Training Reporton
Cultural Heritage Protection
Training Course for Researchers in Charge of Cultural Heritage
Protection in Asia and the Pacific 2005 – Nepal –25 October – 19 December 2005, Nara

Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU)

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia / Pacific Cultural Centre for UNESCO (ACCU)
Nara Prefectural Government “Horen” Office Ground Floor
757 Horen-cho, Nara 630-8113 Japan
Phone: +81-(0)742-20-5001
F A X: +81-(0)742-20-5701
E-mail: nara@accu.or.jp
U R L: http://www.nara.accu.or.jp
Printed by MeishinshaⒸ Cultural Heritage Protection Cooperation Office,Asia / Pacific Cultural Centre for UNESCO (ACCU) 2006

Preface
The Cultural Heritage Protection Cooperation Office, Asia/Pacific Cultural Centre for UNESCO(ACCU Nara) was established in 1999 with the cooperation of the Agency for Cultural Affairs,
Nara Prefectural Government and the Munucipal Government of Nara. Since its establishment, the
ACCU Nara Office has worked towards the protection and investigation of cultural properties
through training courses, international conferences, public symposia and database production.
Training courses on the investigation and protection of cultural heritage form an important part ofour activities. These training courses are of two types: group courses of about one month for some
fifteen participants and individual training on particular topics for one or two participants. The
present course was the second type and was held in association with the National ResearchInstitute for Cultural Properties. This time we welcomed one specialist from Nepal.
At the workplace of the participant, i.e., National Museum of Nepal, wooden, paper, textile andother organic materials are on the verge of deterioration due to termite attack and air polution.

Sofar, they have been trying out some traditional methods to conserve them, but they are notexhibiting much efficacy.

Therefore, we have designed this training course to encompass a seriesof practical conservation methods for museum materials, including conservation and restoration
techniques developed and practiced in Japan, management methods of a museum, and therelationship between culural properties and air pollution, with the hope that it can contribute to the
future cultural property protection in Nepal.
Finally, we wish to thank Gango-ji Institute for Research of Cultural Properties, Bijutsu-in,Laboratory for Conservation of National Treasures of Japan, Bunkazai-hozon Co. Ltd., National
Museum of Ethnology, Kyoto Saga University of Arts, Nara University, Tenri Sankokan Museum,
Archaeological Institute of Kashihara, Nara Prefecture and Shinto Fine Co. Ltd.for their assistancewith this training course.

YAMAMOTO Tadanao
Director
Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU),

i

Nara

Contents
Preface
Introduction
1. General Information
2. Programme Schedule

3
5

Ⅱ

Summary of Lectures and Workshops

9

Ⅲ

Participant’s Country Report

29

Ⅳ

Lecturer Papers
1. Leaf Casting41

Ⅰ

Practical Training at Gangoji Institute for Research of Cultural Property

47
2. Preparation of Air Pollutant Arrestor and Extraction of Pollutant- Triethanol Cylindrical Filter Method Laboratory training at Nara University

Ⅴ

Participant’s Final Report

59

Ⅵ

Appendix
1. List of Lecturers, Tutors and Interpreters
2. List of Staff Members, ACCU Nara

69
71

1. General Information
Training Course for Researchers in Charge ofCultural Heritage Protection in Asia and the Pacific 2005
(25 October−19 December 2005, Nara)
1. Organizers
Jointly organized by: Bunkacho (The Agency for Cultural Affairs, Japan), the Asia/Pacific
Cultural Centre for UNESCO (ACCU), and the National Research Institute for Cultural
Properties
2. Date and Venues
Date:
25 October to 19 December, 2005
Venues: Cultural Heritage Protection Cooperation Office, ACCU (ACCU Nara Office);
National Research Institute for Cultural Properties, Nara; Nara National Museum;
Gangoji Institute for Research of Cultural Property; Nara University
3. Objectives of the Training Course
The Cultural Heritage Protection Cooperation Office, Asia/Pacific Cultural Centre for
UNESCO (ACCU Nara Office) was established in August, 1999. The activities of the ACCU
Nara Office cover training for experts, provision of information, and networking for theprotection of tangible, immovable cultural heritage.
The Training Course for Researchers in Charge of Cultural Heritage Protection in Asia andthe Pacific is one of the many programmes that the ACCU Nara Office undertakes every year.
Each year two or three experts from Asia and the Pacific region are invited to Nara and its
vicinity to conduct training at appropriate institutions/organizations under the coordination of the
ACCU Nara Office.
The National Museum of Nepal was founded in 1928 and has been open to the public since1938. It is the oldest and the largest museum in the country, and possesses various ethnographic
collections, such as Nepalese historic relics, natural history collections, portraits, and ethnologic
collections.
Collections in the museum, especially those made of organic materials like wood, paper, or
cloth, have suffered from serious damage by termites and other causes of deterioration (i.e.
temperature/humidity changes). Moreover, additional factors including ultraviolet rays and air
pollution have accelerated the deterioration of artifacts and other cultural properties. Steps havebeen taken towards preserving the collections, however traditional methods used to exterminate
pests and bacteria causing the damage have had limited effect.
In light of the present situation, a training course consisting of a series of workshops andlectures related to the preservation of collections will be conducted. The topics will include thefollowing: preserving and restoring works for cultural properties, museum management, andthe effects of air pollution on cultural properties. All of these issues have been researched andconducted in Japan for many years, and will be implemented with the aim of contributing to thepreservation of Nepalese cultural properties for the future.

3

4. Training Curriculum• Conservation Science for Museum Collections.
- The focus will be on collections made of Stone, Metal, Wood and folk arts.
• Museum Management and Curation of Collections.
• Air Pollution and the Environmental Parameters Required for Long-Term Preservation.
• Practical Training in Conservation Science.

5. Participants
Shobhakar ADHIKARI (Mr.)- Conservator (Chemist), Archaeology Department, National Museum of Nepal
6. Certificate- Each trainee will be awarded a certificate upon the completion of the course.
7. Language- The working language of the course will be English.
8. Expenses- Expenses for participants for the training course shall be borne by ACCU and comprise thefollowing:(1) Travel expenses:
Participants shall be provided an economy-class return air ticket between the international airport
nearest to his residence and Kansai International Airport, and domestic transportation costs / toand from the airports and between the training venues in Japan.
(2) Living expenses:
Participants shall be provided a daily subsistence allowance during the training course from
Monday October 24 to Tuesday 20 December, 2005. Arrangements for accommodations will bemade by the ACCU Nara Office.
9. Correspondence
YAMAMOTO Tadanao (Dr.)
Director
Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU Nara Office)Nara Prefectural Government Horen Office,757 Horen-cho, Nara City 630-8113
Tel: +81-742-20-5001
Fax: +81-742-20-5701
E-mail: nara@accu.or.jp

4

2. Programme ScheduleDay

Lecture23 Sun.

Arrival24 Mon. Orientation
25 Tue

Venue

ACCU

An Introduction to the Conservation Science for Wooden Architecture/
Dendrochronology in Japan and its Application

NRICPN

October

26 Wed. Future Tasks in the Preservation of Cultural Heritage I

ACCU

27 Thu.

Future Tasks in the Preservation of Cultural Heritage II

ACCU

28 Fri.

Introduction of the World Heritage in Nara: Horyu-ji Area

ACCU

29 Sat.
30 Sun.
31 Mon.

Introduction to the Conservation Science and Gangoji Institute for Research of
GIRCP
Cultural Property

1 Tue

Conservation Science for Folk Materials

GIRCP

2 Wed. Conservation Science for Folk Materials (Metal1)

GIRCP

3 Thu.
4 Fri.

Self-Study

5 Sat.
6 Sun.

November

7 Mon. Conservation Science Methods for Folk Materials (Metal 2)

GIRCP

8 Tue

Conservation Science Methods for Folk Materials (Wood 1)

GIRCP

9 Wed. Conservation Science Methods for Folk Materials (Wood 2, Stone1)

GIRCP

10 Thu.

Conservation Science Methods for Folk Materials (Stone2)

GIRCP

11 Fri.

Observation of Storage Conditions and Explanation of Treatment Methods

NME

12 Sat.
13 Sun.
14 Mon. Conservation Science Methods for Organic Materials (Paper 1)

GIRCP

15 TueGIRCP

Conservation Science Methods for Organic Materials (Paper 2)

16 Wed. Treatment of Stone Objects / Lecture on Mineral Pigments

GIRCP

17 Thu.

Treatment of Metal Objects / Radiography

GIRCP

18 Fri.

Observation Tour of Asuka Region

19 Sat.
20 Sun.
21 Mon.
22 TueTraditional Method for Preserving Artifacts (Conservation Treatment of Wooden
Object 1)
Traditional Method for Preserving Artifacts (Conservation Treatment of Wooden
Object 2)

23 Wed.

5

NNM
NNM

24 Thu.

Traditional Method for Preserving Paper Artifacts (Conservation of Paper Objects 1)

NNM

25 Fri.

Traditional Method for Preserving Paper Artifacts (Conservation of Paper Objects 2)

NNM

November

26 Sat.
27 Sun.
28 Mon. Introduction to Management of Artifacts and Filing

AHM

29 TueAHM

Visit: Museum of Kyoto / National Museum of Ethnology (Talk Programme)

30 Wed. Organization and facility of the museum

AHM

1 Thu.

Environment for Storage and Transportation / Practice: takuhon

AHM

2 Fri.

Conservation and Display of Ethnic Collection

TSM

3 Sat.
4 Sun.

December

5 Mon. Introduction to Techniques and Materials for Treatment of Metallic Objects

NU

6 Tue

Conservational Treatment of Metallic Objects (1)NU

7 Wed. Conservational Treatment of Metallic Objects (2)NU

8 Thu.

Conservation Science Methods for Wooden Artifacts

NU

9 Fri.

Conservational Treatment of Metallic Objects (3) /Introduction to Air Pollution Affecting Cultural Heritage

NU

12 Mon. Effects of Air Pollution on Cultural Properties and the Measuring

NU

13 TueAnalysis and Evaluation of Air Pollution Observations (1)NU

14 Wed. Analysis and Evaluation of Air Pollution Observations (2)NU

15 Thu.

Analysis and Evaluation of Air Pollution Observations (3)NU

16 Fri.

Observation of Conservation Lab./Exhibition and Storage of Excavated Artifacts

AIKNP

10 Sat.
11 Sun.

17 Sat.
18 Sun.
ACCU

19 Mon. Submission of Final Report/Closing
20 Tue.

NRICPN
NNM
NU
AHM
NME
TSM
GIRCP
AIKNP

Departure : Nara to Nepal

National Research Institute for Cultural Properties, Nara
Nara National Museum
Nara University
Asuka Historical Museum, National Research Institute for Cultural Properties, Nara
National Museum of Ethnology
Tenri Sankokan Museum
Gangoji Institute for Research of Cultural Property
Archaeological Institute of Kashihara, Nara Prefecture6Summary of Lectures
October 25 (Tue.)
Lecture: An Introduction to the Conservation Science forWooden Architecture<Dr. KAWANOBE / NRICPN>
Lecture: Dendrochronology in Japan and Its Application
Visiting the laboratory ofdendrochronology and observing theequipment for dating<Dr. MITSUTANI / NRICPN>
October 26 (Wed.)
Lecture: Future Tasks in the Preservation of Cultural
Heritage I<Mr. NISHI Kazuhiko, ICCROM / ACCU>
October 27 (Thu.)
Lecture: Future Tasks in the Preservation of Cultural
Heritage I

Joining the discussion on “Futuretasks in the Preservation of Cultural
Heritage”<Mr. NISHI Kazuhiko, ICCROM / ACCU>
October 28 (Fri.)
Visit: Horyuji Temple and Hokiji Temple•

Outline of cultural heritages and cultural properties in
Nara area•

History of Horyuji Temple and explanation of the temple
premise•Discussion on tree types used in the temple•

The participant closely observed the bronze cancer on abowl in the Treasury Hall of Horyuji Temple.

Horyuji: introduction of World
Heritage Sites in Nara Prefecture

October 31 (Mon.)
Lecture: Introduction to Gangoji Institute for Research of
Cultural Property
<Ms.

UEDA

Naomi,

DeputyDirectorofResearch

Department >•History, organization and activities of GIRCP•

Facility tour-

Excavated Metal Laboratory-

Impregnation Laboratory

Facility tour in GIRCP, by Ms. Ueda
Facility tour of GIRCP, by Ms. Ueda

9

Lecture on Safety andManagement at GIRCP

Hygiene-Desalination Laboratory-

Excavated Wood Laboratory-

Experimental Laboratory-

Excavated Earthenware and Terracotta Laboratory-

Carry-in Entrance/Photo Studio/Fumigation Room-

Painted

Cultural

Property

Laboratory<Mr.

YAMAUCHI Akira>•Folk Cultural Property Laboratory

Explanation of the work process in each laboratory <Ms.
UEDA>

•

Lecture on Safety and Hygiene Management at GIRCP<Mr. NAKAYAMA Takeshi, General Affairs Office>-Importance of knowledge in work process andawareness of risks

Visit the headquarter of GIRCP, next
to Gangoji Temple, another World
Heritage site in Nara City-

Hazardous operation involving organic solvent, dust,
X-ray, hoist, electricity, etc.

-

Safety gears and protective clothing-

Prevention of backache by motion, posture andexerciseNovember 1 (Tue.)
Observing wood cubes treated bydifferent preservation methods

Visit: Gangoji Temple, Headquarters of GIRCP<Ms. UEDA >•Courtesy Call on Rev. TSUJIMURA Taizen, chief priest
of Gangoji Temple and Director General of Gangoji
Institute for Research of Cultural Property•

Observation of temporary exhibition “Braided Cords”<Ms. KOBAYASHI Mari>•

Observation of temple premise including an air pollution
monitoring equipment

Facility Tour (Con’d) <Mr. KAWAMOTO Kozo>•

Analytical Appliance Room (electron microscope, energy
dispersive fluorescence X-ray spectrometer, thermal
analyzer, hand-carried microscope, and tension andcompression testing machine)•

Experimental

Laboratory(FTIR,

chromatograph, and gas chromatograph)
Makingpreparation
specimensslides

of

10

GPC,

ion

Lecture: Research on Identification of Tree Types <Ms. INOUE Michiko>•

For testing and development of new conservational treatments•

Tests on 3 cm cubes for fatty acid ester method, PEG method, higher alcohol method, sugar
alcohol method, etc., for a most desirable method foreach tree type.

Practice: Identification of Tree Types <Ms. INOUE
Michiko>•

Make preparation slides of specimens of cross section,
radial section and tangential section from each woodblock.

•

Microscopic observation•

Determination of

Observingpreparation
identifying the wood species

coniferous

and broad-leaf

slides,trees(softwood and hardwood)-

Coniferous trees (Softwood):More developed andcomplex tissue structure-

Broad-leaf tree (Hardwood): Straight and simple
tissue structure
Work process
wooden objects

November 2 (Wed.)
Lecture:Activities

of

Folkloric

Culturalformetallic

andProperty

Laboratory <Ms. ISHII Rika>•

Observation of the works-on-progress and facility (X-ray
room, hoist, desalination chambers, etc.)•

Scope of work of the laboratory•

Treatment upon acceptance-Fumigation with ethylene oxide gas-

CO2 method (user-friendly but not effective on fungi,
duration of two weeks, acceleration of drying,

Observation of the works-on-progresspossibility of discoloration)-

Heat method (used only for wood and textile
materials)-

Refrigeration

method

(not

good

for

leathermaterials)-

Low-oxygen (0.3 % concentration) method-

Vacuum method•

Application of pest repellent agent•

Work process for metallic and wooden objects

11

Removal of rust with brushes

Practice: Treatment of Metal Objects (iron nails for boat)<Ms. ISHII>•

Removal of rust with brushes•

Double brush application of Paraloid B44 (usually at
one-day interval)•

Filling•Drying

Filling of iron nail with epoxy resin

November 7 (Mon.)
Practice: Treatment of Metal Objects <Ms. ISHII>•

Filling of lost areas on iron nails (Con’d)1.

Use epoxy resin mixed with glass microbaloon(without addition of colour).

2.

Using a grinder, grind off the excess until the resin
surface is brought slightly lower than the surface ofthe metal.

There was a fire drill on Nov. 7 at
GRICP and Mr. Adhikari participatedin the event•

Colour touch up with acrylic paint-••Use a lighter shade than the metal.

Application of coating (Paraloid B44 with matting agent)-Caution is required against traces of brush stroke.

-

Acrylic lacquer spray is also applicable.

Application of top coat-

Greaseless lubricant is used to fill all the remaining
pinholes for anti-corrosion effect.

Observation: Desalination of Fishing Gear
Cleaning the wood with brush: thefirst step for the treatment

November 8 (Tue.)
Practice: Treatment of Wooden Blocks (wooden objects
with insect holes and cracks) <Mr. SHIMONO Hijiri>•

Workflow1.

Cleaning/dusting with brushes

2.

Cleaning with cotton cloth immersed in deionizedwater and tightly squeezed (For brittle objects, use
damped cotton swab.)

Filling of insect holes and cracks

3.

Filling of insect holes and cracks-

For insect holes: epoxy resin with glass microbaloon-

For clacks and forming of corners: epoxy resin 6504
(clay type)12

-Weigh the agents (1:1 by weight) and mix the two agents together and knead with hands.

-

It takes one day for the mixture to harden.

4.

Joining and bonding-

Instant adhesive-

Hardening accelerator (Alteco Spray Primer)

5.

Overcoat with a pest repellent and fungicide agent (specially ordered for culturalproperties).

-

Air-dry for 2 weeks.

-

Repeat the treatment every 10 years or so.

6.

Grind excessive filler material away from the wooden piece.

November 9 (Wed.)
Practice: Treatment of Wooden Objects (Con’d) <Ms.
ISHII>•

Color touch up of the filling material with acrylic paint-

Shade should be lighter than that of the wood.

-

Fresh acrylic paint is removable with ethanol. Oncecompletely dried, it is removable with acetone.

Lecture: Treatment of Stone Objects <Mr. AMENOMORI

Explanation of stone treatments

Hisateru>•

Explanation of treatment examples at GRICP-No desalination for stone objects-

Stone hardening resin (OH100) treatment by sprayand brush application. Stop when the surface turns
glittery and no more solution is absorbed.

-

For outdoor exhibition, apply waterproof treatment.
(Shelter over the object is desirable.)

Practice: Treatment of Stone Objects (fragments of aTools used for cleaning up stone
objects

medieval five-ring tower from Gangoji Temple) <Mr.
AMENOMORI>•

Brush away dust and dirt. Dip a brush in water, brush andwipe away the dirt with a dry cloth.

•Resin impregnation in stone hardening resin (OH100)
solution.
-

Pour the solution 2-3 times every 10 minutes or so,
until no more bubble comes out of the porous inner
13

Cleaning of stone artifacts

structure.
-

Be careful handling it, while it is still moist andbrittle. Especially avoid contact with water during
the hardening process.

-

OH100 solution gets more viscous over time, andbecomes harder after penetrating into stone.

Joining pieces with adhesive resin

November 10 (Thu.)
Practice: Treatment of Stone Objects (fragments of amedieval five-ring tower from Gangoji Temple) (Con’d) <Mr. AMENOMORI >•Join pieces with adhesive resin (Araldite 201)-

Mix the two agents together, and apply the adhesive
resin as thinly as possible on one mating face.

Join

the mating piece, remove it and apply some more on
the vacant area on its surface.

Pressing fit the powdered pigment-

It takes 4 hours for the adhesive to harden.

-

A grooved stainless steel bolt may be used in

between the pieces, depending upon the condition.
•

Mix a filling material (K Mortar. main agent : hardener = 2:1).

•

Fill the gaps with K Mortar.
-•

45 minutes is the maximum time for working before it hardens.

Colour touch up-

Grind mineral pigment finely in a mortar.

-

Press the powdered pigment directly onto the filling material with a finger.

Practice: Treatment of Stone Objects (statue of Ksitigarbha) < Mr. AMENOMORI >•Brush away the dirt, dust and lichen with a pig-haired brush and a stainless-steel brush.

November 11 (Fri.)
Visit: National Museum of Ethnology
Lecture: Outline of National Museum of Ethnology(Minpaku) <Dr. MINAMI Makito>•

Structure and organization of the museum•

Observation of the temporary exhibition “Landscaping
Model Exhibition” and permanent collection (South Asia,
Japan)

Observation of Storage Conditions and Explanation ofIntroduction to Minpaku by Dr. Minami

Treatment Methods <Mr. HIDAKA Shingo>
14

•

Observation of the storages•

Explanation of fumigation chamber, various treatment
methods, etc.
-

Acceptance procedure from overseas- Ethylene oxide treatment- Nitrogen treatment-

Acceptance procedure for objects from within Japan

Explanation of heating treatment- CO2 treatment (2 weeks)- Heating treatment at 52℃ (8-hour-heating after
the core of wooden material reaches 52℃)
- Refrigeration treatment at –25℃ (2 weeks)-Termite control method-

Photo studios

Wrap-up Session <Dr. MINAMI, Dr. SONODA Naoko, Mr.
HIDAKA>•

Termite control methods

November 14 (Mon.)
Conservation Science Methods for Organic Materials:
Paper (1)Making of paste<KANAYAMA Masako, GRIFCP>•

Making of pastes•

Lining•Leaf casting•

Hand filling

November 15 (Tue.)
Conservation Science Methods for Organic Materials:
Practicing use of a pH meter

Paper (2)•

Leaf casting•

Deacidification by solution-

Prepare solutions of calcium hydroxide (0.5 gram)in 330 ml of pure water, and calcium carbonate (0.7gram), 330 ml of Perrier (in place of carbon
dioxide).

•How to use pH meter•

Deacidification by a spray-type deacidifier•

Mounting

Checking the strength
consolidated stone object

15

of

the

November 16 (Wed.)
Practice:

Treatment

of

Stone

Objects(statueof

Ksitigarbha) <Ms. ISHII Rika>•

Check for the strength of the impregnated resin (OH100)•

Application of greaseless lubricant (for anti-oxidization)

Practice: Kyoto Saga University of Arts <Mr. YAMAUCHI
Akira>•

Preparation of mineral pigments for Japanese painting
Animal glue (binder), gofun (powder of oyster shell),-yellow arsenic, indigo, bordeaux, crimson•

Observation of copying on silk

November 17 (Thu.)
Lecture: Treatment of Metal Objects <Ms. NAKAGOSHI

Preparation of pigments

Masako>•Workflow for excavated metallic materials
1.

Pre-examination

2.

Removal of rust / corrosion

3.

Desalination / benzotriazol (BTA) treatment- Iron: desalination treatment- Copper: BTA treatment

Lecture by Ms. Nakagoshi,
treatment of metal objects

4.

on(Dealkalization)① Immerse in deionized water for one day over apan of simmering water.
② Immerse in alcohol for 2-3 hours.
③ Vacuum dry.

5.

Resin impregnation in acrylic resin

6.

Coating

7.

To prevent the artefact from atmospheric impact

8.

To remove pinholes

9.

Bonding, restoration and colour touch up

10. Observation and recording
11. Creation of mount, platform, etc.
Practice: Treatment of Metal Objects (excavated ironartefacts) <Ms. NAKAGOSHI Masako>
Practice: Radiography <Mr. MURATA Tadashige>
After short lecture on X-ray facility,
participant examined how to judge
and read the film•

Nails, watch, gas lamp, digital camera and coins at 60
volt, and fishing gear (wood, metal and plastic) at 40 and
16

60 volts.
Wrap-up <Ms. UEDA>
November 18 (Fri.)
Observation Tour of Asuka Region and Interaction with
Other Participants from Asia-Pacific Countries•

Ishibutai Tomb•

Nara Prefectural Manyo Museum•

Asuka-dera Temple

Visited Asuka region with otherparticipantsfrom
Asia-Pacificcountries

November 21 (Mon.)
Traditional Method for Preserving Artifacts
Lecture: Outline and Observation of the Facility <Mr.
MATSUNAGA Tadaoki, General Manager, Laboratory forConservation of National Treasures of Japan, Bijyutsuin >•Observing the interior of a statue of
JizoWork flow
1.

Fumigation

2.

Cleaning

3.

Disassembly

4.

Repair5.

Reassembly

Practice: Conservation Treatment of Wooden Object (1)<Mr. KAGEYAMA>•

Removal of mould with brush and cotton swabs dipped

Observingwood
surfacewithmicroscope before the treatment

in ethyl alcohol•

Application of three types of acrylic resins forcomparison of finish-

10% Paraloid B72 solution with methyl ethyl ketone-

2 % methyl cellulose solution-

Aqueous ethyl alcohol solution-

No treatment

November 22 (Tue.)
Practice: Conservation treatment of wooden object (1)<Mr. KAGEYAMA>•

Comparison of finish with different resins•

Preparation of resin fillers
1.

Mix butyral resin and ethyl alcohol solution (1: 4 by
17

Application of three types of acrylic
resinsweight).
2.

Grind mineral pigments and mix it with wood
powder in a mortar. Mix butyral resin, acrylic paintand add cellulose powder.

3.
•
Examining
paper

the

characteristicsofMake cones of fillers.

Application of resin filler

Wrap-up <Mr. MATSUNAGA>
November 24 (Thu.)
Lecture: Outline of the Workshop and Traditional Method
for Preserving Paper Artefacts<Mr.

OHBAYASHI

Kentaro

and

Ms.

AOKI

Keiko,

Bunkazaihozon>•

Rolling up of scroll•

Conservation of painting on silk-

Work flow

1.

Removal of lining and starch

2.

Repair of holes with aged silk

3.

Colour touch up

4.

Lining with paper

5.

Mounting

Types of paper

Kozo (paper mulberry), ganpi (wikstoemra sikokiana),
mitsumata (edgewortbia papirifer Sieb), and bamboo•

Types of mounting-

Hand scroll, book, hanging scroll, folding screen,
sliding door, etc.

Practice:

Conservation

of

Paper

Objects<Mr.

OOBAYASHI >•Rolling up of scroll•

Measurement•-

Count of laid lines per square sun (3.03 cm)-

Width between threads-

Thickness-

Weight-Relative density

Characterization of the paper used
1.

Making paper suitable for repair

Creation of preparation by taking a sample from theback face
18

2.
•

Microscopic observation by coloring with reagent

Making of paper for repair
1.

Select a piece of paper as close to the original document as possible, and tear it into small
pieces.

2.

Add 3 mm x 3 mm square pieces of paper.

3.

Mix the paper in a mixer.

4.

Add PAM.

5.

Remove undesired chunks of fibre.

6.

Make a sheet of paper in a bath with a draining
board and a reed screen.

7.

Spread the paper on unwoven paper and cover withrayon paper.

8.

Drain and dry the paper.

November 25 (Fri.)
Lecture: Conservation of Paper Objects <Mr. HOTTA
Keigo>•

Determination of paper for repair•

Selection of repair method (lining, leaf casting, DIIPS,
hand filling, etc.)

Practice: Conservation Methods of Paper Objects <Mr.

Repair method for paper object: handfilling

HOTTA, Ms. AOKI>•

Hand filling•

Joining methods for paper-

Botsugi or straight-cut overwrap joint-

Kuisaki-tsugi or feathered joint

November 28 (Mon.)
Introduction to Management of Artifacts and Filing<Mr. SUGIYAMA Hiroshi, Chief Curator >Comparing the repair methods for
paper

Lecture: Outline of National Research Institute forCultural Properties, Nara and Asuka Historical Museum•

Organization•

Scope of work•

Temporary exhibitions•

Exhibits of the museum

Observation of the Exhibits•

Lecture by Mr. Sugiyama

How the docent tour is conducted19

•

Observation of temporary exhibition: “Garden Ponds in
China”

November 29 (Tue.)
Visit: Museum of Kyoto•

Observation of the temporary exhibition: “Heritages ofSilk Road”

To see the museum activity, joined themuseum tour conducted by curator•

Visit: National Museum of Ethnology••

Observation of the permanent exhibition
Observation

Participation in Talk Program “David Hummel and Tebbu-Tietans: An Exercise of
Anthropology in Ethnographic Museum” by Mr. Hakan Wahlquist (Chief Researcher, National
Museum of Ethnography, Stockholm)•

Reception

November 30 (Wed.)
Lecture: Organization and Facility of the Museum•

Observation

of

the

facility(auditorium,

storages,laboratory)
Visit: The Heijo Palace Site Museum <Mr. NISHIMURAAt the backyard of the museum:
preparing gadgets for exhibition

Yasushi, ACCU>
December 1 (Thu.)
Lecture: Environment for Storage and Transportation<Mr. SUGIYAMA>•

Packing Methods-

Use Japanese tissue for wrapping, filling the space,and as ropes.

Packing methods, demonstrated by
Mr. Sugiyama-

Workflow

1.

Make cotton cushion with Japanese tissue and cotton
sheet

2.

Wrap the objects with Japanese tissue and pack itover with cushions in cross shape.

3.

Put the object into a Cardboard box (3 sizes) andlabel it on the surface.

•

Transportation Procedure-

An example of packing for overseas
transportation

Domestic: Ship in a transportation truck with
air-conditioning

andaccompanies the objects.
20

air-suspension.

Curator-Overseas:

Prepare for the crate box (by the transportation company) in the presence ofthe curator(s) from the receiving museum, insert the packed objects and seal the lid. Ship
the cargo with an accompaniment of a curator in the same airplane.
Practice: Takuhon (ink rubbing) of roof tiles and a bronze mirror <Mr. SUGIYAMA>-

Utensils: Japanese paper, tampo (round cotton pad wrapped with silk), solid ink, spray ofwater, cotton swab, scissors-

Workflow

1.

Place a piece of Japanese paper on the object.

2.

Wet the paper and pressing a cotton swab to attach it to the surface of the object.
Remove the air from the centre towards the rims.

3.

Dry it until the colour turns white.

4.

Start rubbing with a tampo by transferring the ink from another tampo. Start with a lightshade, gradually darken the image. Bring out the detail such as lines and patterns, andleave the other areas untapped.

5.

Remove the paper from the object, sandwich it
between newspapers and keep it under a press.

6.

Remove the crease and mount.

December 2 (Fri.)
Visit: Tenri Sankokan Museum for Conservation and
Display of Ethnic Collection <Mr. ODAGI Harutaro>

Takuhon: pressing a cotton

Visit Shinto Fine Co., Ltd.
Lecture: Extermination of Termites <Mr. AKI Seietsu>••

Identification of termite species-

Drywood termite-

Subterranean termite-

Dampwood termite

Types of termitecide for Coptotermes spp., a kind of
subterranean termite-

Organiophosphorous

insecticides(non-repellent,quick evaporation)•-

Pyrethroid insecticides (good repellent)-

Neo-nicotinoide insecticides (non-repellent)-Termite bait: insect growth regulator (IGR)-

Chitin synthesis inhibitor-

Juvenile hormone mimic

Extermination the colony is the best method.

21

Lecture by Mr. Aki on extermination oftermites

December 5 (Mon.)
Lecture and Observation: Introduction to Nara University<Prof. NISHIYAMA Yoichi>
Lecture: Introduction to Techniques and Materials for
Treatment of Metallic Objects <Prof. NISHIYAMA>•

Workflow1.

Pre-examination (by radiography, material analysis,

Lecture by Prof. Nishiyama

etc.)
2.

Cleaning in a solution of alcohol, xylene, and ethyl
acetate3.

Desalination of iron objects- Removal of chlorine in the soil in a alkali solution (alcohol oraqueous solution of lithium hydroxide)- Change the solution every other day up to 4 times, whileobserving the condition of the object.
- It is technically impossible to remove all the chlorine.
Therefore, apply top coat to seal the object from contact with
air.
Placing artefact for X-ray research

4.

Desalination of bronze objects- Application of BTA for anti-corrosion- Resin impregnation at 59℃ (minimum of 3 times)- (For corrosion-covered folk cultural objects): Physicalremoval of rust, bonding, and BTA application*Depending on the condition of the object, select the ideal
method among BTA application, immersion in BTA solution
for 20-30 minutes, or vacuum impregnation of BTA.
Courtesy call on Dr. KAMADA Michitaka, President ofNara University

Checking the data of X-ray Florescent
Analyzer

December 6 (Tue.)
Conservational Treatment of Metallic Objects: Practical

Training (1) <Mr. HASHIMOTO Toshinori>•Radiography- Lower voltage (~100 V): wooden, earthen, and glass objects, painting, thin ironware- Higher voltage (110 ~ 250 V): Metallic objects (thick ironware, bronze, etc.)
1.

Pre-examination

2.

Aging of irradiation devices- For reduction of load applied on the device by sudden change of voltage
22

3.

Preparation of X-ray films between intensifying
screens- 1X80 film: for metallic and glass objects- 1X-FR film: for composite objects- Work under a safety light, with the doors locked

and wear gloves.
4.

Preparation of development fluids in pans and baths- Developing fluid for industrial X-ray film
- Acetic anhydride for stop solution

Evaluating the developed X-ray films- Fixing solution for industrial X-ray film
- Tap water for stop bath
- Solution of wash accelerator for film
- Tap water for washing- Drywell solution for removal of water stain
5.

Radiography with different intensity- Insert markers to indicate the condition (name, voltage, date, place, etc.)- First test with different voltage, in case of a composite object made from different
materials.

6.

Development① Developing fluid for industrial X-ray film (5 minutes)② Stop solution (30 seconds)③ Fixing solution for industrial X-ray film (10 minutes)④ Stop bath (30 seconds)⑤ Wash accelerator for film (1 minute)⑥ Tap water for washing (5 minutes)⑦ Drywell for removal of water stain (30 seconds)⑧ Work under a safety light t, with the doors locked. Always use thongs.

7.
•

DryingX-ray Florescent Analyzer (for analysis of pieces of metallic canopy, bronze mirror andlacquered basket coffin)•

Both quantitative and qualitative analyses of the surface of the artefact are possible.

•

It can identify elements only, so types and composition of pigment, for example, should
be done by another method such as X-ray diffraction analysis.

•

Selection and changeover between chromium and molybdenum tubes is possible. (Withchromium tube, detection of arsenic and lead is not possible; with molybdenum tube,
detection of smaller elements is not possible.)•

Workflow1.

Adjustment of target position
23

Desalination Process2.

Creation of vacuum

3.

Confirmation of target position

4.

Setting of irradiation condition: voltage (kV) electric
current (mA), X-ray intensity (up to 1000), period ofanalysis (up to 200 seconds)

5.
Remove the objects
solution, and drain.

from

the

Irradiation, detection and judgment of peaks

December 7 (Wed.)
Conservational Treatment of Metallic Objects: Practical
Training (2) <Mr. HASHIMOTO>
Practice: Desalination
1.

Remove the objects from the solution, and drain.

2.

Take two bottles of sample from the desalination
solution.

Take two bottles of sample from thedesalination solution.

3.

Prepare 1 % aqueous lithium hydroxide solution.

4.

Impregnate the objects into the new solution.

5.

Cover up the container with plastic foil to seal fromthe air.

Practice: Vacuum impregnation of ironware in synthetic
resin (Paraloid NAD10)
Prepare 1 % aqueous lithiumhydroxide solution and impregnate
the objects into the new solution.

Vacuum impregnation allows resin to penetrate into
porous areas in the metal.

-

Device: tank filled with naphtha solution of resin,
cylindrical tank, vacuum pump, naphtha, acetone,trays, cloth, newspaper and drying facility.

-

Workflow1.

Connect the devices.

2.

Insert the dried metallic objects cured in silk screen
into the cylindrical tank, and shut the lid airtight.

Cover up the container with plastic
foil to seal from the air

3.

Create near-vacuum in the cylindrical tank, and open
the valves to pour in the resin until the objects are
entirely immersed. Close the resin valve, stop thevacuum pump, open the vents and leave the tank foran hour.

4.

Open the lid, take out the objects, remove the silk
screen, and wipe off the excessive resin from thesurface of the metal. Always keep the label close to

Shutting the lid of the cylindrical tankthe object.
24

5.

Dry the metallic artefacts for 2-3 days in a drying
chamber with ventilator running.

6.

Vacuum dry in an oven at 60℃ for 3 to 24 hours.

7.

Wipe off the resin clean from the cylindrical tankand the mesh tray with naphtha or acetone.

December 8 (Thu.)
Lecture: Conservation Science Methods for Wooden

Lecture on conservation science
methods for wooden artefacts

Artefacts<Prof. NISHIYAMA>•

Development of conservation methods for wooden
artefacts in Japan•

Selection of PEG method, freeze-dry method, natural dry
method, depending on the condition of the artefact•

Observation of PEG impregnation bath

Practice: Electron microscopy of wooden, lacquered,

Observation of PEG impregnationbathtextile and glass objects<Mr. SHIMAZU>•

Composition analysis down to electron arrangement ispossible.

•

Identification of tree type using X-ray micro analyzer:
only one sample is sufficient to observe all three sections.
Element and distribution analyses are possible.

•

Lacquer ware: Observation of technique and condition of

Observation of wooden artefacts by
Electron microscopeeach lacquer layer is possible.
•

Textile: Observation of yarns of brocade from Hang
Dynasty China, and folk cultural cotton cloth.

•

Glass beads: Observation of technique

December 9 (Fri.)
Conservational Treatment of Metallic Objects: Practical
Training (4)Observation of a wooden tablet by
Infrared ray camera<Prof. NISHIYAMA>•

Desalination (Con’d): change of solution•

Benzotriazol treatment of bronze objects (brush application of alcohol solution of BTA, andspraying)

Infrared ray camera•

Observation of a wooden tablet with Sanskrit
25

Introduction to Air Pollution affecting Cultural Heritage:
Practical Training (1)<Mr. SAKAI Shunji>•

Explanation about TEA-CF method-

A low-accuracy but cheap method. Accuracy can beincreased by large number of samples over a long
period of time. Ion chromatograph is necessary for

Preparation of cylindrical filters

analysis.
-

Measurement of Cl-, SO2, and NO2 (selected for theiradverse effect on cultural properties)-

Measurement of temperature, relative humidity, anddiscoloration of metallic plates is also conducted ateach measurement point.

•
Lecture by Mr. Horiike, at Todaiji

Preparation of cylindrical filters-

Prepare 29 filters for observation by immersing thefilter in aqueous solution of nitrilotriethanol.

-

Workflow
1.

Take 500 ml of nitrilotriethanol and add ultra
pure water to bring it to 1 liter.

2.

Pour the solution into a flat beaker and immerse
the cylindrical filter for 15 minutes.

Replacement of TEA cylindrical filters

3.

Drain and set the cylindrical filter.

4.

Keep three cylinders in the refrigerator as
non-exposure control samples.

December 12 (Mon.)
Lecture: “Effects of Air Pollution on Cultural Properties
and the Measuring Air Pollution and the Protection ofCultural Properties in Historic City Nara, Japan”•

Adverse effect of air pollutants (Cl-, NO2, SO2) on
cultural properties in the world•

Triethanolamin

cylindricalfilter(TEA-CF)methodconducted in the last 15 years in Nara Basin and effort by
Checking the temperature to adjust
the hydro-thermograph measurement
machinethe city government•

Important points for protection from air pollution-

Reduce pollutants.

-

Afforestation is important. Use wooden boxes and buildings.

-

Remove the dust and keep the cultural properties clean.
26

Observation of Adverse Effect of Pollutants on Cultural
Properties•

Kasuga Grand Shrine•

Todaiji Temple•

ShosoinDecember 13 (Tue.)
Practice: Analysis and Evaluation of Air Pollution

Transferring the data to computer

Observations: Practical Training (2)<Prof. NISHIYAMA>•

Collection and replacement of TEA cylindrical filters andhydro-thermograph paper at Shosoin (2 samples),Hanyaji Temple (1), Kofukuji Temple (3), Gangoji
Temple (1), Jurinin Temple (2), Todaiji Temple (4),Kasuga Grand Shrine (3), Ichijo High School (1), Heijo
Palace Site (1), Toshodaiji Temple (2), Yakushiji Temple

In the processsamplesofextractionof(1), and Nara University (3)December 14 (Wed.)
Analysis and Evaluation of Air Pollution Observations:
Practical Training (3)<Mr. SAKAI >•Extraction of samples and preparation of vials for ion
chromatography

Introducing
othermethods
measuring air pollutionforDecember 15 (Thu.)
Practice: Analysis and Evaluation of Air Pollution
Observations <Mr. SAKAI>•

Explanation of the use of ion chromatograph•Calibration of data

Practice: Analysis and Evaluation of Air Pollution
Observations <Prof. NISHIYAMA>•

Creation of level maps for SO2, Cl-, NO2, based on the ion
chromatography result•

Explanation

of

other

methodsforairAnalysis and Evaluation of Air
Pollution Observations: Creation oflevel map

measurement•

pollution

Wrap-up27

December 16 (Fri.)
Lecture and Observation: Introduction and Observation ofArchaeological Research Institute of Kashihara/Exhibition
and Storage of Excavated Artifacts<Mr. HASHIMOTO Hiroyuki, chief researcher>

Observing tank used for conserving
wooden materials, conducted by Mr.
Okumura•Offices•

Computer Room•

Library•Workshop•

Storage

Observation of Conservation Lab<Mr. OKUYAMA Masayoshi, researcher>•Conservation Science Complex (metallic object laboratory
and wooden object laboratory)

Visit: Museum, Archaeological Research Institute of
At the storage of Museum

Kashihara<Mr. ONISHI Takao, curator>-

Observation

of

the

museum shop, storages, library, curator’s offices)-

How archaeological artefacts are stored in the Museum.

Mr. Adhikari, receiving the certificate

28

museum(exhibition

halls,

Country Report
National Museum of Nepal

Shobhakar Adhikari
Chemist (Conservator)
National Museum, Kathmandu, Nepal

Introduction /An Overview:
Nepal, a small country between, India and China, two big countries of Asia, has a long history. The
northern side of Nepal has many peaks of above 8000 meters, including the highest peak of theworld (8848 meter), Mt. Everest (Sagarmatha). Kathmandu Valley, the capital of Nepal has ahistory, culture and tradition of its own for the last three millennia. It is well-known that there areso many temples, monasteries, stupas and statues in Kathmandu valley. There are as many temples
as many houses and as many gods as many temples. It is true; Nepal is among the very few
countries of the world, which has seven World Heritages within 20 km radius. The whole
Kathmandu Valley is like an open museum as thousands of pieces of artworks are scattered allover.
The National Museum of Nepal, known as “Nepal Rastriya Sangrahalaya,” was establishedin 1928 A.D. as the arsenal museum, which was built in 1819 during the administration of thePrime Minister general Bhimsen Thapa (1806-1837). The initial name of this museum was“Chhauni Silkhana,” which literally means the store house of arms. British East India and French
East India Companies were rivalling for the rule over Indian subcontinent. During that period, theFrench East Company initially started to modernize the Nepalese army, and later started to provide
training and war strategy in accordance with the European standards. Before then, the army
barracks were not constructed. So this was the first military barrack built according to the Greco
Roman style, which became the National Museum of Nepal. At the initial stage, it was open only to
the guests of the ruling Rana family after the downfall of Thapa clan. It opened as a public museum
in the year 1938 during the rule of the Prime Minister Juddha Shumsher Jung Bahadur Rana.
The National Museum is under the supervision of the Ministry of Culture, Civil Aviation
and Tourism and the Department of Archaeology. The museum houses historical objects, natural
history, portraits of the personalities, ethnology and various fields of culture and art of Nepal.
Being the oldest and the largest, it is the only multipurpose museum in the country. Obviously, it
has an important and leading role to play for the development of museums in Nepal, together withthe role of propagating the non-formal education for the community.

31

There are three buildings within the museum compound. One is for exhibition, one forarsenal, and the main building for the natural history gallery.

Galleries and Sections in National Museum
A

The Main Historical Building/Galleries

B

Juddha Jatia Kalasala, andC

Buddhist Art Galleries

A. The Main Historical Building/Galleries
The main building from the 19th Century is of neo-classical architectural style. The historicalgallery consists of natural science, arms, armories, paintings, philatelic and weapons collections.
Though being the oldest, the largest and with the richest collection of art and cultural properties
along with its diversities in its collections of ethnographic artefacts, the museum lacks the modern
technical facilities of conservation lab, libraries and museum shops.
B. Juddha Jatia KalasalaThis building was built by Rana Priminister Juddha Shamsher J.B.R. in the year 1942, which
represents the various disciplines of Nepalese art. Especially, it consists of stone art section,
terracotta section, painting section, wooden craft section and the bronze section.
C. Buddhist Art Galleries:
Buddhist Art Galleries consist of northern Himalayan section, Kathmandu Valley section and theSouthern Terai section. On the first floor is Mandala section displaying Buddhist statues, textiles,
paintings and ritual art objects. Buddhism has two schools of thought, Mahayana and Theravada.
So this religion has definite influence on the art, paintings and the structures of the area, into which
the museum has tried to assimilate. This section has thousands of Buddhist sculptures withminiature paintings, painted scrolls, cast copper and bronze images, stone sculpture devoted to
Chaityas and stupas for worship and veneration.
Terai Section:
This section, though small, provides the glimpse of the Buddhist art of the Terai Region of Nepal,
where the excavations have recovered the artefacts.
The Kathmandu Valley Section:
The Lichhavi rulers up to the 8th Century encouraged Buddhism. They built Buddhist monasteries,
stupas and consecrated land for financial support to maintain them. So the museum has lots of32

collection from this era.
Northern Himalayan Section:
Buddhism, once entered Tibet from Nepal, was blended in its own way there. Such Tibetan
Buddhism is divided into many schools like Ninma pa, Sakya pa, Kagyu pa and Gelug pa, andspread to the Northern Himalayan region in Nepal. It has also developed many rites and rituals,
which require ritualistic objects like Phurpa, Dorje, charm against epidemics, etc., and many idols.
For such activities they developed various kinds of Sputa Chortens and in this collection one canjust peep in the Buddhist art of High Himalayan region of Nepal.
Vajrayana Buddhism developed many rituals, and to perform these rituals, many ritualistic
objects were designed. This system continues even today. Kathmandu Valley is now one of the few
places left to study and practice the Vajrayana Buddhism.
Exhibition
National museum lacks modern furniture facilities and essential equipments for making theexhibition more attractive and systematic. It does not yet have an auditorium to house temporary
exhibits. There are several works to improve and enhance the museum to the internal standard. It isable to display number of extraordinary as well as informative objects.
A Brief Introduction to Classical Nepalese Art
Nepalese art can be said to reflect the Nepalese way of life, their wisdom and aesthetic senserefined over successive generations since immemorial time. These works of art speak to us about
the beauty of the land with words that are noble, friendly and full of life. In them the spirit of thepeople, their traditions and their creative impulse can be felt. Nepalese art has a long history. The
terracotta toys, the bronze peacock and some figurines at Tilaurakot (Ancient Kapilvastu) in
Western Nepal, as well as some bronze figures at Lumbini (the birthplace of Shakyamuni Buddha)
are some of the best examples of Nepalese art before the Christian era.
The history of Nepalese art of the Kathmandu Valley goes back at least two thousand years.
Nepalese art, which is predominantly religious in character, has great symbolical meanings. During
the medieval period Nepalese art flourished, reaching its zenith. It penetrated into Tibet, China andother countries of the Far East as well with the opening of the Tibetan trade route. Figures of
deities were the vehicles for the expression of art executed in diverse materials and forms.
Nepalese art flourished throughout the centuries under the benevolent patronization of the
Lichchhavi, Malla and Shah Dynasties. Nepalese art can be broadly categorized into the following
periods:
1.

The Lichchhavi Period from the 2nd Century to the 9th Century

2.

The Post-Lichchhavi Period from the 10th Century to the 14th Century
33

3.

The Malla Period from 15th Century to 18th Century, and

4.

The Shah Period from 18th Century onwards
National Museum is one of the most beautiful examples of stone art. Ornate and elaborate

hair styles, proportionate limbs, plastic and mobile bodies, slenderness of the waist withmoderately exaggerated hips and bust, restrained ornaments, and decorated and diaphanousdrapery; these are some of the typical characteristics of the Lichchhavi stone figures. During the
Malla Period, the stone figures become stocky and short, and ornateness predominates, but theyalso continue many of the Lichchhavi traditions. The stone image of the Shah Period is but a paleecho of the magnificent earlier examples. The exhibited stone relief of Uma-Mahesvara (dated 8th
Century) has been one of the most popular themes throughout the centuries. The other three
exhibited sculptures reflect different iconographic themes and time period themes.
The Objectives of National Museum of Nepal
1.

Collection, conservation, documentation, preservation, Educational Dissemination for theposterity

2.

To develop it as a non-formal educational centre3.

To promote tourism through museum

4.

To develop it as a research lab for scholars

5.

To protect the artefacts from natural and man-made bio deterioration

6.

To give information on Nepalese cultural heritage to foreign and local visitors

7.

To develop as a recreational place for younger people as well as an information centre forboth tangible and intangible cultural properties

The Present Condition of the National Museum
1.

The arrangement of the displays is not systematic and scientific, because of lack of skilled
manpower and scientific instruments.

2.

The displays are not based on methodical conservation.

3.

There is no temporary exhibition hall, auditorium, testing lab, proper moulding and casting
system.

4.

Due to the lack of proper equipments and manpower, the gardens are neglected.

5.

The establishment of a conservational and scientific research laboratory in the premises of
the National Museum is the most essential feature urgently needed.

6.

Termites, silverfish and wood borer and even uncontrolled environment are rapidly
destroying the art objects along with the building materials, so all the deteriorated agent
should be controlled by a proper way.

34

7.

At present the provisions for storage are not adequate and suitable. Due to lack of storage
spaces in the museum, the exhibition areas of the galleries are presently being used forstorage.

8.

A lack of investment in preservation, conservation, restoration and museum research is also
a big problem in my country.

9.

A grave problem in Nepal is a lack of awareness concerning the importance of culturalproperties for the public.

10. Preservation of objects is one of the main tasks of this museum as well as a chief problem.
In a developing country like ours, this problem is becoming more and more acute becauseof various reasons such as paucity of resources.
11. There are several works for improvement and enhancement of the attractive display of rareartefacts in the museum.
12. Lack of knowledge on museum at the policy-making level
13. Lack of motivation
14. There is no museum shop and restaurant in the museum area, which may be income
sources of the museum.
15. The use of traditional technique and obsolete recording system
In summary, many problems still exist in Nepal in the field of museum. The National
Museum of Nepal is trying to overcome these problems with the support of different institutions
around the world.
Since the National museum of Nepal contains various types of cultural materials, they arefacing serious danger of deterioration and decay, caused mainly by the relative humidity, light(UV), pollution and pests. The gallery-buildings themselves are suffering from termites. Many
wooden, paper and textile materials are also being affected by termites. In the long run, their
number may grow considerably and they may eat away the organic materials. This in turn would
result in the complete destruction of the organic materials collected in the museum. The damage iscontinuously done round the year, irrespective of seasonal change. Similarly, all the wooden
sculptures and boxes are also affected by termites. Thus, termites are likely to seriously damage thecultural property displayed in the galleries.
On the other hand, most of the metallic objects are suffering from corrosion because of
uncontrolled pollution, dust, and high level of humidity. All the textile objects are exposed to fungi
and stone objects are affected by biological growth.
Quality of most of the light-sensitive objects such as costumes, water colour, miniatures,
manuscripts, wall papers, dyed leather, most of the natural history and ethnographic specimens
containing fur and feathers are being deteriorated day by day due to uncontrolled UV light.

35

Measures Taken to Control the Problem:
Various measures were taken to control the problem. To control the termites, I sprayed insecticides
such as Dursban (3-4 times) and Chlorophosphyrine, but the result was not positive. Besides thetermites, wood borer and silver fish are causing great damage to the displayed objects like
sculpture, manuscripts, Thanka paintings, etc. So, most of the organic materials are going todeteriorate day by day even after using different chemicals like Dursban, PDCB, etc. Most of thestone sculptures are deteriorated due to biological growth caused by humid climate. Some of them
are cracking, flaking and being abraded. To avoid such problems, I used another chemical "Blue
Vitriol" times and again, but the problem is not solved. Leather and skin objects are also
deteriorated because of humidity fluctuation.
Most bronze and iron objects are facing corrosion due to polluted environment anduncontrolled humidity. Some of the bronze objects may suffer from "bronze cancer". This problem
can be solved only after the 'chloride test' followed by zinc oxide with mechanical work. But forthis purpose, I do not have even a mini lab and any other modern techniques. For the control of thisproblem, I put forward the proposal concerning laboratory, equipment, chemicals, etc., which are amust for curative and preventative conservation. Unfortunately, we could not attain the goal.
Most of the light-sensitive objects like textile, costumes, water colour, miniatures,
manuscripts, wall paper, dyed leather, natural history and ethnological specimens containing fur
and feathers are going to be deteriorated day by day due to uncontrolled UV light. However, we do
not have any UV filter media.
Besides all the above-mentioned objects in display, we have very beautiful sculptures andpaintings in storage. Because of the lack of proper technical ideas about storage, these objects, too,are in deteriorating condition.
It is said that Nepal has as many temples as houses, especially in Kathmandu Valley. So
this city is also called "city of the temples.” All these temples, monuments, outdoor sculptures,wall paintings, etc., are also being deteriorated day by day due to the lack of knowledge of thecultural property. Since our country has so many world heritage sites (such as Swoyambhu Nath,Pashupati Nath, Bhaktapur, Patan Durbar Square and Lumbini, we must have new techniques andtrained manpower for the protection of all these cultural properties, so that they can be saved for
our future generation.
Finally, we have come to the conclusion that until and unless we can control humidity, UV,
IR and temperature, and also develop new techniques and skilled manpower, we will never be
successful in protecting our cultural properties. On the one hand, use of chemicals is harmful forenvironment and health, on the other hand, it is not so effective. At least to minimize the burning
problems, we have been applying some traditional preventive techniques.

36

Traditional Preservation Techniques
Since the materials, in particular textiles, basketry, fibres, & leather, are organic in nature, all thesematerials are affected by light as well as biological agencies. Un-filtrated sunlight, insects andmicroorganism are the main causes of deterioration for such organic materials.
Some of the traditional preservation techniques applied from ancient period are as follows.
For those materials, which are suffering from insects and fungi, most of the people use insects
repellents such asyNeem, margosa tree (Azadirachta indica): seed, leaves, stem and rooty

Timur, Pickly ash ( Xanthoxylum armantum): seedyKapur, Camphor Camphor cinnamonum, leaves, bark andyTulsi, Holybasil (Occimum sentum): leaf, stem, root, flower etc.

yTeetapati, Mug wort (Artemisia Volgaris): root, stem and rootsyAsuro, Malabar nut ( Adhatuoda vasica): leavesyKarela, Bitter cucumber, Momordica charantia: fruit, leaves and stemyChutro, Barberry, Barberis aristata: bark, leaves and seedyAmala,ySalifa, Custar apple, Annona squamosa: fruits and leavesyPudina, Peppermint, mentha arvesis All parts of the plants.

flower

Emblic myrobalan, Phyllanthus embilica: fruits and seeds

By the use of shadow dry leaves, stem, root and seed of Neem trees, Tulsi, Mint andTeetapati, we can easily remove every type of insect. Similarly, different parts of Teemur, Chutro,
Karela Peoer, Asuro, etc., also play a vital role in removing insects. Neem leaves, seed of Timur,leaves of Tulsi and camphor are also used as insect repellent as well as fumigant. For leather
objects, application of natural oil is very effective. If leather objects are going to be deteriorated byfungi, it needs to be kept dry by using indirect sunlight. Humid climate plays a very important rolein the germination of most of the fungal spores. Controlled humidity is the most important thing
for fungal growth. To maintain suitable humidity, we can use indirect sunlight or dehumidifier(especially water spray).
Because of all above-mentioned procedure and techniques for the development of museum,
I would like to put forward following future strategies.

Future Strategies
1.

Adopt new technology with the support of international institutes like ICCROM, ICOM,
and ACCU.

2.

Open training institutes under the control of Department of Archaeology.

37

3.

Use new methods for preservation, conservation and restoration on artefacts.

4.

Prepare museum conservation and research manuals.

5.

Museum artefacts analysis from various sites.

6.

Request international universities, institutes and laboratory to provide training to themuseum staff.

7.

Provide training to the local people describing the importance of museum and culturalproperties.

8.

Involve a detailed museum course at the Tribhuvan University syllabus.

9.

Organize awareness programs at various levels about the historical, cultural and regional
importance of museums.

10. Construct a scientific building for permanent and temporary display as well as for storage.

Thanks38

Leaf Casting
Practical Training at Gangoji Institute for Research of Cultural Properties

Leaf Casting
Lining is the traditional method of repairing and consolidating the areas of paper products
such as archives (on Japanese paper) infested with insect damage or missing areas, anddamaged areas around the edges.

On the other hand, leaf casting is a method to fill themissing or damaged areas with Japanese paper fibre, and to repair and consolidate the said
areas simply by hydrogen bond of filled fibre and original paper.
paste is added to the filling material.

No adhesive including

It is also an efficient and cost-effective method in thatit can provide an even repair with one process, even when there are a few to large number ofmissing areas on a sheet of paper.

In addition, since no paste is used, its finish is softer thanthat by lining.
However, the filled areas can be partially thicker than the original paper, and the paper
size is made larger.

Plus, since the entire document needs to be immersed in water, themethod is not applicable to documents with pigments.

Fold and texture are also inevitably

lost.

Materials Used for Leaf Casting•

Pure water

gives adverse effect on nervous system and•Fukuronori or gloiopeltis furcata

liver. Handling must be done with utmost(Postels et Ruprecht) J. Agardh, a kindcare, as it is dermally absorbed.

••of sea moss•

Small pot

Japanese paper made from paper•

Electric stove

mulberry: for filling.

•

Glass rod

Select a paper made of the identical•

Brush: flat and long ones

material to the original document.

•

Unwoven cloth

Polyacrylamide (PAM): thickener•

rayon lining paper

Note: Polyacrylamide•

Square stainless steel bars wrapped withspongeA high polymer of acrylamide (C 2 H 3 CONH 2/ melting point: 84.5 ℃ ) ． It is an odorless

•

Felt

white crystal, which dissolves in an•

Plywood sheets

aqueous or alcohol solution. Though

•

Press

commonly used for paints and adhesives, it•

Suction table

is highly toxic as well as carcinogenic, and•plastic sheets41

Procedure of Leaf Casting
As the work involves immersing the paper with aqueous solution, first temporarily fix the areas thatcan be separated from the paper by buoyancy, hen line the entire paper from the back.

In case there

are vermilion scriptures, fix the vermilion letters with animal hide glue to avoid blur.

The liner canbe machine-made Japanese paper that contains wood pulp.

1 Temporary fix

Fig.1

Fig.2

①Making of funori (Fig.1)
Cook 8 gram of fukuronori (see Photo) in 640
ml of water until the sea moss dissolves. Filter
out the remaining core.

②Temporary fix (Fig.2)
Temporarily fix the areas that can come off by
buoyancy with small pieces of rayon lining
paper and funori. It is convenient to mark therayon lining paper with non-aqueous pens forease of locating at removal.

Note: Refrigerate the unused paste, since it
degrades easily.

③Air-dry the paper.

42

2 Preparation of Filling Material and Thickener

Fig.3①Take one gram of paper, cut a half into 1× 3
cm pieces, and the other half into 5 × 5 cm
pieces. Crumple the pieces with hands, so thatthe pieces separate more easily in water, before
putting them into one litre of pure water. Mixfor 10 seconds in a mixer. This is used asfilling material. Prepare 0.02 % Polyacrylamide(PAM) solution as thickener. (Fig.3)

Fig.4②Filter PAM into the filling material and mix itwith a glass rod. Mix in a cutting motion. Circularmotion will get the paper fibre tangled around theglass rod. (Fig.4)

Fig.6

Fig.5

③Spread a piece of unwoven cloth on thesuction table. Stick it firmly to the table byspray of water. (Fig.5)④Seal the unused area of the suction table withplastic sheets for maximum suction effect.
(Fig.6)

Fig.8

Fig.7

⑤ Place the dried document with temporary linings face down on the unwoven cloth. Float the twopieces together on a vat (square tray) filled with water, and spray water from above. (Fig.7, 8)
43

Fig.10

Fig.9⑥Wet them completely, smooth out creases with a flat brush, and pull the unwoven cloth out of thewater together with the document on top. (Fig.9, 10)

Fig.11

Fig.12⑦Place them on the designated area of the suction table from the far edge line towards the bodywith as little air intrusion as possible. Brush away the captured air with a dry flat brush. (Fig.11, 12)

Fig.13a⑧Smooth out the surface completely. (Fig.13)

44

Fig.13b

Fig.14

Fig.15⑨ Remove all the temporary liners using
tweezers. (Fig.14)⑩Surround the document with four square
stainless steel bars, taking a slight distanceaway from the edges of the document. (Fig.15)

Fig.17

Fig.16⑫Start the suction. (Fig.17)⑪Pour the filling material over the document.
(Fig.16)

Fig.18

Fig.19⑬After the suction, place another sheet of unwoven cloth over it and stick the papers firmly with adry flat brush.(fig.18,19)45

Fig.20

Fig.21⑭ Sandwich the unwoven-covered documentwith sheets of felt. Sandwich it further withplywood and press dry. Replace the felt about
every hour. (Fig.20-22)

Fig.22(at Gangoji Institute for Research of Cultural Properties)

46

Preparation of Air Pollutant Arrestor and Extraction of Pollutant
Laboratory training at Nara University

When dissolves in water, chlorine turns to hydrochloric acid, nitrogen oxides to nitricacid, and sulphide ion o sulphuric acid.

Triethanol Cylindrical Filter Method
Overview of air pollution study
Simple concentration measurement of NO2, SO2 and CL by triethanol cylindrical filter method(hereinafter referred to as “TEA-CF method”). After exposing a cylindrical cellulose filter
impregnated with 29.6% triethanol aqueous solution (hereinafter referred to as “TEA aqueous
solution”) to the atmosphere for a period of one month, quantitative analysis is conducted byion-exchange chromatography to cumulatively determine per month average concentration.
Quantitative values are converted to per day weight (µg/day/100cm2: relative concentration), and areconverted to absolute concentration (ppb) for NO2 and SO2. A 31-day continuous roll autographic
recorder is provided at main measurement points to perform temperature offset for NO2.
The measurement range for NO2 is 1.9µg of NO2/day/100cm2 and the range for SO2 is 2.6µg of
SO3/day/100cm2.

Conversion formula in the TEA-CF method
Formula for conversion to relative concentration
CL-＝ 257.15 * ( CCL- – B ) ／ n unit:µgCL-/day/100cm2

NO2＝ 257.15 * ( CNO2 – B ) ／ n unit:µgNO2/day/100cm2

NO3＝ 257.15 * ( CNO3 – B ) ／ n unit:µgNO3/day/100cm2

SO3＝ ( CSO3 – B ) * 214.39 ／ n unit:µgSO3/day/100cm2-CCL- , CNO2, CNO3, CSO3: Concentration of analysis results ( g/ml)
B: Concentration of blankn: Number of days of exposure
Temperature offset
The concentration of NO2 varies according to temperature. Temperature offset is executed using 20C
as the standard.
The difference in reaction is that whereas CL- and SO3 react with alkalis, NO2 reacts chemically with
the TEA impregnated in the sample.

47

C’TN ＝ CTN ／ TCOR
＝ CTN ／ ( NRT ／ NR20 )＝ CTN * NR20 ／ NRT＝ CTN * ( 0.12 * 20 + 4.5 )／( 0.12 * T + 4.5 )

unit: µgNO2/day/100cm2

TCOR : Offset coefficient using 20 C as the standard
C’TN : NO2 concentration by TEA-CF method of temperature offset
CTN: NO2 concentration by TEA-CF method

NR: NO2 adsorption of TEA-CF 100 cm2 per dayT: Temperature at each point

Formula for conversion to absolute concentration
NO2； CAS ＝ 0.118 * C’TN + 3.3（ppb, 1 ppm ＝ 1000ppb）
CAS: NO2 concentration (ppb) by automatic measurement instrument

C’TN : NO2 concentration by TEA-CF method of temperature offset
SO2； CAS ＝ 0.043 * C’TS + 2.8
CAS: SO2 concentration (ppb) by automatic measurement instrument

C’TS: SO3 concentration by TEA-CF method

Features of TEA•

Colorless liquid with minimal ammonia odor.

•

Slightly viscous.

•

Dissolves in water or ethanol.

•

Heavier than water.

•

Adsorbs to acidic gas.

•

Comparatively low toxicity towards the human body.

1. Sample Preparation
Required items•

2, 2’, 2” nitro triethanol N (CH2 CH2 OH2) = 149.19 (Fig.1)•

Cylindrical filter (φ3.3 mm × 100 mm, 103.7 cm2 surface area, neutral) (Fig.2)•

Ultra pure water•

Polyethylene cylinder (made by Kimoto Electric Co., Ltd., Japan)•

Beaker•Tweezers•

Flat-bottom flask (1000ml)•- Acid-free filter paper

48

Fig.1 2, 2’, 2” nitro triethanol(TEA)

Fig.2 Cylindrical filter

1. The filters must not be touched with thebare hands. Ion exists in various places suchas in the air, in people’s bodies (surface ofthe skin, breath) and surface of apparatus.
You must therefore be careful not to allow
ion components to get mixed in whencreating, extracting and preparing samples.
(Fig.3)Fig. 3Fig. 4

Fig. 5

2. Dilute the nitro triethanol (TEA) 3 times.

3. Shake well, and mix TEA and ultra pure

300ml of TEA + 600 ml of ultra pure water =water. (Fig.5)

900 ml of TEA solution (Fig.4)

49

Fig. 6

Fig. 7

4. Immerse the cylindrical filter in the TEA solution for about 30 minutes. (Fig.6, 7)

Fig. 8

5. Remove the cylindrical filter from the TEA solution, stand it on the spread out acid-free filter paper
and remove the excess water. In addition to the samples for exposure, blanks for comparison or offset
are also needed.

(Fig.8)Fig. 9Fig. 10

Fig. 11

Fig. 12

6. Mount the filter on the cylinder. (Fig.9-12)50

2. Exchange and Expose the Cylindrical Filter
Required Items•

Portable thermograph•

Precision Hygro-Termograph•

Datalogger•

Notebook PC

Fig.13

Fig.14

Fig.15

Fig.16

1. The filters must not be touched with the bare hands or shelter at setting and collection. Filters are
exposed in the shelter placed 1.8m high from the ground, which is calibrated to retain 20% aeration.
(Fig.13-16)

Fig.17

Fig.18

2. Retrieve data from the thermograph.
Since TEA-CF method requires compensated temperature to attain the concentration of NOx, the51averaged temperature data derived in this step is used as the compensated temperature data.

It alsoplays an important role as data for maintenance and control, as it gives a long-term observation of thecultural properties in the given area from the hygrothermal data in their surrounding.
When using a precision hygro-termograph as shown in the photograph, replace the indicator paperand check for the remaining ink and battery. (Fig.17, 18)
Note: Since the needle of this type of device is very sensitive to vibration, place it where there is least
vibration.

Fig.19Fig.20

When using a datalogger, retrieve the digital data.

Check for the remaining battery as well. (Fig.19,

20)
Note: Datalogger here refers to a device with the function of accumulating, analyzing and indicating
the data from various sensors such as voltage and electric current.
or a simplified measurement device.

It can also be integral with sensor,

It is usually the case in the cultural property field, that

datalogger refers to the type of devices with measurement and memory functions.

3. Extraction of Pollutants
Required items•

Ultra pure water•Tweezers•

Measuring cylinder•

Beaker (100ml)
Tall beaker
Hot plateGlass rod
Suction filter apparatus

•
•
•
•

52

•
•
•
•
•

Pipette (15 ml)
Flat-bottom flask (200 ml)
Measuring pipette (1 ml)
Test tube (25 ml)
Hydrogen peroxide (highest quality)(H2O2 = 34.01)•

Filter paperFig.21

Fig.22

１． Divide the recovered TEA-CF into the proper size (about 8 – 16 divisions), place into a tallbeaker. The TEA-CF must not be touched with bare hands. (Fig.21, 22)

Fig.23

Fig.24

2. Measure 100 ml ultra pure water in a

3. Put the cylindrical filters in the tall beakers

measuring cylinder. (Fig.23)

and pour the solution into them. (Fig. 24)

Fig.25Fig.26

４．Cover up the tall beakers with cellophane wrap or aluminum foil against intrusion of
dust.

Place the tall beaker on a hot plate heated to approximately 120°C and heat for about anhour. (Fig.25)

53

5. After heating, crush the filter paper finely with a glass rod.
6. Place a flat-bottom flask (200ml) in a suction filter apparatus (hydraulic type in this case).
(Fig.26-28)

Fig.27

Fig.28

7. When the extraction process is completed, bring the volume of the filtered liquid to 200 ml byadding the required amount of ultra pure water and agitate well.→This serves as the test
solution.
Note: Extraction of eluted substances could be made without such a device, but it would takeconsiderable time under the atmospheric pressure.

3. Pre-treatment for Analysis
Before the extracted fluid is measured in ion-exchange chromatograph, a pre-treatment is necessary.

Fig.29

1. Put a stopper in the flask, turn it

Fig.30２．Take a 15ml-sample from each. (Fig.30)

upside-down and shake. This serves as thetest solution. (Fig.29)
Note:

This is done for even dispersionof eluted substances in the solution.

54

Fig.31

Fig.32

3. Inject the samples in test tubes. (Fig.31)

4. Add 0.3 ml of highest quality hydrogen
peroxide. Put a stopper in the flask, turn it
upside-down and shake. (Fig.32)

Fig.33

Fig.34

5. Bring the volume of the solution to 20 ml by adding the required amount of ultra pure water andagitate well (put a stopper in the flask, turn it upside-down and shake). This serves as the sample
solution for analysis.
Reference)
Wait until the reagent is stabilized, and start measuring after 24 hours.

The analysis of the said four

substances takes about 13 minutes per sample.

Fig.35

Fig.36

6. Set the vials in the ion-exchange chromatograph with an automatic sampler. (Fig.35, 36)

55

Fig.37

Fig.38

Now Loading…

Process steps provided by Conservation Science Laboratory, Department of Cultural Properties,
Faculty of Letters, Nara University

56

Final Report

Study Report on Cultural Heritage Protection in Nara, Japan, 2005

Shobhakar, ADHIKARI
Introduction
The ‘Training Course on Preservation and Restoration of Cultural Heritage in Asia-Pacific Region
2005,’ Individual Training Course, was organized by the Asia/Pacific Cultural Centre for UNESCO,ACCU in Nara, Japan, from October 24th to December 19th , 2005. This course was speciallyorganized only for me, so I am much grateful to the government of Japan and ACCU, Nara, forgiving me the chance to attend this training course.
I am Mr. Shobhakar Adhikari, working for National Museum of Nepal as chemist(Conservator) since 1997. I have received a master's degree in Organic Chemistry from Tribhuvan
University, Kathmandu, Nepal and diploma in Conservation from National Research Laboratory
for Conservation of Cultural Property (NRLC), Lucknow, India. Although I have had a chance totrain abroad like Norway, Malaysia and different parts of India regarding conservation science, I
could not reach such height in the field of conservation ACCU, Nara has provided. During thetwo-month study, I learned the theories of conservation science and conservation techniques. My
training was both in academic and practical fields. I sincerely appreciate ACCU for providing mewith such a valuable opportunity to study under the supervision of Japanese experts and professors.
I am very grateful for their professionalism and kind cooperation.
The training course was very well organized by ACCU, Nara. My study in Japan over 57
days basically focused on the following aspects:
1.

Conservation Science for Museum Collections

2.

Museum Management and Curation of Collections

3.

Air Pollution and Environmental Parameters Required for Long-term Preservation, and4.

Practical Training in Conservation Science.
The training course took place at various venues with different instructors under thesupervision of ACCU:
1.

National Research Institute for Cultural Properties, Nara (NRICPN)

2.

Gangoji Institute for Research of Cultural Property (GIRCP)

59

3.

Asuka Historical Museum, National Research Institute for Cultural Properties, Nara
(AHM)

5.

Archaeological Institute of Kashihara, Nara Prefecture (AIKNP)

6.

Nara National Museum, (NNM)

7.

Nara University (NU)

About the Training Course
The following pages present a summary and my impression after completing the two-monthtraining course organized by ACCU Nara. The course was very interesting and informative, andthrew light on many conservation science and archaeology field. If I make a comparison with
Nepal, that has one of the richest cultures, huge collection of museum artefacts and with more thanten world cultural heritage sites even though it is a very small country, but unfortunately there isneither modern equipment, nor a such technical knowledge and resources like Japan. In Nepal, Theancient monuments, museum artefacts and sites have suffered from a variety of problems. The
burning problems, which are the causes of deterioration, are pollution, heavy rain, vandalism, large
range of fluctuation of temperature and humidity, insect and fungus effect on objects including thewhole building, untrained manpower, lack of equipments and new technique, lack of awarenessand so on. I am very happy to see the modern techniques of Japanese conservators, scientists andarchaeologists in the field of conservation, restoration exploration and excavation. We cannot yet
develop the type of scientific methods that Japan has currently developed.
The course began with a series of lectures in the ACCU office and the National ResearchInstitute for Cultural Properties, Nara (NRICPN). All lectures were very beneficial and interesting.
The lecture on future task in preservation of cultural heritage by Mr. NISHI Kazuhiko from
ICCROM was very useful and informative for me. This lecture consisted of an outline of variety oflaws and guidelines that govern the funding management, conservation and protection of cultural
heritage from international and national perspectives. This lecture not only provided a global
perspective, but also examples of cultural heritage protection practices from various countries
around the world. Similarly, the lecture on theConservation

MasterPlanandDendrochronology(dating of timber by study of the annual growth rings)
were

very

interesting

andapplicable

from

the

conservation point of view.
During the two months period, most of the time
was spent in Gangoji Institute for Research of Cultural
Property under the supervision of experts from 31st
Observing Desalination Process on Gangoji
Research Institute

October to 17th November, 2005. This conservation60

laboratory introduced many new technological advancesin terms of machinery and solution treatment, to items ofwood, metal, paper and painting. I have learned thephotography technique, wood identification technique,insect and water repellent technique, non-destructive
fumigation technique, desalination technique, PEG(polyethylene glycol) method, resin impregnation process,
BTA (benzotriazole) treatment, colour touch up, cleaning

Tree

Type

Analysisprocess (physically and chemically), joining techniques, Microscope in Gangoji

onElectronic

handling of fire extinguisher and X-ray diffraction
method for the analysis of actual condition of artefacts.
Moreover, this institute also introduced new techniquefor paper conservation. During the paper conservation, I
learnedabout

identificationofpaper,

types

ofdeterioration, preparation of wheat paste, lining, leaf
casting, gap filling, deacidification process, measurementof pH, mounting process, etc.
Conservation Work on Archaeological Relic

Nara National Museum was another important in Gangoji
spot, in order to upgrade my conservation scienceknowledge in Japan. During the one week period, I learned in this museum especially about
wooden and paper artefacts. There are different techniques at different institutes within Japan. The
conservation technique in this museum is a little bit different from Gangoji Institute. I learned
cleaning process, removal of fungi, fumigation technique, gap filling, colour matching technique,etc. Conservation work on paper artefacts, such as paper cutting technique, rolling system, andmeasurement of thickness of paper, was also an interesting part of this training. Besides theconservation process, DIIPS (Digital Image Infill Paper System) and paper making system werealso a part of paper conservation technique, so these processes were also memorable during thetraining.
Similarly, Asuka Historical Museum was another part of the training course. In thismuseum, I learned slightly different techniques from other institutes. Asuka is especially famous
for archaeological sites, so this museum is also related to the excavated objects. A temporary
exhibition was in exhibit through December, 2005. In this site, I got the opportunity to experiencein packing of museum as well as archaeological relics for both national and international export,material handling technique, and operation of auditorium. The most interesting part of this site was
Takuhon process, in which I prepared a number of Takuhon objects.
I was able to learn about storage methods after restoring cultural properties, and methods
for monitoring the environment of cultural properties inside and outside, under the instruction of61

Prof.

NISHIYAMA

Environmental

Yoichiconditions

at

for

Nara

University.

preservationdifferaccording to the materials that make up culturalproperties. Accordingly, the risk of further deteriorationof cultural properties is high, if storage conditions after
treatment are neglected.
Recently, detection methods are developed
Conservation Treatment on Wooden Relicsin Nara National Museum

rapidly. Concerning the non-destructive check, X-ray
fluorescence
UV-rayanalyzer,

analyzer,

X-ray

IR-raydiffraction

analyzer,

analyzer,

ion-exchange

chromatograph are used for the main process used at thislaboratory. Besides these, desalination process and PEG
4000 impregnation methods are also involved.
In the case of cultural properties that are outside,
the impact of temperature, humidity and pollutant
sources for cultural properties can be observed bymonitoring and measuring the air environment, and thus
Conservation Work on Painting in Nara
National Museum

solution can be determined. I think this approach would
be very beneficial for protection activities in the context
of Nepal, especially for National Museum of Nepal.
Now I am away from the conservation site but
must urgently protect cultural properties. Since Nepal
is a very humid country, there is a large fluctuation oftemperature and relative humidity, so most of thecultural heritages including building suffer fromtermites. For the eradication of termite, I put forward
a program for my museum regarding termite control,

Paper Rolling Technique on Nara National
Museumto which ACCU organized a visit to a termite
eradication company in Osaka.

According to the information I received there, the most common termite species, which arefound in Nepal are1.

Dry wood termite

2.

Subterranean termite and3.

Damp wood termite
Out of these three types of termite, subterranean termite Coptotermes formosanus is themost dangerous. So for the eradication of this termite Bistrifluron (common name) chemical in62paper has been recently in use in Japan and is also amost effective one. We will also apply this method forthe eradication of termite in our museum. This is anotherinteresting and the most important achievement from mystay in Japan.

Study Trip to Museums, Shrines, Temples andArchaeological Sites

Observing Packing Process in Asuka, Nara

Besides the lectures in the classroom and conservation
and restoration work in different institutes, I visitedmany museums, temples, shrines and archaeologicalsites. The maintenance of museum, temples, shrines andsites was excellent. The credit should go to thegovernment of Japan and its people, who care for theircultural heritage with great respect. I visited somemuseums during my stay in Japan, such as National
Museum of Ethnology in Osaka, Museum of Kyoto in
Kyoto, Nara National Museum in Nara, Tenri Sankokan
Museum in Tenri, Tokyo National Museum in Tokyo andNara Prefectural Manyo Culture Museum and theArchaeological Research Institute of Kashihara, in Nara
Prefecture. I was really happy to see the modern

Extracurricular Activity: Takuhon process inOsakatechniques used to handle artefacts. The storage system,
display methods, treatment of artefacts, photography andmapping of artefacts, analysis of relics, publication ofreports, conservation science, proper documentation,
regardingofartefacts

and

the

restoration

andpreservation were ideal. I appreciate the conservationlaboratory of National Museum of Ethnology, which wasbuilt using really new and high technique. Likewise,
temporary exhibitions of Tokyo National Museum andMuseum of Kyoto were unique, well-organized andObserving X-Ray Analysis
Relics in Nara University

on Metallic

memorable for my life.
Since Nara was the oldest capital of Japan (710-794) and was the cradle of Japaneseculture, arts and crafts, I also visited some temples, parks and shrines during the training course.
Horyuji Temple is a very famous temple in Nara, which is the Japan’s first World Cultural Heritage,announced by UNESCO. Similarly, Hokiji Temple, Todaiji Temple, Nara Park, Asuka-dera Temple,

63

stone chamber, etc., are most important and memorable parts of this training.
Similarly, I visited some archaeological sites. The site visits were truly informative andenjoyable. To see how archaeological sites are preserved and presented in various ways for public
appreciation was really interesting. Visits to Heijo Palace Site and Asuka archaeological sites weremost memorable ones among my field trip of sites. Heijo Palace Site Museum, located inside the
Heijo Palace Site, tells the actual value of the archaeological site and the excavated relies. With an
expanded perspective and knowledge gained from the training course, I now realize that thearchaeological sites and excavated relics are much more precious than previously I thought.
During the two-month study, field trips to various museums, temples, shrines,
archaeological sites as well as different conservation laboratories were conducted. These field trips
provided a valuable opportunity to the participant to network with experts within this field; this has
promoted mutual understanding and cooperation in our work. Looking back at what I have learned
and what I have seen, I could hardly believe that I was able to achieve so much practicalexperience and professional liaisons in just two months. These will be very useful for my work andI wish to share my newly gained knowledge and skill with my staff. The subjects covered in thistraining program were broad and detailed; this report could only serve as a summary of some of themain topics that I learned in this training course.

My Responsibility after Returning to Nepal
The training programme was very important and relevant to me, because it supplied me with muchinformation related to conservation, restoration and more new techniques for cultural heritage.
Japan leads the world in the field of technology. Before I came to Japan, I heard that Japan has
extremely advanced facilities. I was surprised that national institutes of Japan for culturalproperties stress not only the importance of applying the latest scientific technology to theprotection of cultural properties, but also of traditional techniques. I was quite impressed that they
are also paying attention to storage methods after conservational treatment.
During my stay in Japan, I was able to gain a systematic understanding of the advanced
conservation and restoration of cultural properties. In other words, I am now fully aware of theneed to implement a preliminary analysis before restoring and conserving cultural properties. I am
now aware that there are various measures and materials applicable to the protection of culturalproperties in Japan. Conservation materials and method applied differ according to the type ofcultural property. The degree and rate of deterioration are also diverse, depending on the materials
and their buried environment. If no appropriate material is selected, no sufficient effect can be
expected. This means that the historical significance and other aesthetic value of the culturalproperty cannot be sufficiently protected.
Through the lectures I attended, I was made aware of the serious impact that air pollution
has on our cultural properties. I learned the process of how different elements in the air damage
64

Pollution Measurement by TEA-CF method at
Nara Univ.

DuringPollution
Analysisbychromatography in Nara University

Ion

cultural properties made of wood, stone, metal and textile, and realized the importance ofmeasuring the environment. From now on, we will actively measure the environment surrounding
our cultural heritage to provide scientific evidence to the government authorities for determining
strategies.
As a result of this training, I was able to gain appreciation of the world’s latest scientifictechniques and measures for protecting cultural properties. I also became aware of the philosophyof the scientific approach to and the research system for protection of cultural properties in Japan. I
also found a glimmer of hope in solving the problems I face in my daily work.
From the overall training, I understand that we are doctors, and cultural properties arepatients. In other words, our work is the same as that of a doctor. We interpret the causes based on
the symptom of a cultural property, and provide remedy according to its specific symptom.
Accordingly, it is necessary to make a comparative diagnosis for careful prescription of medication
after identifying the value and nature of the cultural property, material, type of disease, structure ofdisease, cause of disease and surrounding environment and of the conservation materials andapplicable methods. When I return, I plan to put my efforts applying this philosophy to my future
work, promoting technical cooperation among Japanese experts and the staff of National Museumof Nepal.

Conclusion:
Overall, the training course was quite interesting and inspiring. My experience can be summarized
as having provided me with an opportunity to gain a massive injection of new knowledge andconcepts. These will help me in my career in the protection of cultural properties. I also gained theopportunity to meet numerous specialists in the protection of cultural properties in Japan. When I
return, I would like to step up exchanges and joint conservation science programme between thepeople who are involved in cultural properties in my country and the specialists I have met here. I
hope we can work together for the protection of cultural heritages.
Although Nepal is very famous for ancient artefacts as well as various cultural heritage
65

sites, most of our artefacts and cultural relics are being deteriorated day by day due to lack ofexperts in this field. In view of this, this type of training is very fruitful for our country. I also hopethat this prestigious institute will provide such a training course to other untrained staff at mymuseum in future. If they get such opportunity to attend the course, it will provide a great benefit
not only to the Nepalese museum but also to world’s cultural properties.

Acknowledgements
I feel that the two-month training course at ACCU in Nara, Japan, reached a successful conclusion.
I would like to extend my thanks once again to the Asia/Pacific Cultural Centre for UNESCO(ACCU), Nara, Director General of ACCU, Dr. YAMAMOTO Tadanao. My special thanks go to
the Programme Director, Mr. NISHIMURA Yasushi and Programme Chief, Ms. ISHII Kayoko,
who took care of me throughout the training period. I would like to thank Deputy Director
KOMEDA Muneo, Interpreters Ms. KUROSAWA Ayako and Ms. HATA Chiyako, ACCU Staff
TACHIBANA Ruriko, NAKAMURA Yuri, and all other office staff members, and instructors thatspent time teaching me. In the same way, I would like to thank Prof. NISHIYAMA, Nara
University. I am also pleased to give thoughtful regards to my government of Nepal and Mr. Jal
Krishna Shrestha, Director of National Museum of Nepal for nominating me to participate in thisbeneficial training course.

The End66

1. List of Lecturers, Tutors and Interpreters
KAWANOBE Wataru
Section Head,
Restoration Material Science Section, Department of Restoration Techniques
National Research Institute for Cultural Properties, Tokyo
13-43 Ueno-koen, Taito-ku, Tokyo 110-8713
Office Phone: (+81) 3-3823-4922 Office Fax: (+81) 3-3823-4835
E-mail: kawanobe@tobunken.go.jp
MITSUTANI Takumi
Section HeadPalaeonvironment Section, Centre for Archaeological Operations
National Research Institute for Cultural Properties, Nara
2-9-1 Nijo-cho, Nara 630-8577
Office Phone: (+81) 742-30-6845 Office Fax: (+81) 742-30-6856
takumi@nabunken.go.jp
NISHI Kazuhiko
Project Manager
International Centre for the Study of the Preservation and Restoration of Cultural Property(ICCROM)
Via di San Michele 13, I-00153 Rome, Italy
Office Phone: (+39) 0658553388 Office Fax: (+39) 0658553349
E-mail:kn@iccrom.org
SUGIYAMA Hiroshi
Chief Curator
Asuka Historical Museum, National Research Institute for Cultural Properties, Nara
601 Okuyama, Asuka Village, Nara 634-0102
Phone: +81 744-54-3561 Fax: +81 744-54-3563
http://www.asukanet.gr.jp/asukahome/index.html
AKI Seietsu
Director, Environmental Chemical Technical Group
Shinto Fine Co.Ltd.
15-52 Komatsu, Higashi-Yodogawa, Osaka 533-0004
ODAGI Harutaro
Curator, Department of Archaeological Art, Tenri University Sankokan Museum
250 Morimedo-cho, Tenri, Nara 632-8540

Gangoji Institute for Research of Cultural Property
2-14-8 Motomachi, Ikoma, Nara 630-0257
Phone: +81 742 74-6419 Fax: +81 742 73-0125
http://www.gangoji.or.jp/
UEDA Naomi
Deputy Director, Research Department
YAMAUCHI Akira
Section Head, Research Department
NAKAYAMA Takeshi
General Affairs Office
KOBAYASHI Mari
Researcher, Research Department

69

KAWAMOTO Kozo
Deputy Section Head, Research Department
INOUE Michiko
Researcher, Research Department
ISHII Rika
Section Head,Research Department
SHIMONO Hijiri
Researcher, Research Department
AMENOMORI Hisateru
Researcher, Research Department
KANAYAMA Masako
Section Head, Research Department
NAKAGOSHI Masako
Researcher, Research Department
MURATA Tadashige
Researcher, Research Department

National Museum of Ethnology
10-1 Senri Expo Park, Suita, Osaka 565-8511
http://www.minpaku.ac.jp/english/
MINAMI Makio
Associate Professor
SONODA Naoko
Associate Professor
HIDAKA Shingo
Research Fellow



Bijyutsu-in
50 Nobori-Oji-Cho, Nara 630-8213
Conservation Centre for Cultural Properties in Nara National Museum
MATSUNAGA Tadaoki
General Manager, Laboratory for Conservation of National Treasures of Japan
KAGEYAMA

Bunkazaihozon
50 Nobori-Oji-Cho, Nara 630-8213
Conservation Centre for Cultural Properties in Nara National Museum
TAGURO Tokuichi
President
OHBAYASHI Kentaro
Executive managing director

HOTTA Keigo
Chief
AOKI KeikoNara University
1500 Misasagi-cho, Nara 631-8502
Phone: +81 742 44-1251 Fax: +81 742 41-0650
http://www.nara-u.ac.jp/
NISHIYAMA Yoichi
Professor, Department of Study of Cultural Properties
70

HASHIMOTO Toshinori
SHIMAZU Isao
SAKAI ShunjiArchaeological Research Institute of Kashihara and Museum
1 Unebi, Kashhara, Nara 634-0065
Phone: +81 744 24-1101 Fax: +81 744-24-6747
http://www.kashikoken.jp/
HASHIMOTO,
Chief Researcher
OKUYAMA Masayoshi
Chief Researcher
ONISHI Takao
Chief Curator, MuseumInterpreters
KUROSAWA Ayako
HATA Chiyako

2. Staff Members, ACCU Nara
YAMAMOTO Tadanao, Director
KOMEDA Muneo, Deputy Director
NISHIMURA Yasushi, Director of Programme Operation Department
ISHII Kayoko, Chief, International Cooperation Section
Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113
Office Phone: +81-(0)742-20-5001 Office Fax: +81-(0)742-20-5701
URL: http://www.nara.accu.or.jp
E-mail: nara@accu.or.jp71