (from 1925), due to extreme economic crisis and panic,
private treasures collected by former daimyo who was warlords in Edo period were
dispersed and lost. Furthermore, with pressing necessity to restore former daimyo’s
castle structures which were left unattended for a long time, the conventional “Law
for The Preservation of Old Temples and Shrines” was unable to meet keep pace with
conservation requirements of general cultural heritages. Under such circumstances,
in 1929, the “National Treasure Preservation Act” was then established to cover
privately held cultural heritages. At the time of executing the law, 3704 treasures
and 845 architectural structures were judged as national treasures. During the period
until the newest “Law for the Protection of Cultural Heritages” was established in
1950, cultural heritages which were designated as national treasures were referred to
as “old national treasures” later. During that period, in 1932, with the flowing out of
the Kibidaijin Nitto Emaki, a picture scroll not yet designated as a national treasure
and which is currently in the possession of the Boston Museum of Fine Arts, such
grave circumstances resulted in the establishment of the “the Law of the preservation
of important fine arts” in April of 1933 with the aim to prevent valuable art objects
from going abroad that were not designated as national treasures.
Shortly after the end of the Second World War, on January 26, 1949, the Horyuji
Temple’s wall paintings were lost due to a fire in the Horyuji Kond, which is the
main hall of the Temple. This situation presented government lawmakers with the
4 1 Significance of Conservation of Cultural Heritages in Museums

opportunity in May of 1950 to establish the “Law for the Protection of Cultural
Heritages” that was commenced in that same year in August. The “Law for the
Protection of Cultural Heritages” is a comprehensive law pertaining to the cultural
heritages, and by utilizing a two-tier designation system for national treasures and
important cultural heritages. The enforcement of the law allowed delicate control in
formulating protective measures. Currently, cultural heritages preservation measures
are still executed based on the “Law for the Protection of Cultural Heritages”, which
has gone through revisions repeatedly. On April 1, 2019, 1,116 national treasures
were designated and 13,232 important cultural heritages were designated.
In 1947, the Imperial Museum was transferred to be under the control of the
Ministry of Education and it started as National Museum. The “Conservation
Section” was created in the new museum, where surveying, designation, and also
conservation of national treasures and other objects took place. In 1950, the “Cultural
Heritages Protection Committee” was created as an external bureau of the Ministry
of Education, to which administration of cultural heritage protection was transferred
from the museum. Then in 1954, with the Tokyo National Research Institute for
Cultural Heritages becoming independent of Art Research Institute of the National
Museum, surveying and research pertaining to conservation of cultural heritage were
separated from the National Museum. Following simplification of administrative
organizations, in 1968, when the Cultural Heritage Protection Committee and the
Culture Bureau of Ministry of Education merged to form the Agency for Cultural
Affairs, the National Museum and the Research Institute for Cultural Heritages
became attached organizations of the Agency for Cultural Affairs; however, in 1984,
these were then further changed to an auxiliary organization. In 2001, the three
museums comprising the Tokyo National Museum, Kyoto National Museum, and
Nara National Museum merged to become the “Independent Administrative Institu-
tion National Museum”、after which in 2005, Kyushu National Museum was opened
and also became part of this institution. In 2007, the “Independent Administrative
Institution National Museum” and the Research Institute of Tokyo and the Research
Institute of Nara that are part of the “Independent Administrative Institution National
Research Institute for Cultural heritages” merged to become the present National
Institutes for Cultural Heritage. The “International Research Centre for Intangible
Cultural Heritage in the Asia–Pacific Region (IRCI)” was established in 2011 as a
Category 2 Centre under the auspices of UNESCO and as one of the institutions of
the National Institutes for Cultural Heritage. In 2019, the National Science Museum
has joined the “Independent Administrative Institution National Museum”.

1.1.4 Conservation of Original Section

The area in an as-manufactured condition of cultural heritages is termed “original”.

Curative treatment or restoration is done to return cultural heritages to a stable condi-
tion and stop progress of deterioration arising from display of them for long years.
As cultural heritages continue to receive restoration, such treatment results in those
1.1 Cultural Heritages and Museums 5

objects being preserved until the present. The repeated treatment increases physical
stability of objects and allows for ease of handling objects although the original
information and materials of the objects may not necessarily be preserved.
On the other hand limitations then do also exist if objects are simply housed
in a storage to preserve. The environment of temperature and relative humidity
surrounding objects normally varies without being stable and absolutely set. In
addition, large environmental changes cause mold and insect growth, a dimen-
sional change in shape or destruction and it may lead to fatal deterioration. There-
fore, the effect of storage will be produced only by understanding the appropriate
environmental conditions for objects.
Deterioration causing during display or storage are usually receive treatment such
as restoration to recover the stable condition, and the same process is repeated for
generations resulting original sections are affected gradually. Application such as
display, preservation such as storage, and treatment such as restoration are closely
connected to the conservation of cultural heritages, and erring in any of these three
may result in significant impact on objects. In comparison with restorations provided
for significantly damaged objects, the ratio of remaining original sections increases
considerably with the treatment provided for slight deterioration that has steadily
progressed by appropriately storage. The more severe the handling and the environ-
ment during the exhibition, the more demands are placed on restorations of objects
to withstand them. Thus, the need decreases for treatment of objects being housed
and exhibited under appropriate condition. Conservation of cultural heritages without
requiring excessive reinforcement leads to preservation of the objects in their original
condition.

1.1.5 Traditional Technology and Science

East Asian objects of arts such as a painting and a calligraphy seen at museums and
art galleries are exhibited in the form of hand scrolls, hanging scrolls, and/or folding
screens. Maintaining of objects in such forms is possible owing to the traditional
techniques of the “scroll mounting”. The scroll mounting is not only a skill for
manufacturing new folding screens and hanging scrolls but also the skill required
for conservation treatment. In addition, the full-scale restoration conducted about
once every half century to wooden architectural structures that include temples,
shrines, and castles are done by temple carpenters possessing special skill, which is
supported by traditional techniques. Term of 10 years is said to be need at least to
master these traditional techniques and skills, and even at the present, many young
artisans and crafts people work on training to become specialists. It is no exaggeration
to say that many of the cultural heritages we see today have been preserved by these
traditional techniques. Additionally, we have learned from many years of experience
from ancient, as an empirical rule, that housing of precious objects in paulownia
wooden boxes and traditional wooden and clay storehouses maintains such objects in
excellent condition for long periods, and we can really see the cultural heritages which
6 1 Significance of Conservation of Cultural Heritages in Museums

have been preserved under such environments. Traditional materials and technologies
are not only historical methods that have been inherited from the past, but also
methods whose stability and usefulness have been evaluated over many years.
Experience and intuitiveness, as well as various traditional materials have
preserved cultural heritages; however, only these matters do not necessarily assure
objects to remain in original condition. Under such circumstances, in addition to
the above contributing factors, scientific views and approaches and also skills and
materials should have been introduced with the current aim for truly assuring conser-
vation. Combining tradition, whose stability has been confirmed over a long period
of time, and the scientific methods with a variety of possibilities, will ensure the
preservation of heritages if both perform their respective roles appropriately.

1.1.6 Organizations that Bring Museum Objects to Life

Activities of museums are classified broadly into displaying objects of arts for the
public and housing objects for preservation. Various aims of displaying objects of art
to the public include exhibition of the collection and special exhibitions; accounting
management of the objects on loan and for lent for exhibitions; transporting objects
for the exhibitions; acquisition of objects by purchase or donation; and academic
study of objects. The aims of conservation activities include housing the objects;
conservation treatment to damaged objects, and environmental control of a storage
and display areas, scientific investigations of objects. Such activities are not done
separately, but are predominately done in combination (Ambrose & Paine, 2018).
An exhibition will be given next as an example. In order to exhibit objects of art,
first a list of the objects to be exhibited is constructed, and depending on the exhibition
content, objects of other museums may arise as candidates. Whether a conservation
condition of objects are in allowing such objects to be displayed will be confirmed,
and whether the exposition period is appropriate for the objects must be judged. In
cases that conservation condition is absolutely insufficient, it is necessary to consider
whether displaying the objects can be performed by conservation treatment in a
limited period of time. In the case of objects on loan, considerations are made for the
methods of packing and transport, and whether fumigation treatment is required to
prevent insects and mold from infecting the museum. In addition, in case of the object
is transported after it has been received conservation treatment, the timing for the
treatment must also be determined. Once the list of exhibits has been finalized, it is
necessary to prepare an exhibition environment suitable for the content and condition
of the objects. There are many points to consider, including the use of display cases,
the use of seismic isolation devices to prevent tipping, the use of ramps for easy
viewing, fixtures such as metal supports and fishing gut, the selection of rugs to
be pulled under the objects, and lighting etc. All materials used in the fabrication
of temporary exhibition cases and walls must receive prior inspection in order to
investigate whether harmful gas is emitted that negatively impacts the conservation
1.1 Cultural Heritages and Museums 7

of objects. It is necessary to stabilize relative humidity and organic gases at target

values in the exhibition area and within display cases prior to displaying of objects.
For objects on loan from other museums, objects are packed in a crate and trans-
ported after checking of their condition. Upon arriving at the museum, one shall
open shipping crates and inspect their condition after seasoning or fumigating if
necessary. Objects requiring some form of treatment shall be done before packing
or after opening the crate. Treatment of objects on display are usually small-scale
or minimum one, and full-scale treatment is extremely rare. Various examples exist
involving minimum treatments to prevent chipping of paint layers on polychrome
Buddha statues and also gluing a weaker joint section of the main body. In the case
of paintings, examples exist for replacement of such as damaged hanging strings
for hanging scrolls and also affixing either peeled paper or silk. Required minimum
treatments must be taken within the short permissible time by using appropriate
materials and techniques which not interfere the future full-scale treatment.
Upon completing a confirmation of the environment of the exhibition area and
confirmation of the condition of the objects, the objects are finally carried into the
exhibition space and positioned in prepared cases and on exhibition stages. Once posi-
tioning of the objects is completed, while adjusting lighting angles and the degree
of the diffusion, the illuminance level suitable to the materials of the objects and
their condition are decided. Exhibition area is checked every day to recognize pres-
ence/absence of abnormality with respect to the objects and the environment during
the exhibition. In addition, in the event the objects are exchanged to another objects
during the period of the exhibition, there are cases in which objects are returned to
their original museums and borrowed other objects. In this manner it is understood at
a merely glance in regard to an exhibition that display is made possible with the coop-
eration of myriad fields including aspects of art and history, collection management,
conservation, and design (de Guichen & Kabaoglu, 1985).

1.2 What Are the Risks to Conservation?

1.2.1 Risks Existing in Museums

Cultural objects collected in museums are almost all created in differing regions and
eras, and have been housed separately until the present. It is not thought that they
deteriorate by the same cause at the same time under such circumstances. By housing
such objects together in a museum, the possibility increases for aging and damage
which simultaneously occur in storages and exhibition area. Being aware that such
a risk fundamentally exists in museums is extremely important.
In addition to this, all of the following activities also carry the risk of degrading
cultural objects, such as displaying objects in an exhibition room; housing objects
in a storage house; transporting objects on loan; conservation treatment of damaged
objects; photographs and videos shoot; and a researcher directly handling of objects
8 1 Significance of Conservation of Cultural Heritages in Museums

for his study. Museums of modern times, which require active exhibition, are required
to take concrete measures against these risks, to prepare for accidents and to operate
in a sophisticated manner to respond to social demands. Activities performed in a
more open environment and activities performed under an environment that seeks
to avoid risks seem to be incompatible activities in different directions. However,
realizing a higher level of publicity and a less dangerous environment while satis-
fying both is the mission of museums, and it is truly museum activity itself. In order
to fulfill this mission, several points must be achieved. First, possessing accurate
acknowledgement for the historical aspects and also physical conditions of objects
while also acknowledging correctly the condition of the environment surrounding
these objects are important. And following selection of an appropriate countermea-
sure and achieving solutions from a long-term viewpoint. There are various risks in
museums. It is difficult to eliminate them completely, but it is possible to reduce the
risks step by step and to preserve the cultural properties for a long time.

1.2.2 Causes of Damage to Objects

The cause of damage to cultural objects is categorized into three groups by length
of time until deterioration occurs—long-term effects from 10 to 100 years; mid-
term effects from one year to 10 years; and a short period less than one year or
instantaneous effects. These three groups are explained in detail in a latter chapter,
but a simple explanation is presented below.
Damage resulting from long-term effects is deterioration of objects with the cause
being continuing over a period of time from 10 to 100 years (Fig. 1.1). Abrasion is
the concrete cause of hanging scrolls and hand scrolls due to repeated exhibition,
changes in humidity, a high-humidity of storage environment, and repeated exposure
of lights in exhibitions. Due to the progress of deterioration being so slow, the rate
of damage progression is not able to perceive in many cases. In addition, the impact
from repeated restoration to original sections progress slowly, but this is also included
long-term effects.
Damage resulting from mid-term effects is deterioration of objects with the cause
is sustained for a period from one year to 10 years (Fig. 1.2). Indoor air contamination
from such as formaldehyde and/or acetic acid gas emitted from construction materials
inside buildings; intrusion of air pollutants such as nitrogen oxide and sulfur oxide
from outdoors; and also biological damage due to mold and/or insects originating
from outside and inside the museum are corresponding causes of mid-term effects. In
addition, other causes include discoloration, hardening, and deformation of such as
synthetic resins for which stability is not confirmed as conservation and restoration
materials.
The cause for damage resulting from short-term effects are shock and vibration
during transport resulting from peeling and/or chipping of objects, the impact brought
about by disasters such as earthquakes, fires, and/or flooding (Fig. 1.3). Myriad
examples of accidents in which ceramics fell down that were on the storage shelf
1.2 What Are the Risks to Conservation? 9

Fig. 1.1 Damage resulting from long-term effects. Powdering of ancient dyed textiles of the 7–8th
centuries due to deterioration over time

Fig. 1.2 Damage resulting from mid-term effects. Damage to picture scrolls caused by insect pests

and on exhibition stand at the time of an earthquake. In rectifying such regrets,

recently methods have been adopted for safely displaying of ceramics by placing
them on seismic isolator.
10 1 Significance of Conservation of Cultural Heritages in Museums

Fig. 1.3 Damage resulting from short-term effects. Overturning and damage of ceramics due to
the Great Kanto Earthquake that occurred in 1923

1.3 The Reasons for the Need of Clinical Conservation

1.3.1 Planned and Systematic Implementation

of Conservation

Prior to being collected in a museum, cultural objects under the management of sepa-
rate owners are preserved and managed together in a lot after the objects become to
a part of the museum collection. Under the object owned separately and the manage-
ment is dispersed, a multiple simultaneous deterioration of these objects is thought to
be highly unlikely. However, because museums intend to collect objects under indi-
vidual management previously, there exists the risk of deterioration and/or damaging
to those objects for artificial reasons. In other words, if no measures are taken in
museums, the risk increasing of deterioration by collecting objects must be taken as
a premise. If the environment of a display and a storage areas of objects is inappro-
priate, deterioration to objects may be further accelerated. Also, excessive restoration
treatment to prevent further deterioration tend to be applied to the objects even more.
This situation goes against the initial purpose of preserving original part of objects.
In the case of collected objects in museums being separately managed depending
on the classification and value of the objects, lack of understanding of the entire
collection makes it difficult to identify problems to be improved and rank them. In
1.3 The Reasons for the Need of Clinical Conservation 11

many cases, opportunities for extreme high-quality measures of conservation are

easily attained for highly valued objects: however, lesser valued objects are often
only housed without sufficient care. Thus, a situation of extreme imbalance should
be replaced with organizational management necessary for averaging and lowering
risk. With these points in mind, awareness of the possibility that degradation may
concurrently occur because of managing the collection under the same environment.
Thus, organizational and planned conservation activities become essential.

1.3.2 The Basic Three Elements for Conservation

1.3.2.1 Condition Diagnosis of Objects and Environments

The monitoring of the condition of objects and environments, and then recording
them by a method of charting is one of the most fundamental operations from the
point of managing objects. Monitoring allows the content of methods to be proposed
based on the condition of the objects and environments. Three potential situations
may be considered as opportunities for monitoring and surveying the condition of
objects. The first opportunity involves inspection at the time of loaning objects to
other museums. Objects loaned from the Tokyo National Museum to other museums
are more than 2000 objects annually and this serves as an effective opportunity. The
second opportunity involves inspection prior to displaying objects. Annually, approx-
imately 5000 objects are exhibited. The third opportunity involves prior inspection
to be conducted for full-scale remedial treatment, of which from between 200 to 300
are inspected annually. All inspection results are recorded on conservation charts.
Subsequently obtained data pertaining to the same objects shall then be sequentially
recorded on the same chart. Concrete conditions of objects concerning degradations,
the causes, time and date shall be recorded as well as person who records the chart.
Inspection of the environment is done to discover abnormalities by regular moni-
toring, involving such as reading a thermo-hygrograph in a storage and exhibition
room. Such regular monitoring also involves confirming concentrations of harmful
gases, and also grasping the number of organisms and also inhabiting distribution of
harmful insects and mold. When any abnormality is discovered, whether the abnor-
mality is associated with a facility failure shall be investigated, which would then lead
to improvement. For any environment exceeding appropriate scope for a long time,
it is important to continue monitoring and make improvement efforts in order to lead
to future fundamental solutions. Also, even if the values indicated are appropriate
for the environment, continuous monitoring to discover abnormalities is essential.

1.3.2.2 Preventive Conservation

Nevertheless cultural heritages are kept in a museum which is a special facility, they
do become degraded. Degradation of objects progresses despite it being extremely
12 1 Significance of Conservation of Cultural Heritages in Museums

minor when objects are touched by hand at the time of displaying and mere lit up with
lighting. Deterioration progresses slowly due to the impact of various environments.
Wear is one impact from repeated contact in case of display and the delicate change
of dimension of paper and wooden materials due to fluctuation of temperature and
humidity. Another factor is chemical reactions resulting from light and atmospheric
contamination, as well as biological deterioration due to harmful insects and mold.
The aim of preventive conservation is to control the speed of deterioration of objects
and reduce negative environmental impact by maintaining all environments to where
objects are carried.
Concretely, measures to assure stability and safety of objects are as follows:
elimination of contaminated air such as that containing sulfur oxides, nitrogen oxides
and aldehydes etc.; appropriate intensity of illumination based on the material and
elimination of hazardous light rays such as ultraviolet and thermic radiation; and
also extermination of organisms such as harmful insects and also molds causing
biological deterioration; measures to reduce vibration and impact associated with
transporting of objects; and disaster preparedness for either natural or human-made
disasters such as earthquake and a fire. In order for preventive conservation to be
carried out effectively, the on-site environment must be understood scientifically
by monitoring, and then the data analyzed and evaluated. In addition, a counter-
management proposal and on-site feedback must be conducted. Museum-wide efforts
to allow environmental maintenance would comprise close coordination between
conservation scientists, conservation specialists of objects, facility-related personnel,
curators, cleaner staffs and others. From there, it is imperative to formulate an action
plan for preventive conservation, while ensuring that staff members always have an
interest in that action. A detailed explanation concerning preventive conservation
will be presented in Chap. 3.

1.3.2.3 Remedial Conservation

Remedial conservation involves symptomatic treatment, full-scale treatment, and

emergency treatment, of which any are measures taken to maintain original sections
of objects. The terms restoration and repair will be referred to hereinafter as remedial
treatment.
Until executing a major and serious treatment, which is called full-scale treatment,
generally stabilization of objects with normally providing symptomatic treatment is
achieved, and also an exhibition is restricted to control the progress of damage.
Prevention of vital damage to objects is possible through meticulous symptomatic
treatment; however, when it is no longer safe to handle safely with symptomatic
treatment, full-scale treatment is done. In judging if objects are able to be displayed,
an important requirement is whether the objects can be handled safely. Prompt treat-
ments to prevent minor damage from aggravating can ensure the safe handling of
objects and enable active exhibition. By attempting to stabilize all damage in the
end by full-scale treatment, damage will spread and becomes to be more serious
during the time until full-scale treatment will be done. Thus, providing symptomatic
1.3 The Reasons for the Need of Clinical Conservation 13

treatment as daily management is done with the necessity of slowing the progress
of deterioration. Yet, in this event, the premise is selection of methods and materials
that do not hinder full-scale treatment in the future.
Full-scale treatment is applied to objects whose condition are worse beyond the
scope of symptomatic treatment, these are methods requiring sufficient time and
cost. Full-scale treatment requires thorough prior inspection of object condition,
selection of materials and techniques based on inspection results, and accumulating
all records during treatment. There are also cases in which careful management is
essential for the content of treatment that significantly impact the aesthetic value
of objects, and a consensus based on those people relevant for such management is
required. Emergency treatment is a temporary measure that in many cases is done as
a premise especially for full-scale treatment. A detailed explanation is presented in
Chap. 4 for remedial conservation.

1.3.3 Priorities in Conservation Activities

It is hard to think that exhibition of objects can be separated from conservation

because extreme care to protect against the risk of degradation at every stage of all
activities is required so that cooperation is achieved for the safety of objects. This
is achieved by the presence of a conservation expert or a person in charge. Daily
activities as the intent of conservation of objects is not limited to only special spaces
such as the conservation studio and laboratory, but must be carried out in all places
both inside and outside the museum. It’s a clinical task to watch and snuggle the
object to preserve it anytime, anywhere.
In order to continue exhibiting objects to the public and at conservation of objects
simultaneously, appropriate length of work time and expenses shall be allotted for
the three elements which were previously given of “diagnosis”, “preventive conser-
vation”, and “remedial conservation”. Placing together these elements designing
of conservation activities as a whole is essential, and appropriate allotment is not
universal, but differs by facility. For diagnosis, prioritizing is essential in order to
correctly acknowledge and evaluate current conditions both of objects and envi-
ronments. In a facility where clinical task must be carried out such as a museum,
preventive conservation is positioned to be the prioritized concern over remedial
conservation, and it is important to improve the environment of all spaces to where
objects are carried and housed (Fig. 1.4). Additionally, in order to prevent deteriora-
tion of objects from exhibiting, by carrying out symptomatic treatment that assures
stabilization of damage at an early stage, stability and safety are bestowed upon the
objects with opportunities made possible to exhibit them.
Through symptomatic treatment, the delaying full-scale treatment is extremely
effective from the viewpoint of preserving the objects in their original condition as
much as possible while reducing degradation of objects from displaying. Objects that
have reached the stage of receiving full-scale treatment must be done it at the appro-
priate time. The flow of activities to be carried is then diagnosis at first, preventive
14 1 Significance of Conservation of Cultural Heritages in Museums

Fig. 1.4 Shift from a

Remedial Conservation

Preventive Conservation
concept centered on remedial Treatment
conservation to preventive
conservation
Shift from cure to care

Environment

conservation secondly, and finally remedial conservation and ultimately preventive

conservation must fulfill central roles.

1.3.4 Costs in Conservation Activities

Necessary environmental control for conservation is a costly task while being essen-
tial one. While air conditioning operation is 24 h per day at some museum facilities,
many museums run air conditioning only one third per day. In the case of air condi-
tioning a large building for 24 h, the museum must be ready for the necessary, high
cost. As a museum, while maintaining exhibition, maintaining a high-level conser-
vation environment is the goal of all museum. However, in reality, due to financial
limitations, many museum facilities cannot help running air conditioning for short
periods.
In one respect, museums face difficulties in dealing with the recent situation of
society about global environment, which seeks a solution to the mutually opposed
issue that is termed invigorating administration and control of the amount of energy
consumed. With the high costs necessary for air condition and also control of the
amount of energy consumed, both serve as factors not allowing movement to main-
tain an appropriate museum environment. In another respect, the cost of necessary
remedial treatment increases higher for objects as deterioration and damage become
more severe. Furthermore, the more pieces of objects in such condition much more
expenses of treatment greatly increase.
In making direct efforts to conservation of objects, with the actual possible
executable funds being too few for necessary treatment, often improvement lags
without any progress. In such cases, the will to sustain activities has the tendency to
wear away. However, even in such circumstances, it is important to pursue constantly
those things one by one that can put into practice. At the same time, data must be
kept for use in the future. Within limited financial resources, appropriate fund allo-
cation for achieving effective goals is possible only by appropriate understanding
the conditions of the environment and objects.
1.3 The Reasons for the Need of Clinical Conservation 15

1.3.5 Practice of Clinical Conservation

1.3.5.1 Mission

The mission of those involved in conservation of cultural heritages are as provided

in the following: “Maximizing conservation skills and ideas through practice of
such as preventive conservation and remedial conservation. Conservation research
and education must be promoted to the aim of improving the social environment
for preservation of cultural heritages. Conservation of objects shall always be done
with awareness of exhibiting objects to the public, and having exhibiting of objects
always being aware of conservation. Conservation and exhibition of objects are the
two necessary wheels for passing down objects to the future.” In giving concrete
meaning to this mission, the fields relate to cultural object preservation such as
conservation science, cultural heritage science, archaeometry, and museology etc.
explain from myriad angles about the meaning and practice of conservation.

1.3.5.2 Clinical Conservation

In making the aforementioned mission the premise, next is the role of a conser-
vator. “With the goal of cultural heritages accession to a next or further genera-
tions and exhibiting the objects to the public, in order to ensure safety for large
amounts of cultural heritages in various forms of degradation, realistic management
must be appropriate and swift”. Stated more concretely, this is putting into practice
“remedial conservation” which ensures safety with providing treatment to deteri-
orated objects, and “preventive conservation” which ensures the safety of objects
from environmental changes during transport, exhibitions, and housing. The former
manages visible risks, whereas the latter manages invisible risks. By this concrete
management, helping to stabilize the deterioration of objects, then the quality of
museum operations switches to a safe level for the collection. In broadening and
deepening coordination with the various operations of museums, conservation activ-
ities and museum operations are necessary to be inseparably linked for achieving
improved safety in all aspects. Conservators in museums are always close to objects,
monitor the condition of the objects and the environment, and ensure the safety and
stability of objects. Here, clinical management that restated is “clinical conservation”
is necessary (Kamba, 2007).

1.3.5.3 Primary Care

The word “conservation” is associated conservational aspects as a matter of course,

which include diagnosis of objects and environment, environmental control in stor-
ages and exhibition rooms, and remedial treatment based on the condition of objects.
16 1 Significance of Conservation of Cultural Heritages in Museums

However, awareness of the existence and value of objects are only able to be recog-
nized through exhibition for visitors. This leads to a better understanding of the signif-
icance of conservation. When objects are displayed in exhibition rooms, therefore,
it is necessary to control the condition of objects and an environment surrounding
them to allow maximized value to be received by visitors of museum so as to not
lose both the historical and aesthetic value of objects. In other words, as conservation
and exhibition are strongly correlated, conservation is always to be carried out while
having awareness of both.
Clinical conservation is stands with the fundamental principle from the position
of conservation and exhibition of objects. For this to be achieved, efforts based on
principles of effective implementation of conservation measures in the early stage and
reliable assurance of remedial conservation based on necessity. Such conservation
based on this principle is called “primary care” with meaning which is viewed as a
whole.

1.3.5.4 Reform of Awareness of Conservation

The number of professionals or personnel assigned to the field of conservation in one

institution is by no means large. Regardless of how small compared to the number of
collected objects, size of the exhibit space, and area of the space for housing, from the
viewpoint of only one specialist or person responsible, the volume is enormous and
the area expansive. Concrete activities begin with a long-term perspective at the onset
of operations, but eventually, they realize that it is impossible for a small number of
experts to grasp all the space and objects. It is necessary at that time to make up for
the shortage of manpower by dividing the roles of staffs in other departments rather
than limiting the target to just what you can do. In order to achieve this, along with
having awareness that experts and staff will practice conservation jointly, and then
educational considerations should be given to raising staff awareness of preservation
and sharing their mission. The only way to ensure sustained preservation activities
is to spread awareness of conservation across museum staff.

1.4 A Code of Professional Ethics

1.4.1 ICOM Code of Ethics for Museum

ICOM, the International Council of Museums, is an international non-government

organization founded in 1947 with approximately 30,000 museum specialists partic-
ipating from 137 countries around the world. Within ICOM are comprised 119
National Committees organized by country, and 30 International Committees orga-
nized by various museum fields. Regularly annual meetings are held at which
information exchange and knowledge is shared.
1.4 A Code of Professional Ethics 17

ICOM Code of Ethics for Museum, revised in October of 2004, are the simplest
standards designated for museums throughout the world, and are the fundamental
principles for occupation practices designated for those objecting therein. By indi-
vidual country, acceptance of such simple standards designated here may receive
differently with certain countries regulated by laws and other without such laws.
Museum professionals include curators, conservators and conservation scientists,
but each fields are formed by Code of Professional Ethics. However, few coun-
tries have public qualification systems, such as for “architects” and “doctors”, for
specialized conservators. Thus currently, with anyone able to handle precious objects,
clarification is sought for furthering Professional Ethics. ICOM Code of Ethics for
Museum comprise the below 8 items (ICOM 2017).
1. MUSEUMS PRESERVE, INTERPRET AND PROMOTE THE NATURAL
AND CULTURAL INHERITANCE OF HUMANITY
Principle: Museums are responsible for the tangible and intangible natural and
cultural heritage. Governing bodies and those concerned with the strategic direc-
tion and oversight of museums have a primary responsibility to protect and promote
this heritage as well as the human, physical and financial resources made available
for that purpose.
2. MUSEUMS THAT MAINTAIN COLLECTIONS HOLD THEM IN TRUST
FOR THE BENEFIT OF SOCIETY AND ITS DEVELOPMENT
Principle: Museums have the duty to acquire, preserve and promote their collec-
tions as a contribution to safeguarding the natural, cultural and scientific heritage.
Their collections are a significant public inheritance, have a special position in law
and are protected by international legislation. Inherent in this public trust is the
notion of stewardship that includes rightful ownership, permanence, documentation,
accessibility and responsible disposal.
3. MUSEUMS HOLD PRIMARY EVIDENCE FOR ESTABLISHING
AND FURTHERINFG KNOWLEDGE
Principle: Museums have particular responsibilities to all for the care, accessibility
and interpretation of primary evidence collected and held in their collections.
4. MUSEUMS PROVIDE OPPTUNITIES FOR THE APPRECIATION,
UNDERSTANDING AND MANAGEMENT OF THE NATURAL
AND CULTURAL HERITAGE
Principle: Museums have an important duty to develop their educational role and
attract wider audiences from the community, locality, or group they serve. Interaction
with the constituent community and promotion of their heritage is an integral part of
the educational role of the museum.
5. MUSEUMS HOLD RESOURCES THAT PROVIDE OPPORTUNITIES FOR
OTHER PUBLIC SERVICES AND BENEFITS
18 1 Significance of Conservation of Cultural Heritages in Museums

Principle: Museums utilize a wide variety of specialisms, skills and physical

resources that have a far broader application than in the museum. This may lead
to shared resources or the provision of services as an extension of the museum’s
activities. These should be organized in such a way that they do not compromise the
museum’s stated mission.
6. MUSEUMS OBJECT IN CLOSE COLLABORATION WITH THE COMMU-
NITIES FROM WHICH THEIR COLLECTIONS ORIGINATE AS WALL AS
THOSE THEY SERVE
Principle: Museum collections reflect the cultural and natural heritage of the commu-
nities from which they have been derived. As such, they have a character beyond that
of ordinary object, which may include strong affinities with national, regional, local,
ethnic, religious or political identity. It is important therefore that museum policy is
responsive to this situation.
7. MUSEUMS OPERATE IN A LEGAL MANNER
Principle: Museums must conform fully to international, regional, national and local
legislation and treaty obligations. In addition, the governing body should comply
with any legally binding trusts or conditions relating to any aspect of the museum,
its collections and operations.
8. MUSEUMS OPERATE IN A PROFESSIONAL MANNER
Principle: Members of the museum profession should observe accepted standards and
laws and uphold the dignity and honour of their profession. They should safeguard
the public against illegal or unethical professional conduct. Every opportunity should
be used to inform and educate the public about the aims, purposes, and aspirations
of the profession to develop a better public understanding of the contributions of
museums to society.

1.4.2 Code of Professional Ethics for the Japan Society

for the Conservation of Cultural Property

In Japan, with many conservators and scientists belonging to the Japan Society for
the Conservation of Cultural Property, the “Code of Professional Ethics for People
Involved in the Japan Society”, established on July 8, 2008, with worldly trends indi-
cated on the previous page (The Japan Society for the Conservation of Cultural Prop-
erty, 2008), and also “Code of Conduct for Scientists” provides for a strong sense of
crisis for incorrect behavior of scientists as indicated by the Science Council of Japan
(Science Council of Japan, 2013). The Code of Professional Ethics is introduced
below.
PREAMBLE
1.4 A Code of Professional Ethics 19

Cultural heritages comprises tangible and intangible heritages of esthetic, historic,

and academic values that have been created by both humans and nature. Heritage,
shared and common inheritance of mankind, is not only used in our generation, but
must be conserved for future generations. The Japan Society for the Conservation of
Cultural Property thus has the aim to achieve expansion and spreading awareness of
science and technology relating to preservation and utilization of cultural heritages.
In order to achieve this aim, the Japan Society for the Conservation of Cultural
Property members fulfill their responsibilities as specialists and also act with the self-
determination to own responsibility for the public peace, the health of humankind,
and also historical, cultural, and natural environments. Additionally, they dedicate
their best efforts to expanding this field to broaden understanding toward conservation
of cultural heritages through education and spreading awareness.
With this acknowledged, code of professional ethics of the Japan Society for the
Conservation of Cultural Property is established here, and is the code that should be
followed by its members. At the same time, it is believed that this will broadly become
the professional ethics that should be followed by those involved with conservation.
1. RESPECT FOR CULTURAL GERITAGES
The members of the Japan Society for the Conservation of Cultural Property, in
recognizing cultural heritages are precious heritage of humankind and having respect
to them, perform measures for surveying, research, exhibition, conservation, and
restoration.
2. RESPECT FOR THE VALUE OF CULTURAL HERITAGES
Members of the Japan Society for the Conservation of Cultural Property, in
performing measures for surveying, research, exhibition, conservation, and restora-
tion, they will consider and select correct methods and materials so as not to lose the
esthetic, historical, and academic value of cultural heritages.
3. ENSUREING SAFETY
Members the Japan Society for the Conservation of Cultural Property, in considering
safety for the health and the environment, will select that which is appropriate among
such methods and materials used in performing measures for surveying, research,
exhibition, conservation, and restoration.
4. EMPHASIS ON THE ENVIRONMENT FOR CULTURAL HERITAGES
Members of the Japan Society for the Conservation of Cultural Property, in recog-
nizing that establishing an appropriate environment for long-term conservation of
cultural heritages is most important, they should object to realize a better environment
for cultural heritages.
5. SELF-STUDY
Members of the Japan Society for the Conservation of Cultural Property make
best efforts to fulfill maintaining and improving specialized knowledge, ability, and
skill on their own through opportunities such as academic meeting, education, and
research.
20 1 Significance of Conservation of Cultural Heritages in Museums

6. COOPERATION WITH EXPERTS

Members of the Japan Society for the Conservation of Cultural Property will show
self-determination in the conservation of cultural heritages that involves a multitude
of fields, including esthetic, history, culture, and natural science. They will actively
seek cooperation of other experts for measures in surveying, research, exhibition,
conservation, and restoration.
7. RELATIONSHIPS WITH OTHER EXPERTS
Members of the Japan Society for the Conservation of Cultural Property will be
self-determined to be loyal and respectful in objecting with other experts and while
concurrently judging correctly what other experts have achieved, they have to humbly
listen to criticism of those experts.
8. PREPARATION OF RECORD, KEEPING A RECORD, AND PUBLISHING
Members of the Japan Society for the Conservation of Cultural Property will
create correct records and reports in continuing to secure trust for measures in
surveying, research, conservation, and restoration, and also make efforts to make
public announcements along with correct storage and management.
9. OBSERVANCE OF ORDINANCE
Members of the Japan Society for the Conservation of Cultural Property shall observe
ordinances and related rules pertaining to measures for surveying, research, exhi-
bition, conservation, and restoration. In addition, they shall observe intellectual
outcomes and intellectual object rights and not infringe upon them.
10. OBSERVING A CODE OF ETHICSD
Members of the Japan Society for the Conservation of Cultural Property shall observe
the code of ethics and encourage other members to observe them.

References

Ambrose, T., & Paine, C. (2018). Museum basic. Routledge.

de Guichen, G., & Kabaoglu, C. (1985) How to make a rotten show-case. Museum (UNESCO)
(Vol. 146, pp. 64–67).
International Council of Museum. (Ed.). (2017). ICOM code of ethics for museums. https://icom.
museum/wp-content/uploads/2018/07/ICOM-code-En-web.pdf
Kamba, N. (2007). Primary care and practice of conservation. Report on the International Sympo-
sium on Practice of Conservation in Museums—Present and Future, Tokyo National Museum,
Tokyo, 6 June 2006.
Science Council of Japan. (Ed.). (2013). Code of conduct for scientists. http://www.scj.go.jp/en/rep
ort/Code_of_Conduct_for_Scientists-Revised_version.pdf
The Japan Society for the Conservation of Cultural Property. (Ed.). (2008). Bunkazai no hozon ni
tazusawaru hito no tameno kodokihan (Code of professional ethics for the Japan Society for the
Conservation of Cultural Property). https://jsccp.or.jp/abstract/regulate_08.html
Chapter 2
Diagnosis of Museum Environment
and Collections

2.1 Relationship Between Preservation and Environment

2.1.1 Risk Concentration and Preventive Measures

Cultural objects are a valuable heritage in which knowledges and experiences devel-
oped by mankind are indwelled. There is no substitute for those. While being an
index of looking back at the path walked for humans, this is at the same time the seed
of creation, and that which is essential for building a prosperous future. Therefore,
these cultural objects should be passed down in the future and used effectively at
present generation. Additionally, museums continue to systematic research on the
esthetic and historical value of cultural heritages, and it is necessary for museums to
be the place of the core to realize preservation and exhibition of the objects.
Prior to objects being added to museum collections, such objects were kept sepa-
rately by individuals and families. If daily management of each object were to be
done appropriately, possibility associated with damage occurrence to objects exist
not in proximity of one another would be extremely low with concurrent damage
being difficult to imagine. This circumstance is the condition of the risk dispersion.
Whereas, when objects being managed together in the same environment as museum
collections the possibility of concurrent damage occurrence increases, resulting in
the risk concentration.
Museums keep large volume of collection must recognize this latent risk with
concentrating objects in one location, and active and planned efforts must be made
for establishing a circumstance to preserve collections in the museum. Although
there may be some cooperation to lower the risk until this time, such efforts may
be said to have been excessively partial and individual. Because museums achieve
their role as a place of the core for preserving and utilizing cultural heritages, it is
necessary for the entirety of risk to be acknowledged and necessary for measures to
reduce risk to be possessed on an organizational level.

© Springer Japan KK, part of Springer Nature 2022 21

N. Kamba, Conservation Practices in Museums,
https://doi.org/10.1007/978-4-431-56910-7_2
22 2 Diagnosis of Museum Environment and Collections

2.1.2 Causes of Degradation and Period

up to the Degradation

The cause leads objects to degradation is categorized according to the period required
until a condition of degradation can be confirmed. Such period is divided into three
categories—from 10 to 100 years, which is a period called “long-term effects”; from
one year to 10 years, which is termed “mid-term effects”, and a period of less than one
year, which is called “short-term or instantaneous effects”. An understanding of the
differences among these three effects leads to appropriate management of objects.

2.1.2.1 Long-Term Effects

Aging, relative humidity, illuminance, utilization, and remedial treatment are

included in this category. Deterioration and/or damage resulting from long-term
effects occur when the effects last for an extended period of about 10–100 years.
Over a long period, accumulated impact results in gradually progressive deterio-
ration. Due to the change being so gradual, it is difficult for humans to recognize
such degree of change. One cannot aware of the impact results until damage is clear
in many cases. Such long-term effects are those for which humans are not good at
perceiving.
For the reason that cultural objects comprise physical matter, objects gradually
deteriorate and the original form is lost by aging effect. This aging deterioration is
a kind of natural disintegration, and there are also artificial causes that affect the
promotion of deterioration. Clearly differentiating these two causes of deterioration
is difficult. Therefore, it is challenging to determine the main cause in the process
of deterioration up to this present, as well as clearly surmising changes thereafter.
Concretely, changes in relative humidity, high temperatures and relative humidity,
the degree of illumination of lighting in exhibition (Kamba, 1991a; Michalski, 1987),
and wear resulting from repeated use of such as hanging scrolls and hand scrolls,
among other factors lead to deterioration of objects by combined and long-term
effects (Fig. 2.1). Changes in temperature and relative humidity which lead to fluc-
tuations in water content of organic objects promote mechanical deterioration of
objects through shrinkage and expansion of materials. High relative humidity and
temperature promote chemical deterioration of materials. Photochemical reaction
from illuminance results in weakening of fibers and fading such as a loss of color
and yellowing. Light sources emitting ultraviolet radiations that possess chemical
effectiveness bring about similar changes. Light sources emitting infra-red radia-
tions cause objects to heat, resulting in changes to water content in objects which
then leads to deformation. In addition, surrounding air temperature is increased,
resulting in a loss of water content in objects. Such repeated shrinkage and expan-
sion of objects leads to mechanical deterioration (Thomson, 1978; Toishi, 1970).
Quantifying the amount of deterioration in objects over a short period of only one
year is extremely difficult.
2.1 Relationship Between Preservation and Environment 23

Fig. 2.1 Creases and sprit

cracks on the hanging scroll
due to repeated exhibiting
with repeated opening and
rolling

In the process of remedial treatment/restoration repeated in every 100–200 years,

which may include cleaning and lining etc., the original portions may be impacted
by the treatment. However, for improving safety in handling of deteriorated objects,
options other than remedial treatment/restoration are few. Many objects have survived
to this day owing to remedial treatment, which is a fact and is greatly significant.
With assurance, it can be said that even with methods of remedial treatment, complete
24 2 Diagnosis of Museum Environment and Collections

Fig. 2.2 Ainu textile “Chukaukapu” garment deteriorated by the influence of iron mordant and
repeated exhibiting

original sections cannot remain, and the act of remedial treatment will also come to
have impact on original condition.
The original materials of objects themselves can cause the progress of degradation
of objects (Fig. 2.2). The degradation and breakdown of fibers seen in black-dyed
textiles is thought to be impact on an iron mordant, which is used at the time of method
for dying. In addition, on portions of paper on which a green mineral pigment such
as malachite is used, paper turns brownish color with heavy deterioration. There is
impact by original materials of either case with only remedial treatment as the way
to achieve maintaining the current condition.

2.1.2.2 Mid-Term Effects

Biological degradation, atmospheric contaminating substances, and impact from

materials for remedial treatment are involved in this category. Deterioration that
appears from mid-term effects is the cause that is sustained spanning over a period
from one to 10 years. Harmful insect breeding occurs when temperature/relative
2.1 Relationship Between Preservation and Environment 25

humidity levels and target food for insect pest within the museum match the condi-
tions suitable for breeding. If such conditions repeat for some period of time in
every year, a high probability of objects being threatened by mold or harmful insects
exists, and material deterioration will progress (Fig. 2.3). Such a circumstance is
termed biological degradation. Mold and harmful insects are able to be confirmed
by the naked eye from the surface of objects themselves, so immediate insecticidal
measure to the mold and insects is possible. However, the same problem can reoccur
unless possible basic measures are taken, such as blocking the path of entry or
transport, cleaning the inside of the museum, and maintaining the environment for
temperature/relative humidity.
When both airborne particulate substances such as dust and soot, and automobile
exhaust gas contained in air outside the museum have passed through air conditioning
systems into the museum, they are gradually collected in the storage and on the
surfaces of objects resulting in contamination by such substances (Fig. 2.4). The
airborne particulate substances in the air may potentially cause a chemical effect,
which cannot be considered simply the accumulation of dust. Interior materials, such
as construction materials and shelving brought in to the storage and exhibition room,
may release harmful volatile gases. For example, if new cypress lumber that releases
a large volume of its volatile oil and resin which is the extracted component of wood
is used in a room, the substances released will attach and degrade the surfaces of

Fig. 2.3 White spotted mold on the surface of the wooden storage box due to high relative humidity
26 2 Diagnosis of Museum Environment and Collections

Fig. 2.4 In the middle of cleaning the dirt of cloisonné ware in the Qing era of China

objects. Also, from boxes in which plywood boards and acidic paper are used that
contain large volumes of such as formaldehyde and acetic acid, the objects will be
effected chemically and deteriorate. This is impact from air pollution.
Additionally, if synthetic resins, for which stability has not been confirmed, are
used as remedial treatment materials, discoloration and deformation, etc. may occur
after several years due to deterioration of components of synthetic resin. Objects
deteriorate by materials of remedial treatment; for example, a layer of resin remains
that changes to brownish color from colorless and transparent, and further shrinks
with loosening of the paint layer. As a concrete example of damage that occurred from
mistaking the selection of materials, there was the case of a lead weight imbedded
in wooden shaft of a hanging scroll from a past era in order to pull the hung paper
taut. The lead reacted slowly with the chemical content of the wood, causing the lead
to rust. As a result, the beads of rust from the wooden shaft came out and made a
hole in the paper or silk of object. By analyzing white rust, the lead had turned into
basic lead carbonate. The chemical reaction of the lead is surmised to have required
several decades (Fig. 2.5).

2.1.2.3 Short-Term and Instantaneous Effects

Natural disasters, transport, theft, and excavation are included. Deterioration

appearing from short-term effects is damage caused by sustained spanning over only
2.1 Relationship Between Preservation and Environment 27

Fig. 2.5 Damaged shaft of hanging scroll due to corrosion of lead embedded in the shaft

a period of short time such as one year or less, and momentary shock, and includes
damage from accidents.
When objects are severely impacted by earthquakes, fires, flooding, a certain
degree of damage must be expected. Although minimizing damage by daily drilling
and preparation are effective measures, perfect preparation for unexpected disasters
is challenging. In the Great Hanshin Awaji Earthquake in 1995 and the Great East
Japan Earthquake in 2011, an enormous amount of cultural heritages were damaged
instantaneously by tipping over and the tsunami. For objects damaged by the flooding
and tsunami, after disaster, in cases of insufficient housing conditions for objects,
secondary damage risks exist from short-term progress of rot due to mold and/or
bacteria.
Annually, the Tokyo National Museum loans more than 1000 pieces of the collec-
tion by requests from other museums (Actual 2018 fiscal year requests were 173
organizations for 1355 pieces requests). On one hand, the museum borrows several
hundred works from other museums for holding a special exhibition. The Tokyo
National Museum by itself has this much shipping amount, which on a world scale, a
tremendous volume of works are transported. Damage to objects results in many cases
during shipping and packing operations. Damage during shipping often occurs when
carried by human hand, truck, and airport dolly, with dropping, vibration and shock
of the packing case thought to be causes. Normally, in many cases clear effects from
vibration and shock to objects are unable to be observed after transport; however,
28 2 Diagnosis of Museum Environment and Collections

it must not be forgotten that actually there is some influences being accumulated.
Particularly large objects and heavy objects require caution. For ceramic and clay
objects assembled by fragments, those periphery of a joining place are character-
istically fragile. A difference in the strength of the fragments and the adhesive or
filler material are thought to be the cause (Fig. 2.6). A cause of damage in packing
operations is scraping, dropping, and shock in the event of inserting and removing
objects from a packing case. If upon arriving at the destination the packing case is
opened prior to acclimatization for the environment, there is the possibility of peeling
of color layers or deformation due to sudden changes in the environment. Recently,
shipping by ship, which is now less prevalent, dew may form in the packing case
when the case get stuffy if passing in the vicinity of the equator. The dew then forms
mold.
Severe damage may remain on works due to theft. During a heist, portions of
objects may be damaged and intended damage may be afflicted, such as removal of
sections. Also, original form may be lost for the purpose of selling an object. Such
risk of damage leading to destruction of objects is extremely high. In order to prevent
heists, establishing a security system is fundamental.
As a special case example, an object unearthed by excavation making contact with
the atmosphere concurrently deteriorates rapidly. In waterlogged wooden objects that
contain several hundredths percent water, rapid shrinking and deformation occur

Fig. 2.6 Cracks in the legs of ancient clay figure caused by vibration and shock during transportation
2.1 Relationship Between Preservation and Environment 29

along with drying of the wood unless resin or sugar is injected and replaced with
water. Unearthed metallic objects making contact with oxygen in the air concurrently
reacts and corrosion progresses rapidly on the surface.

2.2 Monitoring and Evaluation of Environment

2.2.1 Clarify the Target of Monitoring

Although there are myriad environmental factors relating to deterioration of objects,

focusing to give attention to causes of particularly significant impact, while intro-
ducing suitable equipment to each, measurement of transition of these factors over
a long period is called monitoring (Kamba Kamba, 1991b). Temperature and rela-
tive humidity, illuminance, atmospheric contaminating substances, organisms, and
vibration for the three categories indicated in the previous “[2] Causes of Degradation
and Period Up to the Degradation” are factors fundamentally monitored in museum
facilities.

2.2.1.1 Temperature and Relative Humidity

In watching and recording temperature and relative humidity, (a) there is the method
by which an air conditioning sensor connected to a central machine room controls for
conditioning air inside the museum facility, (b) a method using a small temperature
and relative humidity data logger installed in a necessary position and that regu-
larly collects data by computer (Fig. 2.7), (c) recording thermo-hygrograph (2–8) is
installed and read on site (Fig. 2.8). The above (a) is a sensor necessary for control-
ling air conditions, and (b) is used for grasping the environment in extreme detail.
Both (a) and (b) data are often used for analysis because they are easy to process on a
computer. The above (c) is often used on site to confirm values at that time by direct
reading. Also, (c) is often installed for the purpose of comparing the confirming of
(a) and (b) accuracy.
The data of (a) accumulated in the computer memory in the central machine room
is collected once a month and filed. Data accumulated in the small data logger (b)
is also read and saved on the computer on fundamentally a monthly basis. Types of
small data loggers allow sending and receiving of data by wireless communication,
and in matching this to the museum LAN, data can be read in real time from a remote
location. An exchange of the recording sheet once per month occurs for data (c) of the
recording thermos-hygrograph, and the collected recording sheet is filed and saved.
Collected raw data is then soon passed around related departments in the museum
and deeper understanding is desirable by sharing of the current situation as a whole.
In the case of an abnormality, the confirmed date and time, location are taken as
a memo, and the cause of the abnormality is validated together with the related
30 2 Diagnosis of Museum Environment and Collections

Fig. 2.7 Temperature and humidity data logger installed in display cases

Fig. 2.8 Hair-type self-recording hygrothermograph

2.2 Monitoring and Evaluation of Environment 31

department. In order to understand the transition of data of (a) and (b) over one
year, temperature and relative humidity data of the entire museum is organized for
each measurement point. And for whether the temperature and relative humidity
conditions are appropriate, a hazard map (degree of risk information map) is created
that divides the museum interior by color, which achieves awareness for progressing
in understanding current conditions.
By reading transitions in daily temperature and relative humidity fluctuations,
action is often sought based on necessity. Air conditioning abnormalities are searched
for by comparing with data from the previous fiscal year and/or averages, on which
is based and improvements. Other than this, on a daily basis, air conditioning oper-
ations are performed while observing data. Such operations include settings and
control of temperature and relative humidity when holding special exhibitions, setting
up portable humidifiers and de-humidifiers during low humidity times of the year
in the winter and high humidity months during the summer, countermeasures for
condensation that forms on walls, and humidity control within exhibit cases. In the
mid-to long-term, the order of priorities are presented against locations that should
be improved based on collected data and clarifying environments.

2.2.1.2 Radiation from Light Sources

The strength of visible radiation for irradiating light is measured in illuminance (unit:
lx), and total dose of light exposure on objects is product of illuminance and expo-
sure time (unit: lx h). When designing display lighting, performance of equipment
and lamps are considered from the point of protecting objects. In particular, consid-
erations are given to quality of light spectrum, which includes whether there are
ultra-violet rays or infrared rays, the degree of color rendering, and color temper-
ature. In terms of lighting, while continuous measurement is important, but due to
the importance of initial condition settings, measurement of illuminance is usually
done only immediately after the display work, not continuously (Fig. 2.9). While
continuous monitoring is possible by a data logger that records the strength of illu-
minance, because the illuminance values can be shown to be stable at almost being
fixed, after completing exhibition operations, the goal can be achieved by ensuring
measurement of the initial value.
Other than this, in order to provide a highly-visible and safe environment for
museum visitors, use of the high transparency ratio glass and/or low reflection film
on the glass of the display case are also to be considered. Due to an easy to view
museum objects leading to keeping illuminance at low level, this is effective for
conservation of objects.

2.2.1.3 Atmospheric Contaminating Substances

Contamination of cultural objects from airborne contaminated substances are not

only in outdoor sculptures and architectural structures, but also in museum objects
32 2 Diagnosis of Museum Environment and Collections

Fig. 2.9 Measurement and

adjustment of illuminance
level after displaying objects

that displayed and housed. Rot and erosion resulting from exposure to acid rain
outdoors, and also indoor air contaminants from harmful substances emitting from
the structural skeleton, interior materials, storage containers within the museum, and
air pollutants in outdoor invaded through air conditioning equipment are thought to
be atmospheric contamination. Atmospheric air pollutants that flow into the museum
and affect objects is airborne dust, such as sand and also particulate matter, photo-
chemical oxidants, nitrogen oxides (NOx), and sulfur oxide (SOx). In addition, chlo-
ride ions contained in seawater carried from the sea have a great effect. Indoor air
contaminants include formaldehyde, acetaldehyde, acetic acid, formic acid, and other
volatile organic compounds (VOC) released from adhesives in plywood and interior
materials of wall cloth coverings and paint, and also ammonia released from concrete
skeletal structures (Tsujino et al., 2002).
Normally, the above mentioned substances are repeatedly measured and those
substances with high concentrations and also their sources are specified by the
measurement. When the source of such contaminants is determined, concentration
is reduced through taking measures such as fitting and changing filters and installing
absorbents to air conditioning system, and/or increasing the number of times of venti-
lation. A solid and fundamental solution requires elimination of the source, however,
removal and replacement of interior materials and shelving is often not possible, thus
requiring preventive measures to be taken. An assured way to decrease the occurrence
of indoor air contaminants is thorough material inspection prior to installation.
Measuring of contaminants can be done either by active sampling involving anal-
ysis of air collected by using a pump, and also passive sampling, which involves
analysis of a chemical agent sampler which is installed for several weeks (Fig. 2.10).
2.2 Monitoring and Evaluation of Environment 33

Fig. 2.10 Measurement of

concentration of atmospheric
contaminating substances by
passive sampling method

Active sampling involves an instantaneous value, and passive sampling seeks an

average value for a certain period. Active sampling is utilized immediately after
completion of construction of a facility, and passive sampling is appropriate for
continuous measuring at normal period. In addition, an Oddy Test, for reference, is
safe testing method for materials being used. The Oddy test involves a method for
assessing impact from materials being investigating on metal fragments (Bamberger
et al., 1999). Photographic Activity Test (PAT) is also a method for assessing mate-
rials which is normalized by International Organization for Standardization as ISO
18916.

2.2.1.4 Pests

Infection by mold and also vermin damage caused by harmful insect causes irre-
versible damage to objects (Tables 2.1 and 2.2). Harmful insects invades from
minimal opening of doors and/or invades by attaching to and being carried in by
museum visitors, there are cases in which such harmful insects attach to objects that
are then transported. Museum interior temperature and relative humidity, volume of
accumulated dust that includes nutritional contents and also quantity of materials of
objects that feed on pests may result in ideal breeding conditions for harmful insects.
Monitoring of the entire interior of a museum and efforts to grasp pest habitat is
essential. Methods for grasp pest habitat include regular surveillance measuring by
using mold measuring equipment and pest traps (Fig. 2.11), and also extrapolating
based on accumulated reporting from the persons who have detected pests. In the
case of reliance on reporting, explaining the objective to various staff employed by
34 2 Diagnosis of Museum Environment and Collections

Table 2.1 Major pests that

Insect pest Materials that are susceptible to
damage cultural objects
pests
Silverfish Paper (especially glued areas),
woolen fabrics, cotton, linen, silk
Casemaking clothes moth Fur, woolen, silk, cotton, linen
Anobiid Wood, paper, fur, woolen
Powderpost beetle Wood, bamboo, rattan
Carpet beetle Fur, woolen, silk
Booklouse Paper, mold
Cockroach Wood, paper, fur, cotton, linen,
silk

the museum is essential to obtain their cooperation. After attaining measurement

results, pest number and type are confirmed and if there is a tendency to increase,
together with other potential causes, such as temperature and relative humidity, are
analyzed. Then necessary insect and mold proofing treatment shall be implemented
and/or a facility improvement plan shall be created to prevent intrusion and breeding
of pests. Concurrently, a clear policy must be indicated for action that should be
taken when pests are found. Such a policy shall pertain to eating and drinking spaces
for visitors, and also concerns for considerations that should be taken for drinking
and eating spaces of staff also. In recent years, such a method is often explained as
an environment management method called IPM, which stands for Integrated Pest
Management. In this book, “Improving the Environment for Conservation of objects”
is touched on the IPM in Chap. 3, Sect. 3.1.

2.2.1.5 Vibration

In addition to vibration generated during transportation, other causes of vibration are

earthquakes, walking of museum visitors, and also vibration transmitted through air
from air conditioning vents, and also from street traffic and train travel on nearby
rails.
Vibration and shock during transporting of objects is measured by a small accel-
eration meter attached inside the transport packaging case (Fig. 2.12). Character-
istics of vibration frequency and vibration amplitude, as well as acceleration from
shock are determined by data analysis acquired during transport. From such analysis,
packaging and transport methods are considered to make continuous improvements
(Saunders et al., 1990). Considerations for high precision require as many measure-
ment case examples as possible. In the worst case, if the work piece is damaged
during transportation, the data can be used to verify the transportation process that
has had a significant impact on the damage if the packaging case is equipped with
vibration and shock gauges. However, it may not be possible to identify the cause
2.2 Monitoring and Evaluation of Environment 35

Table 2.2 Major molds that damage cultural objects. Quoted from Takatori, Keisuke: Bunkazai ni
miru yuugaikabi to yuugaikabi no tokusei, Bunkazai no tyuukingai, 63, pp. 3–8, 2012
Classification Characteristics Examples
Thermophilic mold Mold with an optimum growth Neosartorya, Byssochlamys,
temperature range of 37–50 °C etc
Psychrophile mold Mold that can grow at low Fusarium, Phoma,
temperatures of 10 °C or less Cladosporium, etc.
Mesophilic mold Molds that are widely Many of the molds that are
distributed in the environment likely to occur on cultural
and have an optimum growth properties belong to this group
temperature range of 20–30 °C
Parasitic mold There is a mold that attaches to
living organisms and absorbs
nutrients from them
Hygrophil mold A group of molds that are Cladosporium, Alternaria,
likely to occur when the Fusarium, Trichoderma,
humidity is high Rhizopus and Aureobasidium
Drought resistant mold A group of molds with an Aspergillus and Penicillium
optimal relative humidity in
the 85–97% range
Xerophilous mold A group of molds with an Eurotium, Aspergillus
optimal relative humidity in restrictus, and Wallemia
the 65–90% range
Osmophilic mold Mold can grow under high Eurotium, Aspergillus
osmotic pressure restrictus, Wallemia,
Chaetomium and
Chrysosporium
Odor-producing mold Molds often produce Among the molds, Penicillium
secondary metabolites as it is one of the most odorous
grows. One of them is odor molds, and Trichoderma,
Chaetomium, and Mycelia are
among them
Chromogenic mold Those that produce dyes, Fusarium, Penicillium,
which are secondary Cladosporium, Epicoccum
metabolites, outside the cells and Trichoderma
as the mold grows
Specific component lytic mold Mold that damages materials Chrysosporium,
containing specific Scopulariopsis and Phoma
components such as hard
proteins and lipids

without clearly knowing the exact time of the accident and what was being done at
that time.
In the case of earthquakes, damage to objects may be lessened by protective usage
of such as seismic isolation devices, anti-tipping devices, fall prevention fence struc-
tures in shelves, and wooden storage boxes. Past big earthquakes verify the effec-
tiveness of such protective measures. As a measure to protect the building structure
36 2 Diagnosis of Museum Environment and Collections

Fig. 2.11 Pest habitat survey by trap method

of the museum from earthquakes, some museum facilities have already implemented
seismic isolation for both the museum building and the museum floor. Earthquake
seismic intensity is measured by seismometer, however, almost no museum facili-
ties are not actually monitoring of it. Most often, earthquake intensity and ways of
swinging are verified based on data indicated by governmental agencies such as the
Japan Meteorological Agency, upon which earthquake countermeasures are taken.
It will also be possible to verify specific seismic countermeasures using artificial
seismic motion using official seismic data.

2.2.2 Necessary Guideline for Optimization

In order to realize genuine safety in housing and displaying objects, minimization

and/or elimination of the aforementioned indicated causes is essential. Organiza-
tional implementation is important for achieving such appropriate circumstance by
setting concrete target values for security measures and also disaster preparedness for
earthquakes, fires, and water flood damage, as well as concentrations of pollutants in
air, the insect pest habitation, levels and changes in temperature and relative humidity,
and level and dose of illuminance of display lighting. Furthermore, achieving a safe
environment of the storages and exhibition rooms must be done concurrently with
2.2 Monitoring and Evaluation of Environment 37

Fig. 2.12 A device for recording vibration and shock during transportation

making it safer and easier to use the facility by staff and visitors. In order to realize
space of both a housing environment backed with safety and excellent design, clearly
indicating a concrete policy and target values for conservation is essential (Kamba,
2005).

2.2.2.1 Temperature and Relative Humidity

The recommended average temperature is 22 °C, and with slight seasonal fluctua-
tions, the temperature is within the range of 18–26 °C that is 22 ± 4 °C. Facilities
and/or objects with a comparatively high history of relative humidity should be 60
± 5 °C, and for facilities and/or objects historically of or being in comparatively dry
relative humidity should be 55 ± 5 °C. Daily fluctuation in one day should each be
within 3 °C and 5% to realize an appropriate environment. National treasures and
important cultural assets must be in accordance with this conditions except that the
temperature fluctuation must be smaller (Thomson, 1978).
On the other hand, the temperature inside the museum during the summer is
set higher than before, depending on the outside temperature during the day. Such
setting of the temperature reduces discomfort experienced by museum visitors due
to extreme temperature differences between inside and outside the museum, and is
also effective in suppressing energy consumption. Relative humidity throughout the
38 2 Diagnosis of Museum Environment and Collections

four seasons is to be adjusted to a set target value. In case of setting of temperature

and relative humidity must be varied, stabilizing relative humidity must be prioritized
over temperature. For humidity fluctuations not fitting within the target range, setting
up of more mild range than the target value to a level of 40–70% so that at least
the percentage fits within this range. For example, relative humidity in a 50–60%
environment is to be level 1, and 40–70% is to be level 2 (Table 2.3). Measuring of
the environment is done by using both the thermo-hygrograph and data logger. The
thermos-hygrograph is used for determining relative humidity on the site, and a data
logger is used for analyzing measurement data.

2.2.2.2 Illuminance and Total Dose of Light Exposure

Appropriate illuminance and total dose are based on the material’s vulnerability of
objects to light. By keeping the total dose of light exposure for one year at constant,
time can be extended for the portion of reduced illuminance. The degree of flexibility
of illuminance levels and irradiation time within this range is given. On occasion,
within the same fiscal year, in cases that the total dose must exceed the regulation, a
corresponding portion is used from the next fiscal year, whereby the portion used in
advance is subtracted from the next fiscal year, however, it is necessary to be strict
in determining such processing.
Maximum illuminance and total dose values are indicated as guidelines by mate-
rial and object classification from the Agency for Cultural Affairs and International
Council of Museums etc. (Tables 2.4 and 2.5). Both illumination and dose indicate
the permitted limit, therefore lighting and exhibition planning are designed within
the range of permitted values.

2.2.2.3 Insect Pests Inhabitants

The basis of harmful pest management is to segregate habitats away from exhibition
and storage space. The aim of such management must not be killing all of insects,
bacteria, and/or mold resulting in an environment in which such pests do not inhabit.
The basis of habitat isolation is thought to involve ensuring limiting the intrusion
of pests from outdoors. Such habitat isolation is thought to be achieved by thor-
ough prevention of bringing into the museum objects and/or materials believed to be
contaminated by harmful insects and/or mold. However, some degree of harmful pest
intrusion must be taken into account. Reducing environmental conditions preferred
by harmful pests on a daily basis and also creating an environment to keep such pests
at a distance and making the environment difficult for the pests to inhabit is impor-
tant. Concrete guidelines to follow include maintaining the relative humidity within
the appropriate range, avoidance of dust accumulation which makes for easy nesting
of microorganisms, and thorough hygiene management for food and restrooms. Use
of a climograph is a convenient method for understanding the deep relationship tying
the occurrence of molds to annual transitions in relative humidity change (Fig. 2.13).
2.2 Monitoring and Evaluation of Environment 39

Table 2.3 Environmental assessment at three levels based on relative humidity values
Temperature/humidity graph Climograph Class
[Class 1]
A level where
the relative
humidity value
is within the
range of
50–60%
throughout the
year. An
environment
where most
cultural objects
are safely
stored
[Class 2]
A level where
the relative
humidity value
is within the
range of
40–70%
throughout the
year. It is
necessary to be
careful but
there is a
possibility that
it can become
Class 1 with
small
improvement
[Environment
requires
attention]
A level that
does not fit in
the range of
Class 2. The
feature is that
there is no
stable period
throughout the
year. Often
requires major
refurbishment
40 2 Diagnosis of Museum Environment and Collections

Table 2.4 Illuminance guideline presented by various institutions (unit: lx)

Vulnerability Category Institution
Agency for ICOM The United G. IES
Cultural States—Japan Thomson
Affairs Conference on
Cultural and
Educational
Interchange
(CULCON)
1970 1977 1977 1985 1987
Very Textiles, 150 or less 50 100 (10 h a 50 50 (8 h a
sensitive tapestries, (especially day, 50 days a day,
watercolor vulnerable year, 300 days a
paintings, within integrated year,
Japanese 30 days) illuminance integrated
paintings, 50000 lx h) illuminance
drawings, 120,000 lx
manuscripts, h)
stamps,
printed
materials,
wallpaper,
natural
history
specimens
Relatively Oil 150 or less 150–180 – 200 75 (8 h a
sensitive paintings, day,
tempera 300 days a
paintings, year,
frescoes, integrated
leather illuminance
goods, 180,000 lx
bones, horns, h)
ivory, wood,
lacquer
wares
Not sensitive Metal, stone, – – – – –
glass,
ceramics,
gems,
enamel,
stained glass

On the climograph, monthly average relative humidity is plotted with temperature

on the vertical axis and relative humidity on the horizontal axis.
2.2 Monitoring and Evaluation of Environment 41

Table 2.5 Allowable

Very sensitive objects
illuminance and exhibition
period for each field of Ukiyo-e wood broch print 50 lx or less within 4 weeks
objects at the Tokyo National per year
Museum enacted in January Textile 80 lx or less within 8 Weeks
4, 2005 per year
Ink wash, watercolor painting 100 lx or less within 4 weeks
per year*
Drawing 100 lx or less within 4 weeks
per year*
Calligraphy、manuscript 100 lx or less within 8 weeks
per year
Polychrome sculpture 100 lx or less within 3 months
per year
*In actual operation, the display may be held once one and a
half year, and the period will be extended accordingly
Relatively sensitive objects
Oil painting 150 lx or less within 3 months
per year
Lacquer ware 150 lx or less within 3 months
per year
Wood, bamboo 150 lx or less within 3 months
per year
Uncolored sculpture 150 lx or less within 3 months
per year
Ivory, horn and shell 150 lx or less for a year
None sensitive objects
Earthenware, ceramics 300 lx or less for a year
Stone 300 lx or less for a year
Metal 300 lx or less for a year*
* Thesword will be exhibited within 3 months a year for regular
maintenance

2.2.2.4 Concentration of Atmospheric Contaminating Substances

Air pollutant are not only hazardous to one’s health, but also contaminate and deteri-
orate the materials of art objects. Accordingly, while it being ideal to make concen-
tration of such air pollutants to be zero, a realistic guiding principle is to reduce
the concentration to the level making deterioration difficult to occur. The concen-
tration of air pollutants intruding from outdoors generally decrease in the deep inte-
rior of buildings. Concentration of contaminants released from building materials
in museums differ depending on the type of the material in a building. Cooperation
efforts in preventing air pollutants from intruding from outdoors and also cooperating
in eliminating sources of indoor contaminants are fundamental.
42 2 Diagnosis of Museum Environment and Collections

Fig. 2.13 Climograph concerning mold growth and annual transition of relative humidity

From a long-term standpoint, levels considered to have small impact on objects

are purported to be less than 30 ppb ammonia, 20 ppb formaldehyde, 10 ppb formic
acid, and 40 ppb acetic acid (Sano et al. 2010). At the Tokyo National Museum, we
are applying 5 ppb ammonia, 50 ppb formaldehyde, 10 ppb formic acid, and 50 ppb
acetic acid as the maximum target values, and we are making cooperative efforts to
have fewer in everywhere (Tables 2.6 and 2.7).

2.2.2.5 Vibration

As a guideline for vibration that potentially impacts objects, the below measures
are given. First, vibration for which there is generally minor awareness is caused
by air flow of air conditioning equipment. Air flow velocity sent from air condi-
tioning vents when large are effective for climate control, however, less wind pres-
sure against objects is desirable (Hama et al., 2013). Air flow speed is considered
to be at a safe level for works if it is controlled to be a few centimeters per second
at extremely close proximity to objects. Next, even though not occurring on a daily
basis, vibration during transportation of objects must be considered. Vibration and
shock depend on transporting environment such as machinery used for transporting
objects by truck and airplane, and also road conditions for transport. In general,
characteristic frequency of vibration of air suspension in trucks is 2 Hz and between
2.2 Monitoring and Evaluation of Environment 43

Table 2.6 An example of guidelines for concentration of atmospheric contaminating substances.

The table is modified and quoted with permission from the author. Quoted from Sano et al. (2010):
Hakubutsukan Siryo Hozon Ron – Bunkazai to Kuuki Osen (Conservation of Museum Objects-
Cultural Objects and Atmospheric Contaminating Substance-), Mimizuku-sha, Tokyo
Atmospheric Unit Short-term exhibition Long-term exhibition Long-term storage
contaminating
substances
Ammonia ppb <30 <30 <30
(NH3 )
Formaldehyde ppb <80 <40 <20
(HCHO)
Formic acid ppb <20 <10 <10
(HCOOH)
Acetic acid ppb <170 <80 <40
(CH3 COOH)

Table 2.7 Target values for

Contaminating substances Unit Max. tolerance
concentration of atmospheric
contaminating substances at Nitrogen oxides (NOx ) ppb 5
the Tokyo National Museum Sulfur oxides (SOx ) ppb 5
Ammonia (NH3 ) ppb 5
Chloride ion (Cl− ) ppb 5
Ozone (O3 ) ppb 10
Airborne particles mg/m3 0.1
Formaldehyde (HCHO) ppb 50
Acetaldehyde (CH3 CHO) ppb 10
Formic acid (HCOOH) ppb 10
Acetic acid (CH3 COOH) ppb 50

10 and 20 Hz for engines and other factors, and airplanes are between 10 and 20 Hz
and extremely close to 100 Hz. Carrying by human hand in a vertical direction is
characteristically a frequency vibration between 4 and 10 Hz, and it is important
not to allow the specific frequency for the objects to resonate. Because the smaller
the impacts the safer the transportation is, it is important for the acceleration speed
is controlled to be at least less than 10 G. In addition, the largest vibration to have
impact is thought to be that of an earthquake. The first measure in preparing for an
earthquake is to protect objects from being damaged from falling over. By acquiring
data from a meteorological agency for such as the direction of sway and intensity
of the earthquakes, countermeasures for earthquakes are to be considered based on
such data.
A concrete countermeasure for an earthquake is use of two-dimensional seismic
isolation devices capable of significantly increasing stability against sway. Guidelines
for using seismic isolators is as follows: (1) limiting horizontal acceleration speed
44 2 Diagnosis of Museum Environment and Collections

to 100 gal for a Great Hanshin-Awaji Earthquake class in 1995; (2) Irrespective of
loading weight, the specific vibration frequency should be fixed; (3) uneven added
weight should not affect performance; (4) residual displacement from the origin is
to be as small as possible; (5) fixing devices during displaying work, and assuring
release after completion of the work; and (6) time and cost minimization pertaining
to maintenance management. For seismic isolation guidelines, it may be necessary to
perform additional actions by examining the overturning acceleration limit of each
object. Even for use of seismic isolation devices, in cases that overturning acceleration
limit is less than 300 gal for an object itself, an additional measure for preventing
overturning should be encouraged for the object. Furthermore, it is desirable to have
fail-safe mechanisms set up to handle earthquakes of unexpected strength.

2.3 Diagnosis of Objects and Recording of It

2.3.1 Examination of the Condition of Objects

2.3.1.1 Preparation for Exhibition

When planning of exhibition, candidate objects are confirmed for not exceeding the
limit of display period for a given year and are then listed. The limit for yearly
displaying objects is the allowable number of days in a year based on fragility indi-
cated for the materials comprising the object against light, temperature, and relative
humidity. As a given, the more fragile the materials comprising the object the number
of days is shorter. Next is the confirming by visual inspection within a storage whether
their condition is enough for display. Detailed inspection is done, for example in the
case of hanging scrolls to confirm several potentially concerning points, including
the strength of the cord called a kakeo, flicking and lifting of mounting, peeling of
lining, peeling and/or chipping off of paint etc. In the event any defect is found,
treatments taken by a conservator are desirable in advance. Any pronounced degree
of degradation in the object would be reason enough to withdraw the object from
the plan and considerations for full-scale treatments are necessary. Depending on the
extent of degradations, display of such work within the same facility may be carried
out without applying any treatment measures if the condition is recognized as being
in a safe range.
Concurrent with inspecting the object condition itself, considerations for matching
assistive devices with the object condition is necessary, such as supports and stages,
for safe display. As an example, exhibiting a thick piece of book, should be done by
confirming first the position of the page able to be opened safely and then preparing
the necessary devices to fix it. In this manner of inspecting and taking appropriate
measures requires maintaining a recorded, conservation chart for the object. Such a
chart would have recorded information pertaining to previous treatment, use and
2.3 Diagnosis of Objects and Recording of It 45

displaying of the object also. With such records, it is imperative that a conser-
vator/specialist be available to take action. Despite this need, almost no conser-
vators/specialists are permanently working at museum facilities in Japan. For other
than inspection of objects in preparation for display, preparing an opportunity for
regular inspection and maintenance measures is important.

2.3.1.2 Condition Check for Loan and Borrowing Objects

When loaning objects to other museums, loaning institution makes an effort to

enhance safety by presenting to the borrowing institution regarding travelling,
handling, housing and exhibition environmental requirements, but fundamentally
it is important to take measures on the premise that facility environment of the
borrowing institution differs from that of the loaning institution in some extent. For
the institution desiring to borrow objects, prior surveying must be done to confirm
such as whether the objects are able to be handled by the borrowing institution based
on that institution’s ability and also whether the objects can withstand being traveled
and exhibited. When checking the condition of the work, bring a check card with a
photograph of the work so that you can record it. In one respect, the loaning party
confirms beforehand the condition of the object requested for loan, and also upon
confirming the exhibition of the object in own museum and the loaning of the same
object to other facilities, it is important to answer to the desire of the borrowing insti-
tution. In proceeding in this manner, for object confirmed to be safe for handling,
the procedure for loaning and receiving object on consignment can begin.
For object thought to be difficult to take on consignment as a result of preliminary
surveying, without forcing a decision but rather cancelling the loaning of object is
important. Concerning special objects, scientific surveying, by such as X-ray radio-
graphy, is applied; for example, hollow statues, which are made by Japanese lacquer
with fabrics and supported by a wooden frame, are judged by an important deter-
mining criteria for whether the frame condition will make transporting the statue
possible. Another example is of a bronze mirror of Kofun Period from the latter half
of third century to around the seventh century (Fig. 2.14). In certain cases, cracks
inside the mirror that are not visible to the naked eye make confirmation by X-ray
radiography.
In the event of consigning object to the borrowing institution, the loaning insti-
tution prepares a condition report for confirmation and the borrowing institution
checks and records the condition of the work with the lender. Both parties together
confirm the condition of the object such as surface damage, missing parts and etc.
On the record are spaces for a picture and memo taking in which necessary matters
are written in succession. Upon completing check and recording, both parties sign
the record, and a copy is passed to the borrowing party. Thereafter, until the return of
the object, this record serves as proof of the condition of the object and this record is
carefully kept until the return of the object. Additional entries to the record should be
recognized by anyone which are prohibited except under unavoidable circumstances.
46 2 Diagnosis of Museum Environment and Collections

Fig. 2.14 A fine crack that

occurred inside a mirror in
the Kofun period
(A.D.3c–7c) which cannot
be observed from the outside

At the time the object are returned, both parties confirm visually together whether
the condition of the object changed according to the record.

2.3.2 Diagnosis of the Condition of Objects

2.3.2.1 Full Scale Treatment

For objects that are judged to require full scale treatment at the time of inspection for
exhibition/loaning, a detailed investigation is again conducted on the extent, cause,
and treatment method of the damage, and the priority order of objects to be treated
is determined. Such full-scale treatment is provided for objects degraded and/or
damaged and are in a condition that makes handling and/or transporting difficult.
Judging whether treatment should be given rests on being able understand well the
extent of degradation and/or damage.
Considerations for determination priority of such treatment lies on two axis lines.
One is for when the cause of progressive deterioration exists within the object, and
the other case is that the damage is progressing faster than other objects due to the
high frequency of exhibition and loaning. In the case of the former, progressive
deterioration, a representative objects are archeological ironware and bronzeware.
In such object, corrosion progresses as iron reacts with oxygen in the air, and only
remedial options are available to limit corrosion. By limiting oxidation by housing
the object in an extremely-low oxygen environment can the corrosion be stopped;
however, long-term preservation for several decades for multitudes of objects under
2.3 Diagnosis of Objects and Recording of It 47

such environment is difficult and in the end, treatment is much more effective option.
As an example of the latter, popular objects, which are displayed every year and are
well known in society, have a rapid damage progression. With such damage being
quickly progressed, full-scale treatment is often regularly performed at 100-year
intervals.
While paying attention to above points, we will proceed with the investigation and
make a diagnosis, however, cases exist in which it is important for surveying structure
and materials with using analysis devices. Effective in surveying objects are X-ray
radiography for structural examination, X-ray fluorescence analysis for identifying
the elements of materials, and stereoscopic microscope for magnifying observation of
the micro part. There are many other analytical techniques and instruments, but these
instruments are fundamental if they are limited to condition diagnosis to determine
the need for remedial treatment.

2.3.2.2 Close Examination and Academic Research

Academic interest in cultural objects is a limitless journey through such aspects as

internal structure, materials, techniques, artists, the place and age the object was made
(Nakamura, 1994). Other than daily operations for conservation and exhibition of
objects, one important task of museums is to confirm the value of objects through
close and academic examination. The results of such thorough examination is utilized
in daily operations also which links to further safety for objects. Although we are able
to discover and re-recognize various new knowledge through visual observance by
the naked eye and literature surveying, use of scientific devices allows us to enhance
precision and obtain information unperceivable to the naked eye. Depending on the
part of an object being observed, three types of devices are involved in performing
analysis—surface structure analysis, internal structure analysis, and material anal-
ysis. In addition, depending on whether a sample is extracted from the object and
analyzed, it may be categorized into nondestructive and destructive examination.
It is a rule of thumb that the sample volume should be as small as possible and
that unnecessary sampling should not be performed. The below are commonly used
examination and analysis methods for objects.
(1) Surface Structure Analysis
Ultra-violet Fluorescence Photography Fluorescence emitted by ultra-violet rays
irradiated onto the surface of objects is photographed by a camera. Because the
wavelength and intensity of the fluorescent light emitted by the coating material used
for the object are different from each other, it is possible to examine surface condition
of objects, such as inpaintings and degradation. It also characterizes materials of
objects.
Infra-red Reflectgraphy Near infra-red radiations which penetrate a thin layer
of paint film and reflected from a ground layer are recorded by a CCD or a film.
This method is used for examination of drawings beneath paint layers and characters
underneath a dirty surface.
48 2 Diagnosis of Museum Environment and Collections

Thermography Thermal infra-red radiation released form materials are recorded

by a special, cooled camera. The thermal radiation depends on thermal distribu-
tion of objects which is caused by moisture and water content, and porousness etc.
Thermography is used for investigating surface conditions of historical buildings,
archaeological sites, and statues and inscribes in cliffs and rocks.
Ultra-violet Reflectgraphy Ultra-violet rays which are irradiated onto the surface
of an object reflected from the surface and they are recorded. Ultra-violet reflectg-
raphy is used for investigation of the surface condition such as varnishes and
inpaintings.
Electron Emissiography X-rays are irradiated from the above of film that is
attached to the surface of an object, and secondary electron beam released from
the surface of the object sensitizes the film. Electron emissiography is used for
examination of surface conditions of paintings.
Spectrophotometry Monochromatic light form ultra-violet to infra-red rays is
irradiated onto sample or object surfaces and the reflection and penetration ratio of
each monochromatic light is compared. The ratio characterizes materials of objects.
Image Processing Performs computer analysis on image data of objects acquired
using bandpass filters such as blue, green, and red etc.

(2) Internal Structure Analysis

Neutron Radiography Neutrons are irradiated on the object, and a neutron trans-
mitted through the object on a film placed behind the object creates a transmission
image. It reflects the internal structure of the object. Neutron Radiography is much
more effective than x-ray radiography in the case of metallic object containing organic
materials such as paper and wood within the object.
Autoradiography An object on which neutron is irradiated becomes to generate
radiation, and a film on the surface of the object is sensitized. Intensity of the radiation
decreases with time according to a specific half-time of activated materials of the
object. Autoradiography is used for investigating kinds of pigments and pigments
distribution on paintings.
γ-ray Radiography γ-ray (gamma ray) are irradiated onto an object, and a
contrast of light and shading is made by penetration and absorption of γ-rays on
the film that is placed behind the object. The penetrating power of γ-rays is much
higher than x-ray so that γ-ray is applied to thick metalic objects for archaeology
and arts/crafts.
X-ray Radiography X-rays are irradiated onto an object, and a contrast of light
and shading is made by penetration and absorption of x-rays against pigments and
woods etc. on the film that is placed behind the object. Recently, X-ray image is
often generated using an image sensor instead of a film. X-ray radiography is used
for investigating internal structure of archeological works, paintings, sculptures, and
architectural objects.
X-ray Computed Tomography X-rays are irradiated onto an object from multiple
directions and the results are then calculated by using a computer, and a cross section
of the object is reconstructed. X-ray computed tomography is used for investigating
2.3 Diagnosis of Objects and Recording of It 49

the internal structure of any kind of three dimensional objects such as archeological
objects and sculptures.
Terahertz Imaging This is spectroscopic analysis using electromagnetic waves
in the range of frequency of 1012 Hz which means one tera Hz (1THz). Terahertz
waves which penetrate a certain amount of depth within the materials of object
and reflected are detected by an electric device. Terahertz imaging is an imaging
technology capable of investigating internal structure of paintings, especially wall
paintings.
Scanning Electron Microscope This involves using electron rays to scan the
surface of micro region an object or a sample and use generated secondary electrons
and reflected electrons for enlarged observation, which allows concurrent elemental
identification analysis of observed points.

(3) Material Analysis

X-ray Fluorescence Spectroscopy (XRF) X-rays which are irradiated onto an

object generates characteristic X-rays (fluorescent rays). The characteristic X-rays
are dispersed and then their elements are analyzed by spectroscopic analysis. Wave-
length dispersive spectrometric detection devices and/or energy dispersive spectro-
metric detective devices are used for the analysis. Macro-XRF or MA-XRF is a
system for area scanning that simultaneously captures the distribution of multiple
elements on the surface of an object.
Electron Probe X-ray Micro-analyzer (EPMA) Element analysis is conducted
under observance by a scanning electron microscope and characteristic X-rays at the
observed points are analyzed by spectroscopic analysis.
Induced Coupled Plasma-Emission Spectroscopy A dissolved sample in a
solvent is sprayed onto high-temperature plasma in a flame gotten by an electrod-
less discharge in a high frequency magnetic field, and this is then sent to a mass
spectrograph and multi-elemental analysis is done.
X-ray Diffractometry (XRD) The X-ray diffracted by the sample irradiated with
X-rays is measured, and the compound is identified from the lattice spacing.
Thermal Ionization Mass Spectroscopy A dissolved sample is placed on a rod
tip, to which temperature is raised and vaporized, after which it is set to a mass
spectrograph. Lead isotope analysis offers many academic results.
Gas Chromatography A Gas Chromatography is suitable mainly for the
measurement of gas and liquid samples, and is characterized by its ability to quickly
and simultaneously qualitatively and quantitatively measure multiple components
and excellent reproducibility of analytical values.
High Performance Liquid Chromatography A High Performance Liquid Chro-
matography enables rapid and simultaneous qualitative and quantitative deter-
mination of multiple solute components contained in a sample, and has excel-
lent reproducibility of analytical values because it is composed of high-precision
equipment.
Fourier Transform Infrared Spectrometer A Fourier Transform Infrared Spec-
trophotometer (FTIR) irradiates a sample with infrared light and measures the amount
50 2 Diagnosis of Museum Environment and Collections

of transmitted or reflected light. Infrared light is absorbed as the energy of vibration

and rotational motion of molecular bonds, so information on molecular structure
and functional groups can be obtained from the spectrum, and useful information on
material qualification and identification can be obtained.
Raman Spectroscopy When light is applied to a substance, the light interacts
with the substance, producing Raman scattered light having a different wavelength
from the incident light. Raman spectroscopy is a method of analyzing substances
using Raman scattered light.

2.3.3 Recording to Conservation Charts

2.3.3.1 Monitoring and Recording

Performing investigation/monitoring of the condition of objects and recording such

information in conservation charts, are together one of the most fundamental tasks
from the perspective of collection management. Through monitoring and recording,
departments for exhibiting and managing objects and conservation can be achieve to
share the information on the condition of objects. Furthermore, environment improve-
ment plans based on the condition of objects, and treatment measures based on the
seriousness of the condition of objects are possible to propose appropriately. Oppor-
tunities allowing investigation are varied, but the most easily attainable opportunity
can be provided in the four below. The first is prior investigation when loaning objects
to other museums, or investigation at the time of consigning the object to another
museum. The second involves inspection before and during exhibiting within the
facility, the third surveying for selecting objects as candidates for remedial treatment,
and the fourth is at the actual time of treatment. At the Tokyo National Museum,
annually approximately 2000 pieces of objects are loaned with approximately 5,000
objects on exhibit at the museum. Approximately 200 objects are receive prior inspec-
tion for selection as candidates for full-scale treatment, and approximately 1000
objects received remedial treatment. Conservation charts are created on these occa-
sions. Because limited objects are often used for exhibitions and loaning, you have
more chances to add up-to-date information to charts of previously examined objects
than to create new charts of other objects.
Results of investigation must be recorded on a conservation chart. Once a chart
is created, related data acquired thereafter must be recorded on the same chart, and
as a result chronological changes can be grasped. On the chart are described the
locations of damages and/or where there are risks of deterioration or embrittlement
and such causes, and the name of the investigator shall be recorded. Importance
is placed on on-site recording, and off-site recording tends to lack accuracy and is
not appropriate. In addition, effort for entering all items in the conservation chart is
not realistic. Rather, recording of necessary detailed descriptions is preferred over
laboring to effort in filling in all items. Entry of information shall be done by a person
directly involved with the investigation or task, or by an on-site person. A pencil is
2.3 Diagnosis of Objects and Recording of It 51

appropriate for writing implements to be used because objects are much closed to
investigators.
While also recording in written characters, one must not forget to also record with
photographs. If related images are necessary, print them out on paper and keep them
in a chart. In such an event, by additionally writing on the print, it is also important to
clarify points for caution in that investigation. Memos and hurriedly scribbled notes
for associated objects must have a clear date and time of creation of them, and it is
desirable to have all of them kept in the chart. In this way of creating conservation
charts as detailed records, thereafter in future days, such charts will be an extremely
advantageous record in the event of investigation relating to corresponding objects.

2.3.3.2 Terms Regarding Deterioration/Damage

There are innumerable terms that describe the symptoms of deterioration that are
necessary when investigating objects, but here are the minimum terms that are
required. Almost all of the terms are quoted from the AIC Conservation wiki in
order to unify the terms (AIC, 2019).
Biological deterioration

Decompose, stain, and bad smell

Infection of fibers, sugars and proteins by mold such as Penicillium, Fusarium,
Trichoderma, Acremoniumn etc. and bacterial and also yeast (Fig. 2.15).
Vermin damage
Insect damage caused by harmful insect such as Silverfish, Clothes moth, Deathwatch
beetle, Powderpost beetle, Carpet beetle, Psocoptera, Cockroach etc. (Fig. 2.16).
Mechanical deterioration
Surface dirt (by AIC wiki)
Dirt, dust, grease, and particulate matter which has accumulated on the surface of an
object. Surface dirt may accumulate from improper handling of objects or through
natural settling of particles in the atmosphere. Superficial dirt and grime may also
embed into the support of an object, making removal more difficult. Related terms
are grime, surface cleaning. Synonyms are dirt, dust, grime.
Accretion (by AIC wiki)
A build-up of matter which lies on, rather than being embedded in, a surface.
Related Terms are efflorescence; encrustation; fly specks; incrustation. Synonyms
are deposit, incrust, encrust, incrustration, concretion.
Stain (by AIC wiki)
52 2 Diagnosis of Museum Environment and Collections

Fig. 2.15 Mold Stain on a woodblock print

Fig. 2.16 Vermin damage in a Buddhist scripture

2.3 Diagnosis of Objects and Recording of It 53

Fig. 2.17 Stains on a silk support of hanging scroll

Soiling or discoloration of an object that cannot be easily removed because it

is embedded in the substrate. Stains may be the result of uneven aging, foreign
substances, chemical reactions, and improper handling (Fig. 2.17). Related term is
smudge. Synonyms are splotch, smudge, smear, blotch, blemish, spot.
Distortion (by AIC wiki)
Planar deformation that alters the original shape of a work, where the support (and
sometimes media) has become misshapen (Fig. 2.18). Distortion affects organic
materials such as wood, textiles, works on paper, and canvas. Distortion is typically
caused by contact with water, high humidity, or improper temperature and fluctua-
tions, but may also be caused by too arid an environment. Synonyms are buckling,
cockling, deformation, dimpling, draw, undulation, warping, wrinkling.
Abrasion (by AIC wiki)
Abrasion is the reduction of the surface and it is caused by rubbing during use.
Synonyms are wear, scuff mark, rub, scrape.
Flaking (by AIC wiki)
A separation of small, thin pieces of material or coating from its substrate (Fig. 2.19).
Related terms are cracking, scaling, spalling.
54 2 Diagnosis of Museum Environment and Collections

Fig. 2.18 Distortion caused by fold crease

Cleavage (by AIC wiki)

A separation between layers. In painting, any separation between paint layers,
between paint film and ground or between ground and support. Cleavage occurs
where adhesion between layers has deteriorated; it is commonly due to faulty mate-
rials or improper methods of application. Related terms are buckling, delamination,
split. Synonyms are chasm, rift, cleft, fracture, separation.
Lifting (by AIC wiki)
The separation of one layer from another and occurs most commonly on composite
or mixed media objects. When one medium shrinks or expands at a different pace
than its substrate, it can lift and separate. Lifting can also be caused by failure of
adhesion between a topcoat (such as paint or varnish) and substrate, or the weakening
of an adhesive layer. Related terms are delaminating, separation, shrinkage, cleave.
Tear (by AIC wiki)
A separation in flexible material such paper, canvas, or textile. The separation typi-
cally begins at the edge of an object and follows along areas of weakness such as
folds. Related terms are split, separate. Synonyms are rip, divide.
2.3 Diagnosis of Objects and Recording of It 55

Fig. 2.19 Flaking in a paint of Japanese painting

Fray
Unwinding the seams on clothes becoming slightly separated and the fabric threads
in cloth forming loose threads at the edge or end. Related terms are apart, fragment,
split, torn.
Crease (by AIC wiki)
Crease refers to a line of crushed or broken substrate fibers, the result of a fold.
Related term is fold (Fig. 2.20).
Loss (by AIC wiki)
Irreversible or undesirable change to an object’s ideal state. A portion of material
or element becomes separated from the whole of the object. Typically noticed when
there is an empty space, hole, or damage to a formerly present part of the object
(Fig. 2.21). Related terms are flaking, exfoliating, scaling. Synonyms are damage,
destruction, missing.
Crack (by AIC wiki)
a break or split in material without a complete separation of parts. Generally, the
term is used to describe breaks in solid material such as stone, ceramic and wood
(Fig. 2.22). Related terms are plit, break, crizzling. Synonyms are fissure, fracture.
56 2 Diagnosis of Museum Environment and Collections

Fig. 2.20 Crease in a

hanging scroll

Fig. 2.21 Loss on the rim of

earthenware
2.3 Diagnosis of Objects and Recording of It 57

Fig. 2.22 Cracks in Noh performance costume

Chemical deterioration
Bronze disease (by AIC wiki)
Bronze disease refers to the disfiguration and/or corrosion of copper alloys caused by
chlorides in the patina interacting with water and oxygen (Fig. 2.23). The instability
of bronze objects that were recently excavated in archaeological contexts can be
attributed to corrosion processes forming cuprous chloride close the surface of the
object and against unchanged metal. Bronze disease is usually visible as a light
green, powdery substance on the surface of an artifact, however, it can lie dormant in
archaeological objects until they are in an environment of increased relative humidity.
Bronze disease is especially detrimental to copper alloys, as it is a cyclical chemical
process, making it hard to stabilize a metal artifact once it has fallen victim to the
disease. Related terms are bronze, copper alloy, discoloration, distortion, patina,
powdering, relative humidity (RH), stabilizing, stain, warp (damage).
Corrosion (by AIC wiki)
Surface or structural changes caused by a chemical between the material and its envi-
ronment. Synonyms are decomposition, deterioration, decay, degeneration, erosion,
rust, oxidation.
Discoloration (by AIC wiki)
58 2 Diagnosis of Museum Environment and Collections

Fig. 2.23 Bronze disease occurred in Kofun period bronze ware

Discoloration is the change in the original color of a material. Discoloration may be

due to exposure of the object to chemicals, light, or the effect of age. Related terms
are fading, color shift, stain. Synonyms are chromatic alteration, fading, yellowing,
staining, darkening, bleaching, color loss.

2.3.3.3 Conservation Charts

Various items are considered to be the contents recorded on the maintenance chart.
First, characteristic information which is basic to the object are entered, such as a
registration number, title of the object, artist/manufacturer, location where the object
was made, the year of the object, and size, and also image column of the object,
the date and time of the investigation and the person in charge. There is an item for
the material of the object and for indicating the condition of deterioration and/or
damage that has occurred. These items are to be recorded briefly on the first page,
which allows for an outline of the object able to be understood at a glance (Table
2.8).
Sufficient space shall be made to allow diagnosis and observations of the condition
check to be entered. No special rule of entering information shall be made, and this
column can be entered freely at the discretion of each person in charge. Observations
and diagnosis for the current condition of an object, and also any measures taken
for the object are entered. In the event that a sufficient space does not exist for
observations and diagnosis, a new sheet should be added and entered in it. Analytical
2.3 Diagnosis of Objects and Recording of It 59

Table 2.8 Typical items of

(01) Name/title
conservation charts
(02) Original/copy
(03) Possession/owner
(04) Number of members
(05) Artist(s)
(06) Designation
(07) Origin
(08) Production age
(09) Acquired date
(10) Height
(11) Width
(12) Depth
(13) Weight
(14) Investigation date
(15) Investigator
(16) Person in charge
(17) Place of storage
(18) Assessment of condition
(19) Materials
(20) Damages
(21) Previous restoring(s)
(22) Treatments of damages
(23) Materials applied for treatment
(24) Conditions after treatment(s)

results of scientific devices used in the event of investigation and diagnosis, fact that
the scientific examination was conducted and the place where the analytic result was
kept shall be entered.
Reviewing items should sometimes be done to allow recording of the condition
of objects by the smallest item. Indiscriminately increasing items takes not only time
and effort, but also may invite a situation preventing effective use of a chart. Neutral
or non- acidic paper must be used for conservation charts to allow for long term
storage. For one object, one chart shall be created as a general rule, and charts shall
be organized in a cabinet according to a registration number of objects. To prevent
the loss of conservation charts, if used out of the cabinet, make it a habit to put them
back on the same day.
60 2 Diagnosis of Museum Environment and Collections

2.3.3.4 Electronic Conservation Charts

For paper-based charts mentioned above does not offer the convenience of electronic
charts that allow anyone, anywhere to view a chart. When searching for specific
contents, it is difficult to find out if the object registration number is not known from
the beginning, and the convenience of the search is low. On the other hand, in the
case of all electronic conservation charts, there is a convenience that a target chart
can be found by inputting a word or a sentence.
Within electronic charting, there is a method for inputting electronic information
from the initial stage, and also a method of using PDFs converted from the chart
recorded on papers which together with keywords such as a registration number etc.
In cases that paper-based records have already been accumulated in large volume,
latter electronic recording method is appropriate. Paper-based charts comprise both
information in handwritten analog characters and printed photographs. Having charts
digitalized by changing the data to PDF files, making data handling all electronic. In
this current situation, handwritten paper-based charts during investigation is much
easier, but when inputting information electronically becomes more simple than
using a pencil, all charting will probably go electronic. Currently, making paper-
based charts into PDF files is a type of middle step for complete electronic charting,
and we are thought to now to be in a period of transition.

References

American Institute of Conservation. (Ed.). (2019). AIC Conservation wiki. https://www.conservat

ion-wiki.com/wiki/Lexicon_Terms
Bamberger, J. A., et al. (1999). A variant Oddy test procedure for evaluating materials used in
storage and display cases. Studies in Conservation, 44–2, 86–90.
Hama, K., et al. (2013). Tokyo tobijutukan kikakutenjisitsu no kiryu bunpu sokutei (Velocity
Measurement in Projects Exhibition Area of Tokyo Metropolitan Art Museum). In Preprints
of conference of The Society of Heating, Air-Conditioning and Sanitary Engineers of Japan,
Nagano, 25–27 September 2013.
Kamba, N. (1991a). Blue scale wo mochiita sekisanshodo no sokutei to tennen senryou no kenroudo
no sokutei (Measurement of cumulative dose of light exposure and lightfastness of vegetable dyes
by blue wool standard). Kobunkazai No Kagaku (journal of the Japan Society for the Conservation
of Cultural Property), 35, 23–27.
Kamba, N. (1991b). Hakubutsukan kankyou no monitaringu (Monitoring of museum environment).
Kokuristu Rekishi Minzoku Hakubutukan Kennkyu Hokoku (bulletin of the National Museum of
Japanese History), 35, 393–407.
Kamba, N. (2005). Tokyo kokuritsu hakubutsukan niokeru kankyo hozen keikaku (Fundamental
principles of the preventive conservation for preservation of cultural properties of the Tokyo
National Museum), Museum (Bimonthly Academic Journal of the Tokyo National Museum),
No. 594, pp. 61–77.
Michalski, S. (1987), Damage to museum objects by visible radiation (light) and ultraviolet radiation
(uv). In Preprints of the Conference on Lighting in Museums, Galleries and Historic Houses,
Bristol, 9–10 April 1987.
Nakamura, T. (Ed.). (1994). Rubens and His Workshop: The Flight of Lot and his Family from
Sodom. The National Museum of Western Art, Tokyo.
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Sano, C., et al. (2010). Hakubutsukan Siryo Hozon Ron – Bunkazai to Kuuki Osen (Conservation of
Museum Objects-Cultural Objects and Atmospheric Contaminating Substance-), Mimizuku-sha,
Tokyo.
Saunders, D., et al. (1990). Monitoring the environment within packing cases containing works
of art in transit. In Preprints of the ICOM Committee for Conservation 9th Triennial Meeting,
Dresden, 26–31 August 1990.
Thomson, G. (1978). The museum environment. Butterworth.
Toishi, K. (1970) Kobijutsuhin hozon no chishiki (Conservation of antiquities). Daiichi Hoki
Shuppan, Tokyo.
Tsujino, Y., et al. (2002). Yukisan passive sampling hou oyobi hakubutsukan syuzokonai niokeru
yukisan no kyodo (Convenient method for monitoring carboxylic acid and aspects of its concen-
tration in wooden storage cellars at museums). Kokuristu Rekishi Minzoku Hakubutukan Kennkyu
Hokoku (bulletin of the National Museum of Japanese History), 97, 29–42.
Chapter 3
Environment and Preventive
Conservation

3.1 Improving the Environment and Preserving Objects

3.1.1 The Significance of Control of Environment

The existence of a museum inevitably promotes the concentration of cultural objects,

as the museum is a place to purchase objects and at the same time receive donation of
objects and deposit objects from individuals and organizations. Safely housing such
a vast volume of collected objects brings to mind nothing other than environmental
control. As of March 2018, the Tokyo National Museum currently has 122,194 objects
registered, of which 3,130 objects have been deposited and 55,189 objects have been
donated. Donated works comprise 45% of all registered works at the museum and
this communicates how the museum is trusted by the nation (National Institutes for
Cultural Heritage, 2018).
Environmental control begins with understanding the current condition of the
entire facility. Confirming the actual status is done by walking throughout the museum
and setting the temperature and relative humidity measuring equipment to get several
continuous years of data, which allows one to understand particular characteristics of
each area in the museum. In addition, surveying over several years is to be done for
knowing pests habitation status for such as harmful insects and mold. Security against
theft and considerations for technical skill of the staff handling objects are necessary.
In this way, within conservation activities for objects, effort to suppress deterioration
or damage of object by environmental control is called Preventive Conservation. If
environmental control is neglected and if there is too much dependence on reme-
dial treatment for conservation of objects, it is easy to succumb to the thinking of
encouraging excessive reinforcement for objects to withstand in harsh and poor envi-
ronments. If such is the case, the object ultimately suffer the loss of original parts,
with conservation of objects becoming distanced from their original goal.

© Springer Japan KK, part of Springer Nature 2022 63

N. Kamba, Conservation Practices in Museums,
https://doi.org/10.1007/978-4-431-56910-7_3
64 3 Environment and Preventive Conservation

3.1.2 Preventive Conservation

“Preventive Conservation” comprises concrete efforts to mitigate the progress and

eliminate the causes of deterioration and damage on objects from an environmental
aspect. Awareness of preventive conservation began in Western countries in the 1970s
and the concept and the methodology of it established in the 1990s (Staniforth ed.,
2013). Preventive conservation means the following: (1) governed control of long-
term issues pertaining to conservation; (2) action plan to mitigate the degradation
of collections approved by the organization; (3) action with the participation of all
departments with diversification of tasks such as building management, air condi-
tioning equipment control, curatorial department, registration of objects, conser-
vation, education, and administrative department; (4) creation of an organization
comprising participants from multiple fields, with plans made and executed in unit
periods of three to five years with periodic verification during plan execution, and
clarifying progress status; (5) a sense of mission shared to achieve full-awareness
with politely explaining budgets, plans, the status of collection and their environ-
ments, and also the status of the museum facility; (6) publicly announcing results
when there is completion of the smallest plans by unit, and achieving the formation
of a network to disseminate such information. By going through the above processes,
a museum environment for conservation of object will be solidly established similar
to climbing a spiral stairwell.
The environment for exhibition or storage of objects will be strongly impacted by
various factors that include temperature, relative humidity, illuminance, ultra-violet
and infra-red radiation, air contaminating pollutants, harmful insects, mold, animals,
plants, vibration, natural disaster and humans such as handling and security. Indi-
vidual management and research of these factors has evolved over time. Today, it
is believed that the integrated control of these elements has achieved a high degree
of effectiveness. Formerly the ICOM Committee for Conservation, which was orga-
nized by the subcommittees on Lighting and Climate, Biological Deterioration, and
Transportation, currently with these being governed by “Preventive Conservation”,
through forming highly dense coordination, we are recommending to achieve gradual
solution for several issues (de Guichen, 1999).
Prevention conservation takes various topics all into view, which is a task that is
not completed by one person alone, but rather is achieved by teamwork. Limits exist
as to the abilities of even one superior staff, and if there are no people to cooperate, nor
sympathizers to achieving one’s objectives, it may be difficult to promote prevention
conservation without staff who can act together to understand such objectives. First,
it is necessary to give a concrete explanation with an outlook for the future and the
reason for the objective facing those involved. With this achieved, it is next necessary
to locate the preventive conservation as a common theme in the entire organization
of facility. Furthermore, maintaining the common theme is important, and without
hurry, improving the level of the organization is important to have solid result. Finally,
all results and know-how should be released to the public, and efforts should be made
to share awareness, mission, and methodology.
3.1 Improving the Environment and Preserving Objects 65

The conservation of Japanese swords has been carried out for a long time by
constant examination and necessary measures. Regularly observe the surface of the
sword to check for rust. In the case of no rust is found, apply oil on the surface of
the sword and place it in a wooden storage scabbard. If there is rust, it is thought
that the distortion of the wooden scabbard is one of the causes, so repair it and
remove only the rusted part of the sword with minimal polishing. In this way, efforts
have been made to maintain the original by reducing the polishing of the sword as
much as possible by combining examination, environmental arrangement of wooden
scabbard, and remedial treatment. This is exactly the extremely Japanese style efforts
that corresponds to the Preventive Conservation. As a result, swords that are close
to their original appearance because of little sharpening have been maintained for
hundreds of years.

3.1.3 Applying Risk Management

In preventive conservation, methodology of risk management is to be actively applied

which results in possible control of latent risks in various places and tasks. Risk
management comprises the below five steps.
(1) Examination: Investigation for whether problems exist, and also condition
and causes. It is called confirming risk.
(2) Diagnosis: Determination of the type of problem and the extent. It is called
measuring and assessing risk.
(3) Prescription: Determination of measure and treatment based on the degrada-
tion. It is called selection of risk treatment method.
(4) Treatment: Provision of concrete measures. It is called execution of risk
treatment.
(5) Prognosis: Observe the measures over time. It is called control of risk
management.
Continuous measuring of various environmental factors shall be performed in (1)
Examination, assessment for environmental conditions judged based on the analysis
of factors shall be done in (2) Diagnosis, proposals for improvement methods shall
be formed in (3) Prescription, carrying out of such proposals shall be conducted in (4)
Treatment, and confirmation for whether produced results are the necessary results
shall be done in (5) Prognosis.
Overall understanding of problems and judging priorities for solutions to the prob-
lems are often challenging if there is an excess of individual management due to less
cooperation between departments and also management of objects with personnel
distribution according to the classification and field of the objects. As a result, even
with improvement of the condition of a certain group of objects or the environ-
ment of specified location, a situation arises whereby almost no concern is given
to another objects and locations being left unattended. Always having total aware-
ness toward objects and the environment and advancing any project in phases are
66 3 Environment and Preventive Conservation

important in preventive conservation (Ashley-Smith, 1999; Wada & Kamba, 2006).

For that purpose to be achieved, it is essential to attain an understanding from many
departments and staff as well as to divide tasks. Also, rather than paying particular
attention to internal-purpose reporting by fiscal year, importance should be placed
on reporting frequently, for example monthly, to bear in mind achieving the sharing
of the awareness and tasks of preventive conservation with the entire museum. Even-
tually, an annual report should be prepared to evaluate the job and then it is impor-
tant to progress with subsequent plans after evaluation. In considering use of all
recorded information in the several decades later, it is important to think of content
for recording and its storage methods (refer to [4] of Sect. 2.3 in Chap. 2).
Not only in concurrently organizing and storing obtained records and results
but it is important to swiftly provide appropriate information for specialists and
the public. Providing such information results in acknowledgement of conservation
activities and also increases the support for conservation activities from society. Such
acknowledgement further facilitates a rapid development of preventive conservation.

3.1.4 Case Example at Exhibitions

3.1.4.1 Display of Japanese Woodblock Prints

The Tokyo National Museum is operated based on the concept that addressing various
issues is integrated across fields. Cultural objects can only be recognized for their
existence and value by displaying them, which creates and spreads awareness about
preservation. Accordingly, by displaying objects, it is important to prepare an envi-
ronment of exhibition and condition of the objects for having the historical and artistic
values be optimally received by viewers.
A major renewal was done of the Ukiyo-e woodblock prints exhibition room in the
main building of the Tokyo National Museum in 2004. The exhibiting method of the
Ukiyo-e prints was extremely simple before the renewal (Fig. 3.1). The prints were
framed with window mats and they stood up on tilting stands in the display cases
along the wall. The problem with this display method was that it was not possible to
attract visitors because it gave the impression that small prints were scattered on a
large display case and also the number of prints able to be exhibited in the provided
cases being too few. With details of the Ukiyo-e prints being difficult to see due
to the distance between the visitors and the prints, and also visitors not being able
to develop a clear impression of the prints due to thein the pale rays of fluorescent
lights installed in the exhibit cases, there were many points that lacked consideration
for appreciation. From only the aspect of handling of the prints, relative humidity
of display cases is stable and an illuminance level of 50 lx can be maintained, and
also no particular problems exist in terms of security of the prints. In addition, this
exhibiting method allowed curators to change the prints in simple and safe manner.
Under these circumstances, there is a potential risk in terms of environmental
protection if we actively consider ways to improve the design of the display and
3.1 Improving the Environment and Preserving Objects 67

Fig. 3.1 Ukiyo-e exhibition room before renewal

make prints easier to see. The problem cannot be solved simply by combining the
ideas of the conservator who wants to maintain the status quo and the designer
who wants to change the status quo. What we must consider is the coexistence and
symbiosis of good design and protection that satisfies objects, visitors and museums.
In considering several new styles of display cases, the orthodox display method
of framing the Japanese Ukiyo-e prints in wall-hanging frames was decided upon.
In deciding such method, many issues requiring solutions were (1) stabilization of
relative humidity, (2) assurance of security, (3) a new setup of display lighting, and
(4) ensure simplicity and safety during exchanges of prints. Although exhibition
cases and stands were produced for each exhibition in every special exhibitions,
the interior equipment of the permanent exhibition hall was rarely renewed. The
reason considered greatly affecting such situation was the issue of funds. Prior to
Tokyo National Museum becoming independent administrative organizations, funds
for permanent exhibitions were nominal, there has not been much effort put toward
the hardware of permanent exhibitions up to the point for renovation all at one time
involving facilities being too old for use. However, it can be said that preparing more
comfortable and appealing exhibition spaces is judged to leads to an increase in
museum visitors, which has increased expenses for permanent exhibitions. Certainly
the basis when considering display methods is the major premise of preserving
objects, whereby the aspects of conservation are ignored in creating an exhibition
space is not likely. Based on this point, aiming for an exhibition to be well accepted
by visitors resulted in designing display cases that are combined such as special
metal frames, high transparency and low reflection glass, film for cutting ultra-violet
68 3 Environment and Preventive Conservation

Fig. 3.2 Ukiyo-e exhibition room after renewal

rays, high impact-resistant glass, a high degree of hermetical structure to stabilize

relative humidity, setting of humidity buffers, lighting equipment of optic fibers and a
high-level of security. On appearance, the display seems to be Ukiyo-e prints framed
in regular wooden frames (Fig. 3.2). Also, the prints for display were able to be
changed every four weeks in a safe and smooth manner. As a result, we were able
to achieve the same effect of viewing the prints as holding them in one’s hands, and
the roughness of print such as embossed expressions, was able to be seen in detail.
Excellent ability to view the prints was achieved with the degree of lighting level set
slightly less than the regulated 50 lx afforded. Therefore superb design is thought to
be able to coexist with conservation.
In this improvements of exhibition spaces, we used optic fiber lighting equipment
for which development progressed remarkably in addition to such as quake-absorbing
seismic isolators and high degree of hermetical display cases. Suitability of the
lighting fixture used must be considered by confirming and considering not only
high color-rendering, but also whether UV and heat are not being radiated. If only
the conservation aspect takes priority, considerations are apt to be lacking toward
viewers concerning the way they able to view the objects; however, conservation will
be assured. In an opposite sense, moving toward the field of design results easily in
a lack of consideration for conservation. Preventive conservation works efficiently
by making a system capable for both conservation and design to coexist.
3.1 Improving the Environment and Preserving Objects 69

3.1.4.2 Preparedness and Mitigation of Earthquake in Exhibition

A matter which should be considered first in preparedness for earthquakes is protec-

tion against damage from objects tilting and falling over (Podany ed., 2008). For
earthenware, such as pots, is fundamental to lowering their gravity by placing weights
inside of the objects to increase stability against sway. Following this concern is
attaching and fixing objects to exhibition stands to lessen the swaying of objects. A
general method for affixing objects is to use nylon thin thread, which in one aspect is
simple, but there is disadvantageous from the aspect of viewing objects. In addition,
for heavy objects and strong sway, nylon thread and knots may stretch, making the
use of such thread meaningless. This disadvantageous issue can be overcome by
supporting objects by using supportive devices of metal that follow along the shapes
of objects (Fig. 3.3). However, it is needless to mention that time and expense are
required to make such precise metal supportive devices.
As a method for affixing objects to display stands, considerations are given to wax
and adhesive sheets, for which arise the concern of elution of such adhesive materials
into objects when directly applying on such materials. With also considerations
for the possibility of damage caused by resulting degradation, active use of these
materials should be limited to affixing of supportive devices, not to affixing of objects
themselves.

Fig. 3.3 Fixing a clay figurine using metal supports

70 3 Environment and Preventive Conservation

Fig. 3.4 Unstable earthenware mounted on a seismic isolation device

As mentioned in “Necessary Guidelines for Optimization” in Sect. 2.2 of Chap. 2,

by using earthquake-absorbing, 2 dimensional seismic isolators (Fig. 3.4), dramatic
increases in stability are possible against swaying with minimal affixing of objects
(Takashima & Kawaguchi ed., 2011). Various forms of 2 dimensional seismic isola-
tors also exist for which each has its strong points and drawbacks. Under the premises
of making the operating principles of the devices as simple as possible and also
having devices not require routine maintenance, it is recommended to use devices of
the same type on the same floor and/or in the same building when multiple devices
are installed.

3.1.4.3 Standardization of Display Case

Display cases must have a high-degree of security against theft as well as limit the
influence of disasters, such as earthquakes, and have safe level of interior environment
be maintained through the period of the exhibition. At the same time, a comfortable
exhibition environment that makes viewing objects easy for visitors must be provided
(Michalski, 1982; Padfield, 1966). In this way, a display case appearing to be a simple-
looking box has various functions demanded for conservation. At the Tokyo National
Museum, in aiming for improvement of performance and standardization of display
cases, on June 11, 2000, necessary requirements for display cases was summarized
in the “10 Provisions for Display Cases”. When it is necessary to make a new display
case, considerations are made for performance and design while using the policies
of these 10 requirements. Concrete considerations are able to be made by those
3.1 Improving the Environment and Preserving Objects 71

responsible for conservation, curating, and design and also the case manufacturing
company. Below are introduced the “10 Provisions for Display Cases”.
1. Air Exchange Rate
In order to realize a stable environment of relative humidity, the ratio of air
exchange between interior and ambient of cases shall be less than 0.1 times per
day. Assessment of airtightness is done by measuring ventilated air volume by
both diffusion and convection of in interior air (Hashimoto et al., 2000; Kamba,
2000; Thomson, 1977).
2. Humidity Buffering Materials
Amount of humidity buffering materials placed in a case can be 4kg per
cubic meter with a tray for the materials being shallow and wide in order to
have greater area allowing air to be in contact with the materials (Thomson,
1978).
3. Air Circulation
In order to effectively control of relative humidity within the case, it is
necessary for air circulation to be considered enough. Wind speed is to be
nearly 0.03m/sec when using an electric fan (Hama et al., 2013).
4. Air Pollution
By using inert materials inside the case and by using inactivated materials,
to reduce release of harmful off-gases, such as organic acid and/or aldehyde
and to maintain a neutral environment (Sano et al., 2010).
5. Lighting
Illuminance level is variable until 50 lux, and harmful ultra-violet and infra-
red radiations are eliminated while concurrently heat from lighting fixtures is
discharged outside the case.
6. Transmittance and Reflectance of Glass
By using high transmittance of glass and also as low reflectance as possible,
displayed objects are made easier to view and unnecessary lighting is reduced.
7. Earthquake Countermeasure
In order to prevent tilting over and damage to objects resulting from
vibration, such as from an earthquake, setting up earthquake-absorbing
seismic isolators or anti-tilting countermeasures in cases are to be provided
(Takashima & Kawaguchi ed., 2011).
8. Size Ratio of Case Opening
The size of the case opening is to be made large in order for safe movement
in placing and removing of objects.
9. Maintenance Management
In order to facilitate maintenance management and handling, the case is to
be a simple structure as well as to be rugged and light weight.
10. Security Equipment
In order to ensure theft protection, a highly safe structure for opening and
closing the case and locking method for which both are not easily visible.
72 3 Environment and Preventive Conservation

3.1.5 Case Example at Store House

3.1.5.1 Environmental Adjustment by Passive Control and Active

Control

Methods for adjusting the environment include passive control and active control.
Passive control means effective and continuous use of the characteristics of the mate-
rials themselves possess. In addition, passive control should be considered a method
for adjusting the environment without reliance on use of electrical energy (Kamba,
1987). Active control means reliance on adjustment methods by electric devices,
such as air conditioning equipment and/or portable humidifiers and dehumidifiers.
Wood and artificial interior construction materials that have characteristic of wood
are representative materials used in passive control. Not only is wood excellent
at absorbing shocks, but also wood can stabilize surrounding relative humidity at
constant because of its moisture absorption–desorption properties (Thomson, 1964).
Wooden boxes and wooden architectural materials have long been used in Japan
for housing cultural objects. Generally, three kinds of relative humidity fluctuation
exist—daily fluctuations, pentad variations by week or every five days, and annual
fluctuation by each season. In order to control all three of these fluctuations at a
constant relative humidity throughout the year, the introduction of air conditioning
system by active control is absolute. In one respect, only controlling daily and pentad
variations is possible for a space that is constructed by wooden materials, so in other
words, adjustment can be possible even with passive control (Kamba, 1994). By
combining passive control and active control, a more effective and stable environment
can be realized.
Physical and chemical stability of objects largely depend on an environment of
stable relative humidity. Therefore, no fluctuations in the environment of relative
humidity came to be ideal. It is not realistic for expansive spaces such as storages
and exhibition rooms, therefore annual fluctuations of relative humidity of 55% ±
5% and temperature of 22 °C ± 4% are allowed. Operation time of air conditioning
can continue to run throughout one day for 24 h or run intermittently eight hours of
a day, for example. In regions, such as in Japan, that experience long and contin-
uous periods of high humidity whereby it causes mold growth easily, and also with
the extreme fluctuations in cold and heat through the year, it is imperative to have
active control that uses air conditioning for control relative humidity. For such cases,
judging whether continuous air conditioning for 24 h or intermittent air conditioning
would suffice will depend on hermeticity and thermal insulation, and also passive
control capabilities. However, operation cost has a major influence on air condi-
tioning running time. Air conditioning running time has a significant impact in the
flow of continuing administrative cost curtailment for museums. It is not necessarily
possible to decide easily the running time in consideration of facilities and equipment
alone.
3.1 Improving the Environment and Preserving Objects 73

3.1.5.2 Passive Control in the Ancient Log Treasure House

of the Shoso-in

Shoso-in, which belongs to Todaiji-Temple, is a facility that has preserved many

precious treasures for 1200 years (Fig. 3.5). These items include loved noble court
articles loved by Emperor Shomu such as music instruments, textiles, and glass wares
etc. which indicate exchanges with the Asian continent, and also precious items such
as ancient manuscripts associated with national affairs at that time and various events
at Todaiji-Temple in Nara. The storehouse are divided into the northern, center, and
southern parts. The northern and southern storages are cypress logs stacked structure
with triangular wooden sections. That construction method is called the Azekura
construction in Japanese. The central storage is surrounded by a wooden board of
Japanese cypress which is called the wall board construction. All items moved to a
new treasure house made of concrete in 1963 with currently no articles housed in the
ancient treasure house. In the storehouses of the Azekura construction, which have
absolutely no air conditioning, the treasures such as wooden and bamboo materials,
metal-crafted items, and Japanese washi paper and etc. have indeed suffered slight
damage. Although the color of the dye of textile articles remained vivid, some of
the threads separated and broke down naturally with deterioration progressing to the
extent of becoming dust.
The function of the Azekura storehouses has from long ago been explained for
their conservation benefits. What this means is that low relative humidity is stable

Fig. 3.5 The Shoso-in treasure house

74 3 Environment and Preventive Conservation

in the Azekura storehouses which prevent intrusion of air by the closing of gaps
between logs by swelling of the wooden logs when outside air is high humid. In
one respect, when outside air is dry, the wood shrinks and gaps open in the logs
results in intrusion of dry air, which has come to be considered that the Azekura
storehouse would be dry. According to a researcher who measured actual gaps of the
cypress logs of Azekura storehouses, movements of the gaps involving fluctuations
in relative humidity of external air were not able to be confirmed. Due to solid wood
being stacked, the weight on one member of log is considerable, and thus even if
each member were to shrink, no new gaps would form because of the weight and the
structure.
In measuring the interior relative humidity of the Azekura storehouse recently, an
average value of about 70% was determined, which also made clear the environment
was not at all dry (Naruse, 2002). First of all, the reason for such excellent preservation
of the articles must be attributed to the superior skills of master manufacturers in that
period and the materials they chose to craft the articles. Following this explanation
would next be thorough management. Only a limited number of people have been
regularly allowed to come into contact with the stored treasures, which such an
opportunity only once annually for airing of objects, known as “bakuryo”. Bakuryo
is said to involve exposing the material by introducing fresh air. Opening of the
storehouse in late autumn when the climate is stable serves the purpose of exchanging
and removing humid air that slowly entered the storehouse from the summer to
autumn. Currently, the event of bakuryo for the Shoso-in is in November, at which
time all staff confirm abnormalities of the treasures, such as vermin damage and
degradation. It’s just the work of investigation and diagnosis.
One more important point involves the maintaining of the storage of stable rela-
tive humidity over a long period. At the time treasures were originally housed in
the Azekura storehouses, the treasures were not left unattended, but were stored in
wooden chests, which were six-legged Chinese-style chests called “karabitsu”. Use
of Japanese cedar wood is often used for such storage boxes. The relative humidity
inside the treasure house of the Azekura storehouses is less than one-tenth the daily
fluctuation of outside relative humidity, and also considerably small in comparison
with the fluctuation of pentad variations by week or every five days. However, the
annual fluctuations of outside air comes into the Azekura storehouse without dimin-
ishing, and in this manner, the interior environment owing to the Azekura store-
houses is more stable than the outside environment. Furthermore, fluctuations in
relative humidity inside the large, six-legged Chinese-style chests in the treasure
house are one-fiftieth the daily fluctuation of outside air, with annual fluctuation being
confirmed at one-fourth the air outside. The use of chests makes the environment
around the treasure even more stable.

3.1.5.3 Stabilization of Relative Humidity Through Collaborative Work

As aging deterioration of air conditioning equipment progresses, the dehumidifying

capabilities in high temperature with high relative humidity of the summer time and
3.1 Improving the Environment and Preserving Objects 75

also humidification during low temperature with low relative humidity in winter time
are insufficient. In addition, compared to continuous operation of air conditioning
24 h a day throughout the year; for example, intermittent operation eight hours a day,
in storages having low hermeticity, thermal insulation, and passive control, the envi-
ronment of temperature and relative humidity may easily become unstable. From
data collected over several years by monitoring, if the characteristics of the envi-
ronments concerning to specified storages and exhibition rooms can be understood,
countermeasures can be designed for locations for which problems may easily arise.
It will be possible to set goals and make efforts to achieve a stable condition. This
can be achieved by setting up portable dehumidifiers in the high-humid summer
months and humidifiers in low-humidity winter months for the above location for
example (Fig. 3.6). Disposal of collected water in dehumidifiers, and adding of water
to humidifiers must certainly be executed, and a system must be prepared to allow
continuous operation of these humidifier and dehumidifier units. In order to increase
efficacy of the system, museum staffs including curators should divide tasks of a
rotation system for managing storages. To the extent possible, preparation of puri-
fied water is desirable to prevent bacteria from forming due to the tank of humidifiers
becoming dirty.
For major improvements to degraded air conditioning equipment and storage
facilities, such enormous costs required are not normally able to offer good prospects,
however, poorly inadequate environments must not be left unmanaged. In order to
minimize the impact of fluctuations in relative humidity each season, it is important
for each of the museum staff to achieve maintaining of appropriate humidity values

Fig. 3.6 Management of a portable dehumidifier

76 3 Environment and Preventive Conservation

Fig. 3.7 Changes in relative

humidity realized by
continuously operating a
portable dehumidifier

as long as possible. This kind of approach does require much human labor and it is
essential to have cooperation from all museum staff that goes beyond departments.
By sharing data indicating improvements of the environment by the cooperation of
all staff, they deepen their understanding of the content and meaning of the tasks, as
well as being able to share awareness of issues and a sense of achievement.
As a result of museum staff making efforts to cooperate and make improve-
ments, the annual maximum-measured relative humidity value at nearly 70% in 1999
decreased to 55% in 2003 (Fig. 3.7). Against the background of such changes in the
environment, a system for having museum staff perform the task of draining water
was established in 2003, and constant operation of a dehumidifier was performed
six days a week, excluding Sundays. Organizing the task of water draining from
dehumidifiers has significantly impacted the internal environment of the storage.

3.1.5.4 Practice of Integrated Pest Management

In order to prevent pest damage of objects by harmful insects and molds, museums
have long used a routinely fumigation for both cultural objects and housing loca-
tions. Fumigation for protecting objects from pest damage is extremely effective,
but methyl bromide that has been used as a main chemical designated as an ozone
depleting substance was completely eliminated from production and consumption
3.1 Improving the Environment and Preserving Objects 77

from the end of 2004 in developed countries and this substance eliminated in devel-
oping countries in 2015. Two approaches as alternatives have emerged as a result, one
approach is continuing fumigation by using alternative chemicals for methyl bromide
as preventive measure (Tables 3.1 and 3.2), the other new approach is managing
pests without reliance on chemicals for the reason that release of chemicals into
the natural environment leads to fundamental destruction of the global environment.
Developed countries is basically adopting latter approach for managing objects from
the viewpoint of conserving the global environment. The systematized management
for the preventive measure is Integrated Pest Management (IPM), is a means of
taking comprehensive countermeasures against diseases and damages from harmful
insects and molds by thorough daily management. While using many techniques,
IPM functions concurrently to reduce both dependence on chemicals and the impact
to the environmental contamination. Basic, practical methods for management are
(1) Avoid (avoidance of attracting insects and mold)—with effective sanitation and
cleaning being fundamental, (2) Block (shutting out insects)–by stopping the route
of intrusion by insects, rats, etc., (3) Detect (finding insects)—with early detec-
tion being important and recording imperative, (4) Respond (action)—application

Table 3.1 Fumigations with alternative pesticide

Methodology Feature Important point
Install an insecticidal plate The chemicals applied to the Space sealing is required to
plate evaporate and are maintain the effect
effective
Spray pesticide Manually spray pesticide Pay attention to the safety of
particles health due to its high
concentration
Gas fumigation with (15% 24 h for insect, 24–48 h for High gas persistence
ethylene oxide and 85% mold The ingredients are
tetrafluoroethane) carcinogenic
Explosive
It is necessary to take sufficient
safety measures

Table 3.2 Eco-friendly fumigation

Methodology Feature Important point
Low temperature insecticide Maintain −20 to –40 °C, Books, fur, textiles, slides,
5 days to two weeks wood products only
High temperature insecticide Maintain 50–60 °C, a few Only part of the building, part
hours to a day of the wood products
Hypoxic insecticide Maintain less than 0.3% From the viewpoint of
concentration, 1 week to airtightness, it is difficult to
3 weeks carry out in a large space
Carbon dioxide insecticide Maintain 60% concentration There is a risk of discoloration
with 2 weeks of some pigments
78 3 Environment and Preventive Conservation

of safe methods for objects and review of facility defect areas, (5) Recover/Treat
(reversion)—by returning objects to a safe space and while progressing in sequence
by improving countermeasures with an aim for creating an a sanitary environment.
Daily activities done carefully for limiting habitat locations of pest link to Avoid
and Block. Specifically, sanitation of facility and cleaning of both objects and the
areas surrounding objects are equivalent. Sanitation and cleaning countermeasures
involve several elements. Prior to entering the storage, one must pass over an adhesive
mat for removing dirt from the bottom of shoes. Upon entering the storage, one
changes their shoes and puts on special slippers. Eating and drinking in the museum
are strictly limited to prevent the spread of food waste. In the event of carrying plants,
such as living flowers, into a museum, for notification and a check of the plants must
be done, and also prior insecticide processing is required. Further measures include
visual inspection prior to bringing in display equipment and/or cultural objects to
which pests may have become attached. Yet another measure is carrying out sanitation
of the exhibition spaces and inside of display cases prior to placing objects.
Next, by conducting a museum-facility wide survey for distribution of insect
pests, understanding the path of invasion of pests, the source location, habitat, type,
and quantity can be known and this makes it easier to design countermeasures for
preventing impact to objects. The surveying is conducted continuously at least annu-
ally, and it is necessary to confirm transitions of inhabiting of pests by comparing
results of each year. It is also important to work toward finding abnormalities by gath-
ering information on a daily basis concerning pests found by museum staff. These
correspond to (3) Detect. The impact of sanitary insect pests, including cockroaches,
also have an impact on objects that is not considered minimal, and measures are
to be taken if such insects are found. For example, throughout the backyard of the
museum in the summer, boric acid pesticides are placed. When insects and molds are
suspected of existing near objects and also when actually discovered, action to use
chemicals is taken involving aerosol insecticides and fumigation, which corresponds
to (4). Task of understanding situations through monitoring the results of a series of
measures corresponds to (5) Recover/Treat, and above measure must be taken if the
situation doesn’t seem to be improved.

3.1.5.5 Reduction of Concentrations of Atmospheric Contaminating

Substances

Among air contaminating substances that invade museum from outside through
windows, doors, and air conditioning ducts are nitrogen oxides (NOx) and sulfur
oxides (SOx), but sulfur oxides concentration is small in recent years, and no concern
exists for the impact of its concentrations appearing domestically within Japan. Inte-
rior concentrations of NO2 tend to be lower compared to outdoors, but NO concentra-
tion tend to be higher compared to outside in highly hermetic display cases and also
inside the storage room where wooden materials are used as an interior finishing mate-
rial. Concerning a relationship between an increase in NO and the wooden materials,
3.1 Improving the Environment and Preserving Objects 79

Fig. 3.8 Changes in concentration of aldehydes due to chemical adsorbents installed in an air
conditioning system

it is thought that this was due to a reduction of NO2 . In such a location, concentra-
tion of aldehyde types, such formaldehyde (HCHO) and acetaldehyde (CH3 CHO),
are thought to increase, and it is thought small air exchange rate makes it easy for
these substances to remain. A major source is more likely to be a plywood used as
the interior finishing materials. Keeping in mind use of inactive materials, and also
seasoning of spaces, which means opening space to release gases for a while, prior to
starting use are fundamental. Active removal of such gas can be achieved by fitting
a chemical absorption filter in air conditioning equipment (Fig. 3.8). Alternatively,
the chemical adsorption sheet may be installed together with the interior finishing
material. These are effective methods for removing harmful gases.
In order to protect museum objects from harmful gases of interior finishing mate-
rials that are used into storages and exhibition rooms, there is a method for wrapping
the materials with a sheet of extremely low permeability of aldehydes gases. Wrap-
ping by such a sheet around plywood as a method for limiting release of gases is used
at facilities overseas. A sheet of adsorption of the gases is used more positively in
Japan than to wrap by a sheet of low permeability. In repeating once again, prior to
bringing any materials that release harmful gases into the museum, it is necessary to
carefully investigate whether the material is safe. In the event that appropriate mate-
rials are not found, the measure for wrapping by these kinds of sheet or seasoning are
effective way to limit somewhat the release of harmful gases. Japanese cypress which
has just finished sawing up releases extracted components such as resins and volatile
oils, but release of components becomes withered after the wood surface has been
80 3 Environment and Preventive Conservation

air-dried for several years. The smell also abates. In this way, by thoroughly drying
and seasoning materials in a place of good ventilation prior to carrying materials in
to a museum facility, the impact of chemical releases from materials can be reduced.
This method is called “karashi” in Japanese.

3.1.5.6 Seismic Countermeasures

With the occurrence of the Great Hanshin Awaji Earthquake on January 17th, 1995,
many cultural objects which were on display and kept in storage at museums at that
time received substantial damage by the impact of falling and/or tipping over of object
itself and also by equipment surrounding objects. While at museums earthenware
stored on shelves were damaged beyond restoration, there are museums at which
objects fell and tipped over resulted in no damage. In the case of no damage resulting,
the storing of objects in wooden boxes protected them from severe damage. Boxes
made of either paulownia wood or Japanese cedar saved brittle earthenware from
the impact of falling and/or tipping. Additionally, compared to steel shelving, the
coefficient of friction is greater on shelving made of wood, making objects placed on
the wooden shelving difficult to shift. Therefore, the possibility of accidents involving
objects falling are fewer if objects are placed on wooden boards than on steel boards.
In this way, from many years of accumulated experience in an earthquake-prone
country, it is conceivable that such wooden devices for support and storage have
come to be used.
In considering based on old records, earthquakes registering beyond magnitude
6 have occurred at least 30 times from the eighteenth century to the present day.
This means that earthquakes of such magnitude occur at a rate of once every decade,
thus earthquake preparedness is imperative as an element of conservation of objects.
Other than use of wooden boxes and shelving, installing a fence or metal screen on
the front of shelves significantly enhances safety for preventing objects from falling.
In addition, there is also a method for preventing objects from falling or tilting over
by a seismic isolation floor as a countermeasure against earthquakes within storage
house. Seismic isolated flooring requires a surrounding width of at least 30 cm to
allow floor movement in the event of an earthquake. This 30 cm space makes the
object storage area smaller. In the event of construction work concerning seismic
isolation flooring for already existing buildings, it is important ensuring the level of
the new floor is the same as the previous floor. A difference in floor level equates to
unwarranted risk when objects are moved.
In the Great East Japan Earthquake on March 11th, 2011, the Ishinomaki City
Cultural Center in Miyagi Prefecture received devastating damage by the large
tsunami in the wake of great earthquake. With the exception of a special storage
the tsunami entered all storages, resulting in objects being engulfed in the tsunami.
In several years before the earthquake, with the improvements made to the one special
storage by the installation of thick, steel door for safes resulted in surprisingly little
damage to the objects inside. From this kind of case example, structure and strength
of storages has a tremendous effect on the degree of damage in disasters.
3.2 Safe Transport of Museum Objects 81

3.2 Safe Transport of Museum Objects

3.2.1 Fundamental Approach

3.2.1.1 Management of Environment for Transport

Some extent of damage can occurs when transporting objects due to vibration,
shock, temperature, relative humidity, air contamination, and pest. Symptoms of
such damage vary depending on the type of object. In the case of lacquer, paint, and
gold-leaf as in painting and decorative objects, the painted film may peel or peel off. In
the case of wooden objects, the joint sections may peel or fall off, and for earthenware
may suffer crack damage. Pest damage from mold and/or harmful insects and also
deformation by dimensional changes may also result. Despite such visual damage
being recognized as an accident, accumulation of minute deformation and/or fatigue
resulting from vibration and/or impact shock during transport, or minor deformation
changes from fluctuations in temperature and relative humidity can be overlooked
and is not possible to detect by the naked eye. However, such minute deformation
and fatigue are sufficient for potential impact of damage or deterioration of objects
in the future. Therefore, even without any accident during transport, it is necessary to
fully acknowledge the significant impact of transport on the conservation of cultural
objects (Stolow, 1967).
Transporting moves objects from their original housed location to their destination
museum facilities by truck and/or airplane. At the new destination, the objects are
shown at an exposition, and upon completion of this purpose, the objects are again
returned by the same process to their original location. In this way, objects are
separated far from their original housing facilities, and in some cases are moved
to locations differing from environments for their conservation. Crates or packing
cases are used for transporting objects and the environment where the crates is placed
during transport greatly differed from an original housed museum. Many processes
comprise transport and it is necessary to consider the environment of each process.
Out-bound processes involve packaging at an original location, transporting the crate
for destination, unpacking and displaying the objects at the destination, packaging
again of the objects at the in-bound processes, transporting the crate again, and
unpacking and storing objects at the original location. In particular, between the
point of departure and destination, in the case of big differences in temperature and
humidity, or if the environment outside greatly differs during transport, unpacking
of the crate should be avoided immediately after arrival in order to allow the objects
to acclimate to the environmental conditions of the destination. The time necessary
for acclimation is a few days if long or one day if short (Kamba, 1990).
When an arrangement is decided for loaning objects to another museum, or
if taking objects on borrowing from other museums, next the concrete specifica-
tions should be considered that include transport itinerary, packaging and transport
methods, and insurance, etc. Crates must have airtight means and thermal insulation,
and also have buffer effect against vibration, and impact shock to protect objects
82 3 Environment and Preventive Conservation

Fig. 3.9 Measuring instrument installed in a packing case to record the vibration and shock
generated during transport

within the crate from changes in ambient environment. Final packaging and trans-
port specifications shall be decided after giving considerations for the proposal from
the shipping agent. Thereafter, transport is proceeded as planned, but in cases of there
being special objects and special circumstances, or if the purpose contains research,
there are cases in which a temperature and humidity data logger and acceleration
sensor are used to measure the environmental changes inside of the crate (Fig. 3.9).
From the measurement data, the influence on objects can be analyzed, and in addi-
tion to assessing transport safety, new knowledge can be acquired to allow future
improvements to packaging and transport methods (Kamba et al., 2008).
Management of internal temperature and relative humidity of crate cannot be
done for adjusting by active control such as air conditioning system. Fluctuations
in temperature depend on thermal insulation of the crate, and in relative humidity
depend on temperature in addition to characteristics of moisture absorption–desorp-
tion of the object, packaging material, and/or humidity buffering material. Although
thermal insulation performance is increased with thickening thermal insulation mate-
rials, financial burdens of transport also increases along with it. In the case of a highly
hermetically sealed case, relative humidity fluctuations depend greatly on fluctua-
tions in temperature (Kamba, 1989; Staniforth, 1984). In the event that there is
a sufficient volume of packaging contents having moisture absorption–desorption
properties such as wood and paper, fluctuations in relative humidity is to be three-
tenths of the fluctuations in temperature. In other words, if there is a fluctuation of
temperature in 10 °C, relative humidity will fluctuate within 3%. As long as the
two are in this kind of relationship, it is understood that no dimensional changes
3.2 Safe Transport of Museum Objects 83

concerning expansion nor contraction occur due to fluctuations in temperature or

relative humidity for objects inside crates. This can be proved from the relationship
between the water content of the object and the temperature and relative humidity.
Significant fluctuations in temperature are unavoidable during transport by airplane,
for which it is necessary to prepare a highly airtight and low air volume packaging
crate so as to establish the above relationship of temperature and relative humidity
(Hackney, 1987; Kamba & Tanaka, 1993).
Upon deciding packaging crate specifications, selection is done of cushioning
material necessary to protect the object from impact caused by the crate falling. A
graph called a dynamic damping properties curve (C-P curve) is used for the selection,
and it is theoretically possible to determine the cushion type and thickness from the
weight of the object, bottom surface areas of the object, and anticipated maximum
acceleration speed of an impact. This requires prior knowledge of the size of the
impact when the object is damaged. In other words, it is necessary to know how easy
the object become damaged, which is termed “degree of fragility”. Determining the
actual degree of fragility is difficult to test, and so provisionally knowing the degree
for even one specific object does not allow a generalization for all objects. In addition,
if the characteristics frequency of each type of transport equipment that includes by
vehicle, airplane, ship, and railcar, and the characteristics frequency of the object
itself being transported were to match, a resonance phenomenon would result, and
there would be a great increase in the amplitude of vibration. As a result, it is possible
that connected sections of wooden sculptures for instance would separate and break.
This is also difficult to seek from testing characteristics vibrations of actual objects. In
one respect, because acceleration speed and characteristics vibrations of the crate and
the equipment arising in the process of transport are actually able to be measured,
it is important to gather as many case examples as possible to understand what
conditions processes occurred. Under current situation of not being able to measure
brittleness or characteristics vibrations of objects directly, there is no other way than
various investigating of transport to estimate its effect on the object (Fig. 3.10).
Ultimately, packaging specifications are decided based on environmental data of
transport processes accumulated until that time (Kamba, 2019).

3.2.1.2 Management of Objects for Transport

Determining whether transport is appropriate must be done based on condition of

objects. At the stage of deciding whether to loan or borrow objects, it is first necessary
to determine whether the condition of the object is able to withstand transport. In order
to make decision of transport, other than observing the object visually, confirming
the internal structure by surveying with X-ray photography is highly effective. Addi-
tionally, the total dose of light exposure annually for display of objects is decided for
each object, and of course, display of loaned and borrowed objects is possible within
this framework. However, for objects with a recent history of being transported with
high frequency, regardless of the total dose or condition, the propriety of transport
must be determined seriously. Then the object condition shall be categorized into the
84 3 Environment and Preventive Conservation

Fig. 3.10 Vibrations measured during exhibition travel organized by handling process. Measure-
ments taken during loading, unloading, and movement of objects, and during takeoff, flight, and
landing of aircraft. Movement by dolly produced the highest Grms (effective G value/root mean
square acceleration). Quoted from Nobuyuki Kamba: Microclimate and Vibration Environment of
a Custom Shipping Crate, in The Mechanics of Art Materials and Its Future in Heritage Science,
Ed. by Dawn V. Rogala, Paula T. DePriest, A. Elena Charola, and Robert J. Koestler, Smithsonian
Scholarly Press, Washington, DC, pp. 41–56, 2019. Reprinted by The Author(s) licensed under
CC BY-NC-ND 4.0 with permission from Smithsonian Institution Scholarly Press. https://schola
rlypress.si.edu/store/all/mechanics-art-materials-and-its-future-heritage-sc/

condition able to withstand transport, the condition that requires minute treatments
be done to withstand transport, and the condition that cannot withstand transport.
In the event that minute treatments are conducted, sufficient time must be taken to
allow confirming the condition after treatments.
In the event that packaging and transport of an object is done by the person
loaning, and there are cases done by the borrowing institute. If the borrowing institute
is responsible, a more serious attitude toward borrowing objects is necessary. In
such a case, sufficient prior surveying must be done before borrowing objects to
gain a deeper understanding toward the objects. Prior to packaging objects, persons
responsible from the loaning institute and borrowing institute confirm the condition
of the objects, and the same recognition of both institutes for the condition of the
objects is to be written down on a loan inspection register, which both institutes keep.
3.2 Safe Transport of Museum Objects 85

The loaning institute conveys to the borrowing institute considerations or points

of attention concerning the condition and handling of the objects. Thereafter, the
borrowing institute pays sufficient attention to those points in taking responsibility
for handling the objects. In the event that handling of object is also done by the person
loaning, the borrowing institute watch over display work while doing necessary
support. In the case that the borrowing institute packages and transports the objects,
the objects are officially passed to the borrowing institute from the loaning institute
upon completing inspection, and thereafter responsibility for management of the
objects and directing the packaging and transport of the objects is to be done by the
borrowing institute. The borrowing institute gives appropriate directions to specialists
in charge of packaging and transport for safe transport to be done. If by any chance,
the unexpected point is found during the handling of the objects, the borrowing
institute has to confirm once again the point to the loaning institution. Once the
packaging completes, the loaning institute must see off the objects until they have
left the museum. The borrowing institute or the loaning institute, from the position
of always confirming the safety of the objects during transport, often accompanies
the objects on the means of transport, such as a truck or airplane.
Other than for when it is necessary for the acclimating to the environment
after arriving at the destination, unpacking the crate is done without waiting long
(Kamba & Tanaka, 1994). Unpacking is done in the reverse procedure, and if there
is an abnormality with the objects, the work is stopped. Packaging materials of paper
and cushioning form are organized and stored, and are reused for returning of the
objects. If the objects are taken out from the crate, the objects are to be inspected for
condition comparing with the record, and any changes confirmed are to be written
down the record. If there are not changes, the objects are carried to the storage room
or the exhibition room. Any changes found during unpacking or after unpacking
will be reported to the loaning institute immediately, and subsequent handling of the
objects will be done with their instructions. In such a case, until the loaning institute
arrives to inspect the object at the borrowing institute, it is fundamental to leave the
object as is and house them in as safe a place as possible. Additionally, the unpacking
being complete, the crate is preferably housed together with the packaging materials
in an environment same as the environment where the objects are housed.

3.2.1.3 Damage and Causes During Transport

Temperature and relative humidity have an impact on all objects and they are the
cause of deformation and mold. Concerning vibration and shock impact, small and
very light paintings such as a tiny scroll and craftworks are comparatively not easily
affected. Large, heavy objects with many connecting parts, and also objects made
of fragile materials are easily affected. As objects that are easily susceptible to
vibration and impact shock are wooden sculptures, stone sculptures, clay figurines,
earthenware, metal excavated archaeological objects with reinforcement by resin-
impregnation. Those considered to be accidents during transport are as follows:
Thin and long formed sections such as the arm and the fold of cloth detach from the
86 3 Environment and Preventive Conservation

main body of wooden sculptures, and peeling and peeling off of the colored portions
made of Japanese lacquer, paints, and gold leaf. There is easy break down of clay
figures and stone statue carvings, and also crack damage of earthenware at the edge
of joining sections for treatments. As the aim of conservation to excavated metal
objects are often treatment to maintain the form, and therefore insufficient structural
strength results in the occurrence of damage.
Mold growth within packing crates depends on temperature and relative humidity
conditions, and damage may be wholly spread quickly and be significant. For
instance, with a sudden and big rise in ambient temperature, the interior temper-
ature rises and water contained in the packaging materials is released into the air
within the crate, resulting in a rise in relative humidity in the crate. The inside of
crate becomes hot and humid and gets stuffy. This may potentially lead to appro-
priate conditions for mold to form. This phenomenon is called ‘mure’ in Japanese,
and mure is a phenomenon often seen in the event of passing through the equator
when transporting objects on a ship. In addition, intrusion of harmful insects at the
place of departure may be transported to the destination point, where it is considered
likely that such pests may be invade the borrowing institute. Concern exists for insect
damage of objects during transport, but the point at issue is the spread of harmful
insects to other institutes through transport of objects.
The cause of damage during transport of objects can be estimated by using
the record prepared by a courier the person accompanying the transport shipment.
With this, the estimate can be more accurate if data is recorded by instruments for
impact shock and vibrations or for temperature and relative humidity inside the crate.
Measurements were taken during loading, unloading, and movement of objects, as
well as during takeoff, flight, and landing of the aircraft. Measurements were taken
during transportation from the Montreal Archaeology and History Complex to the
Tokyo National Museum, with transfers at the Montreal airport, Toronto airport,
and Narita airport in 2006 (Fig. 3.11). Movement by dolly (in bold) produced
the highest Grms (effective G value/root-mean-square acceleration) and the most
instances of PSD (resonance frequency/power spectrum density). Vertical movement
during transport also registered higher levels of Grms and PSD than other directional
movement (Kamba et al., 2008).

3.2.2 Case Example of Transport of a Large Buddha Statue

3.2.2.1 Holding a Special Exhibit

The Tokyo National Museum, Toshodaiji-Temple, and a media company held a

special exhibition of the “National Treasure of Ganjinwajyo and Vairocana Statues
as a Memory of Great Restoration of Kondo-hall of Toshodaiji-Temple in Heisei
era”. This exhibition was held between January 12th through March 6th 2005, and
for exhibiting these statues, these were packaged and transported from Nara city to
Tokyo. Ganjinwajyo and Vairocana statues (Fig. 3.12) were both made in the eighth
3.2 Safe Transport of Museum Objects 87

Fig. 3.11 Return trip from the Archaeological History Museum in Montreal to TNM on 23–24
October 2006 by a passenger flight. The measurement device was fixed at the bottom of the inner
skin of the internal packing case for an archaeological bronze object

Fig. 3.12 The principle image, Rushanabutsu (Vairocana in Sanskrit, which is the principal object
of worship at Toshodaiji-temple), 8th century, National treasure

century and is made by a hollow, dry lacquer technique. The hollow statue made
of lacquer is supported by internal wooden flame. This was the first time for the
Vairocana statue, or Rushana Buddha, was moved from the temple since the statue
was made.
88 3 Environment and Preventive Conservation

3.2.2.2 Prior Survey of Statues

Following with the reconstruction of the Kondo-hall, or Golden Hall, of the

Toshodaiji-Temple, the remedial conservation of the Vairocana took place from 2000
to 2002. In this treatment, adhesion and reinforcement were done to the large cracks
formed on the surface of the dry lacquer layer. But no treatment was done to the inside
of the statue. The condition of statue after the treatment was mainly as follows: (1)
Large cracks were numerous, there are few places where it can be fixed or pressured
during packaging although it has been treated to prevent the flaking (Fig. 3.13); (2)
The neck has a large crack and the back is thought to be connected by a thin layer
of lacquer and fabric; (3) A large crack appeared in the right knee; and (4) The left
skirt was thin and was structurally weak for applying any pressure to be fixed.
The internal structure was as follows: (1) The left wrist can be separated from the
main body; (2) The core wooden support reached to the base from the head section
in the inside of the statue, but was not fixed to a bottom board (X-ray transmission
photograph confirmation); (3) The inside of the statue was hollow except for the
internal wooden frame, thus making it unstable both in front and back to withstanding
pressure; and (4) The condition of the fixing of the wooden frame and dry lacquer
layer were not clear, resulting in it being dangerous to move each of these due to
vibration.
Although new treatment was being carried out this time, it was confirmed that
important matters are to minimize the vibration and sway transmitted to the statue.
Points to be noted were the large cracks appearing in the dry lacquer layer, the
condition of the internal wooden frame and dry lacquer layer, and the core support

Fig. 3.13 Surface condition of the Vairocana

3.2 Safe Transport of Museum Objects 89

not fixing with the bottom board. In addition, the total weight of the statue is 470 kg
and the total height is 304.5 cm.

3.2.2.3 Specifications for Packaging and Transport

With these points in mind, the various issues thereof with confirming the internal
structure of the Vairocana statue for transport, its size, and brittleness of the surface
all required much time for examining. The size of the packing case was as large as
2490 mm in width, 3480 mm in height, and 3200 mm in depth and required a special
trailer, and transporting the statue on public roads was at the limit of traffic regulation,
whereby an application was necessary for the Ministry of Land, Infrastructure and
Transport.
Under such circumstances, it was necessary to provide as high a degree of safety
measures as possible for transport and the crate. Concretely, the crate was the state
of being exposed on the load-carrying platform of the transport trailer. Several coun-
termeasures had to be put into place including those for rain, wind, and blows;
sudden fluctuations in the weather; maintaining stable relative humidity within the
crate; reducing transmittance of vibration and impact inside the crate; and restraining
vibration and impact when moving the statue into the museum. Because it was neces-
sary for making the packaging crate within the scope of legal regulations including
these required countermeasures, driving test carried out prior to the actual transport.
A similar trailer loading an actual crate for the transport with the dummy weigh of the
statue was driven on a standard road and expressway. The results of this simulation
allowed the details to be decided for the actual transport of the statue.

3.2.2.4 Actual Packaging and Transport

Due to the numerous cracks on the surface of the statue, care was given first by
wrapping the cracked areas in thin soft paper after which raw cotton was used to
cover the entire body of the statue. Following this, cotton fabric was wrapped around
the entire body of the statue and then urethane was used further to cover the statue
over which a nylon net was placed over the statue to fix all of them. In order to reduce
the burden on the structurally weak neck, bamboo sticks were used to give support.
The neck was consolidated by connecting both the head and neck with bamboo sticks
that yielded support as a method for cushioning the impact of vibration. The bamboo
stick is formed to hold the head portion by having a shape to follow the shape of
the neck and the head so that the burden from sway is reduced. On rare occasion,
such a simple method using natural materials was used as packaging for cultural
objects. Therefore it is dare introduced here. In order to prevent misaligning due to
vibration between the internal supportive structure of the statue and the dry lacquer
layer, a cage like lattice pattern wooden frame was affixed to the statue from top,
forward and backward, and right and left. The statue was placed upon a steel plate
covered by cotton cloth so as to handle the statue by moving the steel plates during
90 3 Environment and Preventive Conservation

the exhibition. The steel plate was jointed with a bottom of outer steel crate during
the transport.
In addition, a vibration prevention device (Wire Rope Isolator® : WR16-600-08)
was introduced as a measure to decrease swaying and vibration during the transport.
The result was confirmed by a prior driving test as previously mentioned. The isolators
were built into the space inside a double bottom structure of the outer crate. The
vibration of outer crate was made difficult to transmit to the wooden frame directly.
When moving the statue on roads or in the museum, the statue was always attached to
the isolator (Fig. 3.14). Packing materials within the crate were of a high performing
as a humidity buffer (wood, paper, and a reinforced corrugated cardboard totaling
over 900 kg) achieved maintaining of relative humidity. After arriving at the museum,
a part of the crate was opened to check the internal condition, but the statue was left
in place until it adapted to the museum’s environment.
A transport trailer of low road-carrying platform type with air ride suspension
was used, and vibration and shock data were recorded by environmental measuring
devices (IST EDR-3D® and LANSMONT SVER 3X/90® ), and temperature and rela-
tive humidity data were recorded by a data logger (VERITEQ SPECTRUM2000® ).
The outer crate, inner frame and the isolator weight were 3154 kg, 1861 kg and
646 kg respectively, 2452 kg weight was applied to the isolator. Staff of the Tokyo
National Museum accompanied and watched over the safety of the crate on both
ways between Toshodaiji-Temple in Nara and the Tokyo National Museum.

3.3 Preparation of a Safe Environment by Storage Box

3.3.1 Stabilizing Temperature and Humidity

3.3.1.1 Wooden Storage Boxes

As was mentioned in Sect. 3.1 of this chapter, the Shosoin Treasure House built in the
eighth century is an Azekura-style wooden structure which is the same as building
method of log house. By measuring the temperature and relative humidity, it has
become clear that the interior of the warehouse is a stable environment compared
to the air outside of the warehouse. Outside of the surface of the thick solid boards
of Hinoki cypress appear to be withered from long years of erosion, but the inte-
rior environment continues to be protected by the thick solid boards. Fluctuations in
temperature and relative humidity in the interior of Japanese cedar and paulownia
storage boxes provides a similar insight in comparing interior air with ambient
air. These phenomena can be all be explained by the moisture buffering effects
of wooden materials. By storing treasures in Shosoin Treasure House constructed of
thick wood, and then further storing such treasures in storage boxes made of wood
within the warehouses, the treasures have come to be kept in a stable environment
for long periods. Deterioration of the treasures is kept to a minimum by means of
3.3 Preparation of a Safe Environment by Storage Box 91

Fig. 3.14 Packing procedure for a large sculpture

wooden structures and boxes, and the treasure is passed down to the present. Japanese
have learned approaches to housing facility and containers for conservation of trea-
sures through this kind of experience. Such empirical knowledge has indeed been
confirmed scientifically as effective methods.
Various forms of wooden storage boxes exist depending on their use, and the name
of the boxes is decided based on the type of lid, and selection of a box depends on
the object to be stored therein (Fig. 3.15). Types of lids are kabuse lids, daisashi, san
lids, innro lids, kenndonn lids, and otoshi lids. Asian paintings and calligraphies are
92 3 Environment and Preventive Conservation

Fig. 3.15 Black lacquered

Daisashi-box (outer box) and
Inro- or medicine- box (inner
box) of Paulownia wood

mainly stored in boxes with innro lids which are medicine box-style, and sometimes
further storing is done in boxes with daisashi or otoshi lids to double layer of the
protection of the objects stored therein. Ceramics are often stored in boxes with san
lids. Boxes currently used are generally made of paulownia (Kamba, 1994). The six-
legged Chinese-style storage box used in the Shosoin Treasure House was made of
Japanese cedar, and it is believed that paulownia has been greatly used after entering
the early modern times. Although it is not possible to clearly designate the period, but
Japanese cedar was for daily use and paulownia for comparatively precious objects
by private owners from the early modern times.

3.3.1.2 Characteristics of Absorption and Desorption of Moisture

of Wood

Wood absorb water vapor from the air and also release retained water into the air auto-
matically. This is absorption and desorption of moisture (Fig. 3.16). Water content in
wood depends on both temperature and relative humidity. Water content decreases
with an increase in temperature and increases as relative humidity rises. The opposite
also holds true. With fluctuations in relative humidity in the air, wooden materials
acclimate to such shifts and absorb or release water. This behavior is called charac-
teristics of absorption and desorption of water. Depending on the type of wood, the
speed of absorption and desorption differs, and wood types that are less dense tend
to be faster, and in from this perspective, paulownia is considered to have superior
ability.

3.3.1.3 Moisture Buffering Effect

The higher the absorption and desorption, the higher the moisture buffering effect.
When outside air of low relative humidity enters a paulownia box, the paulownia
3.3 Preparation of a Safe Environment by Storage Box 93

Fig. 3.16 Adsorption curve

of Paulownia wood
acclimatized for 15 years

wood tries to adapt to the low relative humidity by releasing water, and as a result,
the air receives moisture and lowering of the relative humidity inside of the box stops.
In the opposite sense, for high relative humidity of outside air, increasing the relative
humidity inside is restrained by the absorption of wood. In this way, fluctuation in
the relative humidity within the box is limited, and the relative humidity inside the
box stabilizes and is maintained. Not limited only to paulownia, any wood and any
organic materials possessing absorption and desorption characteristics has more or
less the moisture buffering effect. Silica and diatomaceous earth are used not only
as desiccants but also as moisture buffers in the same way as wood, which surpass
the absorption and desorption abilities of wood and reaction more quickly to gain
excellent moisture buffering effects (Ogama et al., 2001).
The performance of wooden storage box depends on the type of wood, and at
the same time, the performance is influenced greatly by the manufacturing skill of
the box. In other words, the fluctuation of relative humidity within boxes that lack
hermeticity are influenced too greatly by the outside air environment. Thus, attention
must be given to the manufacturing of the box and considerations must be made the
shape of the lid in order to maintain stable relative humidity. In the case of a high
quality airtight box made of paulownia, it is known that the fluctuation of the relative
humidity inside the box suppresses the fluctuation of the external humidity that occurs
daily to 1/10.
94 3 Environment and Preventive Conservation

3.3.2 Protection from Scratches, Soiling, and Impact

3.3.2.1 Storage Boxes Made of Paper

Storage boxes for conservation are not only made of wood, but also boxes made of
thick paper and also boxes made with a paper core around which are covered with
a fabric. Boxes made of paper do not possess superior moisture buffering effects of
wooden boxes, but some extent of effect can be expected depending on the thickness
of the paper. In the case of paper boxes, more than expecting moisture buffering
effects, much more can be expected in terms of protection from dust and friction for
objects being stored. For example, Japanese books cannot be stood upright in the way
that Western books are vertically stored. Rather, storage of Japanese books involves
laying them down with several stacked on one another (Fig. 3.17). Naturally, a great
deal of weight is placed on the book at the bottom of the stack. Removing such a book
by pulling it out from a space in the stacking results in tremendous friction being
generated. In addition, compared to books standing vertically on end, dust collects
more and attaches easily on stacked books. Reducing such damaging consequences,
Japanese books are often stored in paper boxes.
Not limited to books, rather than storing objects naked without protection on
shelving, placing objects in paper boxes and storing them on shelving allows a much
more stable condition. In the event that a box cannot be prepared, a type of bag for
storage, such as an envelope can be used to substitute for a box. Although wooden
boxes excel in their ability to adjust relative humidity, the cost involving wooden
boxes is much more in comparison.

Fig. 3.17 Cluttered storage of books bound in Japanese style

3.3 Preparation of a Safe Environment by Storage Box 95

A plastic container for storage shows an example of storage not resulting well
in the Great East Japan Earthquake in 2011. Plastic containers were used to store
textile objects at the Municipal Museum of Rikuzentakata city. The museum suffered
crushing damage by the massive tsunami after the earthquake. Sea water remained
in the plastic containers for a long time after the tsunami went down. With a rise in
air temperature, mold and bacteria spread in the containers and the objects rotted to
the extent of giving off a terrible smell. From this result, it can be said that use of
paper and/or wood materials are quite safe even in a state of water damage.

3.3.2.2 Buffering Against Mechanical Impact

The direct influence of an earthquake on objects is damage resulting from objects

tilting and falling from high places due to the objects swaying. For this reason,
many examples of ways to manage prevention of tilting and falling objects exist.
In exhibition rooms, seismic isolator devices are used and thin nylon thread secures
objects to prevent them from tilting over. To prevent objects from falling over in
a warehouse, a fence is attached to prevent objects from falling off shelving, and
also doors and nets are attached to the front sections of shelving. These are definitely
kinds of ways of managing to reduce damage to objects resulting from falls; however,
to further enhance safety means to store objects in wooden boxes. The buffering
performance is excellent for protecting objects that receive shock impacts in wooden
boxes, which are superior containers for conservation. Keeping ceramics and also
archeological metal objects in wooden boxes increases a sense of security. In the
Great Hanshin Earthquake in 1995, an example exists of ceramics in paulownia boxes
falling nearly two meters from shelving, but the ceramics did not break (Fig. 3.18).
It should also be noted a case in which pots naked without protection on shelving
smashed against one another and all were destroyed.

3.3.3 Caution for Component

3.3.3.1 Acidic Substances

It is known wood materials containing hemicellulose which is hydrolyzed and gener-

ates acetic acid under conditions of high temperature and high relative humidity. In
addition, principal wood components such as lignin, cellulose and hemicellulose are
originally slightly acidic. However, if well dried wood materials are used, the amount
of acidic substances is small, and there is little danger of corroding metals. If the
wood materials are highly weathered or withered after being dried for a sufficient
amount of time, the water content in the wood has become sufficiently low so that if
the environment of storage is at the appropriate level, little possibility exists for the
formation of acetic acid.
96 3 Environment and Preventive Conservation

Fig. 3.18 A wooden storage

boxs that fell from a wooden
shelf by the shake of the
Great Hanshin-Awaji
Earthquake

Additionally, cases exist of acidic substances being contained in a synthetic glue

for making wooden boxes and applying cloth on a surface of paper. When such glue
is used, boxes should be well withered while the lids being opened for airing for at
least one month. But avoidance of such glue is the best decision. For ready-made
products of which the origin is not clear concerning the materials, the lid should be
aired similarly for at least one month before use.

3.3.3.2 Aldehyde Group

Formaldehyde (HCHO) and acetaldehyde (CH3 CHO) may be contained in adhesives

for wood, paper, and cloth, and particular concern should be placed on plywood.
Due to the aldehyde group having a strong chemical affinity, aldehydes may work to
change and/or coagulate proteins. Not only do aldehydes have an impact on humans,
3.3 Preparation of a Safe Environment by Storage Box 97

but also objects that contain proteins such as silk and leather products, are easily
impacted.

3.3.3.3 Hermeticity

If the degree of hermeticity is high for boxes made of wood and paper, the inner rela-
tive humidity is easily to be kept stable and also air from outside the box containing
dust and dirt is difficult to enter. To the extent that hermeticity is high, harmful gas
emitting from box materials itself easily collects and there is increased possibility
of the gas affecting objects. In this way, because of there being advantages and
drawbacks for boxes of high hermeticity, in cases that hermeticity is intentionally
increased, materials must be closely examined. In the event that materials are selected
that are not trusted, high hermeticity should be avoided. Regardless of understanding
material quality, it is recommended that lids of all boxes should be opened prior to
use of the box in order to allow volatile components to be released.

3.3.3.4 Weathering

Natural wood used for storage boxes should be well dried and withered results in
reduce volatile components and extractives of every kind, it is possible to limit the
impact to a small extent on objects. Although there is a lot of water content in freshly
sawed trees and contain large quantities of each component, by going through the
process of “weathering”, the condition of the wood will become stable and safe.
After several years, water content and quantities of each component in paulownia
wood greatly stabilizes and give assurance of use for storage boxes. However, the
longer the period for weathering, the cost of the wood increases and the price of the
boxes also increases.

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Chapter 4
Deterioration and Remedial
Conservation

4.1 Preliminary Examination for Treatment

4.1.1 Diagnosis and Recording of Condition of Objects

Remedial treatment has no small impact on objects. The extent of the impact differs
depending on the content of the treatment, and there is definite difference in the
appearance of the object before and after treatment. The shape changes upon taking
measures for damaged sections, such as cracks and splits, and by removing dirt from
the surface of object by cleaning it, changes in the vividness of the color result. While
changes are a necessary outcome of treatment, limiting such changes is sought for
treatment. Current thinking requires definite recording of changes in the condition
of objects due to treatment, and also necessary is verification of treatment results. In
addition, for when historical studies occur such as the background of objects, it is
possible to gain advantageous evidence from recording charts. In other words, the
person involved in the treatment will be responsible for handing over the records
of the objects before and after the treatment to the future together with the details
of the measures. It is necessary to record as much information as possible about
the condition of the object to be treated so that the condition of the object before
treatment can be confirmed. From this perspective, a record prior to, during, and after
treatment is imperative.

4.1.1.1 Image Recording

Entering the 2000s, digital cameras have spread, and the use of digital images has
currently replace film images in all fields. From the perspective that film images
surpass digital images in terms of image resolution and long-term storage, film
continued to be used in the short term, and although there was a time when both
co-existed, but currently it is best to say that the rapid spread of digital devices has
expelled film. However, saving of digital images is not guaranteed as long as regular,
© Springer Japan KK, part of Springer Nature 2022 101
N. Kamba, Conservation Practices in Museums,
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102 4 Deterioration and Remedial Conservation

definite maintenance management of recording mediums and image formats is not

performed. As a result, digital devices should be used in keeping in mind these differ-
ences from the era in which film was used. In saying high definition or resolution,
there are several levels, a digital single-lens reflex camera has come to have over 100
million pixels, so that even against film images, it compares favorably. When filming
large-size objects, by a method for gaining high resolution of combining images
through divided photography, there is method for directly inputting by a large digital
scanner.

4.1.1.2 Enlarged Images

Examining the condition of objects must be done prior to treatment. Defects and
unstable parts of objects experienced when handling them, confirmation is to be done
by the naked eye at first. Human’s naked eyes excel in understanding the condition of
objects on a macro level, and by observing with one’s insight, the severity of defects
and causes can be surmised. It is also important to accurately estimate by listening to
those involved. However, there is a limit on what the naked eye can observe. Using
an enlargement glass and also a stereoscopic microscope for enlarged observing can
lead to accurate understanding of conditions and determining causes.
For example, the adherence between paint and ground layers, the fine structure
of the surface of the damaged areas, the condition of fibers and threads of paper and
cloth, and condition of fungal spores are confirmed, and judgment can be obtained
by such microscopic examination. The magnification is sufficient at from several
times to several tens of times as usual, but several hundred times may be sometimes
necessary. As types of instruments, a low magnification of several times can be done
by a magnifying glass, tens of times by stereoscopic microscope, and hundreds of
times by high resolution of digital microscope. By using a stereoscopic microscope,
because details can be observed three-dimensionally, while viewing through the
microscope, palpation is possible for observed points by touching lightly with the
tip of a brush, a needle and tweezers.
In treatment of eastern paintings and calligraphies on paper, when filling in lost
and damaged sections, there is use of paper made close the original paper. A minute
amount of the fibers of the paper removed from the objects for analysis to manufacture
the similar paper. For this reason, at the surveying stage, a high magnification optical
microscope is used to inspect the plant type, length of the fibers, and types of filling
material of the paper. Based on examination results, materials are blended and the
hand-made paper is manufactured for treatment.

4.1.1.3 Former Repair/Treatment

For precious objects passed down through the ages, due to the possibility of repeated
repair or treatment, prior to this treatment, the former repair added in the past treat-
ment needs to be confirmed and recorded. However, it is not necessarily possible
4.1 Preliminary Examination for Treatment 103

to visually discern a clear difference between a former repair and the original part
just by the naked eye, and thus a special method is used to determine the existence
of such former repair and the location on an object. Several methods are known,
but ultra-violet fluorescent photography is often used as an effective way to confirm
locations of former repairs. Using the difference in wave length and intensity of the
fluorescence emission of each material which is activated by irradiated ultra-violet
rays, the condition of the surface of objects is examined. The most effective example
is that of determining whether retouch has been supplemented. Even if the paint
appears to be the same as the original to the naked eye, by the difference in the dete-
rioration process between original paints and supplemented paints, or the difference
in the quality of materials, the existence of retouch paint from the difference in the
fluorescence emission by both can be confirmed.
X-ray radiography allows clarification of former repair to three-dimensional
objects such as statues and craftworks. When the material of former repair differs
from the original material, a clear difference can be recognized from the difference
in transmission ratio of x-rays. In the case of three-dimensional objects, other than
the distribution of former repair on the surface, it is important to confirm for the way
of connecting of former repair to the original parts. In particular, in the event that the
surface is covered thickly with supplemental retouch paints, confirming the condition
of the beneath layer is difficult. For example, in the case of ceramics covered with
thick retouch paints to hide broken parts, it is difficult to confirm the condition of
the broken section from the surface. Other than x-ray radiography, the condition of
the lower layer can also be examined by infra-red reflectography. Near infra-red rays
can penetrate former repair such as retouch paints covering the surface of objects,
the original condition in the beneath layer can be confirmed.

4.1.1.4 Solubility Examination

When the cause of deterioration is from chemical effects, material quality of objects
is considerably more vulnerable than their original condition. In the processes of
treatment, other than water, because various organic solvents have been used for
portions of adhesives and cleaning of object surfaces, it is necessary to confirm by
preliminary examining before treatment whether vulnerable material can withstand
such water or organic solvents. Examination beginning with water, which has the
least impact, and progresses gradually to strong solvents. Reactions to each solvent
are recorded and made useful in the event of treatments.
Solvents resistance absolutely decreases from deterioration, but also is reduced
by the method of using materials at the time of producing objects. For example, oil
paints used in oil paintings are comparatively strong originally, and by excluding oil
from the paint at the time of painting, finished dry oil paint is deliberately less solvent
resistant, and sometimes soluble in water. Without judging by bias, understanding
each condition by careful examination must be done.
104 4 Deterioration and Remedial Conservation

4.1.2 Conservation Charts

As even touched on in “Examination of the Condition of Objects” in Sect. 2.3 [1]

in Chap. 2, from the stage of preliminary examination, it is to be kept in mind that
matters concerning to objects are all to be entered into charts. When it is not possible
to make entries directly into charts, a memo made at that time shall be stuck in the
chart and the outline of the task and the date and time are to be written as a supplement
in the chart. Never rewrite a memo and put it in the chart.

4.1.2.1 Damage Mapping

Diagnosis results for condition of an object prior to treatment is to be recorded

both by photographs and by marking the damaged area in different colors on the
black and white photo print or on a digital image. This is called “damage mapping”
and is a recording method common to general objects in all fields. Recording of
locations of peeling, flaking, retouch and supplemented paper and others for former
repair are divided by color in detail. Through visualizing, recording of condition is
definite. Once treatment commences, each measure is also recorded by marking in
different colors on photographs. The status becomes much more concretely clear not
only by recording content of measures and condition of damage with characters and
photography but also by creating this kind of damage mapping.

4.1.2.2 Survey Drawing

Survey drawing was mainly a recording method used for archeological objects.
Before starting remedial treatments, the dimensions of each part was measured to
record three-dimensional forms of the objects. In the case of iron objects, the orig-
inal parts are covered with rust and often changed into being one size larger in a
distorted shape. From survey drawing, the original form from within the rust was
presumed, and the rust part and original form are separated and recorded. During
survey drawing, X-ray radiography is assistive in estimated the original form.
Survey drawing is important as a solid method for recording of forms prior to
treatment. On occasion, objects during treatment operations are dismantled and when
in parts, survey drawing of each part does result in obtaining a highly accurate
record. In recent years, equipment such as three-dimensional measuring and X-ray
CT scanners, are used for creating survey drawing maps. Precision of recording of
these instruments increase year by year.
4.1 Preliminary Examination for Treatment 105

4.1.2.3 Treatment Process

Conservators record the materials and methods used for treatments, content of discus-
sion with curator-related staffs and conclusions, and the next discussion scheduled
is clearly written on the chart. Such recording confirms the progress of treatment
process and this is important for understanding situations. In either case, related
information such as the date and time, conservator, and persons on site must be
entered into the record. It is to be kept in mind to take pictures for the record of
processes as much as possible.

4.2 Roles of Preventive Treatment and Full-Scale

Treatment

4.2.1 Reasons for Deterioration with Age

4.2.1.1 Chemical Changes

Materials comprising objects are influenced by the environment, with time chemical
changes occur, resulting in deterioration of the object. This change and deterioration
is called “aging deterioration”. Unfortunately, it is not possible to restore aging
deterioration and return it to its original condition. Color loss by fading is a significant
example. Restoration of the original color by treatment is impossible. In the case of
museum objects, estimating the initial state and newly applying the color at that time
is not normally performed in conservation process. In achieving preserving paints
and dyes for which color has been lost or there has been a change in color, there is
no choice but to preserve in that condition after treatment.
For silk that has become brittle to the extent of breaking apart easily due to
aging deterioration, strength has been applied by lining the back surface of silk with
Japanese paper with starch glue, and because of this, handling is able to be done.
In addition, for brittle, metal archeological objects covered in rust, the rust cannot
be removed to return the pieces to their original conditions. The reason for this is
that the metal itself has come to be changed. In considering both the rust and metal
to be partial, by impregnating strengthening agent for reinforcement, to achieve
conservation of an entire piece is today’s thinking.
The aging deterioration due to chemical changes of this kind are what may lead
to destruction of the objects themselves, and the role of conservation treatment is to
achieve strengthening to stabilize the condition for the appearance of the objects. The
materials used to strengthen in the event of treatment will also inevitably deteriorate
over time for which there will definitely be period for changing those. This is re-
treatment.
106 4 Deterioration and Remedial Conservation

4.2.1.2 Mechanical Effects

In addition to deterioration, which is the root cause of chemical changes, there is

aging deterioration due to the effects of mechanical expansion and contraction. For
example, by long-term effects of such as expansion and retraction involving repeated
stress in the event of display and storage, temperature and relative humidity fluctu-
ations, changes to form appear that are either peeling, cracks, splitting, and/or loss
of sections of the materials. This is also called damage. Of course, materials them-
selves that are becoming brittle are more easily susceptible to mechanical effects and
normally for aging deterioration results with integral effects of these chemical and
mechanical effects. Falls caused by earthquake or vibration and impact during trans-
port give strong, short-term mechanical effects to objects, and may result in fracture
or destruction. The deteriorated or damaged location can be structurally stabilized
by providing treatment to the objects such joining or filling the damaged parts.

4.2.1.3 Biological Effects

Deterioration due to damage by pests and small vermin, corruption and stain by
microorganisms such as mold is called biological deterioration. For example, as
deterioration by insects, there are cases where the lower half of the wooden sculpture
in contact with the floor is sponge-like damaged by powderpost beetle larvae, and
cases where moth larvae eat woolen carpets, and severe damage to paper materials
caused by silverfish. In the case of damage caused by small vermin, the invasion
of the black rat may cut off the electrical system, or the cultural objects may be
contaminated with manure or eaten. Insects and small vermin are basically brought
in from the outside together with objects or with visitors, or invaded through gaps
in buildings, and may inhabit inside depending on the environment. Depending on
the temperature and relative humidity conditions, the mold attached to the object
will grow and the surface of the object will rot or be stained with secretion. In many
cases, the effect of organisms is the loss or alteration of some part of the object, which
has an extremely large effect on the object in a short period of time, and treatment
measures for it must be extensive.

4.2.1.4 Deterioration and Remedial Conservation

In case of cultural objects that have deteriorated in their materials over time by chem-
ical change, mechanical and biological effects, stabilizing the objects can be done
by strengthening, reinforcing and filling the materials that comprise the objects.
In one respect, in the case of aging deterioration of not materials but structure of
objects, stability is achieved by partial treatment. By strengthening and reinforcing
the materials and structure, as was first mentioned above, there is “full-scale treat-
ment” and for partial treatment of the structure there is “preventive treatment”. In
addition, preliminary treatment done before full-scale treatment is called “alternate
4.2 Roles of Preventive Treatment and Full-Scale Treatment 107

Table 4.1 Treatment process

Preliminary examination and conservation Recording of condition of objects before and
reports after treatment
Dismantlement Separation of each section of objects included in
previously repaired areas
Cleaning Elimination of dirt and removing of coating
Joinery and assembly Rejoining of dismantled sections
Mending of deformation Correct deformation with light pressure or
tension
Consolidation Reinforcing brittle materials by such as
impregnation and backing (lining)
Molding and supplemental filling Filling lost sections with different materials to
align the form, or reform the deformed sections
of the original
Inpainting Coloring of the surface(s) of supplemented
sections and harmonizing those sections with the
rest of the object
Storing Methods for storing objects upon completion of
treatment

treatment”. Preventive treatment differs from not only emergency treatment but also
preliminary treatment, and because of this, the objective of preventive treatment
is stabilizing objects for considerable time which is one of the independent treat-
ment methods. Preventive treatment is daily maintenance, and alternate treatment is
preliminary treatment for full-scale treatment, which is the final measure to stabilize
objects. The process of full-scale treatment is “preliminary examination”, “disman-
tlement”, “cleaning”, “joining”, “assembly”, “strengthening”, “forming”, “supple-
menting through filling”, “retouching color”, “storage”, and “reporting”, whereas
the process of preventive treatment does not usually involve “dismantlement”,
“assembly” and “storage” (Table 4.1).

4.2.2 Preventive Treatment and Full-Scale Treatment

4.2.2.1 Minimum Measures

Remedial conservation is often expressed as “restoration”, and is a word that conveys

the similar meaning as “repair”. Various defects appearing through aging deteriora-
tion are stabilized by treatment, which allows safe handling of objects. In order to
stabilize brittle objects, various treatment materials are added to objects that include
Japanese paper added to linings, and impregnation by use of synthetic resins etc.
In addition and at the same time, wrinkles are stretched by treatment and tears are
joined in modifying the form of objects. Currently, the term “invasive” treatment is
108 4 Deterioration and Remedial Conservation

sometimes applied to the treatment of objects. In place of the expression “restora-

tion” indicative of treatment has come the use of the term “invasive treatment”. The
position of this meaning is that invasiveness is to be limited to the extent possible
in seeking to preserve and maintain the original form of the object. This approach
only comes into play by providing an appropriate environment for preserving objects
through preventive conservation. This kind of combined thinking for both preventive
conservation and remedial conservation is actually progressing in modern museums.
Rather than carrying out highly invasive measures to objects which deteriora-
tion has seriously advanced, the approach to achieve inhibiting of deterioration by
providing the necessary, minimal measures is becoming the basis for today’s remedial
conservation. Without the approach of returning objects to their original condition or
form, this term is clearly a concept for stabilizing objects in their current condition.

4.2.2.2 Reversibility

For repetitive treatment, previously used materials and techniques in past treat-
ments must fundamentally be allowed to be excluded. This temperament is called
“reversibility”. If material do not possess reversible property and techniques is not
reversible manner in repeated treatment, new treatment covers over old one, leaving
the objects further from their original. In addition, in attempting to exclude old repair
without having reversibility results in damage to the original. It is possible to verify
historically to what extent traditional techniques and materials show reversibility,
however, often the case is that it is difficult to verify the new industrial products and
current techniques for which the period of use is short. In the event of using such
materials and techniques which reversibility have not been verified yet, desiring an
extremely serious attitude is necessary.
In Japan, there is a long-standing profession that specializes in mounting tech-
niques for Japanese mounted artworks such as scrolls and books. It is still inherited
as a profession, and there is a tradition that they also performs remedial treatment
to the Japanese and East Asian mounted art works. Since the mounting technology
has originally a reversibility, it meets the requirements for conservation of cultural
objects. Raw Japanese lacquer becomes to be stiff and irreversible against solvents
when it will dry. However, Japanese lacquer is often used for the remedial treatment
of lacquer wares. The treatment of cultural objects of lacquer products is carried out
by lacquer craftsmen who have high technology and are familiar with materials and
structures. At present, raw lacquer is used for treatments in a limited manner because
there is no alternative material to lacquer that has the same texture as lacquer and
has reversibility.

4.2.2.3 Preventive Treatment

The purpose of remedial conservation is to solve problem of cultural objects, and to

make long-term, safe handling and housing of objects possible. Concretely showing
4.2 Roles of Preventive Treatment and Full-Scale Treatment 109

how much time is long term is not clear, but generally is considered to be 100 years.
Treatment done in this kind of time interval, is called full-scale treatment. With the
passing of 100 years, the aging deterioration further progresses for materials and
structures comprising objects. Also, deterioration resulting over time also for previ-
ously treated locations means that repeating full-scale treatment becomes necessary.
In this way, the time for conducting full-scale treatment is at the time anyone can
look clearly with their eyes and see the deterioration of the objects.
Previously in Japan, it was recommended to think it unnecessary to provide
measures to deteriorated objects to the extent possible until the time of full-scale
treatment. Full-scale treatment itself is a major, large-scale operation with the finan-
cial burden great for the owner and because high skill is sought by conservators
and technicians, plans and operation are to proceed with great care and seriousness.
Accordingly, it has been considered that any remedial treatment for objects should be
done at the time of full-scale treatment as the opportunity of just a brief moment to be
safe and effective. In following with this kind of thinking, objects are to continue to
be utilized until degraded and after deterioration has progress extremely, are remedial
measures performed.
Against this way of thinking, in recent years, the efficacy of preventive treatment
has come to be acknowledged. By providing minimal measures in an appropriate
period from the perspective of daily management of objects, the progress of deterio-
ration is limited with the approach of extending the time until full-scale treatment. In
particular, deterioration resulting from mechanical effects of peeling, cracking, split-
ting, and loss of materials of the parts, with the inevitableness of further frictional
damage and/or loss of deteriorating parts by displaying objects, it is necessary to
stabilize the objects through preventive treatment. Preventive treatment means that
it possible to extend the safety of objects by about 10 years by minimal measures.
There also exists an advantageous cost-related aspect to preventive treatment.
For example, when taking measures for an archive in which much insect damage
has resulted in multiple holes, adding on supplemental conservation paper to insect
damaged sections from the edge sections of the archive that are easy to touch by
hand when handling the archive is a minimal measure. By leaving the insect-damage
in the center of the archive unless it affects the handling, both time and cost can
be minimized in limiting the extent of the locations for treatment. Depending on
the content, preventive treatment on average costs is approximately 10,000 yen (100
U.S. dollars) per object.

4.2.2.4 Quality of Life (QOL)

The average life expectancy of human beings is the amount of survival, which is
“how many years to live”, and in recent years, the idea of “healthy life expectancy”
is important, considering the quality of life (QOL) of “how to live independently
and in good health”. If nothing is done until the condition of the object requires
full-scale treatment, the object will continue to deteriorate during that time. If the
object just before the full-scale treatment, which has been extremely damaged, is
110 4 Deterioration and Remedial Conservation

exhibited, the patina created by the passage of time will be hidden in the damage,
and the degradation will be noticeable and it will be difficult for the viewer to accept
its true value. For example, in the case of a hanging scroll with a delicate expression,
by treating peelings, creases and wrinkles to stabilize the object in advance, visitors
will be able to appreciate it without being overwhelmed by the damage. The higher
the level of conservation, the richer the visitor will be able to perceive the true value
of the object. This is the meaning of QOL for cultural objects. Preventive treatment
contributes to the stabilization of the condition and at the same time adjusts the
condition of the object. The level of QOL changes greatly depending on the way of
thinking of conservation management.

4.2.2.5 Alternate Treatment

Preventive treatment is a method for managing deterioration for which mechanical

effects appeared over time. Treatment done once is aimed to ensure stability for
over 10 years. Alternate treatment is either an emergency or temporary measure for
preserving objects during the short term until execution of full-scale treatment. The
content of measures for alternate treatment must be selected with the aim to prevent
obstacles during execution of full-scale treatment.

4.2.2.6 Full-Scale Treatment

Full-scale treatment indicates fundamental and ultimate measure executed at a rate

of nearly one time every 100 years. During the passing of time between 100 and
200 years, execution of full-scale treatment is not avoided. After dismantling mate-
rials comprising the objects to achieve stability of original sections, full-scale treat-
ment involves major treatments for putting it back together again while replacing
old repair to new conservation materials. Accordingly, full-scale treatment involves
measures for executing sufficient consideration and preparation with bringing the
form changes before and after treatment into perspective. Normally, a period of
between one and three years is required for full-scale treatment of hanging scrolls,
folding screens, and wooden statues. For archeological earthen wares a period of
between six months and one year is required. The cost of such treatment varies from
several hundreds of thousands of yen (several thousands of U.S. dollars) to as much
or more than several 10,000,000 yen (several 100, 000 U.S. dollars). The treatment
may significantly change the form of the object drastically, so it is necessary to thor-
oughly consider the measures before the treatment and obtain the consent of the
relevant parties before starting the work. At the same time, it is important to select a
conservator who has the appropriate skill level for the content of the measures and
the object to be treated.
During treatment, curators receive a suitable elapse report from the conservators,
and the curators, by actual viewing of objects on site, confirm measures that match
the policies of treatment. Conservators and curators need to work together to achieve
4.2 Roles of Preventive Treatment and Full-Scale Treatment 111

high quality treatment. It is important especially to judge with deep caution for color,
form and parts relating to handling after treatment.

4.2.2.7 Gapfilling of Loss Area and Inpainting

Gapfilling and overpainting of former repair does not necessarily follow modern
conservation principles. Rather, such old former repair was done often with the
thinking that follows “not allowing the damage be known” and “reproduce icons”.
It is necessary to summarize a policy beforehand for full-scale treatment concerning
gapfilling and inpainting for newly providing treatment. Also it is necessary to make
clear how treatment of this time manage for this kind of former repair. In newly
performed treatment, areas of gapfilling and inpainting should be recognized by
means of adjusting the materials for them, the textures of surfaces and the methods
for inpainting. However, both long-term stability and reversibility must be guaran-
teed always. To avoid indistinguishing the original material from the material for
treatment, it is a general rule to use different quality of material for gapfilling and
inpainting. For example, loss of paint in oil paintings is filled with calcium carbonate
and the surface is provided with inpainting of acrylic paints or water colors. Epoxy
resin is often used for gapfilling of earthenware and ceramics. By making the condi-
tion of the treated surface to resemble the original by inpainting, distinguishing
between treated sections and the original becomes difficult. As long as the objects
are those of a museum’s collection, objectives of gapfilling and inpainting are not
concealment of locations of treatment. At the least, objects are to be respected in
their present condition.

4.2.2.8 Traditional Materials

In current techniques and materials used for remedial conservation, traditional way
of thinking and materials still take up an important position. Compared to industrially
manufactured chemical materials traditional materials have a much longer history of
use and have stability that history verifies. Important materials used in treatment are
glue, Japanese lacquer, funori (glue made from seaweed), wheat starch, and Japanese
paper. Despite chemical materials appearing to be superior in terms of strength and
cost, with an objective of maintaining stability over a long term spanning 100 years in
particular, chemical materials far superior to traditional materials are few. Of course,
certain chemical materials worth trusting do exist, and such chemical materials are
similar to traditional materials in that they are used to maintain stability of objects
over a long period of time.
112 4 Deterioration and Remedial Conservation

4.2.2.9 Conservation of Designated Cultural Objects

In cases that conservation measure are to be taken for cultural objects obligated to
receive special protection from national or local government agencies, such being
nationally designated and prefecture-designated, it is necessary for an owner or a
custodian to contact with the cultural properties committee of the local government
at first. In the case of nationally designated objects, the Agency of Cultural Affairs
of the Ministry of Education is contacted through prefectural cultural properties
committees. Deliberation then progresses between an owner and the governmental
agency. Between owners who manage objects and government agencies that direct
and guide about conservation of objects administratively, agreements are formed for
such concerns concretely for the first time as the timing of treatment, contents of
the measures, and required cost. Deliberation with the government authorities is a
necessary item that includes any among preventive treatment, alternate treatment,
and full-scale treatment. Accordingly, with the premise that this takes considerable
time, it is necessary to select the timing to begin considerations about the remedial
conservation. In order to progress swiftly deliberation with the administrative agency,
and also for situations in which subsidies from government agencies are granted for
treatments, it is important to maintain close contact with relevant agencies on a daily
basis.

4.3 Conservation Reports

4.3.1 Reports by Conservators

Conservators in charge of treatments are obligated to report details involved in all

treatments processes. In one file are to be summarized concrete contents of treatments
that include the processes, schedules, materials, cost, and names of conservators in
charge by using writing, images, damage mappings and survey drawings. In the case
of Japan, the majority of conservators involved in remedial conservation are those
belonging to private studios. Styles of report differ by studio and when many types of
reporting styles are submitted, museum side as the owner takes time to read and grasp
the content of reports, and it is easy to overlook the content. Accordingly, for museums
which are involved in treatment spanning over many fields, reporting style would best
be made uniform to the extent possible (Table 4.2). The conservator in charge should
be requested to have reports submitted based on this point. Conservation reports are
carefully stored as fundamental information for objects.
4.3 Conservation Reports 113

Table 4.2 Items required for

Name
conservation report
Registration number
Number of members
Author or excavation site
Production age
Material
Dimensions before treatment
Dimensions after treatment
Outline of the work
Condition before treatment
Treatment specifications
Dismantlement
Cleaning
Joinery and assembly
Consolidation
Molding and supplemental filling
Inpainting
Storing
Condition after repair
New knowledge obtained from treatments
Contractor
Representative
Conservator
Treatment expenses
Treatment period

4.3.2 Reports by Owners and Persons Keeping Objects

Generally, reports submitted by conservators have enormous contents, which are not
suitable for administrative use. For this reason, an abstract is created for submitted
reports, and by compiling such abstracts every fiscal year, it becomes relatively easy
to understand by simple comparison an outline of treatment operations. In cases
where more detailed content is required, it is best to search for the original report.
Within the abstracts, entering of information on the conservators in charge and cost
of whole treatment is to be kept in mind also. This is all the more the case when
public institutions are engaged in remedial conservation.
114 4 Deterioration and Remedial Conservation

4.3.3 Digital Databases

By original reports and abstracts are digitalized, the use of records inside museums as
databases becomes convenient in many aspects. If the circumstance were allowed, it
would best to be able to use such information outside of museums. Basic information
pertaining to actual treatments is advantageous information for young conservators
learning remedial conservation, and those institutions and owners considering treat-
ment in the future. To the extent possible, sharing such information is important.
In addition, by chronologically arranging images which are attached to treatment
reports, to be arranged along with treatment processes, slide shows can be easily
created. Having information in such forms can be useful as educational resources for
specialists and ordinary people.

4.3.4 Recording of Moving Images

It is rare that an opportunity is afforded to record the entire treatment process in

moving images, but such an educational recording would be extremely advantageous.
There is an example of a complete video recording for two years of a national
treasure treatment done at the Tokyo National Museum conservation facility. To
record moving images of parts of the process is not particularly difficult as opposed
to recording an entire process. In particular, moving images of glue being injected at
the time of fixing paint films, applying Japanese lacquer for consolidation of lacquer
wares, and images in the middle of cleaning process are useful images that would
allow accurate understanding of situations.

4.4 Case Examples of Full-Scale Treatment

4.4.1 Archaeological Objects

4.4.1.1 Iron Object

The national treasure “tankou”, or cuirass, excavated at the Edafunayama Tumulus

Mound in Kumamoto Prefecture is a cuirass of the Yokohagi-itakawatoji-style of the
Tumulus Period from the third to the seventh century (Figs. 4.1 and 4.2). The torso
backing oshitsuke plate and the third layer tategami are almost completely intact.
But the first and second layer of the tategami and second plate of the nagakawa are
nearly half lost. All except the hem plate of the left front torso of the front torso
plating is lost. The second layer of the tategami at torso-plating back armpit section
has traces of the four-nail rectangle hinge, and traces of nail tacks remains in on the
4.4 Case Examples of Full-Scale Treatment 115

Fig. 4.1 Before treatment. “Tankou” cuirass (Tokyo National Museum, J-733)

interior surface. Remaining sections of the tojikawa which is binding leather is in a

hardened state due to iron rust.
Sand remains on the surface of the tankou from the time it was excavated. A
kind of paraffin wax substance in a hardened state covers the entire piece. Removal
of this wax substance and remaining sand was the topic for treatment. In addition,
making a stable stand for housing and exhibition was also major objective to provide
116 4 Deterioration and Remedial Conservation

Fig. 4.2 After treatment

stabilization to the piece. The specifications for the treatment are given below (Tokyo
National Museum, 2003a).
1. Examination: Examination and recording of the condition of the piece were
conducted prior to treatment. Chemical analysis had not been done on the wax-
like substance, but was thought to be paraffin wax based on its appearance.
Previously, perhaps before World War II, such wax was said to have been used
to keep deteriorated iron objects.
2. Consolidation: In order to avoid damage during cleaning, the rust attached
remaining sections of the tojikawa were consolidated by impregnating acrylic
resin to the extent of not resulting in a glossy appearance.
3. Cleaning 1: The amount of sand attached to the surfaces was minor, and there
was concern that careless use of an airbrush would result in damaging the surface
of the object. For this reason, removal of sand was begun by brushing the surface
and cleaning was done finally by using an airbrush with fine glass beads.
4. Cleaning 2: Removal of paraffin wax, impregnated into the object for the
purpose of consolidating the object in the past (time unknown), was performed.
Treatment by paraffin did not significantly alters the appearance and the coating
film of paraffin has not been clearly identified. For these reasons, paraffin wax
applied to the object has been judged to be very few. Removal of paraffin wax is
4.4 Case Examples of Full-Scale Treatment 117

done by organic solvents on a brush, whereby the paraffin is gradually dissolved

off.
5. Consolidation: Acrylic resin was applied once to consolidate objects.
6. Storing: By taking the mold of the remaining part and then fitting the newly
manufactured part, a stabilizing stand for housing and exhibitions was made.
7. Reporting: Recording and photographing were done after treatment.

4.4.1.2 Earthenware

“Deep-pot type of earthenware” excavated in the town of Hachioji City in Tokyo

are earthenware of the middle of the Jomon Period (before 5500–4500 years) that
have handles on its rim. With the twisted yarn design of the longitudinal direction
as physiographical feature, there were circular, ellipse and hook-shaped designs on
it (Figs. 4.3 and 4.4). The earthenware lost its half of an original part including
three of four handle on the rim. Gapfilling for the lost part and reproducing of three

Fig. 4.3 Before treatment. Deep-pot type of earthenware (Tokyo National Museum, J-37665)
118 4 Deterioration and Remedial Conservation

Fig. 4.4 After treatment

handle on the rim are principles of treatment. After treatment, with the premise of
gapfilling and inpainting are that they should be identified clearly, and at the same
time, the condition of these places were considered to avoid giving an odd feeling
for the original. By joining together partner fragments of the original, the groove
along the joint surface remains. In order to match these original figure, a groove
was made intentionally between the border of gapfilling and the edge of original and
harmonized with the entire object.
The way of inpainting and condition of the surface of the gapfilling section were
coordinated, according to the character of each object, while it was necessary to make
the treatment clear and no odd feeling in the relationship between the original and
treated sections. The actual way of performing treatment is below (Tokyo National
Museum, 2003b).
4.4 Case Examples of Full-Scale Treatment 119

Fig. 4.5 After dismantlement

1. Examination: Examination and recording of the condition of the piece were

conducted prior to treatment.
2. Dismantlement: Acetone was used to take apart each fragment of objects and
remove old repairs (Fig. 4.5).
3. Cleaning: Including Japanese lacquer, cement, plaster, and paint that were
attached by old former repair were then removed from fragments.
4. Gapfilling: After providing a coating of water soluble animal glue to the
attaching surfaces of the fragments, the surfaces were joined by using epoxy
resin, and lost sections were filled with plaster and resin to complete the form. A
groove was made at the borderline of the original fragments and filled sections
to clarify the treatment parts. The coating of animal glue acts as a stripper in
the future treatment to separate gapfilling sections and original fragments.
5. Inpainting: Various types of clay powders such as Bizen soil, Shigaraki soil,
and mountain soil mixed with an acrylic emulsion were applied on the surfaces
of gapfilling sections. The brightness of inpainting was visually decreased
compared with the original.
6. Reporting: Recording and photographing were done after treatment.
120 4 Deterioration and Remedial Conservation

4.4.2 Art Craft

4.4.2.1 Porcelains

The “Seiji Soukamon pot” is wide-mouthed white porcelain produced at Korea of Lee
Dynasty. The three faces of the body have a grass and flower design which added
by the light-colored blue flower technique. Blue flower is called “sometsuke” in
Japanese. From the end of the seventeenth century to the eighteenth century of the
Lee Dynasty Period, a so-called “Akikusade” pots fired at the Kwangjuyo kiln. With
a soft feeling of the unique glaze and elegant pictures, this is a highly popular blue
flower porcelain that most expresses the artistic awareness that is unique to Korea
(Figs. 4.6 and 4.7). Overpainting of the old repair spans the original parts widely and
through the years has partially changed color. In addition, peeling of overpainting is
progressing.
As an art object, scratches and cracks of the porcelain is disliked by a fancier
of porcelain, and in some cases, there are examples whereby the color is added to
spread widely to cover and completely erase such undesirable damages. The overpaint
changes color by aging deterioration, and because the overpaint does not come to
match the original, the need to remove it, but first it is necessary to examine the
condition of the sections hidden by overpainting. In the case of this object, when the
overpainting was peeled off, cracks and widespread scratches around them appeared.
In the examination prior to the treatment, it is unfortunate that scratches was not
identified, those scratches were kept in this treatment, and have been left as it was.
After removing the overpaint, it may be difficult to deal with it even if the condition
under the overpaint is recognized, therefore it is necessary for sufficient examination
and considerations to be given beforehand (Tokyo National Museum, 2005).
1. Examination: The condition prior to treatment was surveyed and recorded.
2. Dismantlement: Filling parts and overpaint of old former repair were removed.
3. Cleaning: Dirt on the surface and fracture surfaces of original were removed.
4. Gapfilling: Polyester resin was used to reproduce missing areas. It was attached
by using epoxy resin.
5. Inpainting: Color of the gapfilling was matched to the area surrounding by
using pigments, polyester resin, and urethane resin.
6. Reporting: Recording and photographing were done after treatment.
4.4 Case Examples of Full-Scale Treatment 121

Fig. 4.6 Before treatment. “Seiji Soukamon pot” ceramic (Tokyo National Museum, TG-233)
122 4 Deterioration and Remedial Conservation

Fig. 4.7 After treatment

4.4.2.2 Lacquerware

The “budou-risu” (grape and squirrel) mother-of-pearl box of the Ming Dynasty in
China from the sixteenth century is a rectangular medicine box (Figs. 4.8 and 4.10).
The entire box is coated with black lacquer, and outside of the body and the surface of
lid are covered with mother-of-pearl inlay, which are flaking and cupping (Fig. 4.9).
The flaking fragments were placed within the box. Effects from ultra-violet rays
on all lacquered surfaces resulted in being covered with a fine network of cracks
by aging deterioration over the years that is termed “danmon”. Significant dirt had
4.4 Case Examples of Full-Scale Treatment 123

Fig. 4.8 Before treatment. “Budou-risu” (grape and squirrel) mother-of-pearl box, (Tokyo National
Museum, TH-20)

attached to all surfaces of the lacquer film with the beauty of the mother-of-pearl
inlay being lost. Furthermore, overpaint such as former repair of applying colored
lacquer to hide a part of shell resulted in the inlay surface appearing dirty.
The main subjects of treatment in this case were to fix loosed flaks of the mother-
of-pearl inlay, fix loosed flaking of the lacquer film, reinforce the deteriorated lacquer
film, and remove old lacquer applied during old former repair. For the mother-of-
pearl to be fixed by lacquer, because the color of mother-of-pearl changes remarkably
by the cause of diffractive index of the both materials, it is necessary to use glue for
adhesion in this time. A minimum quantity of diluted raw lacquer must be used
to strengthen the deteriorated lacquer film by raw lacquer being infiltrated into the
surface. Removing the lacquer film of old repair which spoils appearance of objects
is performed carefully and no action should be taken for the film in difficult cases.
Treatment was carried out in following above guidelines and the specifications of
the treatment are below (Tokyo National Museum, 2007).
1. Examination: The condition prior to treatment was surveyed and recorded.
Examination was done from the aspects of the base for the lacquer ware, the
ground layer, lacquering film, and decorations on the surface. The distribution
of damage is understood through this previous examination.
2. Reinforcement: The unstable sections of loosed mother-of-pearl inlay were
covered with “ganpi” Japanese paper and wheat starch glue.
3. Dismantlement: The collection label on the backside of the lid was removed
by using pure water, blotting paper and nylon paper.
124 4 Deterioration and Remedial Conservation

Fig. 4.9 Before treatment. Flaking of mother-of-pearl inlay

Fig. 4.10 After treatment

4.4 Case Examples of Full-Scale Treatment 125

4. Cleaning: Dust on the entire surface was removed with a cotton swab and a
cotton cloth with distilled water.
5. Cleaning: The lacquer of old repair covering the original mother-of-pearl inlay
was removed by using a tortoise shell spatula to not damage the inlay. The areas
of old repair lacquer thickly applied were left untouched because it’s too strong
to remove.
6. Reinforcement and cleaning: Unstable flaked inlay pieces were cleaned again
after fixing them.
7. Consolidation: In order to reinforce deteriorated and chalked original lacquer
film, lacquering was done with using diluted lacquer by organic solvents, which
involved only applying the diluted lacquer to the area of the chalked lacquer
film. After leaving it for some time before it has hardened, the surface was
cleaned by the same solvent for complete removal of lacquer remaining on the
surface.
8. Consolidation and fixing: The ground layer of flaked inlay was impregnated
with cowhide glue water solvent and pressure applied to fix the flaked inlay.
After fixing, all remaining glue was removed. A clamp, silicone sheet, thin and
long bamboo sticks called higo and the wooden frame were used to pressure
the loosed inlay.
9. Consolidation and fixing: After proper position of the inlay fragment was
determined, the fragment was then pressure bonded using the same method
and material as in 8.
10. Consolidation: Mugi lacquer past which was produced by kneading wheat
flour with lacquer was diluted with an organic solvent (ligroin) and impregnated
into the crack to consolidate ground layer and wood, and all remaining mugi
lacquer was removed.
11. Consolidation: The unstable lacquer film was impregnated and reinforced
with mugi lacquer diluted by ligroin while being careful to not get any on the
inlay. Extraneous lacquer was completely wiped off. Applying mugi lacquer
to lacquer film was done twice.
12. Consolidation: In order to prevent flacking of the lacquer film once again,
kiwasabi was provided edges of the flack film. This was mainly done in the
interior of the box and in locations of cracks. Kiwasabi is the same ingredient
as the material used in the ground layer.
13. Cleaning: Lacquer and ground layer of old repair covering the inlay were
removed again.
14. Inpainting: Retouches of old repair appearing not to be harmonized with
surroundings was applied by blackish paint that is reversible. The paint for
inpainting was selected from several types of paint used in inpainting of current
treatment. From among these was selected a water soluble acrylic paint that
has the closest texture to lacquer. In the event of application, aligning the gloss
of the inpainting surface was done by slightly mixing acrylic resin emulsion.
15. Assembling: The label removed previously during the repair was reattached
to its original location by using starch glue.
16. Reporting: Organizing data of whole process, a record document was made.
126 4 Deterioration and Remedial Conservation

4.4.2.3 Textiles

An extremely rare object for which it keeps its original form of a garment
called a short-sleeved kimono relatively well preserved is the “Shironeri-nukiji
matsukawabishitake-moyou kosode” which was dyed by the “Tsujigahanazome”
method being characteristic in the Azuchi-Momoyama Period between the 16th to
the seventeenth century. The front and back parts fabric made of nerinuki fabric,
which is a plain fabric woven with raw silk thread as the warp and processed silk
thread as the weft. According to appended archive of the object, in 1610 (Keicho
15), a kyogen performer of Noh play received from the shogunate Tokugawa Ieyasu
this kimono textile. It was designated as an important cultural property because of
having distinct historical background also (Figs. 4.11 and 4.12).
This kimono object was repaired in the past, but thereafter, deterioration
progressed with the appearance of lateral tear, making this object inappropriate for
exhibiting by hanging it over a kimono rack. In this treatment serious judgment was
required concerning to achieve a stable condition, and to what extent the lost original
shape will be reconstructed. The dismantling revealed that many of the damaged
original parts were folded inward and remained. Therefore, as a result of discussions
on whether to use the damaged original to bring it closer to the original shape or to
finish the treatment with the shape before dismantling, it was decided to expose the
damaged original and bring it closer to the original shape. Being an important cultural
property, treatment planning and management of the treatment were executed while
holding consultation with the Agency of Cultural Affairs (Tokyo National Museum,
2013).
1. Examination: The condition was surveyed and photographed before treatment.
2. Consolidation and Dismantlement: Due to the horizontal tear sections
distributing wider area of the fabric, in order to progress with safe disman-
tling operations, a simple woven thin transparent silk cloth is lightly sewed on
the surface of kimono fabric at first. The present lining cloth and inner floss silk
were then removed and the entire outer fabric was dismantled.
3. Consolidation, Assembling, Infilling and Inpainting: Nerinuki cloth similar
to the original kimono fabric was woven newly for lining of deteriorated kimono
fabric in consideration of the closeness of the texture of the original kimono
fabric. The lining cloth was woven in thinner than original nerinuki fabric to
reduce its weight and the flexibility and elasticity were also considered. Consid-
erations were then given to the safe dying of the lining fabric for which acidic
dyestuff as used, and dyed a similar color of the kimono. With the aim of
matching the infilling fabric with the kimono, remaining pattern of the original
sleeve was extended to the infilling fabric by a hand-tinting.
4. Dismantlement: Sewing thread, lining and infilling fabrics used in old repair
were completely removed. It was confirmed that the tailoring was changed
several times from the needle marks in the sewing. It turned out that the damaged
part was woven inside and remained and that the original dimension of the
kimono was larger than the present.
4.4 Case Examples of Full-Scale Treatment 127

Fig. 4.11 Before treatment. Short-sleeved kimono (Tokyo National Museum, I-3865)

5. Mending of deformation: Gore-Tex which is waterproof-breathable material

was placed on the surface of kimono fabric. Filter paper moistened with distilled
water vapor was then placed on Gore-Tex, and while controlling the dampness
of the filter paper, the wrinkles and folds were stretched by putting a weight.
In order to not only protect against shrinkage during the drying process but
also keep the texture of the tie-dyed fabric, the drying speed and the weight for
pressure were adjusted.
6. Consolidation: Thread used for fixing the lining and infilling fabric was
akebono-type, which is type of silkworm, embroidery thread.
128 4 Deterioration and Remedial Conservation

Fig. 4.12 After treatment

7. Assembling: The article of clothing was basically tailored according to the

initial tailoring trace. The infilling close was added to the sleeve which was
aligned with the roundness at the time the kimono was originally tailored. In the
old tailoring repair, the edges of migoro, front main panel, okumi, front inside
panel, eri, collar, and fuki, turned-back hem were all cut so that the original
tailored overall height of length was difficult to determine from what materials
exist. Therefore tailoring was done fundamentally following the former tailoring
trace concerning the length. New inner floss silk was made according to newly
tailored size. The Old inner floss silk was kept separately in a box. The original
inner lining cloth was returned to use.
4.4 Case Examples of Full-Scale Treatment 129

8. Storage: Migoro was not folded but the sleeves were folded for storage in a
neutral paper box. A futon was made matching the width and length of kimono
to lighten the burden on folding sections.
9. Reporting: Organizing data of whole process, a record document was made.

4.4.3 Sculpture

4.4.3.1 Wooden Sculpture

The Senjukannnonnbosatsu, thousand armed Avalokiteshwara Sitting Statue as

placed with 11 masks to the head (one facet lost), having 42 arms, and is colored in
gold, kindei-nuri is wooden carved statue manufactured by Yosegitukuri, a method of
constructing a statue by assembling pieces of wood. From the structure and expres-
sion, this object is thought to be that of Inpa school, a set of Buddhist image maker,
being active in the mid-14 century (Figs. 4.13 and 4.14).
The mask of Bouakudaishoumen in the middle of the head, some fingertips, and
most of the jimotsu, statue’s belongings held in the hands, are missing, but the others
which are thought to be original are preserved. However, the figure was harmed
as a whole by aging deteriorations such as contaminated surface, slackness and
deformation of connected areas, unstable metal halo. In addition, some of the head
masks and the 42 arms are moved from initial positions which is considered to be
from old repair at a later time.
The objectives of treatment in this time are to clean the contaminated surfaces as
far as the coloring paint is not affected, to return the parts to their original positions,
and to assure the securement of joint of each part in aiming to stabilize the entire
statue (Tokyo National Museum, 2014).
1. Examination: The condition was surveyed and photographed before treat-
ment.
2. Cleaning: Dust on the surface was removed by dry method.
3. Dismantlement, Cleaning, Joining: Cleaning each part after separating the
loosed joints, these were joined by using both mugi-urushi lacquer and epoxy
resin adhesive (Fig. 4.15).
4. Consolidation, Inpainting: The flaked gold painted sections were fixed using
acrylic resin emulsion adhesive, and a minimum inpainting was performed.
5. Dismantlement, Cleaning, Gapfilling: Masks on the head which placed
incorrect position were repositioned in correct order after cleaning. The lost
bakuakudaishomen was not newly supplemented. Splitting damage and partial
loss of the masks were filled with kokuso lacquer.
6. Mending of deformation: The halo of the top Buddha mask on the head was
adjusted into original form and attached.
7. Consolidation: Iron tacks fixing Motodori, bundle of hair, were changed to
brass tacks. For deteriorated and damaged sections of the Motodori, measures
were taken to impregnate with lacquer.
130 4 Deterioration and Remedial Conservation

Fig. 4.13 Before treatment. Thousand armed Avalokiteshwara sitting statue (Tokyo National
Museum, C-1855)

8. Supplemental filling: The lost part of hair of the upper right ear was newly
supplemented with Japanese cypress.
9. Supplemental filling: Former supplementation by old repair which was not of
the appropriate form was removed and new supplemental fillings were added
with using Japanese cypress.
10. Dismantlement, Cleaning, Supplemental filling, Inpainting: After
removing and cleaning the left thigh, it was attached and joined by using
both mugi lacquer and epoxy resin adhesives, and inpainting and retouching
were added to discolored areas. Small splitting and loss damage sections of
the backwards bottom of statue were supplemented with Japanese cypress.
11. Dismantlement, Gapfilling, Inpainting: After removing mending paper
supplemented in old repair at the backwards of joined section of the right
4.4 Case Examples of Full-Scale Treatment 131

Fig. 4.14 After treatment

132 4 Deterioration and Remedial Conservation

Fig. 4.15 After dismantlement

thigh and cracked sections of the right front abdominal side, area of loss was
filled with kokuso lacquer and inpainting was added.
12. Dismantlement, Gapfilling, Inpainting: After removing mending paper
supplemented in former repair at the joining sections of the trunk section
legs, and mosaki, the hem of the clothing, area of loss was filled with kokuso
lacquer and inpainting was added.
13. Dismantlement, Cleaning, Joining, Inpainting: After each joined arms such
as gashoute and hohatsute removed and cleaned, mugi lacquer and epoxy resin
adhesives were used to rejoin the parts. The flacked gold paint was fixed by
emulsion of acrylic resin adhesive, and inpainting was added.
14. Dismantlement, Cleaning, Joining: The wooden boards to attach Wakishu,
side arms, were cleaned after removing the wakishu and rejoined them with
mugi lacquer and epoxy resin adhesives. The lost sections at the fingertips
were not supplemented. Nichirin and Getsurin, statue’s belongings held in the
hands, were cleaned.
15. Dismantlement, Cleaning: The later supplemented treasure crown made in
gilt bronze which was nailed to the celestial crown was removed and stored
separately. The beads decoration of the celestial crown, left and right combs,
4.4 Case Examples of Full-Scale Treatment 133

and suikantai, decoration for the head, were cleaned. The ribbon decoration at
the top section was kept as it was.
16. Dismantlement, Cleaning, Assembling: The breast decoration was removed
and cleaned. The lost part of the decoration were left in their current condition,
and the decoration was fixed with the copper wire on the breast.
17. Inpainting: The consolidating and gapfilling were added antique looking color
as inpainting and a conservation memorial wooden plate was nailed to the
bottom of the pedestal.
18. Reporting: Organizing data of whole process, a record document was made.

4.4.3.2 Stone Sculpture

The Sekhmet Goddess Statue was made around the 18th dynasty at the beginning of
the B.C. 16th to fourteenth century, and is a stone carved statue of black granite said
to have been excavated in Thebbes, Egypt. The statue is one of two such statues of
the same size and almost the same form and of the same black granite. This statue
has the head of a lion and is the figure of a woman sitting against the back of a chair.
Both hands are positioned on the thigh and in the left hand is grasping an “Ank”
representing the symbol of life (Figs. 4.16 and 4.17).
The statue was separated into two sections because of a split running from the
waist to the lower knee. There was no record of how it was glued to the two large
split sections of the waist, and it was not possible to judge its contents from the
appearance. Cement replication moldings of the original parts were added in former
repair and the appearance was poor with unsophisticated skill. The measures for
supplemental fillings were to hold the form in an emergency. Loss and damage can
be seen, including the right arm, and also the chair and pedestal, for which cement
was used to supplement and repair but its deterioration was significant. In addition,
the upper and lower sections of the statue are joined with a slight shift to the right,
but the misalignment was corrected by the use of cement (Tokyo National Museum,
2002a).
X-ray radiography was adopted to identify old joining and lost parts of the
abdomen area. The result was confirmed with clearly iron nails of approximately
5 cm in length in formerly repaired sections of the left arm. Based on the surveying,
joining by the old repair was separated then rejoined, and all old repair supplemented
sections were removed and it was decided not to be done gapfilling.
1. Examination: X-ray radiography was taken and as a result, no an axle tree for
joining the upper and lower body was used. Nails and screws were used to join
the right arm and fingers, and cement was used to secure reinforcement.
2. Dismantlement: A pallet to move and handle the exceedingly large and heavy
sculpture was made.
3. Dismantlement: The upper and lower sections were separated with pulling up
the upper part by a portable crane.
4. Dismantlement: Old repair sections were removed including nails and cement.
5. Assembling: A test was conducted for joining the upper and lower sections.
134 4 Deterioration and Remedial Conservation

Fig. 4.16 Before treatment. Sekhmet Goddess Statue (Tokyo National Museum, TC-422)
4.4 Case Examples of Full-Scale Treatment 135

Fig. 4.17 After treatment

136 4 Deterioration and Remedial Conservation

6. Consolidation: A stainless steel board for reinforcement and stabilization was

prepared matched to the shape of the bottom of pedestal and attached to the
bottom by using epoxy resin adhesive.
7. Assembling: Making of a stainless steel axle tree and holes for the axle tree,
the upper and lower sections were joined by using epoxy resin adhesive.
8. Cleaning: Cleaning of the surface was done using distilled water adding
just a little surfactant. Finally, oily dirt was removed by using acetone and
concurrently water vaporization was allows.
9. Gapfilling: The nail holes filled with stone powder mixed with epoxy resin
which was provided when the holes for the axle tree were pierced.
10. Reporting: Organizing data of whole process, a record document was made.

4.4.4 Painting

4.4.4.1 Hanging Scroll

The “Shakarokusozou”, six leaders of Buddha, is a hanging scroll painted on silk from
the Kamakura Period in the thirteenth century. This work shows Buddha in the center
and he is surrounded by six leaders such as Kajoudaishi, Kouzoudaishi, Jionndashi
and Tendaidaishi who have deep connections to ancient Nara city (Figs. 4.18 and
4.19). The silk was significantly folded and there were visible tears and losses, as
well as mold and dirt traces. The mounting was damaged throughout and missing
sections existed. As a result of preliminary examination, loss of the silk as a painting
support was significant, and inpainting was recognized on infilled silk. Infilling silk
was adhered to the loss of silk support largely from the back as a result layering
section of the silk was pushed out, and friction and damage had progressed. From
considerations upon the examination, the icon of the later infilling had harmed the
authenticity of the object, and thus it was decided to remove all previous infilling
and simple colored infilling silk that harmonize with the entire object was added as
a replacement. Treatment of old infilling and inpainting was an important subject of
this treatment (Tokyo National Museum, 2002b).
1. Examination: The condition was surveyed and photographed before treat-
ment.
2. Dismantlement: The mounting surrounding the painting was removed from
the painting support.
3. Consolidation: Flaking of the paints were fixed by 20% animal glue water
solution until the paints fixed on the silk.
4. Consolidation: The painting surface was protected with rayon paper and kouzo
paper using funori, see weed glue, to care the paint during removal of the old
lining.
5. Dismantlement: Using minimum water, the lining paper was removed in small
area sections little by little.
6. Dismantlement: Old infilling silk was all removed (Fig. 4.20).
4.4 Case Examples of Full-Scale Treatment 137

Fig. 4.18 Before treatment. Hanging scroll of six leaders of Buddha (Tokyo National Museum,
A-24)

7. Infilling: Artificially deteriorated similar silk fabric irradiated an electron beam

was used to infill the lost sections of the painting support.
8. Consolidation: A new first lining layer, hadaura, was applied using wheat
starch glue and mulberry paper which was tinted slightly with pigment.
138 4 Deterioration and Remedial Conservation

Fig. 4.19 After treatment

4.4 Case Examples of Full-Scale Treatment 139

Fig. 4.20 After treatment. Assembled old infillings on the old mount
140 4 Deterioration and Remedial Conservation

9. Consolidation: The second lining layer, mashiura, was applied using aged
wheat starch glue and Japanese paper, misugami.
10. Consolidation: For folds in the support silk, thin strip of usuminoshi was
applied on the second lining layer with starch glue along the folds, which is
called Orebuse.
11. Consolidation: The third lining layer, called the second mashiura, was applied
with aged wheat starch and misugami.
12. Consolidation: Old mounting cloths were all replaced by new ones. The new
mounting cloth was lined by usuminogami and wheat starch glue, then further
lining was applied with misugami and aged wheat starch glue.
13. Assembling: The new mounting cloth was cut into pieces, and were pasted to
the silk support with fresh glue.
14. Consolidation: Lining was made twice with aged wheat glue and misugami
on the entire back surface.
15. Consolidation, Assembling: Further, the final lining was made with aged
wheat starch glue, uamaki silk and udagami on the entire back surface.
16. Mending of deformation: Whole mounting was dried and stretched suffi-
ciently.
17. Assembling: Shaft caps called Jikushu, a shaft called Jiku, and a mounting
wood stick called Hasso were reused.
18. Storage: The mounted painting was rolled in a paulownia futomakisoejiku
which can rolls scrolls relaxedly and then wrapped in a plain ‘habutae’ silk
cloth. In order to house the painting, a paulownia medicine-container style
inner box and paulownia black lacquer medicine-container style outer box,
and a protective covering made of neutral paper and cloth was made. Kouita,
a lid of old storage box with writings by ink, was kept into the bottom of the
new storage box.
19. Reporting: Organizing data of whole process, a record document was made.

4.4.4.2 Folding Screen

National Treasure “Cypress Tree”, single eight-panels folding screen (1590) by Kano
Etoku expresses a powerful drawing of a giant cypress tree extending into a deep
mountain valley with a background of gold and gold clouds. Since there are traces
of pull handles of sliding screens in the painting and there are parts that are not
continuous iconography on the folding screen for every two panels, it was originally
4 sliding screens and they were seemed to be refurbished into the folding screen of
eight panels (Figs. 4.21 and 4.22). The entire painting had many stains and aging
deteriorations, and the color of the pigment was dull due to the deterioration of
glue and dust, making it difficult to receive the original expression. The paper had
tears, loses, and wrinkles, and the paint had flaking, cleavage, lifting, and scratching
(Fig. 4.23). Infilling paper was applied to the missing, torn, and traces of pull handles
on the paper, and overpaints were found in the paint loses. For conservation, the
folding screen is dismantled, and full-scale treatments is carried out with some of
4.4 Case Examples of Full-Scale Treatment 141

Fig. 4.21 Before treatment. Single eight-panels folding screen “Cypress Tree” (Tokyo National
Museum, A-1069)

Fig. 4.22 After treatment

the infillings and inpaintings from the old repairs are preserved. The form after full
scale treatment will be changed to a pair of 4-panels folding screen in order to restore
the continuity of iconography of the painting (Kamba et al., 2015; Tokyo National
Museum (ed.), 2015).
1. Examination: The condition was surveyed and photographed before treat-
ment.
2. Cleaning: Dust and dirt on the surface were removed with a dry soft brush.
3. Consolidation 1: Cowhide glue mixed with funori glue from sea weed was
applied to loosened flakes paints to fix before dismantlement.
4. Dismantlement 1: After removing the metal decoration and a wooden frame
called “osoigi”, each panel were separated. The painting was unfastened from
a under paper layer called “uke” of the base wooden frame of the screen.
5. Mending of deformation 1: The eight pieces of paintings were attached to
“karibari” to adjust.
6. Consolidation 2: Flaky paint considerably was fixed again by cowhide glue
solution. In addition, a 30% ethanol aqueous solution was injected to cleavage
142 4 Deterioration and Remedial Conservation

Fig. 4.23 Before treatment. Flaking of the painting

in places where glue did not easily penetrate. Then thin cowhide glue and
funori mixed solution was applied the loosened flakes and those were pressed
slightly.
7. Consolidation 3: Using funori solution extracted at room temperature, the
surface of painting was protected by both double-layered rayon paper and a
sheet of mulberry paper for facing.
8. Dismantlement 1: Once the facing dried, the lining paper was removed in
small area sections using minimum water little by little.
9. Infilling, Consolidation: Lost areas of the support paper, based on fiber anal-
ysis, was filled with mulberry paper called ganpishi that has the same quality as
the original support paper. Tears were reinforced from the back with mulberry
paper also.
10. Dismantlement 2: Pure water was sprayed on the front of the facing paper,
funori used for the facing was absorbed by the filter paper placed the below
the support paper, then the facing paper was removed leaving one layer.
11. Consolidation 4: On the back surface of the support paper, lining was done
with wheat starch glue and mulberry paper. Then strips of mulberry tissue were
glued to the cracked part of the paper to strengthen it. In addition, the second
lining was done using Calcium carbonate-containing mulberry paper.
12. Dismantlement 3: After lining, the leaving facing paper was removed.
4.4 Case Examples of Full-Scale Treatment 143

13. Mending of deformation 2: The each painting was attached to “karibari” to

adjust.
14. Consolidation 5: Flaky paint considerably was fixed again by cowhide glue
solution.
15. Inpainting: The infilled paper was tinted with water colors of its surrounding.
16. Assembling 1: For the newly made a pair of 4-panels wooden base screen,
using wheat starch glue, five types of eight paper layers were provided as an
under layering, after which hinges were added in assembling the screen.
17. Assembling 2: The back side of the base screen was covered with the newly
made Karakami.
18. Assembling 3: The painting was attached to the front of the new base screen.
19. Assembling 4: For the newly made wooden frame using wheat starch glue.
20. Reporting: Organizing data of whole process, a record document was made.

4.4.5 Ethnographical Object

4.4.5.1 Textiles

“Chiukaukapu” was a piece of garment made of cotton. This clothing was made by
the Ainu people of Hokkaido from the end of the Edo Period to the beginning of the
Meiji Period at late nineteenth century. Using dark blue woven cotton for the torso
top and bottom, and chajishimaori cotton was used at leno weave sleeves, and there
is a pattern of cotton fabric of white and vermillion. Indian cotton fabric which is
for Europe export is used in the part of the torso and waist, and indigo base fabric
used in both armpits. This work is known to have belonged to the leader of Abuta
area named Akashi Wakasuke who was Hokkaido Ainu. The original owner being
recorded and the historical trail being clear, this is also important piece of clothing
in folk history. Since the clothing has never been disassembled and repaired in the
past, it is considered that all the sewing threads and needle holes are in their original
condition (Figs. 4.24 and 4.25).
Damage and loss of shoulder-join of both sleeves is significant and also around the
collar (Fig. 4.26). A horizontal thread of dark color of the sleeves was dyed with iron
mordant, for which this thread is originally chemically unstable and it deteriorates
easily. In addition, the repeated folding and widening of the sleeves impacts the
horizontal threads to become deteriorated, leading to this current condition after
being the object collected at a museum. Repeated folding and unfolding for display
are thought to be a related reason (Tokyo National Museum, 2006).
1. Examination: The condition was surveyed and photographed before treat-
ment.
2. Preparation: A storage box was prepared for storing the cloth and for treat-
ment. The bottom of the box has acid-free paper on which the cloth is to be
spread open so that, the cloth can be moved with the box during treatment.
144 4 Deterioration and Remedial Conservation

Fig. 4.24 Before treatment. A piece of garment made of cotton “Chiukaukapu” (Tokyo National
Museum, K-27890)

3. Cleaning: Deteriorated fibers of the cloth in powder form were attached to the
cloth as dust which was removed from the surface by using a gentle brush and
a light-suction vacuum cleaner. Collected dust was stored in a sample material
bag.
4. Mending of deformation: A moistened gauze was placed on moisture perme-
able and water proof material such as Gore-Tex, they were placed on the top
of cloth and then it was covered by a plastic sheet. When the cloth is slightly
moistened, an acrylic board is placed on it, and a weight is placed on the board
to push the cloth to remove wrinkles.
5. Consolidation: Cotton material for lining was matched to the color of the
sleeve by chemical dyes and dried throughout.
6. Consolidation: After organizing entanglement of the warp with each other at
the sleeve, the dyed cotton fabric for lining was inserted following the leno
weave sleeves and it was temporarily fixed.
7. Consolidation: The lining fabric was fixed by sewing with a very thin polyester
brown thread while aligning one or two strands of the warp.
8. Consolidation: Mylar, a polyester film, was placed beneath the lining fabric
to prevent the bottom cloth from being sewn.
4.4 Case Examples of Full-Scale Treatment 145

Fig. 4.25 After treatment

9. Consolidation: From the perspective of maintaining the initial sewing, the

initial thread was not to be cut. Because of this, the seam of sleeve was made
to be sewn to the lining fabric.
10. Consolidation: As preventive measure for degradation of fibers in the future,
the cloth where deterioration is small was sewn to the lining fabric by a ratio
of two to three warps.
11. Consolidation: Fray of the embroidery around the collar fixed with the very
thin beige polyester thread.
12. Mending of deformation: After completing the lining, the clothing was
humidified and formed.
13. Storage: The clothing with folded hem and open sleeves was placed in a box
made of acid-free paper and polyethylene foam.
146 4 Deterioration and Remedial Conservation

Fig. 4.26 Before treatment. Damage and loss of shoulder-join of both sleeves
4.4 Case Examples of Full-Scale Treatment 147

14. Storage: Acid-free cardboard with a cotton tape handle was placed in the
bottom of the box, then the clothing was placed on it.
15. Reporting: Organizing data of whole process, a record document was made.

References

Kamba, N., et al. (2015). Tokusyu Kokuho hinokizu byobu heisei no daisyuri [Special edition of
the conservation of Cypress Trees in Heisei era]. MUSEUM (Bimonthly Academic Journal of the
Tokyo National Museum), 654. Tokyo National Museum.
Tokyo National Museum. (Ed.). (2002a). TC-422 Sekhmet goddess statue. In Tokyo kokuritsu
hakubutsukan bunkazai syuri hokokusyo [Tokyo National Museum annual conservation report]
(Vol. 1, p. 96). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2002b). A-24 Shakarokusozou [Six leaders of Buddha]. In Tokyo
kokuritsu hakubutsukan bunkazai syuri hokokusyo [Tokyo National Museum annual conservation
report] (Vol. 1, p. 18). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2003a). J-733 Tankou (Cuirass). In Tokyo kokuritsu hakubutsukan
bunkazai syuri hokokusyo [Tokyo National Museum annual conservation report] (Vol. 3, p. 210).
Tokyo National Museum.
Tokyo National Museum. (Ed.). (2003b). J-37665 Deep-pot type of earthenware. In Tokyo kokuritsu
hakubutsukan bunkazai syuri hokokusyo [Tokyo National Museum annual conservation report]
(Vol. 3, p. 147). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2005). TG-233 Seiji Soukamon pot. In Tokyo kokuritsu hakubut-
sukan bunkazai syuri hokokusyo [Tokyo National Museum annual conservation report] (Vol. 5,
p. 144). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2006). Chiukaukapu [A piece of garment made of cotton]. Tokyo
kokuritsu hakubutsukan bunkazai syuri hokokusyo [Tokyo National Museum annual conservation
report] (Vol. 6, p. 173). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2007). TH-20 Budou-risu raden bako [Grape and squirrel mother-
of-pearl box]. In Tokyo kokuritsu hakubutsukan bunkazai syuri hokokusyo [Tokyo National
Museum annual conservation report] (Vol. 7, p. 114). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2013). I-3865 Shironeri-nukiji matsukawabishitake-moyou kosode
[Short-sleeved kimono]. In Tokyo kokuritsu hakubutsukan bunkazai syuri hokokusyo [Tokyo
National Museum annual conservation report] (Vol. 23, p. 87). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2014). C-306 Senjukannnonnbosatsu [Thousand armed Aval-
okiteshwara Sitting Statue]. In Tokyo kokuritsu hakubutsukan bunkazai syuri hokokusyo [Tokyo
National Museum annual conservation report] (Vol. 24, p. 58). Tokyo National Museum.
Tokyo National Museum. (Ed.). (2015). Kokuho Hinokizu Byobu heisei no daisyuri no kiroku
[Conservation record of national treasure Hinoki Cypress Screen in Heisei era]. https://www.
youtube.com/watch?v=TqaKiclMAlg
Chapter 5
Environmental Protection and Role
of Museums

5.1 Coexistence with a Decarbonized Society

5.1.1 Global Warming and Regulations

5.1.1.1 Global Trends

In entering the 1990s, global warming was first designated to be a serious issue
for all life on earth, including humans. Although several causes have been consid-
ered, scientists from throughout the world who comprise the “International Panel on
Climate Change”, or IPCC, in their 2001 Third Assessment Report found that the
cause of global warming is due to the human activities. Hereafter, the furthering of
desertification and reduction of glacial fields and floors are among some of the direct
impact of the cause which may also result in further serious impact forecasted such
as on food production, erosion of coastlines, and reductions in living species.
The mechanisms for global warming are considered to be (1) absorption of a part
of infrared-rays by greenhouse gases in the air; (2) heat is radiated to the surface of the
earth; and (3) excessive greenhouse gases result in increases in radiated heat that then
leads to a progression in warming. Provisionally, if there were to be no greenhouse
gases in the atmosphere, it is theorized that the average temperature on the earth’s
surface would be −19 °C. Despite the necessity of greenhouse gases to warm the
earth, too much of such gases would result in harm. Among greenhouse gases that
affect warming are carbon dioxide, methane, nitric monoxide, and fluorocarbons
(CFC, HCFC, HFC, PFC, and SF6). In particular, carbon dioxide due to emissions
from burning fossil fuels are considered to be the greatest cause.
Worldwide efforts to prevent warming include the “Third UN Framework Conven-
tion on Climate Change” (COPS3: Conference of Parties 3 in Kyoto) in 1997 at which
the “Kyoto Protocol” was adopted and came into effect in February 2005. Adoption
of the Kyoto Protocol has set legally binding numerical targets for emissions volume
of greenhouse gases of developed countries, but newly obligating such numerical
targets do not apply for developing countries. Concrete targets set compared to 1990
© Springer Japan KK, part of Springer Nature 2022 149
N. Kamba, Conservation Practices in Museums,
https://doi.org/10.1007/978-4-431-56910-7_5
150 5 Environmental Protection and Role of Museums

were to be minus 6% for Japan, minus 8% for the EU, and minus 6% for Canada,
but the United States in 2001 decided to secede from any obligation to numer-
ical targets. In 2009 at the “15th UN Framework Convention on Climate Change”
(COPS15 in Copenhagen), post-Kyoto Protocol greenhouse gas reduction targets
were newly aimed for, but these targets were not reached, and until 2013, COP16,
COP17, COP18, and COP19 are being held, but no progress has been made in
going forth with agreements. During that time, a temporary Second Commitment
Period was set, but Canada withdrew from the Kyoto Protocol, and Japan and Russia
announced non-participation in the Second Commitment Period. The Paris Agree-
ment, a new international framework for reducing greenhouse gas emissions after
2020, replacing the Kyoto Protocol, was adopted with the participation of all coun-
tries in at the conference of the 21th UN Framework Convention on Climate Change
(COP21) held in Paris in 2015. It came into effect in 2016. The agreement includes
the global average temperature rise within 2 °C compared to before the Industrial
Revolution, efforts to reduce it to 1.5 °C, submission and updating reduction targets
every 5 years including every countries as well as major emitting countries, and not
only funding from developed countries but also the voluntary provision of funds by
developing countries. The Paris Agreement stipulates basic rules for the efforts of
each country after 2020, and detailed rules for implementing them were adopted at
COP24 in 2019.

5.1.1.2 Impact of Global Warming on Museum Activities

Large volumes of greenhouse gases released into the atmosphere by industrial activ-
ities are definitely pushing global warming to continue. Cooperation to reduce emis-
sions of carbon dioxides by countermeasures are sought in various fields. Human
activities, such as use of electric power and burning of fossil fuels, and also natural
disasters such as volcanic eruptions and bush fires are involved in the release of gases
into the atmosphere.
Generally speaking, for museum without many financial resources, securing
investment in new facilities to save energy consumption and sources of revenue
by transactions for CO2 emissions are not easily achieved, therefore a shrinking
of operations seems to be inevitable if the museums try to conserve their energy
consumption seriously. As for the place or project to aim for reduction, it tends to
be easy to select one that is difficult for a third party to see. Reducing running time
of air conditioning systems in storages and exhibition rooms leads to reductions in
use of electricity, gas, and oil, and it is the operations which a visitor is hard to
notice. If anything, museums are easy to choice this kind of operation than reducing
exhibition lightings and opening days. Active efforts to reduce CO2 emissions is the
appropriate direction of aims of museums and it is fact that a new policy for conser-
vation of museum objects is now necessary (Mecklenburg, 2007a, b; ICOM-CC &
IIC, 2014).
5.1 Coexistence with a Decarbonized Society 151

Fig. 5.1 Changes in electricity usage at the Tokyo National Museum

5.1.1.3 Energy-Saving Act in Japan

The “Energy-Saving Act” is officially called the “Act on the Rational Use of Energy”.
This act was established in 1979 and revised in 2008, as a law of the competent
authorities of the Ministry of Economy, Trade, and Industry. This law converts the
annual usage of electricity and heat into crude oil. According to consumption of
crude oil, the facilities using more than 3000k oil annually are defined the first
kind energy management designation factory and the facilities using higher than
1500k defined as the second kind energy management designation factory. The
Tokyo National Museum uses approximately 3100 kiloliters annually. This act is a
law with the purpose to reduce energy use. The annual target for reduction is an annual
average of more than 1% energy consumed per unit, and efforts are required to make
systematic work from a medium- to long-term perspective. Current law obligates
creation, provision, and management standards of mid- to long-term planning sheets
and periodic reporting of entire facility, posting of energy management planning of
promotion, and the person managing the direction of energy at the entire facility.
Electricity consumption at the Tokyo National Museum has temporarily
decreased, but since then it has been increasing due to the following causes: (1)
An increase in events held; (2) loaning facilities were established; (3) night illu-
mination of the facilities began; (4) an increase in regular use of air conditioning
and illumination running time; (5) an increase in summer month temperature; (6)
an increase in special exhibition; and (7) an increase in new repositories. With the
increase in carbon footprint, there is no other way but to buy it (Figs. 5.1 and 5.2).

5.1.1.4 Act on Promotion of Global Warming Countermeasures

This law was established in 1998 on the premise of several points include the
following: The serious effects global warming has on the entire environment of the
152 5 Environmental Protection and Role of Museums

Fig. 5.2 Changes in CO2 emissions at the Tokyo National Museum

earth; assurance of sustainable development of society, the shared concern among

humans for preventing global warming in order to stabilize concentrations of atmo-
spheric greenhouse gases in facing climatic dangers; and the importance of all people
making self-initiated and active efforts for these issues among other reasons.
The objective of the law is achieve control of global warming, and by concrete
policies executed, such as limiting greenhouse gas emissions and establishing a
global warming countermeasure plan, the health and cultural living of citizens
can be assured, and can contribute to the well-being of humans. The definition
of global warming countermeasures comprises the following: limiting greenhouse
gas emissions, conservation and enhancement of the absorbing effects of green-
house gases by forests; and execution of measures with international cooperation for
achieving prevention of global warming. This law defines greenhouse gases as those
provided in government ordinances among carbon dioxide, methane, nitrous oxide,
and hydrofluorocarbons; and those gases provided in government ordinances among
perfluorocarbons, and sulfur hexa-fluoride.
In addition to executing measures, the country, regional public organizations,
companies, and citizens each have clearly provided roles for responsibilities. The
role of the nation are to measure and monitor to grasp the conditions of the ecosystem
and changes in climate, as well as concentration changes in greenhouse gases. Also,
the nation is to establish and execute comprehensive and planned global warming
measures. Regional public organizations are to promote measures based on natural
societal conditions of that region in order to limit emissions volume of greenhouse
gases. Companies must cooperate in executing limitations on emissions of green-
house gases executed by the nation or regional public organizations, and companies
must also work to limit emissions of greenhouse gases. Citizens must cooperate
to execute limiting of global warming greenhouse gases executed by the nation
5.1 Coexistence with a Decarbonized Society 153

and regional public organizations, in addition to working to limit greenhouse gas

emissions in daily living.
In order to promote policy, the government must have a headquarters for promoting
global warming gas countermeasures and provide targets concerning planned periods,
fundamental direction, and limitations of emissions volume pertaining to global
greenhouse gases. Once every three years, considerations shall be added concerning
targets and measures provided in global warming countermeasure plans. For less than
five kinds of emissions volume and also carbon dioxide to be calculation converted
in the Kyoto Protocol, a more than 6% reduction was sought during the period of
2008 and 2012 compared to 1990 as the base year.

5.1.1.5 Tokyo Urban Environment and Protection of the Health

of Citizens Ordinance

The Tokyo “Improve the Urban Environment and Protect the Health of Citizens Ordi-
nance” revised in April of 2010, is a regulation with the aim to reduce carbon dioxide
emissions. The annual use of energy is for corresponding businesses over 1500 k
in calculated conversion crude oil. The Tokyo National Museum, which consumes
3100k annually as of 2014, is applicable. Until 2009, planned countermeasure was
reduction cooperation, but from fiscal year 2010, the system seeking reduction results
(obligatory reductions) was revised. The obligatory reduction volume was sought by
the product of calculation using standard emissions volume, obligatory reduction
rate, and planned period. The standard emissions volume is the average emissions
volume of the past three years, (selection of the average of any three consecutive
fiscal years from 2002 through 2007) with the obligatory reduction rate set at 8%
for office buildings and 6% for factories. The first planned period towards a signifi-
cant reduction conversion is for five years from fiscal year 2010 through 2014, and
the second planned period towards the establishment and deployment of significant
reductions is for five years from 2015 to 2019. The reduction target is forecasted to
be 6% in the first period, 17% in the second period. From 2020, it is set as a period to
promote further reduction by “energy saving” and “expansion of renewable energy
use”, the reduction target is set at 27% by 2024 and 35% by 2029 (Table 5.1).
Provisionally, if standard emissions volume from 2004 to 2006 is the average over
three years, the standard emissions volume is 5463t (tons) for the Tokyo National
Museum, and the obligatory reduction rate is 8%, so the rate within the planned
period over the five years is 2185t, making it necessary to reduce emissions volume
437t per year. If the set reduction volume is not reached, an offset will be sought in
the emissions framework by transactions of carbon dioxide emission volume. In the
event that the obligatory reduction cannot be achieved, the governor will procure the
unachieved volume and the cost will be applied by penalty (Bureau of Environment
of Tokyo Metropolitan Government 2021).
154 5 Environmental Protection and Role of Museums

Table 5.1 Principles of wise power saving formulated by the Tokyo Metropolitan Environment
Bureau. Quoted from the website on climate change on the Tokyo Metropolitan Environment Bureau
website, https://www.kankyo.metro.tokyo.lg.jp/basic/plan/climate/
Basic principles of three principles of wise power saving
1. Eliminate waste and promote “energy-saving measures that can last for a long time” without
difficulty
2. Determine the peak and save power or peak cut when necessary
3. In principle, we will not implement any efforts that impair economic activities or the
liveliness and comfort of the city
Seven principles of wise power saving for business establishments
1. Thoroughly reduce to 1500 lx, eliminate waste, and establish a review of lighting illuminance
2. Use “28 °C at actual room temperature” as a guide, and save electricity well so as not to
exceed it
3. Thorough setting of energy-saving mode for OA equipment
4. Practice with everyone while sharing the effects of “visualization” of electricity
5. Energy saving by improving the efficiency of equipment without affecting the environment
such as the office
6. In principle, we will not implement measures that have a small effect and a heavy burden,
such as stopping elevators
7. Plan in advance for additional efforts to be implemented when the tight supply and demand of
electricity is foretold
Seven principles of wise power saving for home use
1. In summer, thoroughly set the temperature inside the refrigerator to “medium”
2. Thorough setting of energy-saving mode for TV
3. Replace incandescent light bulbs with LEDs or compact fluorescent light bulbs
4. Use an air conditioner or electric fan well so that the temperature does not exceed 28 °C at the
actual room temperature
5. Do not excessively control the use of air conditioners on extremely hot days
6. Practice diligent energy saving of home appliances, etc
7. Refrain from using home appliances with high power consumption around 14:00 on
weekdays. Refrain from using electricity, especially when the tight supply and demand of
electricity is foretold

5.1.2 Efforts and Challenges for Making Reductions

5.1.2.1 Indoor Temperature Based on Seasonal Changes

Tokyo in recent years has been regularly experiencing outside temperatures that
exceed 30 °C during the day in summer months, and often the temperature rises
over 35°C. With indoor temperature settings set to 20 °C, a 15°C difference results
with outside air temperature, which is severely felt by visitors to the museum who
feel cold after entering. In addition, the chances of dew forming at air conditioning
vents and windows increases with the temperature difference. Previously, summer
temperature was set at 22 °C, with 55% humidity applied as a standard, but in
recent years changing the temperature is becoming a concern. For example, the
high glass surfaces surrounding the entrance hall easily form dew repeatedly on
the outside surface of the glass. Such dew formation limits the appearance of the
outside. In such cases, by increasing the temperature and reducing the difference
5.1 Coexistence with a Decarbonized Society 155

between the exterior and interior temperatures to the smallest extent possible allows
a countermeasure against dew formation. In addition, often there is the tendency to
hear from museum visitors of the cold temperature of the exhibit room, for which
increasing the temperature of the exhibit room is becoming necessary. Efforts to
reduce energy consumption by temperature settings in the summer months at the
Tokyo National Museum are next explained.
The environmental district inside of the building of the Horyuji-Temple Treasure
House has an area for an exhibit rooms on the inner side of the service space for
visitors which is located around the entrance and cafeteria areas. Further inside is a
place for the repository. The order to change the setting temperature of each district
in summer season is that the temperature rise progresses from the outside area space
to the inside area, and in the end, the temperature changes in the repository. In July,
the temperature is raised for two weeks from 22 °C to reach 26 °C in the entrance and
cafeteria areas, and then four weeks were spent raising the temperature to 24 °C in the
exhibition area. Beginning in September, temperatures begin to be decreased in each
area and by the end of October, the temperature is returned to 22 °C. Considering that
the air conditioning of the facility runs 24 h a day, thus minor changes in temperature
settings results in more easily achieving energy savings for such minor change.

5.1.2.2 Consensus Forming for Exhibition Environment

Objects received on loan from overseas, especially Europe and North America, often
have display conditions instructing temperature to be set at 20 ± 2 °C at 50–55%
humidity. Previously, display conditions were absolute pertaining to the loaning and
borrowing museums, whereby the museum receiving objects on loan have cooperated
in respecting the standard of the loaning party to the maximum extent. However, as
mentioned above, extreme temperature differences resulting from exhibition room
and outside air with the temperature reaching over 35 °C during summer, special
exhibitions result not only in controlling an extreme environment, but also is a cause
of dew formation within the facilities if the exhibitions held as in the past. In addition,
excessive lowering of museum interior temperature also requires avoidance from the
aspect of controlling the volume of energy used.
In the conventional manner, it was normal for the conservation of cultural objects
not to be associated with trends in the situation of society. In examining an example
from the Tokyo National Museum, recently, sufficient prior discussion occurs with
the loaning museum for these kinds of circumstances and as a matter of course
objects receive special care for handling, but such a gap must be filled. In explaining
sufficiently the climate conditions of Tokyo and accepting of display conditions as the
borrowing museum is concerning relative humidity, case examples are coming forth
that show an understanding by the loaning museum for conditions following, to an
extent, the environment of Tokyo for temperature. Loaning conditions are normally
20 ± 2 °C, however there is an example of the upper limit for interior temperature for
exhibitions during the summer being agreed upon at 24 °C. Setting of environmental
156 5 Environmental Protection and Role of Museums

conditions based on agreement with a heavy emphasis on the aspect of reality will
hereafter gradually become more important.

5.1.2.3 Optimization of Running of Air Conditioning System

The storage in the Heiseikan Building of the Tokyo National Museum is designed
to have a condition of stably maintaining the interior humidity and temperature
for comparatively long periods even when air conditioning stops temporarily. The
storage possesses facilities that are able to limit daily fluctuation, such as abundant
use of a high degree of moisture buffering materials for an interior finishing material
in the storage, a double-layer wall structure of an air space that guarantees insulation
performance and hermeticity, and an ante room for lowering the impact of ambient
air when opening and closing of the storage door.
The storage with its double-layer wall structure, is controlled separately by air
conditioning systems for the air layer and inside space for collections. In order to
achieve small variation in daily fluctuation and extended long term stability within
the storage, and also from the perspective of aiming for energy savings, highly effec-
tive air conditioning must be examined. This includes not only the operation of the
interior of the storage, but also there are considerations for running air conditioning
in the air space and the ante room. Despite air conditioning in the interior of the air
space is effective for stabilizing temperature of the interior of the storage, this grants
comparatively little toward adjusting relative humidity. In one respect, the environ-
ment of the ante room has relatively big impact on the temperature and humidity
of the interior of the repository. By optimizing running of air conditioning for the
interior of the storage, air space, and ante room, while maintaining stabilization of
the environment for objects, it is important to make judgments based on sufficient
considerations and experimentation to achieve energy savings.

5.1.2.4 World Trends

In 2008 at the U.K.-based “International Institute for Conservation of Historic and

Artistic Works” (IIC), a full-scale discussion was launched titled “Climate Change
and Museum Collections” on the influence on cultural objects accompanied by
climate change. There are normally few natural disaster such as heavy rain and
floods in Europe unlike the situation in Asian countries, but their frequency has
recently increases, and it is relatively thought that the influence on the objects reflects
the increasing reality. The increasing situation of floods is surely an international
tendency, and it is surely necessary to build a new system to perform crisis control.
In addition, concerning restraining of carbon footprints, examination begins from the
temperature-humidity management of museum facilities. It is thought that control-
ling discharge of carbon emission by widening a band of conventionally permitted
temperature-humidity fluctuations results in reducing the burden of air conditioning
system. As another effect brought by this, the environmental conditions are more
5.1 Coexistence with a Decarbonized Society 157

relaxed when borrowing an object from an oversea museum, and it is easy to move
objects. However, many museum experts are in a careful manner against planning to
do it and it is a stage of deepening the argument about it at present.

5.2 Preparedness to Natural Disaster

5.2.1 Rescue Operation of Cultural Heritages

5.2.1.1 From the Great Hanshin-Awaji Earthquake to the Great East

Japan Earthquake

From the experience of the Great Hanshin-Awaji Earthquake that occurred on January
17th, 1995, the word and concept of cultural heritages rescue operation was born for
the first time in Japan. Cultural heritages rescue operation consists of an expert going
to facilities that store many precious cultural object, including museum, temples,
shrines, individual’s house etc. and moves the properties to a safer place, and put the
correct measures in order to preserve them. In societies where universities, national
organizations for arts and science and private conservators responded to an appeal
of the Agency for Cultural Affairs, both participated in playing a key role, and the
cultural heritages rescue committee started. The secretariat was placed in as Tokyo
National Research Institute of Cultural Properties (the name at the time).
When the rescue activities were completed, the academic society played a central
role in holding study groups and symposiums, and then conducting examinations and
inspections from various angles. Various activities were developed likewise after the
Niigata Chuetsu Earthquake on October 23rd, 2004. These steady activities promoted
a big driving force to support the organization of a larger-scale cultural heritages
rescue committee after the Great East Japan Earthquake on March 11th, 2011.

5.2.1.2 Operation for Salvaging Cultural Heritages Affected

by the 2011 Earthquake off the Pacific Coast of Tohoku

(1) The Scale of Disaster

The size of the main quake that occurred at 14:46 on March 11 recorded a moment
magnitude of 9.0, which was extremely big compared to other recent earthquakes.
For instance, the 1995 Southern Hyogo Prefecture Earthquake (Great Hanshin Earth-
quake) was M7.3 (Table 5.2), the Mid Niigata Prefecture Earthquake in 2004 was
M6.8, and the Hokkaido Eastern Iburi Earthquake (2018) was M6.7. The seismic
intensity calculated by Japan Meteorological Agency in each affected region was 7
in northern Miyagi Prefecture which is upper limit of the intensity, intensity 6 upper
in the southern and central Miyagi Prefecture, the Nakadori and Hamadori areas in
158 5 Environmental Protection and Role of Museums

Table 5.2 Comparison between the Great Hanshin-Awaji earthquake and the Great East Japan
earthquake
Great Hanshin-Awaji earthquake Great East Japan earthquake
Time of occurrence 17 January, 1995 a.m. 5:46 11 March, 2011 p.m. 2:46
Magnitude 7.3 9
Earthquake type Local earthquake Subduction zone earthquake
Disaster area Urban area Agriculture, forestry and
fisheries area
Seismic intensity 6 or Hyogo prefecture Eight prefectures such as
higher Iwate, Miyagi, Fukushima,
Tochigi, Ibaraki, Gunma,
Saitama, Chiba prefecture
Tsunami There is a report of a tsunami of Observed large tsunamis in
several tens of centimeters, no various places (maximum
damage wave: Soma 9.3 m or more,
Miyako 8.5 m or more,
Ofunato 8.0 m or more)
Characteristics of damage The collapse of the building. A The great tsunami caused
large-scale fire broke out mainly enormous damage along the
in Nagata Ward coast and destroyed many areas
Dead and missing 6,434 dead, 3 missing (as of May 19,689 dead (including
19, 2006) disaster-related deaths), 2,563
missing (as of March 1, 2019)
Housing damage (total 104,906 121,995 (as of March 1, 2019)
destruction)
Burnt/flooded area About 63 ha 56,100 ha
Total damage 9.9 trillion yen 16.9 trillion yen
Disaster waste 14.3 million tons 22.5 million tons

Fukushima Prefecture, northern and southern Ibaraki Prefecture, and northern and
southern Tochigi Prefecture.
The massive tsunami that occurred right after the main quake reached 40.1 m
run-up height, the highest ever, in Ryori Bay in Ofunato City, Iwate Prefecture. The
tsunami reached approximately 20 m inundation height in the coastal area of Rikuzen-
takata City, Iwate Prefecture. The area flooded by tsunami was, in total, 561 square
kilometers. Compared to the 1995 Great Hanshin earthquake, the Great East Japan
earthquake affected multiple municipalities and the damage caused by the tsunami
was severe. The most significant difference is the leakage of radioactive materials due
to the accident in the TEPCO Fukushima Daiichi Nuclear Power Plant. On April 22,
2011, the government declared the Restricted Area, Deliberate Evacuation Area, and
Evacuation-Prepared Area in case of Emergency, according to the distance from the
nuclear power plant and the annual radiation dose. The Evacuation-Prepared Area
in case of Emergency was relieved on September 30, 2011. Cultural facilities in the
restricted area were left untouched until temporarily entry to the area was allowed.
5.2 Preparedness to Natural Disaster 159

(2) Damage to the Cultural Heritages

According to a statistical report from the Agency for Cultural Affairs issued in March
2012, the number of affected cultural facilities were 19 in Iwate Prefecture, 39 in
Miyagi Prefecture, 42 in Fukushima Prefecture, and 42 in Ibaraki Prefecture. The
history and art museums as well as other facilities with cultural properties were 15
in Iwate Prefecture, 37 in Miyagi Prefecture, and 18 in Fukushima Prefecture. There
were 5 facilities located in the Restricted Area in Fukushima Prefecture, where access
was restricted for a long period of time (Kamba, 2012).
According to the report by the Agency for Cultural Affairs, as of March 2012,
a total of 744 nationally designated cultural heritages were damaged in 19 prefec-
tures, which included 5 national treasures, 160 important cultural heritages, 6 special
historic sites, 90 historic sites, 5 special places of scenic beauty, 17 places of scenic
beauty, 16 natural monuments, 6 important preservation districts for groups of tradi-
tional buildings, 4 important tangible folk cultural heritages, and 445 other designated
cultural heritages. Among non-designated cultural heritages, approximately 500,000
items were rescued in Iwate Prefecture among which 460,000 were from museums
in Rikuzentakata City (Fig. 5.3). Approximately 19,000 items were saved in Miyagi
Prefecture under the rescue program lead by Agency for Cultural Affairs.
(3) Rescue, Treatment and Revive
A Cultural heritages Rescue Project The primary rescue to move the affected
cultural objects from the affected areas to the safe temporary storage facilities was

Fig. 5.3 Damage situation at Rikuzentakata Municipal Museum, Iwate Pref. in 21 April 2011.
Source The figure is provided by the Rikuzentakata Municipal Museum
160 5 Environmental Protection and Role of Museums

done in two ways: one was done using the regional cooperation-type support by
the network of museums within a prefecture and the nearby areas, and the other
one was the Project for the Rescue of Cultural Properties Damaged by the Tohoku-
Pacific Ocean Earthquake, a broader cross-regional cooperation-type support led by
the Agency for Cultural Affairs and expert organizations throughout the country
(Fig. 5.4). The Agency for Cultural Affairs led the rescue project focusing on the
movable cultural heritages regardless of the national or prefectural designations.
The budget for the two-year (2011 and 2012) project was 58,413,000 JPY, which
was funded by the Foundation for Cultural Heritage and Art Research, the contact
agency of donations and charities. The 2011 budget from the Agency for Cultural
Affairs entrusted to this organization was 28,899,000 JPY, which was used to send
experts to the disaster areas. The damage-status surveys of the buildings as well
as the technical support for emergency measures and restoration of the buildings
were covered by the Project for the Rescue of Cultural Properties Damaged by the
Tohoku-Pacific Ocean Earthquake. The Japanese Association of Museums and other
organizations requested the history and art museums to provide professional support,
and headquarter of rescue committee sent the experts to the area their profession is
needed in the Cultural Heritages Rescue Project (Fig. 5.5). In total, 6,811 people
participated in the project from a diverse range of organizations and institutions
throughout the country (Committee for salvaging cultural properties 2012, 2013).

The Operation Carriers

The national Petition for cooperation Foundation for Public Interest

Cultural Affairs The Foundation of the Protection of the Cultural
Heritage and the Promotion of the Artistic Research
Contributions
Agency
Independent Administrative Donations
Entity
Cooperation
The National Cultural Heritage Assistance
Organization
petition
The Rescue Committee for the Damaged
Cultural Heritage
Cooperation
(Secretariat: Tokyo National Research
Organizations related to Cultural Institute of Cultural Properties
Cooperation Heritage and Art
petition General Incorporated Association The Society of Cultural Heritage Conservation and Man power
Restoration / The Japanese Society of Cultural Heritage Science
Independent Administrative Entity The National Art Museum Local municipalities
Independent Administrative Entity The National Science Museum/The National Council (In response to the actual
of Scientific Museums situation, cooperation by local
The Corporation of the University Sharing Organizations The Organization of the Local Main Office prefectural education committees
Cultural Research of the Human Being
The National Diet Library and local main offices
The Japanese Museums Association Foundation /The National Art Museums Conference
The National Coordinating Council of the Organizations for the Conservation and the
Use of Historical Materials
The National Conference of the Museum Science Seminars of Universities
Staff Call
The Cultural Heritage Rescue Network

Aids petition Staff

Prefectural Education Committees Rescue field force Owners
On-Site
Aomori/Iwate/Miyagi/Fukushima/Ibaraki/Other prefectures

Cooperation Prefectural Education Staff dispatch Temporary storage

Committees of all prefectures
Cooperation petition
Museums

Fig. 5.4 Project of Salvaging Cultural Properties Affected by the 2011 Earthquake off the Pacific
Coast of Tohoku and Related Disasters. Quoted from Regarding The Rescue Operations of the
Damaged Cultural Heritage by the East Japan Earthquake (Cultural Heritage Rescue) (31 March
2011)
5.2 Preparedness to Natural Disaster 161

Fig. 5.5 Rescue operation at Ishinomaki Cultural Center, Miyagi Pref. in 17 May 2011

The Damaged Museum Revive Project The majority of the damaged cultural
objects rescued to the temporary storage facilities still needed preservation treat-
ment like cleaning for preventing further deterioration. Since it was difficult to store
the damaged objects in the regular storage of the museum with other collections,
buildings like abandoned schools were used for the temporary storing of the objects.
Therefore, the immediate maintenance of the storage environment was necessary.
Along with such immediate responses to the situation, the full-scale treatment after
cleaning of an extensive amount of damaged objects needed to be conducted system-
ically. To conduct these objectives sustainably for a long period of time, the Agency
for Cultural Affairs launched the Affected Museum Revive Project and funded the
conservation of objects in the affected prefectures from 2012 to 2020. This was a part
of the government’s “Basic Guidelines in response to the Great East Japan Earth-
quake,” which aimed to preserve damaged objects of museums, secure the temporary
storage for the objects that have been given temporary measures, and to reconstruct
the damaged museums. The Japanese government spends 100% on project subsidies.
Museum Support Projects by the Agency for Cultural Affairs The Agency
for Cultural Affairs conducts several projects to support the museum’s activities to
utilize local cultural heritages, promote tourism, strengthen multilingual publicities,
international exchange, community outreach, and the cultivation of human resources.
This section focuses on the “Project to build the preservation and restoration tech-
niques for the cultural objects damaged by the tsunami and the network of expert
162 5 Environmental Protection and Role of Museums

organizations” funded by the Agency for Cultural Affairs since 2014. This project is
coordinated by the “Committee for the project to build the preservation and conser-
vation technics for the cultural objects damaged by the tsunami and the network of
expert organizations” organized by the Iwate Prefectural Museum. The committee
seeks to share (1) institutional network necessary for the rescue of cultural heritages
and (2) technologies, knowledge, and experiences of conservation and preserva-
tion methods of the damaged heritages in Rikuzentakata City Museum as a sample
case (Multi-organizational cooperative project for stabilization of tsunami-damaged
cultural assets 2014, 2021). To achieve the objectives the committee conducted (1)
exhibitions of the damaged objects that have been processed, (b) workshops to share
the conservation techniques as well as establish these techniques, (c) symposiums,
and (d) publishing guidebooks to inform the masses.
(4) Unprecedented Challenge
Radioactive Pollution Due to the radioactive materials spread by the incident in
TEPCO’s Fukushima Daiichi Nuclear Power Plant, access to the surrounding area
was strictly controlled according to the radiation dose. The cultural facilities inside
the Restricted Area were left without staff and electricity. The radiation level inside
the facility of Futaba History and Folk Art Center, for instance, was reported to be
below 0.2 µSv/h according to the inspection by the Agency for Cultural Affairs
in December 2011. Reports from other towns also showed similar radiation levels
within museums. Regarding International Commission on Radiological Protection
(ICRP), the radiation dose that is the exposure limit for one year in normal times, the
dose limit for the public is 1 mSv per year, 0.19 µSv when converted per hour. While
it cannot be said that the dose is safe, it was fortunate for the primary rescue that the
radiation level of inside the facility remained relatively low compared to the outside.
The rescue was conducted under the strict rule to limit the worker’s accumulated dose
below 1 mSv/y and stop the work if the radiation level inside the facility exceeded 2.5
µSv/h. The radiation dose of rescued objects was also calculated, and only the ones
below 1300 cps were moved from the Restricted Area. Accordingly, approximately
6,000 objects from Futaba History and Folk Culture Center, Tomioka History and
Folk Culture Center, and Okuma Folk Culture Center were moved to the former High
School in Fukushima, and then to the two dedicated temporary storage facilities at
Fukushima Cultural Property Center, Shirakawa city.
Support from the Self Defense Force The rescue operation of cultural objects
at the Rikuzentakata City Museum was extremely difficult due to the devastating
damage to the facility by massive amount of sludge, dirt and debris, including houses
and cars that flowed inside the building. The Ground Self-Defense Force investigating
the body cleaned up the debris in the museum, which eventually supported the rescue
of cultural properties. While it was not done through a formal request from local
governments to the Self-Defense Force, it can be counted as the first case of Self-
Defense Forces helping rescue heritages (Fig. 5.6). In addition, the Great East Japan
Earthquake was the first case in which the guidelines included securing personal
belongings that had no monetary value such as spirit tablet and photo albums that
have value to individual property owner.
5.2 Preparedness to Natural Disaster 163

Fig. 5.6 Rescue operation at Rikuzentakata City Museum, Iwate Pref. in 26 April 2011. Source
The figure is provided by the Rikuzentakata Municipal Museum

Stabilizing Treatment Several types of degradation is caused by seawater such

as tsunamis and storm surges. Despite the low temperature, an average of below 10
degrees Celsius at the time of disaster, damaged old archives moved from Rikuzen-
takata Library to Iwate Prefectural Museum were not only damaged by mud and
sand, but they also released foul odor due to the generation of fungus. To prevent
rapid deterioration of paper-based cultural properties like old archives damaged by
seawater immersion, it is necessary to apply treatments, including the removal of
marine sludge that includes chemical material, sterilization of fungus and bacteria
in the sewage water, desalination of salt in the seawater, and the defatting of grease
contained in the frozen fish drained from the fishing ports (Fig. 5.7). Water-cleansing
is the easiest and most efficient method to remove marine sludge, bacteria, salt, and
fat, and this method works the best for old archives written on washi paper using
carbon ink among the targeted cultural objects. However, the simple water-cleansing
can be difficult depending on the material and the technique applied to the objects.
For instance, applying water-cleansing to oil paintings and water-color paintings
requires various measures since it more likely causes the peeling and flaking of paint
layers in oil paintings and the solution of paint in watercolor and other paintings
using dye, pigment, and gallnut ink. However, the methodology has not been fully
confirmed today. While it is possible to partially remove these elements using the
dry cleaning method, temporary sterile fumigation, and control degradation by cold
164 5 Environmental Protection and Role of Museums

Deterioration
Deteriorating phenomenon Factor
category
Earthquake
Damage by fall
Tsunami Physical
Deformation by sudden deterioration
Tsunami
environmental change
Mold growth by sea water Biological
Tsunami
damage deterioration
Alteration by organic and
inorganic chemical substances Chemical
Tsunami
such as chlorides contained in deterioration
the sea water

Fig. 5.7 Deterioration and its cause of rescued cultural heritages. Source The figure is provided by
the Iwate Prefectural Museum, Iwate Pref.

storage, contaminant such as salt, fat, and sludge need to be removed to a safe level
so that the damaged objects can be put back to the regular storage environment of the
museums. Stabilization is a process that prevents the rapid deterioration of the objects
and returns them to the regular storage environment. Several stabilization techniques
that were tried for the first time at the Great East Japan Earthquake needed to be
applied before full-scale remedial treatment of the damaged cultural objects, and
thus still require further development (Fig. 5.8).

Fig. 5.8 Flow chart of rescue operation. Source The figure is provided by the Iwate Prefectural
Museum, Iwate Pref
5.2 Preparedness to Natural Disaster 165

(5) Contribution of “MLA”s

Although there are still many problems for conservation of damaged objects in the
Great East Japan Earthquake in 2011, there is no doubt that quicker, more effective
and wider support was provided than in the Great Hanshin-Awaji Earthquake in
1995. This fact was supported by the experience gained from the Great Hanshin-
Awaji Earthquake and subsequent earthquakes and disasters, and the support from
organizations in a very wide range of fields, and also procurement of necessary funds
became large. The contribution of experts from museums (M: Museum), libraries (L:
Library) and archives (A: Archive) played an important role. The contributions of
these organizations, which were not so significant at the time of the Great Hanshin-
Awaji Earthquake, grew to support the activity in this time.
(6) Challenges in the Future
While reliable documents exist on the number of damaged heritages designated by
the national government or prefecture/city/town/village, it has been very difficult to
fully acquire the official number of damaged non-designated heritages until today. It
is necessary to accurately count the number of damaged heritages and their condi-
tions as well as the total financial damage for demanding the appropriate budget
for preservation and conservation. Post Disaster Needs Assessment (PDNA) has
also become important to continue the post-disaster support without a pause. The
Affected Museum Support Budget, which has played a central role in stabilizing
the damaged objects for proper conservation, is definitely a part of PDNA attempts.
However, among the 460,000 objects rescued in Rikuzentakata, only 270,000 objects
will complete the stabilization treatment by the end of the term in 2020, which means
190,000 items will be left untouched.
In Rikuzentakata, there was a 20-day blank before rescue of damaged objects
began. A similar situation existed in other areas as well. To prevent the physical
damage during the blank period, it is necessary to build a social system that allows
for an immediate response to the case. Unplanned support from the Self-Defense
Forces of Rikuzentakata could be used as a good precedent for building a mechanism
for future large-scale disasters. In 1954, after World War II, 126 countries acceded
the Hague Convention for the Protection of Cultural Heritage in Armed Conflict. It
was drafted for the purpose of protecting the heritages under the war by reflecting
the damages and looting of an enormous amount of heritages that occurred during
WWII. The Blue Shield was set as a symbol to signify cultural sites protected by the
convention, which later became the name of an international organization founded
in 1996 for the purpose of protecting the world’s cultural heritages in the event of
armed conflict or natural disaster. To protect cultural heritages in such conditions,
the support from expert organizations, such as army, is indispensable.
166 5 Environmental Protection and Role of Museums

5.2.2 Stabilization of Damaged Objects by Seawater

5.2.2.1 Improvement of Temporary Storage Environment Right After

Rescue

Regarding the temporary storage of rescued objects, the way of thinking and the
procedure of implementation based on a case conducted in Rikuzentakata City, Iwate
Prefecture are as follows. Damaged objects rescued from the Rikuzentakata Munic-
ipal Museum, the Sea and Shellfish Museum, and the Office of Excavated Cultural
Heritage were transported to the former elementary school, which closed in March
2011 just before the earthquake. It is not easy to secure a place to store damaged
objects, and it is a blessing that there was a closed elementary school in a relatively
convenient and safe place. It is often avoided to accept objects contaminated with
seawater, sludge, and molds into museum facilities such as storage and exhibition
rooms because of concerns about the spread of contamination. Therefore, it is impor-
tant that such temporary storage facilities are assumed and secured during normal
times. However, the closed elementary school was not immediately found, but it was
able to settle down as a final temporary storage place through twists and turns in this
time.
The two-story building of the former elementary school was loaded with various
types of damaged objects that would not have a foothold, and a large amount of
folklore objects were initially stored in the gymnasium along with relief supplies.
The total floor area of the school is 1400 square meters, and more than 200,000
objects were brought into it. Around June of the year, when the temperature rose,
the school had a moldy smell, and a large amount of mold had appeared in docu-
ments, magazines, and wooden folklore objects. In addition, red rust occurred on iron
objects and covered the entire surface. In order to improve the working condition
and storage environment inside the school, a large amount of paper objects that are
rapidly decaying due to mold and bacteria were transported to the market freezer
and temporarily stored in it. After disinfecting and cleaning the space after the paper
objects were moved, steel shelves were set up to organize the objects, and this process
was repeated. Finally, fumigation treatment was applied to objects that might cause
mold or objects that had already developed mold. Thus, the work to improve the
working and temporary storage environment was completed. Paper objects stored in
the freezer will be transported to the school little by little for performing stabilization
such as desalination and disinfection etc.
Paper objects damaged by seawater are difficult to dry due to salt content, so
that propagation of mold and bacteria progresses depending on conditions such as
temperature, thereby causing paper decay. When the cleaning cannot be performed
quickly, the propagation of the mold can be stopped by keeping the paper object
frozen and the deterioration of the paper can be suppressed. The empty space created
by moving some objects to the freezer makes it easier to organize the facilities.
If fumigation is performed on wet objects after the tsunami, there is a danger that
sodium chloride contained in seawater will react with propylene oxide and ethylene
5.2 Preparedness to Natural Disaster 167

oxide, a component of fumigating gas, to form highly toxic carcinogens such as

chlorohydrin.

5.2.2.2 Stabilization Processing

The stabilization processing is to suppress the progress of deterioration by performing

a minimum treatment so that the damaged object does not deteriorate in a short time.
Deterioration factors of the object include: (1) physical deterioration such as collapse
due to earthquake, damage due to overturn, deformation or cracking caused by rapid
drying of the object immersed in seawater, and degradation due to salt deliquescence
and deposition, (2) biological deterioration that causes deterioration and decay of
objects due to mold propagation. It is necessary to remove these factors in the steps
of disinfection, desalination, drying and follow-up.
Stabilization processing for Rikuzentakata city’s cultural objects began in mid-
May 2011, and as of March 2021, would have completed the processing of approxi-
mately 270,000 pieces of object. In the future, the remaining 190,000 pieces will be
subjected to stabilization processing, but the processing for seawater damage objects
is still largely unestablished, and it is expected that trial and error will continue for
the time being. As shown in the diagram showing the flow of rescue activities imple-
mented by the Iwate Prefectural Museum, removal of salts and sludge caused by
the tsunami is a major issue. At the same time, removal of slimy surfaces and odors
caused by decay of the material is an important task. In particular, since the progress
of spoilage needs to be stopped immediately by sterilization and disinfection, a treat-
ment of immersing in 400 ppm sodium hypochlorite (NaClO) for several minutes
is performed. A precaution in using sodium hypochlorite solution is the bleaching
effect on the object. As the color of the surface caused by aging may be bleached, it
is necessary to determine the use of the solution with careful judgment. In principle,
the removal of salts by washing process was continued until the salt concentration
was almost the same as that of tap water. The concentration of sodium hypochlorite
in tap water varies from several ppm to several tens of ppm, depending on the region
(Kamba et al., 2014).

5.2.3 Crisis Management

5.2.3.1 Establishment of Measures to Preserve Cultural Heritage

in Crisis

Traditionally, conservation studies of cultural heritage have been developed with the
aim of suppressing degradation that occur in rather stable museum environments and
social structures. As a result, the ability to deal with new challenges that arise in a
crisis environment is basically insufficient. Today, the preservation, exhibition, and
inheritance of cultural heritage are becoming critical due to the global changes in
168 5 Environmental Protection and Role of Museums

nature and society, such as changes in the natural environment, crustal movements, the
development of globalism, and recent epidemics of infectious diseases. Specifically,
(1) the destruction and loss of cultural heritage caused by the frequent occurrence of
natural disasters, (2) accelerating the deterioration of cultural heritages by tourism,
(3) delays in thinking and responding to the reduction of energy consumption and
conversion to renewable energy, (4) the ever-increasing risk of the dramatic increase
in global transport brought by international exhibitions, (5) deterioration and loss of
traditions due to rapid homogenization of regional characteristics, (6) delay in crisis
response caused by conservation education that lacks awareness of the near future.
As a result, the dangers of deterioration, degradation, and loss of cultural heritage
are beyond imagination. However, at present, they are extremely fragmented and
limited in appearance, so even experts have low awareness of the emerging crisis,
and there are few concrete examples of countermeasures and research examples. It
is necessary to establish a solution by recognizing the current situation and having a
new perspective on the preservation of cultural heritage that is approaching a crisis.

5.2.3.2 Placement of Conservation Experts

Full-time conservators work at museums in the three prefectures of Tohoku that

have been severely damaged by the Great East Japan Earthquake, such as the Iwate
Prefectural Museum, the Tohoku History Museum, and the Fukushima Prefectural
Museum. This is a very rare and lucky case in Japan. The materials, technologies and
human resources for conservation that have been accumulated in these institutions
are very useful in emergencies. Even before the national rescue committee and other
external rescue organizations gave full support, their proper instructions and actions
led to local-led rescue operations. Their presence also makes the subsequent work
more effective during temporary storage and stabilization after rescue. The placement
of full-time conservation specialists at the Prefectural Museum proved to have an
absolute effect on the preservation of cultural heritages in both daily and emergency
situations.

5.2.3.3 Permanent Organization for Rescue

The rescue scene is an extraordinary environment. Even if there are museum staff
who are good at handling cultural objects at the rescue site, there is a limit to what they
can do for all their jobs. In particular, it is dangerous to remove all large and heavy
debris by hand and scoop. In Iwate Prefecture, a large amount of rubble scattered
debris in the museum during rescue has been removed by the Self Defense Force.
Although this event was a coincidence, when considering a large-scale disaster that
will occur in the future, cooperation with such a group of experts will result in a
more effective cultural rescue. In addition, it is necessary to cooperate with a group
of experts to eliminate the risk of injury and illness during rescue activities.
5.2 Preparedness to Natural Disaster 169

Today, climate change due to global warming is causing disasters in various parts
of Japan. In particular, floods and landslides due to heavy rain, and collapse of
buildings due to typhoons frequently occur. In addition, the occurrence of large
earthquakes and tsunamis with epicenters on the sea floor is predicted with consider-
able probability. Disasters that require rescue of cultural objects are not uncommon,
but rather more frequent. In the first place, cultural objects are stored in relatively
safe places in the area, but it should be considered that even such places may be
affected and damaged by changes in the natural environment. This means that there
are frequent opportunities for rescue of cultural objects, which implies the need for a
permanent organization. The Committee for Salvaging Cultural Properties initiated
in response to the devastation wrecked by the 2011 Great East Japan Earthquake,
supported by many organizations such as the National Institutes for Cultural Heritage,
the Japanese Council of Art Museums, and the Japanese Association of Museums, is
a basic model for organizations to consider in the future. The role and expectations
of national museums and art museums in forming such an organization are great.
The establishment of a permanent organization leads to the permanent preparation of
funds for activities in emergencies, and as a result, emergency activities can be carried
out quickly and smoothly. National Task Force for the Cultural Heritage Disaster
Risk Mitigation Network (CH-DRM Net) was established in July 2014 following
the work of the Committee for Salvaging Cultural Properties for the effort to protect
and salvage invaluable cultural heritage. In 2020, Disaster Risk Mitigation Center
was opened, and the headquarters was established at the Nara National Research
Institute for Cultural Properties. The center will carry out the following projects
to tackle disaster mitigation for cultural properties: (1) construction of a regional
disaster mitigation system, (2) establishment of rescue guidelines, (3) technological
development in rescue and storage/exhibition, (4) dissemination, (5) collection and
utilization of international information on cultural property disaster mitigation and
etc.
The Blue Shield is a common name for the mark specified in the Convention on
the Protection of Cultural Properties in the Event of an Armed Conflict according
to The Hague Convention in 1954 to indicate a cultural heritage that should not
be attacked during an armed conflict. It is shaped like a shield consisting of blue
and white. It is also the name of the International Committee of the Blue Shield
(ICBS), which was established to protect cultural heritage from natural disasters
as well as armed conflict. The International Committee of the Blue Shield (ICBS)
has five non-governmental organizations on the protection of cultural heritages: the
International Federation of Library Associations and Institutions (IFLA), the Inter-
national Council on Archives (ICA), the International Council on Monuments and
Sites (ICOM), and the International Monument Ruins Conference (ICOMOS), The
Coordinating Council of Audiovisual Archive Associations (CCAAA). The rescue
committee is composed of four of the five major organizations mentioned above, and
it is indeed timely to consider forming a Blue Shield Japanese National Committee.
The establishment of the National Committee will enable full-scale discussions on
cooperation with the SDF and other professional organizations, and is a necessary
measure for the rescue of cultural heritages in the future.
170 5 Environmental Protection and Role of Museums

5.2.3.4 Stabilization Processing and Full-Scale Remedial Treatment

In the Great East Japan Earthquake, the tsunami caused serious damage to objects,
but floods caused by heavy rain also caused sludge and sewage. Once damaged,
it is necessary to control degradation as soon as possible to avoid catastrophic
damage. Initial treatment aimed at suppressing deterioration, such as temporarily
storing in a freezer or washing with water to remove contaminants, is called stabi-
lization processing. On the other hand, in a full-scale treatment, the object that have
completed the stabilization process is treated for a sufficient time, such as recov-
ering deformation, joining or fixing a broken portion, and cleaning the surface. The
understanding of this stabilization processing itself has been varied by regions and
organizations in the recent disaster. And the concept of performing full-scale treat-
ments after stabilization processing has been clarified for the first time, and it was
understood that rescue requires a more detailed stage.

5.2.3.5 Electric Power Shortage

In the Tokyo metropolitan area, where power shortages are expected in 2011 summer
when temperatures rise due to the nuclear power plant accident caused by the Great
East Japan Earthquake, not only large companies but also private houses are required
to conserve electricity during the daytime when power consumption peaks. Rolling
blackouts were also held for the first time. The Tokyo National Museum had been
obliged by the government to reduce power consumption by 15% compared to last
year during the hours of 9 a.m. to 8 p.m. on weekdays from July 1 to September
22, 2011. Specifically, it was necessary to reduce the contracted power of 2,400 kW
last year to 2,040 kW. Since the indoor environment of all buildings owned by the
museum has been monitored for nearly 20 years and the characteristics of each
building have been understood, it was not difficult to create a program for changing
the air conditioning operation due to power consumption reduction.
All exhibition rooms that were decided to open as usual were air-conditioned
according to the opening hours as usual. Therefore, the office space and the storage
were the places where the power consumption can be reduced during the daytime.
Although we decided to aggressively save electricity in the office space, we made a
careful judgment regarding the storage space. It was confirmed that the temperature
and relative humidity environment of the storage on the basement floor was stable
for a relatively long period of time even when the air conditioning was stopped, when
comparing the both. Since the environment of the storage on the ground floor was
easily affected by the strong radiant heat of sunlight, air conditioning during the day is
essential. On the other hand, since the underground storage is less affected by radiant
heat, the environment can be sufficiently maintained even if the air conditioning
operation in daytime was changed to the operation in nighttime. Although nighttime
air conditioning operation requires extra labor costs, the museum decided that this
method would be the only way to reduce power consumption during the day.
5.2 Preparedness to Natural Disaster 171

5.2.3.6 Epidemic of Infectious Diseases

The new coronavirus infection was caused by the 2019 new coronavirus. The World
Health Organization (WHO) announced on 11th February in 2020 that the new
coronavirus infection will be officially named “COVID-19”. The new coronavirus
is named “SARS-CoV-2” as a sister species of the virus (SARS-CoV) that causes
SARS (Severe Acute Respiratory Syndrome). The pandemic of COVID-19 had a
great impact on social and economic activities around the world. In Japan, on April 7,
2019, the first declaration of a state of emergency was issued and a second declaration
was reissued to Tokyo, Kanagawa, Saitama, and Chiba prefectures on January 7,
2021.
In general, the new coronavirus infection is transmitted by droplet infection or
contact infection. It is said that there is a risk of spreading the infection in a closed
space and in an environment where you talk to many people in a short distance, even
if you do not have symptoms such as coughing or sneezing. The WHO generally
reports that a five-minute conversation will result in 3,000 droplets or flying, which
is about the same as one cough. “Splash infection” means that the virus is released
along with the droplets (sneezing, coughing, brim, etc.) of the infected person, and
the other person inhales the virus through the mouth or nose to become infected.
“Contact infection” is when the infected person holds his/her sneezing or coughing
with his/her hand and then touches the surrounding objects with the virus, the virus
gets on. When someone touches it, the virus attaches to the hand, and touching the
mouth or nose with the hand causes infection from the mucous membrane. The WHO
says the new coronavirus will survive up to 72 h on plastic surfaces and up to 24 h
on cardboard. The most important thing to know about coronavirus on surfaces is
that they can easily be cleaned with common household disinfectants that will kill
the virus (ICOM, 2021).
Canadian Conservation Institute suggests that a longer waiting time than the
known virus stability range, 6–9 days at room temperature, could be used to prevent
unwanted disinfection activities that could damage cultural objects (CCI, 2021).
When it is necessary to move a virus-contaminated good or to open or close a door,
if the target is a cultural object, the method of disinfection must be determined
according to the material. Cleaning and disinfecting surfaces of cultural objects may
have certain restrictions on what products can be safely used. Product ingredients
and methods must be considered while paying attention to the relationship between
materials of cultural objects to be careful and product ingredients may not be used.

References

Bureau of Environment of Tokyo Metropolitan Government. (2021). Climate change & energy.
https://www.kankyo.metro.tokyo.lg.jp/en/climate/index.html
Canadian Conservation Institute. (2021). Caring for heritage collections during the COVID-19
pandemic. https://www.canada.ca/en/conservation-institute/services/conservation-preservat
ion-publications/canadian-conservation-institute-notes/caring-heritage-collections-covid19.htm
l#b8
172 5 Environmental Protection and Role of Museums

Committee for salvaging cultural properties affected by the 2011 earthquake off the pacific coast of
tohoku and related disasters. (Ed.). (2012). 2011 activity report of the committee for salvaging
cultural properties affected by the 2011 earthquake off the pacific coast of Tohoku and related
disasters. Independent Administrative Institution National Institutes for Cultural Heritage.
Committee for salvaging cultural properties affected by the 2011 earthquake off the pacific coast
of tohoku and related disasters. (Ed.) (2013). 2012 activity report of the committee for salvaging
cultural properties affected by the 2011 earthquake off the pacific coast of Tohoku and related
disasters. Independent Administrative Institution National Institutes for Cultural Heritage.
ICOM-CC and IIC. (2014). Environmental guidelines of ICOM-CC and IIC declaration, the IIC
congress in Hong Kong and the ICOM-CC conference in Melbourne, September 2014.
International Council of Museums. (2021). Conservation of museum collections. In ICOM
Recommendations Preventing the Spread of COVID-19. https://icom.museum/en/covid-19/
Kamba, N. (2012). Hakubutsukan ga bunkazairesukyu katsudou ni hatasu yakuwari to tenbo
(Museum’s role and view in the future for rescue activity of a cultural heritage). Rekishitoshi
bosai ronbunshu (Disaster preparedness of historical cities), Institute of Disaster Mitigation for
Urban Cultural Heritage, Ritsumeikan University (Vol. 6, pp. 179–184).
Kamba, N., et al. (2014). Stabilization processing of cultural assets damaged by the tsunami of 11
March 2011. In Preprints of the 17th Triennial Conference of ICOM Committee for Conservation,
Melbourne, 15–19 Sept 2014
Mecklenburg, M. F. (2007a). Determining the acceptable ranges of relative humidity and tempera-
ture in museums and galleries, part 1, structural response to relative humidity. https://repository.
si.edu/bitstream/handle/10088/7056/Mecklenburg-Part1-RH.pdf?isAllowed=y&sequence=1
Mecklenburg, M. F. (2007b) Determining the acceptable ranges of relative humidity and temperature
in museums and galleries, part 2, structural response to temperature. https://repository.si.edu/bit
stream/handle/10088/7055/Mecklenburg-Part2-Temp.pdf?sequence=1&isAllowed=y
Multi-organizational cooperative project for stabilization of tsunami-damaged cultural assets. (Ed.).
(2014). Stabilization processing. Japanese Association of Museum.
Multi-organizational cooperative project for stabilization of tsunami-damaged cultural assets.
(Ed.). (2021). Pictorial records of the stabilization of tsunami-damaged cultural assets. Japanese
Association of Museum. https://www.j-muse.or.jp/en/pages/stabilization.php
Chapter 6
Education and Disseminate

6.1 Disclosure of Conservation Activities

6.1.1 Showing Our Activities

6.1.1.1 Access

Various people, including those involved in studying and viewing, having contact
with cultural objects is called “access”. Specialized institutions related to culture and
art, such as museums and galleries, need to prepare an environment where people can
directly visit the objects themselves, and at the same time have access to intellectual
information about them. Having people be able to enjoy the arts and cultural heritage
is the mission of people involved in such occupational fields to share. For people
having interest in objects, regardless of whether they are a person in the general
public or a specialist, and through having “access” to objects based on the interests
of each person, the meaning of the existence of objects becomes greater.
It is not enough if the museum can play a role just by displaying the collected
objects. If the object is lent to another museum, it is necessary to explain the next
exhibition plan, and if the object is being treated, the contents of the treatment. The
general visitor has various images of the museum. For example, what kind of objects
other than the exhibited objects are kept in a storage, how objects are maintained and
managed, what kind of place is the storage, etc. It is necessary to accurately provide
appropriate information for these various thoughts.
Presenting to the public is not limited only to exhibiting objects, but involves
explaining lucidly to the general public all preservation activities for inheritance of
museum objects. A solid explanation is important not only for enthusiasts and profes-
sionals, but also for those who have never set foot in the museum. By showing how
museums handle cultural objects as public heritages, the transparency of museums
will be furthered while also increasing the trust in museums. By enhancing the
transparency of museums, the general public will more easily comprehend what is
a museum and the activities therein so as to further the possibility of broadening
© Springer Japan KK, part of Springer Nature 2022 173
N. Kamba, Conservation Practices in Museums,
https://doi.org/10.1007/978-4-431-56910-7_6
174 6 Education and Disseminate

museum visitor age, as well as broaden the range of professions of those who visit
museums. Disclosure to the public is to introduce the current state of the museum,
and the current state must be able to withstand the disclosure. It’s not hard to find a
reason not to publish, but museums need to overcome it and tell museum’s current
state. The process of overcoming provides a stepping stone for organizing museum
activities and taking the next step. In this way, the mission of the museum is to present
to the public in a broad sense, including exhibitions of objects, and preservation of
objects etc.

6.1.1.2 Exhibiting to the Public

Publicly exhibiting concerning conservation of cultural objects in a museum is not

a particularly new, and previously it was used merely as a means of announcing
to the public the results of remedial treatments and introducing analytical results.
For example, the explanation of remedial treatments to the object of a prominent
artist and also the release of new facts to the public that include techniques and
materials for creating objects that were examined scientifically. These may also
include laboratories of conservation specialists and introductions to the technologies
used in this field. Broadly divided, there are themes of scientific examination themes
and treatment. Regarding content, it may be said there is a tendency to place great
emphasis on newness and the special meaning concerning objects. Therefore, there
are few examples for carefully explaining daily activities. In addition, content that
is limited to individual themes is more common than comprehensive themes. In
addition, it is often a one-time exhibition, and long-term exhibitions are almost
unprecedented in Japan. On the one hand, by looking to foreign countries, permanent
exhibit corners are not an unusual site and in recent years, the numbers of such are
increasing and the content leaning toward a trend of enhancement. As seen until this
point, conservation activities are deeply involved in various museum activities, and
there is no single business in the field of conservation.

6.1.2 Showing to Visitors

6.1.2.1 Introduction of Remedial Conservation

The Tokyo National Museum held a special exhibit in 2000 for the first titled “Reme-
dial Conservation of the Tokyo National Museum Collection—Cultural Objects for
Treatment in 1998 and 1999”. Thereafter, this exhibition has been held regularly in
every year (Fig. 6.1). The exhibition plan was to select 30 objects from each field
from among objects for which full-scale treatment had been completed until the
previous year. This is what the museum had first made the effort as a plan to intro-
duce conservation activities to the public. Within various conservation activities,
remedial treatment requires the greatest outlay in expense, and this plan arose from
6.1 Disclosure of Conservation Activities 175

Fig. 6.1 Venue of the temporary exhibition for conservation

the museum’s responsibility to expose the appearance of the object after treatment
and its processing.
Each object was accompanied by metadata including the name, period, place etc.
and with this were attached by photographs indicating the condition before treatment
and an explanation of it, as well as an outline of the treatment measures. By adding
detailed explanations through a large exhibit panel for the objects, understanding
was further enhanced for visitors. The length of the exhibit was for three weeks in
2002, but from 2003, was extended to six weeks and was aligned to be the same as
other exhibits.
During the exhibition, once a week was held a “gallery talk” whereby having
specialists explain the treatments to the audience, this is serving to deepen under-
standing of conservation of object. In addition, from 2005, the contents pertaining to
objects were also passed out to visitors as an A3 size leaflet folded into three sections.
By regularly holding such exhibitions, conservation activity was well received by
visitors. Holding exhibitions continuously is leading to a positive cycle of being able
to achieve further enhancement of exhibit content.
176 6 Education and Disseminate

6.1.2.2 Back Yard Tour

A plan to show private area of the museum is called “backyard tour”. At the Tokyo
National Museum, given the title “Welcome to the site of storage and treatment”,
this tour was given in conjunction with the “Remedial Conservation of the Tokyo
National Museum Collection” as a special exhibition from 2003. The tour involved
not only simply looking at the work spaces, but allowed visitors to experience an
atmosphere to give them a real sense of actual conservation efforts. Currently, Tokyo
National Museum is receiving 60 people over two days, with two groups of 30, one
group per day into three groups of 10 people in each tour group. These tour groups of
10 people each are going around four sites in turn. The viewing places are permanent
exhibition room of a “Preventive and Remedial Conservation of Tokyo National
Museum” corner, and studio for swords treatment, treatment of Asian paintings and
calligraphies, and X-ray radiography room for example. There are minor changes to
the on-site work, depending on the year and depending on the situation. The museum
education department is taking charge of scheduling adjustments, reception, and the
main execution.
During a tour, there are one professional staff accompany one tour group with
three volunteers to support. A system has been set up to ensure the safety of cultural
properties during the tour. Rules during the tour are explained by the education
department and with an outline explanation from the conservation department for all
conservation activities, preparatory knowledge is provided. The explanations on site
are given by professional staff of the conservation department, and a total of 15 min
for each site is given including time for questions. The total time of the tour is two
hours.
The most important to be cautious about is to not have accidents. There has been
existing a strong sense of resistance in a curatorial department for showing objects
in progress of treatment to the public. Therefore, it is important not only to make
practical measures for a high degree of safety, but also to create a sense of security that
is acceptable for the tour. The occurrence of an accident will lead to the cancellation
of future tour plans. Therefore, a smooth tour by establishing high safety standards
is necessary for visitors to become familiar with conservation activities.

6.1.2.3 Permanent Exhibition of Conservation

The Tokyo National Museum introduced a permanent exhibition room called “Pre-
ventive and Remedial Conservation” to introduce the meaning of conservation, its
role, and activities. The exhibition room was opened in 2007 on January 2nd. The
importance of conservation exhibits was recognized throughout the museum as it
gained a better understanding of the role of conservation in various areas of the
museum. The installation of this exhibition room is a concrete example of reformed
awareness of a museum (Fig. 6.2).
The first stage exhibition was from 2007 to 2010, and the exhibition room had a
monitor to allow visitors to view a slideshow of concrete tasks at the museum. Two
6.1 Disclosure of Conservation Activities 177

Fig. 6.2 Venue of the permanent exhibition for conservation after the second renewal. It has been
revised several times after that

banners served as decoration on the wall and there was a panel on which words of
greeting were printed. On the explanation panel were information regarding dete-
rioration, diagnosis, prevention, remedial treatment, and recording. Display case to
exhibit the actual object to introduce before and after treatment of the object, and there
was also a case for introducing tools and materials used in preventive and remedial
conservation. Considerations were made with the education awareness department
in aiming for easy-to-understand expressions and signs for the exhibits. The large
banners were highly conspicuous to visitors, and expectations were placed on these
for making the opportunity for visitors to come the exhibition. The explanation panel
used as many photographs and figures as possible to limit the number of characters in
order to make the exhibition easier to understand. In the display case were tools such
as tweezers, spatulas, cutting utensils, and brushes and also Japanese washi paper,
animal glues, and paints used as treatments. In the preventive conservation corner
were exhibited the hair thermo-hygrograph, data logger, a miniaturized model of
seismic isolator, and moisture buffering materials. In the slideshow by the monitor
were shown past recorded images organized in chronological order. Using presen-
tation software, a five-minute program was prepared in which treatment procedures
for hanging scrolls and transport procedures for Buddhist statues were introduced.
Without making any new interviews, all slideshows were made using only the records
within the conservation chart. It is important to use the chart data as a material for
presentations for the general public.
The second exhibition terms were from January of 2011 to December of 2013
after a renewal project in December of 2010. What had become clear in the first
term of exhibition was that for visitor concerns of “exhibition content being difficult
to understand” and indicative information such as “visitor’s interest in the field of
178 6 Education and Disseminate

conservation were further increasing”. The renewal was aimed to put a decade of
accumulated conservation experience and information into form to improve exhibits
with clarification of exhibition purpose and also increases in information and efforts
to enhance understanding of the exhibit. The number of characters on the explanation
panel were greatly reduced and were shown in both Japanese and English. In the
corner introducing remedial conservation, the size of cases exhibiting objects was
increased to be able to display several kind of objects, and with changing out of the
exhibit five times in one year. Objects and corresponding kits of treatment tools and
materials can be displayed in conjunction with each other. Display kits were created
for each field so that the exhibitions can be exchanged regularly. Objects were now
easily able to be changing out during switching of exhibits.
In the third term of exhibition, there was a new exhibit from April of 2014.
The point of renewal at that time was to enlarge the display case of preventive
conservation and have more content. The other two aims were to introduce a more
realistic exhibition of remedial conservation, and also incorporate content to allow
visitors to understand the importance of accumulating records of conservation. With
each renewal, effort are made to enhance the exhibition content.

6.2 Conservation Education

6.2.1 Training Specialists

6.2.1.1 Internship Training for University Graduate Students

The Conservation Department of the Tokyo National Museum began a short intern-
ship training from 2007. Given once a year for 10 days, the internship is for enrolled
graduate students who are accepted based on their resumes and interview results. The
number accepted annually are less than five students and because the program runs
in tandem with real conservation activities, this number was considered the limit at
that time.
In their training, trainees learn various daily activities of the department and the
curriculum is formulated to grasp an outline in the 10 days (Table 6.1). Trainees
receive a carefully selected education and trainers are responsible for the 10 days
of instruction. During the internship, interns study the entire clinical conservation
that have been mentioned, but due to time constraints, the content must be wide and
shallow. The internship, rather than being strictly disciplined, is aimed at helping
students properly understand the implications and systems of clinical conservation.
Further developing this program would best allow longer periods, preferably six
months for more realistic and in-depth education and training.
6.2 Conservation Education 179

Table 6.1 Internship

[Overview]
curriculum
Conservation division and clinical conservation overview
lecture (2 h)
Lecture on a transport of large sculpture (2 h)
[Investigation and Diagnosis of Objects]
Inspection of rental/rental items (8 h)
Condition check for loan and borrowing objects
Lecture and tour on scientific research using X-rays (2 h)
Lecture and tour on conservation records (2 h)
[Environmental Investigation Diagnosis and Preventive
Conservation]
Environmental survey of exhibition room and practice of
making conservation records (4 h)
Practice of environmental management for special exhibition
(2 h)
Practical training on preventive conservation (4 h)
Integrated pest management (2 h)
Evaluation of storage, exhibition and transportation
environment (2 h)
[Investigation, Diagnosis and Remedial Conservation of
Objects]
Condition check of objects in exhibition rooms and practice of
making conservation records (4 h)
Lectures and tours on preventive conservation and symptomatic
treatment (4 h)
Lecture and tour on symptomatic treatment and full-scale
treatment (4 h)
Lecture on remedial conservation report (2 h)
[Education and Disseminate]
Tour and lecture on “Permanent Exhibition for Conservation”
in room 17 of the main building (2 h)
Lectures on conservation exhibitions, gallery talks, tours, and
symposiums (2 h)
[Overall Reflection]
Q & A and discussion (4 h)

6.2.1.2 Seminar for Clinical Conservation Specialist

The Tokyo National Museum and the NPO Japan Conservation Project together held
the “Seminar for Clinical Conservation Specialist Level I” from 2008 for conservation
specialists and university students. This seminar was held in the summer and its
purpose was to offer specialists practical training opportunities and offer students
necessary content for delving themselves into highly practical knowledges. In order
to clarify the nature of the practical training, many instructors who are practical
specialists are invited from each field. Over the period of two years, a two-week
educational program per year was held, and about 100 h of training are required to
180 6 Education and Disseminate

Table 6.2 Curriculum of first level training course in seminar for clinical conservation specialist
[Investigation and Diagnosis]
Conservation records and treatment reports as documentation (20 h)
[Introduction to Environmental Conservation]
Environmental conservation related to temperature and relative humidity, air pollution, pests,
exhibition and storage rooms, packaging materials, transportation, and archaeological sites (20 h)
[Basic Remedial Treatment Design]
Specification design of conservation projects for oriental paintings, calligraphy, paper archival
objects, oil paintings, sculptures, lacquer works, textiles, metal works, archaeological objects,
archaeological sites, etc. (30 h)
[Basic Materials for Conservation]
Composition, physical properties, performance, stability, etc. of paper, cloth, adhesives,
pigments, dyes, etc. (20 h)
[Special Lecture]
History of preservation of cultural properties, etc. (10 h)

complete the seminar, in which 30 people participate annually (Table 6.2). Based on
the beneficiary’s payment principle, trainees pay the participation fee and provide
substantial instruction accordingly. Participants will receive a resume of all lectures
in advance, and a complete lecture record will be handed out after completion. The
curriculum consists of lectures, workshops and facility tours.
Concretely, participants learn the following: methods for diagnosis concerning
conditions of objects and their environment; concept of preventive conservation to
improve the environment; methods for remedial conservation learning fundamental
design of treatment for objects; materials used for preventive and remedial conser-
vation and materials comprising objects; and also special lectures for various topics,
such as Law for the Protection of Cultural Heritages and international cooperation
projects for examples.
Participants who complete Level I course can progress on to Level II involving a
high degree of practical training experience. Level II is a program where participants
can experience practical work for about a week at the site of conservation. About
10 people participate the course every year. This is a practical experience of diag-
nosis, preventing, and treatment of folklore objects and manuscripts kept in historic
townhouses near the Tokyo National Museum. While trainees learn the rudiments
of ways to examine and record from specialists, trainees record the condition and
contents of the items kept in the residence. Thereafter, if necessary, measures for
housing may be done; for example, actual experiencing organizing and cleaning of
manuscripts damaged by mold and rats due to being stored in a high humidity envi-
ronment under the floor. The trainees must not change the order of the manuscripts
and must record the positional relationship while taking up the manuscripts from
below the floor and then recording the condition of each manuscript prior to cleaning
and once the procedure for the entire operation of cleaning is decided, commence
6.2 Conservation Education 181

the cleaning. The trainees review continuously each other’s task and proceed while
discussing through these tasks.
From 2012, in cooperating with museum facilities in the Tohoku Region where
the Great East Japan Earthquake occurred, the training for Level II was held on
site in that region. “Rikuzentakada School for level II” opened as practical seminar
for learning with people aiming to recover the museum through treatment for stabi-
lizing damaged objects from the tsunami in the disaster. This is a training aimed at
improving the diagnosis and communication of trainees by actually experiencing the
various disaster-affected cultural objects. By having trainees and instructors perform
on-site work, it is expected that concrete exchanges will be promoted in order to
collaborate with the local community, such as providing technical information to the
affected areas. In this way, by preparing a step-by-step educational program and orga-
nizing the training environment according to these policies, it is expected that they
will acquire a sense of mission, and practical abilities such as skills, and judgment.

6.2.2 Broadening the Importance of Conservation

6.2.2.1 Publications Concerning Conservation

From 2002 to 2004, “Museum Science (vol. 1–3)” was published as a commer-
cial publication on the preservation of cultural heritage by the Tokyo National
Museum, and then “Tokyo National Museum Clinical Conservation—Exhibition
and Conservation Mission was issued”. “Tokyo National Museum Clinical Conser-
vation [Revised Edition]” issued in 2011 and 2013. These are publications intended to
convey the new conservation system being promoted by the Tokyo National Museum
(Tokyo National Museum, 2011, 2013).
For ease of availability, these publications require a fee. Distributing a publication
to only certain parties at no cost does not allow it to reach the people who are most
interested in it. Also, leaflets and pamphlets for distribution are difficult to treat as
academic references and are unlikely to remain on hand in the long run. Therefore,
the method of communicating to society through methods other than exhibitions and
lectures is the use of paid publications available to everyone or the use of media. It is
better to use publications than to use mass media because it is possible to decide the
time, scale, and contents by the voluntary intention of the museum, and it is better
to start with publications in order to organize contents of activities. Of course, it is
necessary to make careful preparations at all times so that it can be taken up by the
mass media.
Through the publications by the Tokyo National Museum for 10 years, the text
organization of “Clinical Conservation” has made great progress, along with the
systematization of methodologies, the unification of terms, and the diffusion of terms.
“Clinical Preservation of Tokyo National Museum [revised edition]” published in
2013 embodies these points.
182 6 Education and Disseminate

6.2.2.2 Utilization of Mass Media

It is difficult to get coverage from the media only by the will of the museum. However,
preparation is not difficult, and frequent contact with journalists, television directors
and magazine writers is possible at the opening reception of the exhibition. It is
important to continue to provide such media with information about the museum’s
efforts on a regular basis. The media themselves decide whether or not to interview,
but if mutual contact builds trust between them, the conservation will be more likely
to receive coverage of television programs, newspapers and magazines. Of course,
in the case of a big discovery or big incident, the mass media jumps in regardless
of such preparations. Just waiting for such an opportunity has little to do with the
media.
As mentioned in Sect. 6.1 of this chapter in “Disclosure of Conservation Activ-
ities”, the museum should focus on the public. Publishing is so important that we
need different methods. One of them is the utilization of mass media. Currently,
conservation personnel have very limited opportunities to contact the media and are
unfamiliar with how to handle the media, which also contributes to the increased
distance between the two. Big events and innovative news are inevitable, but mutual
trust needs to be built so that the mass media can convey the appeal of day-to-day
conservation efforts.

References

Tokyo National Museum. (Ed.). (2011). Clinical conservation of the Tokyo National Museum—the
mission is to support exhibition and preservation. Tokyo National Museum.
Tokyo National Museum. (Ed.). (2013). Clinical conservation of the Tokyo National Museum revised
edition. Tokyo National Museum.