The Workshop 2010 for Protection of Cultural Heritageat Vientine in Lao P.D.R.
1-6 November 2010

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)The Workshop 2010 for Protection of Cultural Heritageat Vientine in Lao P.D.R.
1-6 November 2010

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
Tel: +81-(0)742-20-5001
Fax: +81-(0)742-20-5701
e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp
Printed by MeishinshaⒸ Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2011

Contents		PrefaceI.

Introduction
1. General Information… ……………………………………………… 3
2. Programme Schedule………………………………………………… 4

II.

Workshop Journal… ……………………………………………… 7

III.

Lecturer Papers… ………………………………………………… 21IV.

Participant's Reports……………………………………………… 57

V.

Appendix
1. Participants…………………………………………………………… 75
2. Lecturers……………………………………………………………… 76
3. Interpreters…………………………………………………………… 76
4. Assistants……………………………………………………………… 77
5. Collaborators… ……………………………………………………… 78
6. Staff Members, ACCU Nara… ……………………………………… 78

Preface

Wat Sisaket

Preface
The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU) was established in August 1999 with the purpose of serving as a domestic centre forpromoting cooperation in cultural heritage protection in the Asia-Pacific region. Subsequent to its
inception, our office has been implementing a variety of programmes to help promote cultural heritage
protection activities, maintaining partnerships with international organisations, such as UNESCO
and the International Centre for the Study of the Preservation and Restoration of Cultural Property(ICCROM).
The ACCU Nara’s activities include, training programmes for the human resources development, theinternational conference and seminar, the training of young leaders in cultural heritage protection,
the website for the dissemination of information relating to cultural heritage protection, and theworld heritage lecture in local high schools. In addition to those, ACCU Nara periodically publishesInternational Correspondent Report based on contributions from appointed correspondents in theregion and also conducts “the local training workshop” which dispatches a group of lecturers fromJapan and implements the practical training on cultural heritage protection on sites.
The Workshop 2010 for Protection of Cultural Heritage at Vientiane in Lao P.D.R. was the fourth
attempt of ACCU Nara. We were fortunate enough to receive the full cooperation and support from
Department of National Heritage, Ministry of Information and Culture of Lao P.D.R. as a co-organiser.
I would like to extend my sincere gratitude to Mr Thongsa Sayavongkhamdy and his staff; and to all
related parties for their cooperation.
The advantages of implementing the local workshop are as follows:
1) A large number of participants from one country can attend the workshop at one time.
ACCU Nara has invited a few participants from a single country to the Individual Training Course
held in Nara. However, participation is usually limited to two or three experts. It would be extremely
efficient to accept a large number of people from one country at one time for providing opportunities
to acquire expertise for the protection of cultural heritage.
2) The working language of the training course is their native language.
As a general rule, the working language used in both group and individual training programmes isEnglish, which sometimes gives difficulty in understanding the content of the training course forsome participants from Asia-Pacific region. Not all the participants are fluent in English. In order toresolve this kind of limitation on the communication, we have decided to use Lao for this workshop
in Lao P.D.R. We believe that participants can understand the lecture more easily and accurately withinterpretation.

(3) The teaching materials are locally available artefacts or vernacular houses.
Different from the programmes in Nara, participants in this workshop make use of artefacts or
structures indigenous to their own country for the practical training, which is familiar and useful for
them.
When organising a workshop overseas, the most important part is the selection of the themes of the
training course. The preliminary survey should be made prior to selecting the appropriate theme which
is most urgently needed for the country. The training programme should also have long-term effect on
the protection of cultural heritage after the workshop has concluded. In organising this workshop, wewere fortunate enough to receive useful information from Japanese researchers who had been engaged
in heritage preservation activities in Lao P.D.R. for years.
I wish ACCU Nara will build on this experience of the local training workshop in Lao P.D.R. for the
next step. Lastly, I would like to express my appreciation to Nara Prefectural Government and Nara
Municipal Government for their cooperation in dispatching their officials to our workshop. I am also
thankful to the Agency for Cultural Affairs, Japan (Bunkacho) for their continuing support.

NISHIMURA Yasushi
Director
The Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)

I. Introduction

Wat Ho Phakeo

1. General Information
The Workshop 2010 for Protection of Cultural Heritagein Vientiane, Lao P. D. R.
- Organised by Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO
in Cooperation with Department of National Heritage, Ministry of Information and Culture, Lao P. D. R. -I.

Venue and Country
Lao National Culture Hall in Vientiane, Lao P.D.R.

II. Date
From 1 November (Mon.) to 6 November (Sat.) 2010
III. Themes
Recording/Documentation of archaeological artefacts
1. Lecture		- Introduction to Measured Drawing of Earthenware

		- Photographic Technique of Artefacts (theory and methods)

2. Practical Training		- Measured Drawing of Earthenware

		(whole and shards / reconstruction from shards / design layout)		- Descriptive Methods of Observed Details

		- Ink Rubbing and its Backing		- Photography

IV. Schedule
As on another sheet: Schedule of the Workshop 2010 for Protection of Cultural Heritage inVientiane, Lao P.D.R
V.

Participants
Fifteen researchers, engaging in investigation, research and preservation of cultural propertiesin Lao P. D. R., who belong to research institutes, the management and preservation office forcultural properties or museums.

3VI. Language
The main working language of the training course is Lao.
VII. Expenses
All the expenses required for the items listed below shall be born by ACCU Nara Office.
		- Dispatching a group of instructors from Japan(five personnel from ACCU Nara and three instructors)		- Provision of transportation to the venue, accommodations and daily allowances to		the participants		- Hire of venue for the training and a rental car		- Procurement of the necessary tools for workshop		- Employment of the interpreters between Lao and Japanese		- Local communication charge		- Publishing the training report

2. Programme Schedule
Date

Morning (9:00-12:00)

Afternoon (13:30-16:30)

1 Mon.

10:00 ~ Opening Ceremony /Orientation

Lecture:-Fundamentals of Archaeological
IRIKURA /Research
NAKAJIMA-Introduction to Measured Drawingof Earthenware

2 Tue.

Practical Training:-Measured Drawing of Earthenware (whole)

11

IRIKURA /NAKAJIMA

Practical Training:
3 Wed. -Measured Drawing of Earthenware(shards / design layout)

IRIKURA /NAKAJIMA

Practical Training:
4 Thu. -Description Methods of Observed Details-Ink Rubbing and its Backing

IRIKURA /NAKAJIMA

Lecture:Photography of Archaeological
5 Fri. Artefacts-Theory-Methods

Practical Training:-Photography

SUGIMOTO

Summary and Review
15:30 ~ Closing Ceremony(Awarding Certificates)

SUGIMOTO

6 Sat.

4

Instructor

Practical Training:-Photography

II. Workshop Journal

Patousai (Anousawari)

Friday, 29 October
ACCU staff and lecturers departed Kansai Airport and arrived in Vientiane (Laos) via Hanoi (Vietnam).
Saturday, 30 October
ACCU staff and lecturers met in Lao National Culture Hall with three staff of Ministry of Information
and Culture (Mr Thonglith Luangkhoth, Mr Soulipane Bouraphane, and Mr Souliya Bounxaythip); Mr
Phokhaysavanh Phothisane, an interpreter; and Ms Toshihara Kayoko, JICA Laos Senior Volunteer, toinspect the venue layout and training programme equipment, and carried them into the workshop venue.
In the Lao National Museum, they selected the earthenware and roof tiles stored in the museum to
use in the workshop, such as complete earthenware, earthenware fragments for making reconstruction
diagrams and pattern drawings, and decorative eaves tiles
for making ink rubbed copies. They also prepared necessary
documents and textbooks, and added missing pieces ofequipment.
Sunday, 31 October
ACCU staff continued preparing for the workshop, checking the
PC and projection equipment to make sure they ran properly andthe seating for guests, and confirming the configuration for thepress people.

7

Monday, 1 November
The opening ceremony of the “Workshop 2010 for Protection of Cultural Heritage in Vientiane,
Lao P.D.R.” was held at National Culture Hall. Mr Nishimura Yasushi, Director of ACCU Nara andMr Thongsa Sayavongkhamdy, Director General of Department of National Heritage, Ministry ofInformation and Culture gave opening addresses, followed by Mr Kobayashi Shigeki, Counsellor of
Embassy of Japan in Lao P.D.R. representing the honorable guests. Guests were introduced, followed
by introductions of lecturers, programme participants, and staff.

Mr Nishimura Yasushi

8

Mr Thongsa Sayavongkhamdy

Mr Kobayashi ShigekiAfter an orientation on the programme content and schedule, and briefing on training tools, Mr Irikura
gave a lecture on earthenware production techniques, perspectives on earthenware observation,and essential points for measured drawing of earthenware. This was followed by Mr Nakajima’s
demonstration of the procedure of making measured drawings.
At night, a reception was held at the Lao Plaza Hotel, to which relevant parties such as the director of
the Lao National Museum were invited.

9

Tuesday, 2 November
Mr Irikura and Mr Nakajima demonstrated how to make measured drawing of small complete
earthenware. During that time, Mr Sugimoto toured Wat Ho Phakeo, Wat Sisaket, and That Luang in
the morning, and the Textile Museum, Ancient City Wall, Buddha Park, and craftwork shops in theafternoon to take photographs.
Wednesday, 3 November
Participants continued the practical training on measured drawing of small complete earthenware.
In the afternoon, they also practiced measured drawing of earthenware shards. Mr Sugimoto took
pictures of the art gallery, That Luang, Victory Gate (Patousai), Wat Ho Phakeo, and Wat Sisaket in
the morning. In the afternoon he continued with Wat Sisaket, then went on to photograph Lao Textile
Museum and That Dam.

10

Thursday, 4 November
Drawing of potshards continued in the morning, followed by an explanation of pattern design layout
on them. In the afternoon, an introduction to the ink rubbing method was given, followed by a handson ink rubbing session using Japanese coins and earthenware pieces. Mr Sugimoto took pictures of the
Sisaket murals and the market in the morning, and of That Khao, Wat Inpeng, Wat Ongtey, and Wat Ho
Phakeo in the afternoon.

11

Friday, 5 November
Mr Sugimoto gave a lecture on the theory of photography and gave an explanation and practicaltraining on photography of archaeological artifacts. Programme participants first learned themechanisms and usage directions of the large-format camera (4 X 5). They practiced photographingeach other as models, and the hands-on session covered such topics as the relationship between
aperture and shutter speed (depth of field) while checking the actual finish.
A simple photo studio was set up using materials which could be procured locally. The hands-on
session went through how to position the artefacts to be photographed, and how to arrange the lighting.
Different settings were tried and the finished photos were compared as the session proceeded. Throughhands-on training, participants seemed to have learned the point of photograph sets and lighting forarchaeological artifacts.

12Saturday, 6 November
The lecture and hands-on training under the guidance of Mr Sugimoto continued in the morning.
Participants are requested to review their yesterday’s work and proceeded to take artifacts photography
with a digital camera. The lecturer explained on the subtle adjustment on exposure and white balance.
In the afternoon, Mr Nakajima and Mr Irikura recapitulated the training workshop. Mr Nakajima
spoke about “Review of how to make measured drawing of earthenware, and future prospects forearthenware research” and Mr Irikura also talked about “Review of the need for making measured
drawing of earthenware.”
The closing ceremony of the workshop was held in the evening. Mr Nishimura, Director of ACCU
Nara; Mr Viengkeo Souksavatdy, Deputy Director General of Department of National Heritage,
Ministry of Culture and Information; and Ms Vanhpheng Keonakhone, Assembly Member and Directorof Department of Information and Cultural of Vientiane Capital made short speeches. Each participant
was awarded with a certificate of completion. Mr Norseng Sayvongdouane made a speech on behalfof all participants. He thanked organisers of the training workshop and said that the knowledge andtechniques relating to methods of making measured drawings, ink rubbing, and photography that helearned in the workshop would be useful in the conservation of cultural heritage, and to the protectionof cultural heritage for the nation of Lao P.D.R. overall.
The earthenware, roof tiles, and equipment used in the workshop were collected and returned to Lao
National Museum.

Mr Nishimura Yasushi

Mr Viengkeo Souksavatdy

13
Ms Vanhpheng KeonakhoneSunday, 7 November
Lecturers and all staff went from Vientiane to Pakxe to take photographs of the World Heritage site, Vat Phou Heritage Parkand observed the townscape of Champasak.

Nandi Hall
Baray

Gallery

14
Northen Palace

Crocodile stone

Elephant stone

Snakes stone

the main sanctuary (shrine)Southen Palace

the carving of lintel in the main sanctuary

15
Sculptures in the main sanctuary

Monday, 8 November
After the meeting with the Director of Vat Phou Museum, the ACCU party toured Vat Phou administrative officeguided by Mr Amphol Sengphachanh, an ex-participant in ACCU training programme with observation of an
ongoing conservation project aided by the French, Italian and Indian governments. Lecturers and staff all took a
picture at the Vat Phou site and Temple of Nang Sida site.

Vat Phou administrative office
Vat Phou Museum

Restoration work of Southern Palace

16

Restoration site of Southern Palace by French government

Nang Sida Temple

Nang Sida Temple

Nang Sida Temple

Hong Nang Sida area area

Hong Nang Sida area

Chanpasak

Chanpasak

Chanpasak

17
ChanpasakTuesday, 9 November
The ACCU party took pictures at Khone Phaphengwaterfall, followed by a tour of Tomo Temple site.

Tomo Temple

Tomo Temple

Wednesday, 10 November
The ACCU party left Pakxe and returned to Vientiane, then left Vientiane for Kansai Airport via Hanoi.
Thursday, 11 November
Earlymorning, the ACCU party arrived at Kansai Airport.
18

Tomo Temple

III. Lecturer Papers

Streetscape of Vientiane Capital

Making actual measurement of artifacts
1. Purpose(1) To render, following a set of rules, the configuration and characteristics of a given artifact into a
two-dimensional drawing, for communication to a third party.
・Rules are set so that the characteristics of the artifact may be fully described.
・Rules differ according to the type of artifact.
・Rules must be shared amongst researchers.

Orthographic projection is the general rule.

Complex configuration represented faithfully

Left: Surface. Right: Cross section and interior.
Simple lip and bottom represented by straight lines

Stone tool front and back21

(2) Why are photographs not enough?
・The purpose of actual measurement is to not only photograph the shape of the artifact but also torecord the results of observation.
・Certain features of artifacts – shape of cross section, surface adjustment, etc. – cannot be fully
represented in photographs.
・mportant features may be emphasized.
2. Actual measurement of earthenware(1) Importance of actual measurement of earthenware
・Earthenware articles are the most numerous of unearthed artifacts.
・The shapes, patterns, and manufacturing methods change rapidly, making them a good yardstickwith which to measure the chronology of a given archaeological site.
・There are regional differences in shapes, patterns, and manufacturing methods. These reflect therange to which human interaction went on.

(2) Points for observing earthware○Materials
・Clay: Coarse or fine?
・Sand granules: Sand granules (Any special minerals?)
・Mixed material: Any materials such as plant fibers used intentionally?

22

○Shaping: Forming the shape
・Method: Shaping by hand, using a mold, stacking clay coils, potter’s wheel
・Configuration: Characteristics of the lip, body, and bottom
Clay

Mold
Shaping by hand

Clay, Mold

Stacking coils

Potter’s wheel○ Adjustment: Perfecting the surface
・Types: Stroking, polishing, scraping
・Method: Direction, density
・Tools: Fingers, spatula, stick, board○ Pattern: Decorating
・Units: Chinsen, piercing, pasting, coloring・Expression: Abstract pattern, pictures
・Tools: Spatula, stick, board, rope, shell○ Firing
・Method: Open or kiln fire

flute・Finish: Color, hardness, state of surface/cross section
firing chamberfire box of a kiln

○ Traces of use
・Black spots: Used for boiling or lighting
・Piercing: Non-practical use item

23

24

25

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Basic Knowledge of Cultural Properties Photographs
Photography Dept., Nara National Research Institute for Cultural Properties
1. Introduction
Photographs are indispensable for study of cultural properties and must therefore be understood byanyone engaged in the study. If however cultural properties are photographed without understanding
the objective and framework for taking photographs, the photographs will not yield an abundanceof information. The fundamental principle of photography of cultural properties is to enable storageof materials that record an exhaustive amount of information in place of the cultural properties
themselves for an extended period of time.
2. Role and types of photographs of cultural properties
Photographs of cultural properties include photos used for work and documentary photographs
obtained by research and restoration as shown in Fig. 1. There are many types of photography
including the most common type of photography used on a routine basis and so-called "optical survey"
such as X-ray photography and infrared (IR) photography as shown in Fig. 2.

Ledger registration
Photographs used as the basic ledger for museum
materials.

UtilityCatalogs and panels
Photographs for edification

Lend
Publications and research photographs to be lent.

Photographs

Research materials
Photographs for academic research.

Records

Restration records
Photographs of before and after restraion.

Material storage
Saved as photographic record of state ofmaterials.

Fig. 1: Role of photographs

30Ordinary Photographs
Full view of materials, processes, etc.

Ordinary

Oblique ray photographs
Slanted light rays highlight details.

Detailed photographs
Provide view of fine details of materials.

Photographs
IR / UV
Photographs of these wavelengths.

OpticalMiscroscope photographs
Blown up or detailed transmissive photographs

X-ray photographs
Provide view of internal structure, etc.
Fig. 2: Types of photographs

3. Types of cameras
There are various types of cameras, which differ according to film size. The larger the film size, thelarger the camera tends to be. Larger film size also offers better picture quality. Consequently, larger
cameras are used if better picture quality is desired. The size of the camera does not only affect picture
quality. Single-lens reflex cameras take photographs in 24 x 36 mm rectangular format; there are also
cameras that take 60 x 60 mm square photographs. The difference between rectangular and squaresignificantly affects the photograph itself. Digital cameras also have a surface called CCD or CMOS
that records images (photo-sensitive element). Just as with film size, the larger the surface, the betterthe picture quality generally is.
(1) 35 mm single-lens reflex camera
The most commonly used camera can flexibly adjust to various photographing conditions such as
automatic focus, manual focus, macro photography, lens change, etc.
(2) Medium size cameras
Sixty millimeter roll film is referred to as "Brownie film." This type of film is used by medium sizedcameras that take 60 x 45 mm or 60 x 90 mm photos. Medium size cameras are often equippedwith separate film holders. Some conventional cameras can be converted to digital cameras byexchanging the film holder for a picture element such as a CCD picture element.

31

(3) Large cameras
Sheet film is changed for each photograph for large cameras. Film sizes include 4 x 5 inch (postcardsize) and 8 x 10 inch (A4 size). Such film offers superior quality photographs. The photographer
must however make all adjustments manually, including focusing and setting the diaphragm andshutter speed. The lens and film holders are connected by bellows, and therefor offer the advantageof tilt-shift photography to correct distortion that can be caused by the lens. Digital photographs canbe taken by replacing the film holder with a picture element such as a CCD picture element.
4. Digital single-lens reflex camera
Digital cameras also come in many types that vary according to size, type and effective sensor
resolution (hereinafter referred to as "pixels"). Here we have used a digital single-lens reflex camera
equipped with a 35 mm picture element as a model. Let's take a look at its features.
*Pixel countIf we enlarge the picture you can see a mosaic like image consisting of rows of squares. Eachof these squares is called a "pixel." The number of pixels is the pixel count. For example, if
the image consists of 4000 pixels vertically and 6000 pixels horizontally; it therefore consistsof 4000 x 6000 pixels, or 24 million pixels. This is an index in addition to determining qualityof a photographic record. It does not however mean the larger the pixel count, the better the
picture quality is, but rather determines the total performance such as the lens precision and
CCD recording format.
*Gradation
Gradation expresses rich coloring for the factors that decide picture quality. Gradation refers
to picture representation performance. Rich gradation enables expression with smooth color.
There are shades of gray between white and black; some shades of gray are closer to white,while others are closer to black. If gradation is rich, color changes smoothly from white toblack. If gradation is poor, smoothness is lost.
*Picture element
Picture elements come in various sizes. Recently, many single-lens reflex cameras use 24
x 36 mm picture elements called "full size." 1/1.8 picture elements often used by compact
cameras are only 1/16 the size of a 35 mm picture element. If the pixel count is the same forthese picture elements. that is, 10 million pixels, the per pixel area of the 35 mm size would
be larger. The larger per pixel area is able to receive more optical information, so gradation isricher (See Fig. 3).

32

Same picture element

Lager

SmallerFig. 3: Correlation of picture elements and gradation; The large area is capable of receiving more light.

*High sensitivity / noise prevention
The larger the picture element, the larger per pixel area is and the more optical information it
can contain. Improving efficiency of converting light to electronic information makes noiseless likely to be produced. Also, because conversion is efficient, low intensity light can also berecorded efficiently, and better photographs can be taken because sensitivity is higher.
*Resolution
Resolution indicates concentration of pixels per unit area for output. The number of pixels
required depends on output method and size, but if the pixel count is too low, resolution will below (see Fig. 4) and the image will not be clear. The number of pixels required for output sizemust be met (see Fig. 5).

Fig. 4: Unclear output
Low resolution(Ex. 50 dpi 2 x 3 inch output)

Fig. 5: Clear output
Sufficient resolution(Ex. 96dpi 2 x 3 inch output)

33

5. Digital photograph image saving format
Images photographed with a digital camera are first recorded as raw image files. With digital cameras
such as single-lens reflex type, you can choose to save as raw image files or JPEG format. Compact
digital cameras may only be capable of saving in JPEG format. JPEG format enables you to view thephotos is all sorts of digital environments. Raw image files, on the other hand, can only be handled asthey are, and must be processed on a computer. Image processing refers to converting digital data to aformat that can be viewed such as JPEG or TIFF (See Fig. 6).

Processing

Photography

Recording raw data

Image file containing

JPEG
image

all data

Color, etc., automaticallyadjusted by camera

Large file iscompressed.

Operations performed automatically by the camera

mage processedby user using
image processing

Photography

Recording raw data

Saved as is

Image file containing

TIFF
image

all data
Color determined by the user

Compressed
before saving

JPEG
image

Fig. 6: JPEG format*Raw image files
Raw image files are the optical data obtained by photographing itself; raw image files are raw
data prior to processing. Raw data (all data pertaining to the image) cannot be viewed as animage until it is processed. Raw data is the origin from which JPEG images are produced. The
camera just automatically processes and compresses the raw data. As long as you have theraw data, you can avoid having the camera process it and decide the picture quality for you.
Cultural properties must be saved as raw image files.

34

*JPEG format
Image data obtained by a digital camera and saved in JPEG format is raw data that is
automatically processed by the camera. Automatically processed image files are compressed
to a degree where image quality is not affected. The degree of compression can usually
be selected. If you want to preserve quality by maintaining a large file, you select a lower
compression ratio, and if you prefer a smaller file with lower quality, you select a higher
compression ratio. JPEG format maintains comparatively high quality even if the compression
ratio is altered.
The drawback of JPEG format is that compression ratio is left up to the camera. The
information of compressed files is inferior to the raw image data before being automaticallyprocessed by the digital camera; once data is lost it cannot be recovered. Because the data is
automatically processed by the camera, aspects such color are determined by the processing;the images can only be processed within the parameters of the camera itself. Consequently,
because photographs of cultural properties may have to be used in various sizes and subsequent
processing may be required later on, processing by the camera is not really suited to suchphotography.
*TIFF format
TIFF format allows photographic image data to be saved without compression, thereby
maintaining the size of the file. Bitmap data, which simply consists of a mapped array ofbits of optical data, is a basic format, and is therefore suited to a wide range of applications.
TIFF format is a stable format with a high potential for being reproduced in the future.
Uncompressed files can be quite large, but it the most suitable format for saving photographic
image data of cultural properties that may have to be used in various sizes or subsequent
processing may be required later on.
In the case of digital photography, no matter what format an image file may be saved or by what
procedure it is saved, you must record the proper tone and light status by photographing a gray card orcolor target, and save the image data processed based on it, and then make use of the saved image data.
In the case of photographing using a gray card, light source by which the image was photographedand neutral tone are reproduced by computer based on gray without being affected by color bias, so it
is necessary to save the digital image reproduced based on it when photographing cultural properties
requiring precise recording. Details concerning the methods of photography and preproduction
processing are provided in the attached document. Theses can be viewed by accessing the website at
the following URL (Japanese only). http://maishaken.cool.ne.jp/cgi-bin/diarypro/data/upfile/5-1.pdf

35

6. Mechanism by which a photograph is taken
Up to this point, we have talked primarily about cameras. Now we will talk about the mechanism bywhich photographs are taken to produce the desired results.
*Photograph and exposure
For our purposes, the object of taking a photograph is to record the subject exactly as it is. To
do this, the image of the subject is reflected by adjusting the focus and shutter speed. The lightthat enters the camera through the lens must be properly recorded on the surface of the film or
picture element. Adjusting the proper amount of light is called "exposure." As long as the lightis adjusted to the proper amount, the subject will be photographed at the correct exposure. The
diaphragm adjusts the size of the aperture through which the light enters. If the diaphragm isopened, more light enters, and if it is closed, only a small amount can enter. Shutter speed is theamount of time the shutter the covers the aperture through which light passes is open. If the film
or picture element continues to be exposed to light longer than is needed, the photograph will
eventually appear white. "Overexposure" occurs when there is too much light. Inversely, if there
is not enough light, the photograph will be dark. This is referred to as "underexposure."*Function of the diaphragm
We learned that the amount of light can be adjusted by how much the aperture of the diaphragmis opened. Now let’s take a look at how this works. Under ordinary circumstances, the lens aremarked with FX. X, FY and FZZ. These units are diaphragm numbers called "f numbers." Thelarger the diaphragm number, the smaller the aperture is, and the smaller the number, the large theaperture becomes.
*Function of shutter speed
Shutter speed is the amount of time between when the camera shutter is pressed, the shutter
opens, light comes in through the aperture in the diaphragm, and the shutter closes, thereby
ending exposure. Cameras are equipped with a shutter speed adjustment function.
*Correlation of the diaphragm and shutter speed
How do the diaphragm and shutter speed affect the photograph? Here is a photograph taken withthe f number set to F8 and correct exposure of 1/125 of a second. If we consider the diaphragmand shutter speed, several patterns of correct exposure can be prepared. If for example wethink we can get correct exposure by changing the setting of the diaphragm from F8 to F16, thediaphragm aperture becomes smaller and the amount of light that passes through the diaphragm
aperture is reduced. In order to secure the amount of light necessary for correct exposure, wemust therefore reduce the shutter speed. Oppositely, if we change the setting from F8 to F4, theamount of light that passes through the aperture increases, so shutter speed must be increased.

36

*Correct exposure and exposure compensation
If the built-in automatic exposure function of the camera is used, the diaphragm aperture andshutter speed are automatically adjusted according to the amount of light that the camera
determines to be correct exposure. Both may however exist simultaneously if the subject is toolight or dark, or is photographed against a white backdrop, and the exposure may consequently
not be correct for the subject. The light distribution of the entire screen is calculated according
to the characteristics of the camera to determine correct exposure, and the camera is incapableof determining what the subject is. If photographing a dark subject against a bright backdrop,
the camera determines the amount of light for the entire screen and darkens the exposure;correct exposure can however be obtained if the photographer takes the initiative to brighten
the exposure. If photographing a bright subject against a dark backdrop such as black or gray,correct exposure can be obtained if the photographer takes the initiative to darken exposure.
This is called "exposure compensation." Positive compensation is provided for a bright subject
and negative compensation for a dark subject in order to archive correct exposure. The methodby which exposure compensation is achieved differs according to the camera. It is important toread the camera’s instruction manual carefully and get empirical knowledge of the procedures.
*Focus range = field depth and focus depth (Fig. 7)
One function of the diaphragm is to adjust the amount of light, but it has another importantrole, i.e., to adjust focus range. Increasing the f number widens the focus range, and decreasing
it shrinks the range. The focus range is referred to as "field depth." Field depth varies according
to the type of lens as well as the diaphragm setting.
Position where focus is adjusted

Diaphragm setting F2.8

F8

F22

Fig. 7: Field depth and focus depth

The photograph taken with F22 appears sharper than the one taken with F2.8. This tells us that therange(field depth) of F22 is wider. The focus is behind the silver general in the photograph taken with
the F2.8 setting. This tells us that focus depth is the rear surface.

37

*ISO sensitivity
The mechanism by which photographs are taken contains another important factor. The factor
is "sensitivity." "ISO sensitivity" is the sensitivity for the films reaction with light. In otherwords, the reaction differs according to the sensitivity with which the film receives the sameamount of light.
High

1600

Low

800

400

200

100

High sensitivity

50

25

Low sensitivity
Fig. 8: ISO sensitivity

As shown in Fig. 8, The higher the number, the higher sensitivity is, and the lower the number,the lower the sensitivity is. This means that the higher sensitivity is, the less light is needed to takephotographs, and the lower the sensitivity is, the more light it takes to achieve correct exposure.
There are several combinations of diaphragm and shutter speed settings that realize correct exposure.
The same goes for ISO sensitivity. Changing from ISO100 to ISO200 is the same as changing thediaphragm and shutter speed settings by one increment. The higher ISO sensitivity is, however, themore gradation and sharpness deteriorate, regardless of whether film or digital medium is used. ISO
sensitivity must be carefully set (see Fig. 9). Cultural properties may generally be photographed withsensitivity set between ISO100 - 200.

Easy

Diaphragm

Difficult

Fast

Shutter Speed

Slow

Rough

Image Quality

Fine

1600

800

400

High sensitivity

200

100

50

Low sensitivity

Fig. 9: Correlation of ISO sensitivity and diaphragm setting

38

25

7. Light orientation = Lighting
It would not be an exaggeration to say lighting and composition are everything to photographing point
when photographing cultural properties. Light orientation -- the angle at which light strikes the subject-- is an element that has a decisive effect on the quality of the photographs. With the exception of
special circumstances, the fundamentals of lighting refer to making it reflect off the walls, or flexible"indirect light" such as light dispersed through tracing paper or white cloth. With direct light, strong
shading or halation are caused by the angle of the light, resulting in a photograph that does not convey
enough information. Lighting includes types with various functions. The light beams that affectexpression and atmosphere are called "main light,"and the light beams that adjust brightness of thesubject are called "sub light." Key light, which is used to express fine parts of the subject or top light /sky light, which adjust brightness of the background are sometimes used.
Quite a significant amount of heat is produced by lighting equipment. Organic substances, in particular,
may be damaged by rapid drying. It is consequently necessary to device a way to minimize irradiation
time.
*Main light irradiation direction and effect*Forward light (light from front)
State where the subject receives light from the front; in this state, the photograph provides
a planar impression. This type of lighting produces a dark vertical shadow according to theirregularities of the subject. This type is not generally used because shading of the subject
cannot be expressed.
*Oblique light (oblique light from the side)
Forward oblique light from the side. Part where light is angled and shading is pronounced.
Produces a more 3-dimensional photograph than forward light. Most basic type of light.
*Side light (light completely from the side)
Light directly from the side of the subject. Irregularities on the surface of the subject can beclearly recognized.
*Top light (light from directly above)
State where the subject receives light from directly above. Does not tend to produce a shadow,
so there is no need to worry about the direction in which the shadow will be produced.
*Back lightLight that strikes the subject from directly behind.

39*Semi back lightLight that strikes the subject obliquely from behind.
*Transmission lightLight that clearly shows the contour, etc., of the subject. Used in combination with forward
light and oblique light. Subjects are photographed using combinations of these types of light so
the subject can be recognized well.
*Photographing pottery shards and stone tools from above
In order to avoid the shadow of the subject from falling into the background thereby making
the contour unclear, the subject is placed on a sheet of transparent glass that if raised from thebackground. If the background is not bright enough, brightness is adjusted by shining auxiliary
light on the background. The subject and background are both basically illuminated by main
light. It is necessary to come up devise measures to avoid producing halation for shiny subjects
such as stone tools made of obsidian, such as using reflected light or creating indirect lightusing tracing paper.
*Photographing planar subjects such as ancient texts from above
Subjects such as ancient texts are placed on a copier and photographed from above. A levelis first however placed on the camera and the subject is set parallel to the camera. The entire
subject is uniformly illuminated. The light source is aimed at the copier with lamps set at 45
degree angles to the left and right.
*Photographing using paper backdrop
Color of the paper backdrop is selected according to the color of the subject. A neutral color
such as gray or white is generally used to avoid color transfer to the subject. Illumination
varies according to the size and 3-dimensional structure of the subject, but basically consists ofa combination of top light and main light.
8. Structural outline
Photography is the act of forcing the subject to fit in a limited frame. The appearance of the photographvaries according to the way it is fit into the frame, in other words, the structural outline.
*1/3 structural outline
This is the method of arranging the subject by separating the screen into 1/3 horizontally andvertically.

40

*Structural outline with subject in center:
Structural outline with the subject positioned in the center of the screen. The information you
want to convey about the object to be photographed is directly expressed. Lots of museum
materials are photographed using this structural outline. Since it is used for publications and soon as well, a proper margin is left around the subject.
*Camera angle
When considering the structural outline, it is important to think about what is to be placed
where. It is also important to consider from where the subject is to be photographed, inother words, the camera angle. The impression varies according to whether the subject isphotographed from a high or low angle, or from a frontal angle. The appearance of the subject
also varies if the left and right angles are changed.
9. Lens
Lens are classified by millimeter units. This is referred
to as "focal length." If the focal length is small, it iscapable of photographing a wide angle (wide anglelens), and if it is large, it can zoom in on a limited
range (telephoto lens). In addition to these, there
are standard lens that can photograph from close up
without restriction.
				

Telephoto lensStandard lensWide Angle lens41

10. Image processing
In the case of film, color tone and contrast are adjusted when developing. In the case of digital
photographs, images are processed using image processing software such as Photoshop after
photographing. These processes are classified as "adjustment" or "processing." Operation differs
according to the type of image processing software used. The user must therefore read the software
manual well familiarize himself with operation.
*Adjustment
Adjustment refers to precise adjustment of color tome reproduction or contrast, trimming,
etc. This task is always required when processing digital images. In an ideal situation, digital
images should basically not be processed any more than necessary for saving. It is therefore
important to sufficiently consider photographing conditions before taking pictures.
*Processing
Processing basically includes getting rid off unwanted images, converting color tones oraltering color of the subject; it also refers to adding effects, etc., to images. There are many
problems with processing photographs of cultural properties which play an important role as arecord. Photographs are not processed under ordinary circumstances.

42

43

44

45

46

47

48

F X . X , F Y , F ZZ .

1/125

F8

F8
F16

F16
F8

F4

49

50

51

52

53

54

IV. Participants' Reports

Bandit PHOMMACHAN
Technical Staff
Savannakhet Museum

I am Ms Bandith PHOMMACHANH, 24 years old and a technician of Savannakhet Province Museum.
I am very proud to be trained in this project seminar, which was organized on 1 - 6 November 2010,
because such a seminar provided us with an opportunity of knowledge and understanding, especially of
the pottery measurement, registration on ceramic artefacts, taking photographs of ceramic antiques andprotection of national heritage, all of which was full of great worth. This seminar we have participatedincluded many activities useful for cultural heritage protection which is being in our charges and basedon technical and practical aspects.
By taking this opportunity, I would like to express my thanks and high appreciation to the party-stateorganization that provided us with the seminar facilitation, including the Ministry of Information andCulture, Heritage Department, National Museum and related authorities especially to the teachers andexperts, who provided the technical and special living assistance. I appreciate very much that Japanese
Government, as well as ACCU, supported us and brought the fund for this training project.
I promise to achieve it; the lesson acquired by this workshop shall be effectively used in my work. I
wish all of you related in this seminar to be healthy, successful in business and at home, and see you in
the next time.

57

Kaisone KHANKEO
Director General
Saiyaboury Museum

I am Ms Kaisone KHANKEO, the technical chief of Xayabouly Province Museum. I feel very proud
to have the chance to participate in this training for Lao heritage protection, which was organizedon 1 - 6 November 2010, by Cultural Heritage Protection Cooperation Office of ACCU jointly with
Heritage Department of Ministry of Information and Culture, Lao P.D.R.
This seminar provided me with a good opportunity to learn documentation of artefacts for the
personnel who have not been learnt on measurement theory before. In the workshop, I practiced
measured drawing, registration of ceramic artefacts, and learned the theory of photography of objects
and practiced taking photographs of objects. All what I have learnt is useful for the protection ofnational heritage and valuable artefacts. In this seminar, I have participated in many activities for thetechnical development and learnt a lot from experts.
In this opportunity, I express the thank and high appreciation on all organization levels, especially
ACCU Nara and Heritage Department of Ministry of Information and Culture, which have provided
me with the technical support and fund for better living.
I promise to make use of this acquired knowledge and techniques by the teachers who have kindly
imparted their expertise to us. I shall effectively use it in my museum work. I wish all of you with thisseminar to have happiness in life and success in businesses. Especially, I wish Mr. Nishimura and his
team to have the safe trip. I hope another opportunity to work with you in the future.

58

Khampan VILAPHANH
Deputy Director
Huaphun Cultural Section

I, Mr Khampan VILAPHANH, have been working in Huaphun Province Information and Culture
Department. After participating this training workshop for heritage protection, dated 1-6 November
2010, co-organized by ACCU and Heritage Department of Ministry of Information and Culture, in
cooperation with Culture Department of Vientiane Capital, I greatly feel proud to have a chance ofparticipation in this new study. In the past, especially in Houaphan province there is always shortage of
qualified technical staff who can manage heritage protection work, and this workshop seems an ideal
opportunity not being performed before.
When I participated in this training, I soon found out that all teachers and experts from Japan are very
experienced, who kindly provided us with knowledge and lessons as well as practical techniques
on observation, measurement, drawing, recording of antique information gathering, and also taking
photographs of artefacts. All lessons that I have studied in the workshop was necessary knowledge andrelative to my work, and I shall effectively use it back in my province.
I express my gratitude and high appreciation to the Heritage Department of Ministry of Information
and Culture, which has given me the chance for this training. I also express thanks and high application
to all Japanese lecturers, who taught me kindly and patiently. I wish we could have another chance intechnical supports and cultural heritage protection training in my province.
Finally, I wish all in charge of this training workshop, Heritage Department of the Ministry ofInformation and Culture, to be healthy and success in your businesses, wish all teachers and staff ofJapanese party to be healthy and lucky for a safe trip.

59

Bounpheuth XAYSINGDYKEO
Technical Staff
Museum of Vientiane Capital and Archaeological Site

First of all, I would like to thank Mr KhoJohn Keomanivong, Board of Party and Division of Ministryof Information and Culture (MIC), who is also taking the lead on mass organization work as wellas the Director of Vientiane Antique Museum that provided me the opportunity to take part in thistraining. I also would like to extend my gratitude to Mr Thongsa Xayavongkhamdy, Director Generalof Heritage Department, MIC, who has closely cooperated with ACCU of Japan.
As this training course was deemed extremely benefiting, it invited a participant from Vientiane
Antique Museum as well as the relevant agencies from most provinces. I am grateful to ACCU Nara
(Japan) for organizing this training course. I also extend sincere thanks to Professor Nisimura Yasusi,
lecturers and their colleagues for rendering their time in transferring their valuable knowledge to us.
Warm thanks would be also passed on to Ms Vanpheng Keonakhone, National Assembly’s Member ofZone 1, who is also the Director of Vientiane Municipality Information and Culture Department, fororganizing us the warm welcome party which was meaningful and impressive for us. And last but notleast, I extend warm thanks to all officials in facilitating for this training course.
This training course was filled of good atmosphere, enjoyment, and friendship. In addition to thetheoretical training part, the practical training was also provided to make the participants better
understanding. It was the first chance for anyone too. Even though the participants gained not muchunderstanding from theoretical part, they understood more and better during practical session. This
training course gave us extreme benefits, aside from the lessons; we particularly learned on Japanesemethods and some of Japanese culture which we can apply this new knowledge to our technical works
for maximum benefits. We also will transfer this knowledge to our officers within our responsibility.
Some other interested people and I, even though there were many good aspects, felt there were someshortfalls i.e. the time for training course was too short that we could not gain much more knowledge.
However, we would like to have the training course like this being organized again and we also hope
to receive cooperation from ACCU office and other stakeholders who are interested to transfer usknowledge, which we are always welcome.
Finally, we wish to have god bless all professors, their colleagues, and all participants with good
health, great success in work and family life. Bon Voyage. Thank You.

60

Khamphone INTHAVONGTechnical Staff
Bolikhamxay Cultural Section

I am Mr Khamphone INTHAVONG, the technician working at Information and Culture Department of
Borikhamxay province (Culture sector). I feel glad to participate in the training of Lao heritage culture
protection, especially on the ceramic artefacts, on behalf of the department and personnel, because
this is my first time to join such a practical training on the theme. Such work is very important within
Lao P.D.R.; there are many ceramic artefacts left without identification and registration, and they aremostly kept after discovery and just known for their oldness, age, and time. So, it is difficult for us toprotect them and know their values. This training was implemented with the cooperation between the
Heritage Department of Ministry of Information and Culture of Lao P.D.R. and ACCU Nara of Japan.
In spite of the relatively short periods of the training duration, knowledge and practical techniques on
documentation were fully communicated to us by lecturers, Mr IRIKURA Norihiro, Mr NAKAJIMA
Kazuhiko and Mr SUGIMOTO Kazuki, and together with all staff members from Japan and Lao
P.D.R. I have acquired much knowledge in the program such as how to measure, draw and duplicate
the ceramic artefacts and their parts. In addition, I have also leant how to take photographs of artefacts
effectively, which is the most important subject of my work of cultural heritage protection.
After the completion of this training, I shall take this knowledge to disseminate and use into the further
professional work. I hope the next training opportunity to be conducted by ACCU Nara once again,
especially on the theme of Lao heritage protection. Finally, I wish all teachers, experts and staff fromJapan and Laos to have happiness and prosperity.

61

Khamlai VANNALATH
Technical Staff
Khammouane Cultural Section

I am Mr Khamlai Vannalath, an official working in Information and Culture Department of Khammuan
Province, which is responsible for Heritage Management. Through participating in training coursefor 6 days, 1-6 November 2010, I am very happy for having a chance to participate in the courseof heritage protection in Lao P.D.R. organised by ACCU Nara with cooperation of Department of
National Heritage, Ministry of Information and Culture.
During the theoretical and practical training session, I was very happy and leant a lot on recording ofartefacts. Upon returning to our province, we will apply it to have better results.
Thus, I hope that another training opportunity will be provided on the heritage and culture managementin the future.
I would like to thank all relevant stakeholders, Heritage Department, MIC, Cultural Heritage
Protection Office, Asia-Pacific Cultural Centre for UNESCO.
Thank You.

62

Mailo KHAMPHOUVONG
Technical Staff
Archaeological Research Division
Ministry of Information and CultureFirst of all, I would like to thank Heritage Department, ACCU Nara team, and the responsible
committees for organizing the training course for giving me an opportunity to gain knowledge andtechnical know–how in international level.
Through the training period, from 1 to 6 November 2010, I am very proud for having opportunity totake part in the training to share the lessons and techniques on heritage conservation from the Japaneseexperts. All of the lessons were new to me and they attracted my interests to learn as I would like toapply them into everyday works. Even though this training course equipped me with many lessons,
unfortunately there were some limitations during the lesson as they were too short and I was unable toclearly understand in some parts. I hope that ACCU will provide us with the valuable opportunity likethis again in Lao P.D.R. to learn more about documentation of artefactrs.
Finally, I would like to wish god bless Mr Nishimura Yasushi, Head of ACCU, Mr Viengkeo
Souksavath, Ms Vanpheng Keonakhone, all professors, organizing team, and all participants to beprosperous, healthy, and happy forever.

63Mien LOVANKHAM
Director
Luangnamtha Cultural Section

I am very proud of having a chance to participate in this training course and I would like to thank
ACCU Nara and Heritage Department, Ministry of Information and Culture.
I would like to have some comments for this training course as follows:
From this training, I have learned more about the meanings and importance of heritage works whichhave the historical values. The training workshop was particularly on the measured drawing of heritage
objects, data collection and registration of artefacts as well as recording of the object characteristics. In
addition, I have also learned about the principles of photography and the heritage object photographing
methods in particular. I felt that this training was very important because the professors from Japantaught us with much attention and patience in this training course. They devoted their capacities for
imparting their knowledge to us and for making the participants understand and able to do in practice i.e.
drawing and photographing.
Even though I could not fully gain 100% from this training, I feel that I can apply what I learned into
my work in my place and I promise to bring this knowledge to be effectively applied in my work.

64

Norseng SAYVONGDOUANE
Director General
Luang Phabang Cultural Section

For six days training, I learned more on how to conserve cultural heritage, particularly for conservationof antique object, artefacts, and religious monuments in our province in order to continue the culturalfighters’ mission to stand in the international level. I did not have much experience in the past. Aftertaking part in this training, I will try to apply this valuable knowledge to effective implementation for
cultural heritage protection.
I am very proud of the participation into the training workshop and I also would like to thank all levelof authorities in bringing knowledge to each province on the importance of antique objects.
I hope we will receive more support from ACCU again in the future. I myself would like to have thistraining workshop organized in each province.

65

Phaivanh SIVANNALOM
Technical Staff
Cultural Section, Vientiane Province

I, Mr Phayvanh SIVANNALOM, would like to thank organizers of this workshop on behalf ofpersonnel as well as the representative of the Information and Culture Department of Vientiane
Province. I am proud and glad to have the opportunity to participate in this training of ACCU Nara
dated 1- 6 November 2010. Even though this was a short period, it was valuable time, because alllearnt subjects were very important to protect Lao cultural heritage.
Once again, I am thankful of Japan, as well as ACCU Nara which has provided me with this project fortraining, full of knowledge and worthy lessons. I shall utilize acquired lessons by teachers to contributein my work of cultural heritage protection as possible as I can. On the other hand, I sincerely hopethat Japan as well as ACCU Nara shall provide me with the good projects and another lesson for theprotection of cultural heritage for Information and Culture Department of Vientiane Province.
Finally, as the representative of Information and Culture Department of Vientiane Province, I wish allteachers and representatives of ACCU Nara from Japan to be healthy and have a safe trip.

66

Vanhsay CHEU
Technical Staff
Oudomxay Museum

I am Mr Vanxay Chue, a participant from Oudomxay province Museum. I appreciate that the Heritage
Department, Ministry of Information and Culture, concerned with the northern and southern provinces
which still lack human resources on heritage protection works and organized a training course for staff
in those provinces.
I am very proud having a chance to take part in this cultural heritage protection training courseorganized by ACCU Nara and Heritage Department. The committee and leadership organized thistraining workshop with reasonable long period of six days (1 – 6 November 2010), in which staff ofHeritage Department in collaboration with the experts from ACCU Nara served as the lecturers andtutors to teach participants. I found out through this training course that it was very meaningful andimportant for our works.
Thus, I would like to appreciate and thank the organizer, namely ACCU Nara, as well as the professors
from ACCU Nara in rendering their time for transferring their expertise to the participants. I promise
to bring newly acquired knowledge from the experts to apply to our works.
Finally, I hope that the Ministry or Department and ACCU Nara from Japan will organize this kind of
training again. I would like to wish god bless the organizer (Heritage Department) and ACCU Narafrom Japan to be healthy and successful in the works and always provide guidance to us.

67Somsavanh INDAVONG
Deputy Head
Province Museum Unit
Information and Culture Department of Bokeo Province

I was very proud of having a chance to participate in this training under the theme of Cultural Heritage
Conservation in Lao P.D.R. through the support from ACCU Nara. I have never learned these lessons
before in the past. The lessons you taught us this time made our technical staff from the provinces
learned new techniques such as drawing and measuring of antique objects and their photographing for
documenting and keeping the records. Our Bokeo province really requires this technical aspect.
Even though we sometimes experience a language barrier, but all professors made all possible efforts
on clear explanations. I thus almost understood the lessons through this training course. Unfortunately,
I could not greet the presenters by myself.
I thus would like to take this opportunity to appreciate and thank the sponsor (ACCU Nara), MrNISHIMURA Yasusi, all lecturers and their colleagues from Japan. I also extend my gratitude to the
Heritage Department and training organizing team. I also would like to take this chance to have god
bless the sponsor, the professors, and the authorities of Heritage Department to be happy, healthy, andsuccessful in the works and life. I hope to have the support on building local human resources withknowledge and capacity in the future.
Thank You!

68

Thongthinh PHOMPHAKDY
Director General
Pakse Historical Museum

I am Mr Thongthin Phompackdy, a participant from Historical Museum of Champasak province,
who had the opportunity taking part in the training course on heritage protection in Lao P.D.R. (1– 6 November 2010), which was organized by ACCU Nara and Heritage Department, Ministry ofInformation and Culture.
It was my first experience to participate in such a training on learning how to measure the pottery;measuring of perfect shape of pottery and those are in pieces; how to observe the pottery and record
their details for reference; how to photograph a pottery of perfect shape and in pieces. Thus, it
took considerable time to follow the lessons and understand them. However, I am thankful that the
professors paid intensive attentions and consideration on teaching, even though it was short period oftime and rushed too.
In addition, I would like to thank and appreciate ACCU Nara and Heritage Department of Ministry ofInformation and Culture for giving me the opportunity to take part in this training course. I will bringthis lesson for effective use.

69

Vilayvan VILATHAM
Technical Staff
National Museum
Ministry of Information and Culture

I am Ms Vilayvanh Vilatham, a technician from National Museum. I graduated from Hanoi Culture
University in Vietnam in the field of museum study. I am very hounored that Heritage Department and
ACCU Nara provided me the opportunity to take part in this heritage protection training course. Even
though it was six days training course, but it was meaningful and important for me. I learned a lot fromtechnical knowledge by Japanese experts, particularly measurement of pottery, how to draw pictures,
how to measure, how to copy, and how to photograph both indoors and outdoors, and other valuable
methods.
For these valuable lessons and their efforts, I would like to thank ACCU Nara, Mr Nishimura (Headof ACCU), and the lecturers. I wish them good health and also hope to have this training project willcontinue forever.

70Khamleuane APHAYAVONGTechnical Staff
Xiengkhouang Cultural Section

I am Mr Khamleuan Aphaiyavong from Heritage Unit of Information and Culture Department of
Xiengkhouang province.
I am very proud for having a chance to participate in the cultural heritage protection training in Lao
P.D.R. from 1 to 6 November 2010 in which Japanese experts transferred their knowledge. I learnedlots of new things, particularly the principles on drawing of the antique objects and also the practicaltechniques regarding how to draw ceramic artefacts and their pieces as well as copying the pieces ofartecacts, including the theory and practice of using the camera. In addition, the lecturers did theirbest to make us understand the subjects very well. I promise to bring this knowledge to effectively
implement in my local place.
I would like to appreciate and thank ACCU Nara and Heritage Department for organizing this training
course. I hope to have other chances to take part in this kind of training in the future.

71

V. Appendix

Makong River

1.

Participants

1)

Bandit PHOMMACHAN
Savannakhet Museum

2)

Kaisone KHANKEO
Saiyaboury Museum

3)

Khampan VILAPHANH
Huaphun Cultural Section

4)

Bounpheuth XAYSINGDYKEO
Museum of Vientiane Capital and Archaeological Site

5)

Khamphone INTHAVONG
Bolikhamxay Cultural Section

6)

Khamlai VANNALATH
Khammouane Cultural Section

7)

Mailo KHAMPHOUVONG
Ministry of Information and Culture, Archaeological Research Division

8)

Mien LOVANKHAM
Luangnamtha Cultural Section

9)

Norseng SAYVONGDOUANE
Luang Phabang Cultural Section

10)

Phaivanh SIVANNALOM
Vientiane Procinve, Cultural Section

11)

Vanhsay CHEU
Oudomxay Museum

12)

Somsavanh INDAVONG
Bokeo Museum

13)

Thongthinh PHOMPHAKDY
Pakse Historical Museum

14)

Vilayvan VILATHAM
Ministry of Information and Culture, National Museum

15)

Khamleuane APHAYAVONG
Xiengkhouang Cultural Section

75

2.

Lecturers

IRIKURA Norihiro
Executive Researcher
Archaeological Research Division,
Archaeological Institute of Kahihara, Nara Prefecture
1 Unebi-cho, Kashihara, Nara 634-0065 JAPAN
Tel: (+81) 744 24 1101 Fax: (+81) 744 24 6747
n-irikura@kashikoken.jp

NAKAJIMA Kazuhiko
Researcher
Nara Municipal Archaeological Research Center,
Cultural Properties Division, Nara Board of Education
2-281 Daianji-nishi, Nara 630-8135 JAPAN
Tel: (+81) 744 24 1101 Fax: (+81) 744 24 6747
Email address

SUGIMOTO Kazuki
Photographer
Specialized in cultural properties, SAIDAIJI PHOTO
4-28 Saidaiji Honmachi, Nara City, Nara 631-0816 JAPANTel & Fax: (+81) 742 33 0267
higeji@nabunken.go.jp

3.

Interpreter

Phokhaysavanh PHOTHISANE
H.P.E. Co., Ltd

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4.

AssistantsThonglith LUANGKHOTH
Researcher
Division of Archaeological Research Dep. of Culture Heritage
Ministry of Information and Culture

Souliya BOUNXAYTHIP
Staff
Division of Archaeological Research Dep. of Culture Heritage
Ministry of Information and Culture

Souliphane BOURAPHANE
Staff
Division of Archaeological Research Dep. of Culture Heritage
Ministry of Information and Culture

TOSHIHARA Kayoko
JICA La os senior volunteer(Lao National Museum)

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5.

Collaborators

Ministry of Information and Culture (National Heritage) [Co-organiser]Thongsa SAYAVONGKHAMDY, Director
Viengkeo SOUKSAVATDY, Deputy-Director
Ministry of Information and Culture
Phitounnaleth LASAPHO, Deputy Permanent Secretary
National Assembly in VI ligistration of Lao P.D.R. /Department of Information and Cultural of Vientiane Capital
Vanhpheng KEONAKHONE, Member / Director
Ministry of Education Lao National Commission for UNESCO
Khamphanh PHILASAVANH, Deputy Secretary-General
National Monument and Museum, Information and Culture Vientiane Capital
Khojohn KEOMANYVONG, Director General
Lao National Museum
Bounsanong SIHALATH, Director
Embassy of Japan in Lao P.D.R.
KOBAYASHI Shigeki, Counselor
SHIOHATA Mariko, Second Secretary
Lao National Cultural Hall
Bounchanh PHANTHALUNGSI, Director

6.

Staff Members, ACCU NaraNISHIMURA Yasushi, Director
TAKAHASHI Wataru, Deputy Director
KOBAYASHI Ken-ichi, Director, Programme Operation Department
KATO Naoko, Director, International Cooperation Division
HORIKAWA Kazuko, Chief, Planning & Coordination Division
NISHIDA Michiko, Staff, Planning & Coordination Division
OTANI Yasuko, Staff, International Cooperation Division
SHIDA Sayuri, Staff, International Cooperation Division
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: (+81) 742 20 5001 Fax: (+81) 742 20 5701
e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp

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Group photo at the opening ceremony (1 Novemver 2010)

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Memorandum of Understanding