OTSUKAOTSUKAOHMI
OHMI
REPORTREPORTC E R A M I C

A R C H I V E

Repor t on Reproduction of Cultural Proper ties
Otsuka Ohmi Ceramics calls its reproductions of valuable cultural properties, such as paintings and othercultural properties, "Ceramic Archives" by replacing them with "Yakimono".The characteristics of ceramics

make them less susceptible to the environment in which they are displayed, enabling visitors to feel closer tothe paintings and cultural properties.

In this "Report on Reproduction of Cultural Properties," we will introduce the techniques for reproducing

cultural properties and their applications related to the "Ceramic Archive".

■Vivid and wet colors, dampness of the wall surface...
“Memory of the time of discovery”
Simultaneously with the expression of unevenness, we also studied with experts the colors and textures of
the Takamatsuzuka Tumulus murals at the time of their discovery.
What were the colors of the murals 48 years ago?
“The inside of the stone chamber at that time was extremely humid, and it seemed to reflect the light.”“It was as if the murals were sweating.”“The plaster was in good condition i n some areas and bad in others.”
The vividness of the wet colors and the rough look of the plaster...
The experts remembered vividly what the murals looked like at the time of their discovery, almost half acentury later.
Based on the memories of the experts, we made a number of prototypes and held meetings with them toreflect the expressions on the walls that could not be seen (or conveyed) only through data and photographs
in this production.

▲ After many prototypes, the experts compared and discussed in detail and shared their opinions.

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A R C H I V E■ Searching for colors based on "Data" and "Memories" from the time of discovery.
For the production of this project, we were specially provided with the image data of two shots, a full view ofthe women's group and a close up, which were taken by the cooperation of “Benrido” company when themural was first discovered in 1972. While examining the image data in detail, we will correct the scratchedareas on the film. The image data and the newly measured 3D data are then combined, checked for
distortions, and adjusted.
The image is then decomposed into four CMYK (blue, red, yellow, andblack) colors (color decomposition) to create the original data for thetransfer paper. [Photo1] Basically, the coloring of the ceramic paint will
not be known until it is fired. Assuming that the final color will be thesame as the original, we make detailed adjustments by comparing it to a
printed sample of the color tone of the mural painting at the time of its
discovery.
The final color is then silk-screened using special paints for ceramics,and a transfer paper is created. [Photo2]
The transfer paper is then pasted onto a ceramic board that has been▲[Photo 1] Image data is broken down into four
CMYK colors. Color decomposition is performed

fired once to reproduce only the unevenness of the surface. [Photo 3]

while assuming the color tones of the ceramic board ,The ceramic board with the transfer paper applied is fired again toand the original data for the transfer paper is created.

check the degree of color reproduction.
To reproduce colors that cannot be expressed by the transfer paper
alone, the technician further supplements the colors. [Photo 4]“The skirt of the women in red is not all blue, but blue and purple. The
photo doesn't print well, but the ceramic board should reflect that colordifference.” “The yellow color at that time was a lemon yellow. ”“The paints used in those days must not have contained yellow.”
We received valuable opinions that only experts could have known, andwe made many attempts to "reproduce the colors as they were at the time▲[Photo 2] Silkscreen printing using ceramicof the discovery" by making complementary color adjustments. [Photo 5]

paints to make transfer paper.

▲[Photo 3] The transfer paper is pasted onto a▲[Photo 4] The color diﬀerence in the womenʼ s▲[Photo 5] Based on image data, target color

ceramic board that reproduces only theunevenness

skirt, which could not be seen in the print, wasdata, and the opinions of experts, we aim toof the surface. The paper is carefully attached to theexpressed by using complementary colors based

reproduce the colors used when the mural wasceramic board so that the unevenness of the plateon the advice of the experts.

discovered.

and the transfer paper do not shift, and so that thepaper does not tear due to the unevenness of theplate.

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REPORTREPORTC E R A M I C

A R C H I V E“The experts discussed the key points to reproduce the original color and texture of the wall paintings on
ceramic boards, as each of them had a different impression of the wall paintings at different times.
However, it was difficult to reproduce the colors as intended, and if we focused only on reproducing thecolors of the key areas, the overall impression would be lost, so we struggled to reproduce the colors andtextures while maintaining a balance between the whole and the areas." (Employee in charge)■ Asuka Beauties " vividly revived
The resulting ceramic boards were finished with an accuracy of less than 1 mm in unevenness expression,and the experts commented, "It is very vivid. It is very close to the impression I had when I was looking at it.
It's impossible to talk with the real thing while touching it." "Next time, I would like to see the entire mural ona ceramic board."▲ Prototype without correction/▲ The completed replica ceramic board.

Based on the advice of experts, we reproduced the colors when the mural was discovered, in cluding the lemon yellow hue,the color of the Asuka beauties' clothes, the wet color, and the expression of the part icles of plaster and paint.

At the press conference, Dr. Masanori Aoyagi, Director of the Archaeological Institute of Kashihara, said,“ Reproductions on ceramic boards can be preserved in the same condition when they were found, and can also bemade available to the public.” “ For cultural propertiesthat are inevitably subject to deterioration, replacing
them with ceramic boards is a major defensive measure.
The ceramic replicas will have a significant impact on
the history of cultural properties.”
Our ceramic replica received a high evaluation from him.

The replica of the ceramic board was unveiled at a press conference
on March 27, 2020.▶
(Left: Dr. Masanori Aoyagi, Director,
Archaeological Institute of Kashihara, Nara Prefecture;
Right: Eitsugu Osugi, President,
Otsuka Ohmi Ceramics Co.,Ltd)−３−

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A R C H I V E■ New Possibilities Created by Replacing Valuable Cultural Properties withCeramic Boards
In March 2020, under the supervision of the Agency for Cultural Affairs, the restoration of theTakamatsuzuka Tumulus murals was successfully completed thanks to the efforts of restoration technicians
and related personnel.
However, since the original was painted on plaster, which is prone to deterioration, it is difficult to exhibit
the paintings in the permanent collection.
Under such circumstances, the "ceramic boards" reproduced from the "records" preserved 48 years ago andthe "memories" of the experts could also be a valuable presence that conveys the appearance of the mural
paintings at the time of their discovery.
The "Ceramic Archive" not only records the "now" of cultural properties , but also revives their past andcontinues to pass them on to future generations. We see new possibilities for replication using ceramic boards.

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