Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and Pacific 2014 - kingdom of Bhutan -Training Reporton

Cultural Heritage Protection
Training Course for Researchers in Charge of Cultural Heritage Protectionin Asia and Pacific 2014 - Kingdom of Bhutan 11 November - 5 December, 2014, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan
Nara National Research Institute for Cultural Properties

Training Reporton

Cultural Heritage Protection
Training Course for Researchers in Charge of Cultural Heritage Protectionin Asia and Pacific 2014 - Kingdom of Bhutan 11 November - 5 December, 2014, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan
Nara National Research Institute for Cultural Properties

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Nara Prefecture Nara General 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 KyodoseihanⒸ Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2015

Opening Ceremony at ACCU Nara OfficeOn-site training: Horyu-ji Temple with local guide (right), World Heritage Site

A lecture by Mr Nakamura at photo studio in NNRICP

Practical training on photography in the studio at NNRICPPractical training on using 4×5 camera at Nara Place Site, World Heritage Site

Practical training on digital photography outdoor at Nara Place Site

Practical training on digital photography of traditional building at Hase-dera Temple

Practical training at Hase-dera Temple

Mr Kaneda lectured a demonstration of photographing using a helicopter drone loaded with a camera.

Practical training on developing photographs at NNRICPPractical training on photo layout for publication

A lecture on digital photography processing

Observation of restoration site at Chion-in Temple

With coloured autum leaves at Ryoan-ji Temple,
World Hritage Site

Detail examination (adobe)
Shutter value adjusting (below)A lecture on photography of texstile at the studio of Shoso-in Treasure House

Closing Ceremony at ACCU Nara OfficePreface

The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU Nara) 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
establishment, our office has been implementing a variety of programmes to help promote cultural
heritage protection activities, in close cooperation with the Agency for Cultural Affairs, Japan(Bunkacho); National Institutes for Cultural Heritage, National Research Institute for Cultural
Properties, Nara; the Nara Prefectural Government; the Nara Municipal Government; universities;
and museums.
The ACCU Nara’s activities encompass training programmes for the human resources
development; international conferences and seminars; the website for the dissemination of
information relating to cultural heritage protection; and the world heritage lectures in local highschools. In addition to those, ACCU Nara offers “Local Training Workshop” which dispatchesa group of lecturers from Japan to one of Asia-Pacific countries and implements the practicaltraining on cultural heritage protection on sites. Besides, we annually appoint “International
Correspondent” from each country for the purpose of establishing closer ties with the countries in
the Asia-Pacific region, who will periodically send latest reports on cultural heritage protection in
their country.
Our office has been conducting two types of the training course in Nara: for the group andfor the individuals. The Group Training Course offers the opportunity to sixteen experts from
Asia-Pacific region for about one month with two themes in alternate years: “Preservation and
Restoration of Wooden Structures” and “Research, Analysis, and Preservation of ArchaeologicalSites and Remains.” Meanwhile, the Individual Training Course is organised for a few experts
from one country on the specific theme according to their requests.
In Kingdom of Bhutan, it is pointed out that tangible and intangible cultural heritage that takeover the tradition are at risk of altering and crumbling rapidly. Especially, there is a need totake prompt countermeasures to conserve structures including vernacular houses and temples
and documents such as sutra. In addition, accumulation of expertise and funds to respond thesesituation are not enough. The tasks such as acquirement of knowledge and practical techniques for
documentation and conservation of cultural heritage and development of human resources havebeen addressed as the urgent priorities.

With this situation in mind, and in response to a request from Department of Culture, Ministryof Home and Cultural Affairs of kingdom of Bhutan, ACCU Nara has decided to invite officials
with a purpose of providing the broad knowledge and practical techniques of photography anddocumentation of cultural heritage and digital data management and utilisation.
We would like to express our sincere appreciation to Agency for Cultural Affairs, Japan(Bunkacho); Nara National Research Institute for Cultural Properties; Saidaiji Photo Studio;
Nara National Museum; Takenaka Carpentry Tools Museum; Disaster Reduction and Renovation
Institution of Kobe City; Hase-dera Temple; Kyoto Prefectural Board of Education; Shosoin
Treasure House; Hyogo Prefectural Board of Education; Kobe Municipal Board of Education;
Tokyo National Museum; Historiographical Institute, The University of Tokyo; National Museumof Japanese History; Nara Prefectural Board of Education; Nara Municipal Board of Education for
their cooperation and support.

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

Introduction
1. General Information… ………………………………………………

3

2. Programme Schedule…………………………………………………

6

II.

Summary of Training Course… ……………………………………

7

III.

Country Reports by Participants… ……………………………… 23

IV.

Final Reports by Participants… …………………………………… 45

V.

Appendix
1. List of Participants…………………………………………………… 65
2. List of Lecturers and Interpreter… ………………………………… 66
3. Staff Members, ACCU Nara Office………………………………… 68

Introduction

I. Introduction
1. General Information
2. Programme ScheduleWith lecturer, interpreter and Buddhist monks of Hase-dera Temple

1. General Information
Training Course on Cultural Heritage Protection in Asiaand the Pacific 2014 – Kingdom of Bhutan –(11 November – 5 December 2014, Nara)―Photographic Documentation of Cultural Heritageand Management/Utilisation of Digital Data―

1. Organisers
The course is jointly organised by Agency for Cultural Affairs, Japan (Bunkacho); Asia-Pacific Cultural
Centre for UNESCO (ACCU); and National Institutes for Cultural Heritage, Nara National ResearchInstitute for Cultural Properties.

2. Background
Kingdom of Bhutan is located at South Asia and bordered to the north by China and to the south by
India. It’s total area is approximately 38,000 ㎢ and population is approximately 720,000. Buddhism
is the state religion. Kingdom of Bhutan is known for modernising while protecting and passing on
their unique traditional culture. Bhutanese law requires various items to respect their own traditions.
For example, it is mandatory to offer education for tradition and to wear national dress on formal
occasions, and the traditional architectural style must be observed to construct and restore buildings.
However, it is pointed out that tangible and intangible cultural heritage that take over the tradition are
at risk of altering and crumbling rapidly. Especially, there is a need to take prompt countermeasures
to conserve structures including vernacular houses and temples and documents such as sutra. In
addition, accumulation of expertise and funds to respond these situation are not enough in Kingdomof Bhutan. The tasks such as acquirement of knowledge and practical techniques for documentationand conservation of cultural heritage and development of human resources have been addressed as theurgent priorities.
Based on this current situation in Kingdom of Bhutan and in response to a request from Department
of Culture, Ministry of Home and Cultural Affairs of Kingdom of Bhutan, ACCU Nara Office has
decided to invite officials with a purpose of providing the broad knowledge and practical techniques ofphotography and documentation of cultural heritage and digital data management and utilisation.

3. Date and Venues
Date: 11 November (Tue.) to 5 December (Fri.) 2014. [25 days]
Venues: Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU); Facilities and museums of cooperating organisations.

4. Objective of the Training Course
This individual training course aims at providing participants with the broad knowledge and practical3techniques for photography and documentation of cultural heritage and digital data management andutilisation (photography techniques, digital data storage and management system).

5. Training Curriculum- Photography Techniques for Remains and Artefacts- Digital Data Management and Utilisation- Management and Utilisation of GPS/GIS Data etc.

6. Participants
Director of Department of Culture, Ministry of Home and Cultural Affairs of Kingdom of Bhutan
recommended three person as participants for the course as below.

Kinley Gyeltshen (Mr)
Executive Engineer, Division for Conservation of Heritage Sites
Department of Culture, Ministry of Home and Cultural Affairs
Date of Birth: 24 February 1964 (Age 50)

Leki Wangchuk (Mr)
Senior Conservation Engineer, Division for Conservation of Heritage Sites
Department of Culture, Ministry of Home and Cultural Affairs
Date of Birth: 25 April 1972 (Age 42)

Phuntsho Wangmo (Ms)
Engineer, Division for Conservation of Heritage Sites
Department of Culture, Ministry of Home and Cultural Affairs
Date of Birth: 12 January 1989 (Age 25)

7. Others (Past achievement to accept participants)
Since 2000 when the above-mentioned invitation programme started, 54 participants from 18 countries
have been accepted.

8. Certificate
Each participant will be awarded a certificate upon the completion of the course.

9. Language
English is the main working language of the course.

10. Expenses
Expenses for the training course will be borne by ACCU Nara Office and comprise the following:(1) Travel expenses:
Each participant will be provided an economy-class return air ticket between the international airport

4

nearest to their residence and Kansai International Airport (KIX), and domestic transportation costs
between KIX and their accommodations in Nara.
(2) Living expenses:
Participants shall be provided the basic living expenses incurred from the day before the training
course to the next day of the final day, 10 November (Mon.) to 6 December (Sat.) 2014 in principle.
Arrangements and payment for accommodations will be made by ACCU Nara Office. Also, theaccommodation expenses on the way to and/or from Japan will be covered by ACCU Nara Office.

11. Secretariat
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Nara Pref. Nara General Office757 Horen-cho, Nara 630-8113 Japan
Tel: +81-742-20-5001 Fax: +81-742-20-5701
e-mail: nara@accu.or.jp

5

2. Schedule
Individual Training Course Schedule 2014 (11 November - 5 December)Date
9:30-12:30
13:30-16:30
11 Tue. 10:00 Opening Ceremony
Orientation to the Programme
Buddhist Monuments in the Historic Monuments of Ancient
12 Wed.
Horyu-ji Area
Nara
Introduction to Photographs of Introduction to Digital
13 Thur.
Cultural Properties
Photographic Records
Basic Knowledge about
14 Fri. Camera andDigital Photography in the Studio
Introduction to Photography
15 Sat.
16 Sun.
Introduction to Photography of
17 Mon. Digital Photography Outdoor
Traditional Building
18 Tue. Photography of Traditional Building
Method for Recording/Documentation of Cultural Heritage with
Laser Scanning and SfM
Digital Photography in the Introduction to Photograph Image
20 Thur.
Studio and Outdoor
Processing

19 Wed.

November

21 Fri. Risk Management for Cultural Heritage I

22 Sat.

Traditional Craftsmanship and Risk Management for Cultural
Conservation of Tools
Heritage II

Lecturer
ACCU Nara

Venue
ACCU Nara
Horyu-ji Temple /Todai-ji Temple

ACCU Nara

NAKAMURA
IchiroNNRICP

NAKAMURA
Ichiro

NAKAMURA
IchiroSUGIMOTO
KazukiKANEDA
Akihiro
NAKAMURA
IchiroMURAKAMI
Yasumichi
SAKAMOTO
Tadanori

NNRICP

NNRICP
Hase-dera Temple
NNRICP
NNRICP
Preservation Districts
for Groups of Historic
Buildings, Kobe City
Takenaka Carpentry
Tools Museum/
Disaster Reduction andRenovation Institution

23 Sun.
24 Mon.
Introduction to Digital
Digital Photograph Processing
Photograph Processing
Digital Photography in the Studio and Outdoor/Utility for
26 Wed.
Publication
A Study Tour: Photography and Management/Utilisation System
27 Thur.
of Photographic Data at a National Museum

25 Tue.

NNRICP

NAKAMURA
Ichiro
FUJISE
Yusuke28 Fri.

A Study Tour: Photography and Management/Utilisation Systemof Photographic Data of Documents

TANI
Akiyoshi

29 Sat.

A Study Tour: Photography and Storing Management/Utilisation
System of Photographic Film and Data

KATSUTAToru

NNRICPTokyo National
MuseumHistoriographicalInstitute
The University of
Tokyo
National Museum ofJapanese History

30 Sun.
1 Mon. Historic Monuments of Ancient Kyoto

December

2 Tue. Evaluation of photographs

Summary: Photographic
Documentation of Cultural
Heritage and Management/
Utilisation System of Digital
Data

ASAI
Ken'ichiChion-in Temple/
Kinkaku-ji Temple/
Ryoan-ji Temple

NAKAMURA
IchiroNNRICP

Photography andManagement/Utilisation
Exhibition of Buddhist Art in KITADA Hitoshi / Shoso-in/Nara National
3 Wed.
System of Photographic Data PracticeMuseumNOJIRI Tadashi
of Passed Down Art Objects
4 Thur. Writing Final Reports
ACCU Nara
5 Fri. Submission of Final Report/Closing Ceremony
ACCU Nara

ACCU Nara: Cultural Heritage Protection Cooperation Office, Asia/Pacific Cultural Centre for UNESCONNRICP: Nara National Research Institute for Cultural Properties

6

At Kinkaku-ji Temple, Kyoto

Summary ofTraining Course

II. Summary of Training Course

Summary of Training Course
11 November (Tue.)■ Opening Ceremony / Orientation to the Programme-An opening ceremony was held from 10:00am at the ACCU Nara Office. Mr Nishimura, Director of
ACCU Nara Office, delivered a welcome address, followed by Mr Nakamura, an official research
photographer of the Nara National Research Institute for Cultural Properties (hereinafter, “NNRICP”),
one of the institutions co-hosting the programme. After the introduction of the ACCU staff members,
the three training participants introduced themselves.
- At the orientation, the ACCU secretariat provided precautions regarding the training including safetyissues as well as an overview of Japan’s cultural property administration and the corresponding
protection system/frame work. Furthermore, the secretariat roughly explained about the Nara period(710–794) and the Nara Palace/Capital. In addition, the training participants saw the “Shoso-in(treasure house) Exhibition” being held at the Nara National Museum.

Message from Mr Nakamura

Orientation at ACCU Nara Office

12 November (Wed.)■ Buddhist Monuments in the Horyu-ji Area /Historic Monuments of Ancient Nara
KOBAYASHI Ken’ichi (ACCU Nara Office)- First the participants listened to an explanation about
Horyu-ji Temple from a local guide. After passing
through the South Gate and the Central Gate, theparticipants had a study tour around the Western
Precinct (Five-stories Pagoda, Main Hall, and LectureHall), Great Treasure Gallery (Exhibition facility), andthe Eastern Precinct, listening to explanations at eachlocation.
-In the afternoon, the participants visited the East Palace
Garden of the Nara Palace Site, then went to Todai-ji

Observation of Horyu-ji Temple,
World Heritage Site

9

At Todai-ji Temple, World Heritage Site

At East Palace Garden, World Heritage Site

Temple. After taking a look at the exterior structure of the Shoso-in (treasure house), the participants
visited the Great South Gate, where an explanation was provided describing the advantages anddisadvantages of reinforcement using iron materials. Then, the participants toured the Great Buddha
Hall, Hokke-do Hall, Nigatsu-do Hall and a bell tower.
13 November (Thur.)■ Introduction to Photographs of Cultural Properties /Introduction to Digital Photographic Records
NAKAMURA Ichiro (NNRICP)-At the beginning, the lecturer showed participants facilities such as the darkroom, image processing
room, photographing studio, etc., and this was followed by a basic lecture in photography
in accordance with a textbook, including the roles of the photograph of cultural properties,
photographing mechanism, different uses of various cameras and various cultural property photos.
-In the afternoon, the participants attended a lecture on problems that have occurred due to changing
cultural property photography from film to digital, as well as the basic knowledge of digital cameras,
centering around the structure of digital cameras and digital sensors.
At 3:00 pm, the participants visited Mr Matsumura, Director General of NNRICP, for a courtesy visit.

Mr Nakamura showed facilities in NNRICP.

10With Director General of NNRICP

14 November (Fri.)■ Basic Knowledge about Camera and Introduction to Photography /Digital Photography in the Studio
NAKAMURA Ichiro (NNRICP)-The lecture started by reviewing the basic knowledge necessary for photography. The correlation
between iris, shutter speed and ISO speed was covered, following which, the participants learned
about the mechanism and theory by using a large camera. Subsequently, they attended a lecture on
outdoor photography using a large camera, followed by practical training using the large camera.
-In the afternoon, the participants visited an excavation site to watch actual photography being
conducted on site. After returning to the studio, the participants learned further points about outdoor
photography.
17 November (Mon.)■ Digital Photography Outdoor / Introduction to Photography of Traditional Buildings
NAKAMURA Ichiro (NNRICP)-The lecturer explained about the type of lighting; then, explained how to practically use lights inpractice. In addition, the lecturer demonstrated practical photographing to explain lighting for

A lecture on basic knowledge necessary for photography

A training by using large format camera

Using a light meter to set apparture and shutter speed

11Practical training on photography

photography for cultural properties and correction methods. Subsequently, the training participants
undertook a practical photography session.
-The lecturer explained how to photograph architectural structures of cultural properties without
distortion and to take a sharp photo in focus, while showing various sample photographs.
Subsequently, the training participants practiced photographing outdoors. Furthermore, the lecturer
described how to adjust the degree of brightness when photographing so that architectural structuresof cultural properties can be exactly observed via the photos thus taken.
18 November (Tue.)■ Photography of Traditional Building
SUGIMOTO Kazuki (Saidaiji Photo Studio)-On the way to Hase-dera Temple, the participants visited Isonokami Shinto Shrine to see the WorshipHall of Izumo-takeo Shrine, designated as a National Treasure.
-At Hase-dera Temple, Mr Takeyama Shoshun, the secretary of the Buzan Sect of Shingon Buddhism,
explained about the precincts of the temple. After that, the participants undertook a practical training
session by photographing within the precincts. At the beginning, the lecturer explained about using a
tripod, determining composition, measuring exposure, etc. After that, each participant practiced suchsettings.

12

On-site training at Hase-dera Temple-In the afternoon, a practical photographing session using large cameras was held. The participants
took photos, determining composition by themselves. In the main hall of Hase-dera Temple, they set
lighting and took photos of mural paintings as on-site training.

1319 November (Wed.)■ Method for Recording/Documentation of Cultural Heritage with Laser Scanning and
SfM
KANEDA Akihiro (NNRICP)-In the morning, the lecturer explained about 3D measurement as one of the recording methods ofcultural properties. After introducing several 3D measurement methods to be selected depending
on measuring objects or purposes for measurement, the lecturer generally explained about the mostpopular method of laser scanning and photogrammetry including its mechanism and measurement
methods.
-In the afternoon, the training participants practiced taking actual measurements by using the devices.
First, they obtained data through a laser scanner, then, inspected the results via computer. After that,

A lecture by Mr Kaneda (left: explanation of 3D measurement, right: a helicopter drone loaded with a camera)

the participants took photos of foundation stones with a digital camera, and created 3D models byusing software.
-In addition, the participants watched a demonstration of photographing using a helicopter drone
loaded with a camera.
20 November (Thur.)■ Digital Photography in the Studio and Outdoor / Introduction to Photograph Image
Processing
NAKAMURA Ichiro (NNRICP)-The lecturer explained about determining composition corresponding to a photographic theme,
followed by the method of overhead photography, as well as importing photo data into a computer.
Following this, the participants practised outdoor photography including setting up a tripod, setting
the exposure and shutter speeds, and getting a composition, etc. in detail in the East Palace Garden of
Nara Palace Site.
-In the afternoon, the participants experienced the processing of works including exposure,development, fixing, washing and dry finishing in the darkroom. They developed the photo films they
took at Hase-dera Temple onto photographic paper.

14

Practical training on digital photography outdoor at East Palace Garden and photo development at the dark room

21 November (Fri.)■ Risk Management for Cultural Heritage I
MURAKAMI Yasumichi (Hyogo Prefectural Board of
Education)-The lecturer noted that it is always possible that administrative
officials themselves may also be victims of a disaster. He
discussed about the importance of preparing for disasters
before any actual occurrence by specifically anticipatinga broad range of disasters that might occur, citing caseexamples of the disasters that have occurred in the past.
-In the afternoon, the participants inspected the caseexamples in which cultural properties were damaged due
to disaster. The participants received detailed explanations
about restoration methods and way to approach them at theWeathercock House and Moegi House.
A lecture by Mr Murakami in Kobe City

15

22 November (Sat.)■ Traditional Craftsmanship and Conservation of Tools / Risk Management for Cultural
Heritage II
SAKAMOTO Tadanori (Takenaka Carpentry Tools Museum)-At the Takenaka Carpentry Tools Museum, Mr Sakamoto Tadanori explained about the processof carpentry-tools development, as well as exhibited articles. Meanwhile, a full-scale model of asukiya house (lit. an architecture of tea-ceremony house, style) which is not plastered to show theframework, is on exhibition. Mr Sakamoto explained the Japanese spirit of architecture.
-In the afternoon, the participants visited the “Disaster Reduction and Human Renovation Institution”
that preserves detailed records of the damage caused by the Great Hanshin-Awaji Earthquake.
Accordingly, the participants could gain comprehensive knowledge in order to prepare for natural
disasters, such as a range of information about earthquake mechanisms and disaster prevention.

A lecture by Mr Sakamoto

A display of traditional carpentry tools

25 November (Tue.)■ Introduction to Digital Photograph Processing / Digital Photograph Processing
NAKAMURA Ichiro (NNRICP)-The lecturer explained that the purpose of the lectures of these two days was for the participants tocomplete a flow of work from colour correction of photos, printing, and to a layout for a publication.
-Today, the participants started the review of processing digital photos. Although there are many typesof image processing software, at this lecture, a free software title was used. After the lecturer provided
a briefing on the use of this software (e.g., the methods of lightness, contrast, shadow compressionetc.), the participants practiced colour correction and printing of the photos they took themselves.
26 November (Wed.)■ Digital Photography in the Studio and Outdoor / Utility for Publication
NAKAMURA Ichiro (NNRICP)-In the morning session, the lecturer provided the basic knowledge of publication making. He
explained the typical layout of photos and its theory by showing samples. After that, the participants
practiced colour correction, selection, printing of photos, and pasting them for a layout.

16

Practical training on digital photograph processing and its layout

27 November (Thur.)■ A Study Tour: Photography and Management/Utilisation System of Photographic Data
at a National Museum
FUJISE Yusuke (Tokyo National Museum)-To begin, the lecturer introduced the photographic facilities of the Tokyo National Museum, followedby explanations regarding the fact that the applications of photography of the museum include
the creation of catalogues, current-status recording, etc.. After that, while actually taking photosof a bronze mirror, the participants listened to an explanation about the division of roles betweena cameraman and a curator in photographing artefacts. Furthermore, the participants visited thephotograph archive room for the management of the photographic data after the photos were taken,
and heard about the data management system.
-Finally, at the Heiseikan hall, the participants listened to an explanation of exhibition concepts such as
exhibition layout, lighting, etc. from the staff member in charge.

17

A lecture by Mr Fujise

28 November (Fri.)■ A Study Tour: Photography and Management/Utilisation System of Photographic Data
of Documents
TANI Akiyoshi and TAKAYAMA Sayaka (Conservation Laboratory, Historiographical Institute,
The University of Tokyo)-The lecturer provided a briefing on the work of the Historiographical Institute and the Conservation
Laboratory of the University of Tokyo. At the Historiographical Institute, a photography manual isprpared so that even a researcher can take photos that conform to a certain standard. In accordancewith the manual, the lecturer demonstrated the photographic procedure by setting up a tripod andcamera, connecting them to a computer, lighting, and photographing.
-In the afternoon, the participants moved to a photography studio, and had a briefing about the facilities
thereof. In accordance with the procedures explained in the morning, the participants took photos ofreal historical objects. Subsequently, the participants toured around an image processing laboratory
and a photograph data archive room.
-Lastly, the participants visited each lab of tracing, reproduction and restoration.

Observation of the studio

18

With the lecturers

29 November (Sat.)■ A Study Tour: Photography and Storing
Management/Utilisation System of
Photographic Film and Data
KATSUTA Toru (National Museum of Japanese
History)-The participants learned about the management
system at the acoustic imaging data storage room,
the facility to store data related to photos, movies,
recording transcriptions, etc.. Room temperature/humidity is kept constant, meanwhile, photographic
films are stored in neutral-paper boxes.
-In addition, there is an acclimation room to buffer
rapid change when bringing material out from the

A lecture by Mr Katsuta

storage room. According to the lecturer, when lending a photo, they provide a copy, not the original.
-After an explanation of the photography studio and the image retrieval system, the participants
observed an actual state of photo-panel utilisation at the exhibition room of the museum.
1 December (Mon.)■ Historic Monuments of Ancient Kyoto
ASAI Ken’ichi (Kyoto Prefectural Board of Education)-At the restoration site of the Mieido (lecture hall) of Chion-in Temple, the lecturer briefed participants
about the repair, selection method of the construction members to be repaired (centering around roof
tiles), and production method for new construction members. The participants asked many questions,
including about nail intervals, material of nails, and whether the nail holes are damaged. They also
asked about the cost and reuse of an iron shelter used for another restoration sides. After that, theparticipants watched carpentry closely.

The sheltered restoration site

The lecturer, Mr Asai

19

Observation of carpentry work in restoration site at Chion-in Temple

At the garden in Kinkaku-ji Temple

At Kinkaku-ji Temple-In the afternoon, the participants toured Kinkaku-ji Temple and Ryoan-ji Temple, the “Historic
Monuments of Ancient Kyoto”, World Heritage Sites.
2 December (Tue.)■ Evaluation of photographs / Summary: Photographic Documentation of Cultural
Heritage and Management/Utilisation System of Digital Data
NAKAMURA Ichiro (NNRICP)-In the morning, the participants continued to work on their layouts. After the completion of thelayouts, the lecturer commented on each participant’s work and photographs.
-In the afternoon, the lecturer explained about the “Preservation of Cultural Properties Photography
Centering on Digital Records”, through which he briefed the weak points of storage media including20

memory cards, HDD, optional disks (BD-R, DVD-R), etc.. In addition, the lecturer discussed thenecessity to save photographic data as TIFF, JPEG, or PDF format files, and to store copies in several
locations, not a single location.
3 December (Wed.)■ Photography and Management/Utilisation System of Photographic Data of Passed
Down Art Objects / Exhibition of Buddhist Art in Practice
KITADA Hitoshi (Shoso-in treasure house) and NOJIRI Tadashi (Nara National Museum)-After visiting Shoso-in, the participants moved to the studio of the Shoso-in office, where theyobserved the actual photographing of silk fabrics with patterns. They learned a method to create clear
and detailed pictures of those patterns by adjusting the lighting.
-At the Nara National Museum, the participants listened to an overview of the exhibition, collection,and research study around Buddhist art, and toured the exhibitions of the museum.

A lecture on taking photograph of silk fabrics
with patterns by Mr Kitada (right)

Observation of Buddhist Art Library in Nara National
Museum4 December (Thur.)■ Writing Final Report
The Participants prepared their reports of the training programme.
5 December (Fri.)■ Submission of Final Report / Closing Ceremony-After the participants submitted their final reports, the closing ceremony began. Mr Nishimura,
Director of the ACCU Nara Office, made an address, followed by Mr Nakamura, an official research

21photographer of NNRICP, an institution co-hosting this program, and presented a training-completion
certificate to each participant.
-The participants expressed their deep gratitude for their wonderful experiences as well as their hopes
to convey their knowledge and know-how gained from this training to their colleagues in Bhutan
upon their return.

Closing Ceremony at ACCU Nara Office

22

The Garden at Ryoan-ji Temple, World Heritage Site

Country Reports
by Participants

III. Country Reports by Participants

Kinley Gyeltshen
Executive Engineer
Division for Conservation of Heritage Sites
Department of Culture

Condition of Heritage Sites in Bhutan
Preface (with a brief to introduction on Bhutan)
Bhutan is a small developing country situated between China and India with its border extending fromthe southern foothills of India to the greater northern Himalayas. The country is mountainous with analtitude ranging from 200 m above mean sea level to 7000 m from south to north. Altitude is one key
factor that contributes to the marked differences in climate among the various regions of the country.
Bhutan is also characterized by dense forest growth with coverage estimated to about 70%.
Bhutan was a country closed to the outside world until the 1950s, when it eventually abandoned its
policy of isolation and moved towards modernization under the guidance of the third king. However,at the same time, it is not completely true to state that Bhutan was completely cut off from the restof the world. This was impossible as Bhutan had to rely on neighboring states or countries for many
essential commodities, for which people had to cross the border and exchange with goods of theirown. Although on a very small scale, such trade and interactions inevitably paved the way for outside
influences on Bhutan’s art, culture and architecture, nonetheless, the rugged mountains, thick forestand extreme climatic conditions proved huge barriers, restricting such movements and interactions,
resulting in the development of a unique cultural heritage that Bhutan can call its own.
Today, Bhutan is known to the outside world for its unique and time-tested cultural heritage. The
government of Bhutan has therefore placed immense importance on the preservation and promotion ofcultural heritage, which now forms one of the central mainstreams in the development planning of thecountry.
This report mainly focuses on the conservation of the heritage buildings of Bhutan and wooden
components in particular. Conservation includes survey and documentation, interventions, legal
protection and a continuous process of monitoring and maintenance.
It should be noted, however, that conservation techniques in Bhutan are still traditional andrudimentary. The idea of modern conservation is at its development stage with its benefits yet to be
fully realized. Bhutan is today carrying out renovation works extensively, with statistics showing 10-15
renovations every year. At this rate there is every danger of losing the authenticity of the architectural
heritage of Bhutan.

25

Present condition of the heritage sites of Bhutan
Heritage sites of Bhutan range from simple farmhouses, monasteries and temples to magnificent
palaces and Dzongs (fortresses). Bhutanese architecture also includes chortens (stupas) and bridges.
The earlier settlements have mostly been in the inner Himalayan regions rather than in the southernfoothills where the climate is hot and humid. Thus, thick vegetation, temperate climate, geology
and even topography, in addition to religion and the socio-economic conditions of the region, havehugely influenced the development of Bhutanese architecture. High mountains and dense forests havepermitted only limited contact, even among people within the country, and subsequently, architecturedeveloped with a typology specific to each region.

Dzongs or fortresses have been built principally for defense and military purposes. These towering
structures are built on strategic locations—on hill tops overlooking the valley or surrounded by rivers
providing a vantage point over the advancing army of the enemy. With the transformation of thepolitical situation, these structures later became centers of religion and civil administrations.

Temples (Lhakhangs) and monasteries are found scattered all over the country in their thousands.
They were built mainly for spiritual reasons but also served a political function. With a theocraticsystem of government prevailing before the establishment of the monarchy, temples and monasteries
served as the seats for central control and played a crucial role in the administration of the communityor the region. Even today, every village has at least one monastery that facilitates not only religious
functions but also communal activities

26

Chortens are one of the most symbolic examples of Buddhist architecture. These are built tocommemorate a great feat or an event, usually religious, or in memory of eminent saints or personages.
The shape or form of a chorten is usually inspired by Mandela (Buddhist depiction of the cosmos).
Traditionally, chortens are chiefly built of stone or mud with little or no use of timber.

Traditional Bhutanese bridges can be classified as either chain suspension bridges or wooden
cantilever bridges known as bazam. The former type is normally adopted for wider rivers and thelatter for narrower rivers. Traditional bridges not only represent exquisite architectural pieces but also
engineering feats that have never failed to fascinate foreign visitors. A bazam is a wooden cantileverbridge, with or without a roof, and usually with bridge houses, which are tower-like structures at each
end.

27

Typical traditional village houses are two- or three-story buildings with walls made of either
stones or mud. The ground floor normally serves as storage or even for sheltering cattle. The top floor
has timber frame walls with window openings.

The unique and most interesting fact about temples, monasteries, chortens or even Dzongs is that there
is not much digression from the functions for which they were originally intended some centuries
back, and that they still form an integral part of the day-to-day lives of the Bhutanese people.

Traditional wooden architecture

Timber is one of the oldest and most common building materials used in Bhutan, from centuries past
up to the present day. With almost two-thirds of the country covered by forest, timber is intimately
associated with traditional Bhutanese culture. Besides the extensive resources available, it is out ofnecessity that timber forms a major part of Bhutanese architecture. It is no exaggeration to say that
Bhutanese architecture is largely defined by the wooden components of the structures. Timber is usedfor various purposes, from finishing material to extremely complex structural constructions. Thiscan be understood from the non-availability of alternative materials and at the same time the naturalabundance of timber.

28

In traditional Bhutanese architecture, space, form,
texture and the identity of the buildings are largely
governed by the method, design and extent towhich timber has been used. Windows of different
styles and sizes are constructed corresponding to
the type, size and height of the building. Dzongs
and temples are usually characterized by multitiered rabseys or bay windows. Aside from themasonry walls, traditional buildings are heavily
laden with wooden components.
The way wooden columns are used in traditional buildings is quite interesting. Tapering wooden
columns with brackets (kachens), which are decorated to varying degrees depending on the natureof the building, are typical of Bhutanese architecture. These columns are introduced to support the
principal beams (dung) and joists for achieving a bigger space inside. On the first floor and above,these columns are placed on the top of columns of the floors below in a straight line. All the horizontal
members are supported by columns that are not fixed or restrained against any lateral force, standing
more or less precariously independent. And what is most remarkable about these structures is thatthey have withstood numerous earthquakes and other natural calamities over a long period of time.
However, there is evidently no record to indicate that these have been designed to resist earthquakes.
Another striking feature of a traditional building is the timber pitched roof. The roof type represents
the building’s status in the building hierarchy. Some roof types are permissible only for superior orimportant buildings such as temples, monasteries and palaces. A traditional roof uses extremely heavy
timber members. A roof that is barely connected to the building structure sits firmly due to its weight.
It is a common practice to create a wide roof attic, with the space being used for drying and storing
crops and meats. It is said that the roof should be perched like an eagle about to take off. A traditionalroof uses shingles, which are laid down with stone boulders.
Traditional architecture incorporates a myriad of decorative features whose origin can be attributed toinspiration from the world of flora and fauna and religious symbols. It is also seen that some of thesedeveloped while solving common structural or architectural problems faced in the region. However,these later became standardized decorative elements and were adopted as the norm by society. All thetimbers that are visible in a building are completely adorned with Bhutanese paintings.

Wood as a building material in the Bhutanese context
Wood construction is considered safe, energy efficient, dependable, affordable and environmentallysuperior. Wood remains one of the most versatile and abundant materials in many parts of the world. It
is probably the only renewable building material and can also be recycled. Different wood species bear
their own beauty, fragrance, color and texture. As it is widely available and easy to work with, wood isused from the simplest and most basic structure to the most elaborate and intricate architecture. Wood29

is obviously the most used material in Bhutanese traditional architecture and some examples havesurvived more than 100 years. It has also proved efficient in resisting earthquakes and other forces ofnature. However, being an organic material, wood is easily perishable when exposed to weathering anddeteriorating agents, and is highly combustible. The latter fact is extremely disturbing as Bhutanesetraditional buildings abound in timber usage but the concept and techniques of fire safety are little
known to society.
Timber is broadly categorized as either hard or soft wood. Some of the types of hard wood available
in Bhutan are oak, teak, sal, walnut, cypress, willow, mahogany and sandalwood. Soft woods areblue pine, spruce, chir pine, juniper, fir, cedar, poplar and hemlock. Constructions with hard wood are
sturdy and durable, but soft wood is easier to work with.
In heritage buildings, hard woods have evidently survived and fared better than soft woods. Even in
olden times, people allocated high quality hard woods for superior buildings and soft ones for ordinary
buildings. Affordability and the extent of the craftsmanship required also determined the choice ofwood types. Over time, hard wood ready for harvest is apparently in decline, which has forced thegovernment to constrict their supply. There is now the practice, which came up much later, to growand harvest particular species of timber in a lot for a specific construction. This was usually carried out
by the government for the renovation or construction of Dzongs and other buildings of similar size andsignificance. In the villages, every farmer owns a forest area, which they tend and later harvest timberfrom for their own use. This has virtually guaranteed the sustainable use of forests.

Decay, failure and the treatment of timber
The most severe and widespread problem that persists among heritage buildings in Bhutan today isthe decay of timber. In certain cases, the stability of the whole structure is put at risk due to the decayof key timber structural members and improper structural designs. Its shortcomings reveal themselves
over time. The latter concern situations where wooden beams and columns are strained under anexcessive load, resulting in sagging beams and sinking columns that bring the whole superimposed
structure down with them. The causes of decay are insects, microorganisms, dampness and weathering
agents. Dampness, one of the most common causes of timber decay in Bhutan, is promoted by poor
planning and construction faults. However, different species have different capacities to survive inparticular situations.
Apart from natural seasoning, there is no other treatment applied to timbers. One can easily make out
the timbers that are well seasoned or not. Timbers that are not seasoned well are extremely vulnerable
to insect attack and decay, and also start to shrink or warp under pressure. Although chemicals andpreservatives are not used, the paintings done on wood have contributed a great deal to protecting thetimber for a long time.

Conservation of heritage buildings
In this section I wish to express, as far as possible, my views based on the experience I have gained30

working for the only agency in the country that handles the conservation, restoration, maintenanceand rehabilitation of architectural heritage. The agency plans, manages and executes numerous
conservation projects in the country.
The responsibilities of the agency (Division for Conservation of Architectural Heritage, Department ofCulture) are briefly outlined below to provide an overview of the activities it carries out:
• Inventorying the architectural heritage of the country• Preparation of project proposals in line with proper conservation principles• Assisting the assessment of proposals and according approval to projects that are proposed byDistricts and other organizations in the field of architectural heritage conservation• Provision of technical and administrative help to different agencies with regard to conservation
and rehabilitation of historical and cultural sites• Provision of technical assistance to Districts and other organizations for the preparation andimplementation of proposals for the construction of new Lhakhangs and Dzongs• Undertaking conservation projects in the country

Traditional conservation techniques - Timber
Although conservation of timber in heritage buildings is widely carried out in Bhutan, the techniquesand materials used are mostly traditional even today. The conservation process is explained below insequence.

Nature of timber component
It is important to first establish the significance of the timber component. One should ascertain its
worth in terms age, use, material and other relative bearings. Knowledge of the type of construction
and timber species aids in conservation work.

Extent and causes of timber problems
For conservation, the cause and extent of damage should be identified. This provides the key todetermining the correct conservation method.
(a) Decay and insect attacks
Timber usually deteriorates the most in historic buildings. It is affected by termites, rising damp,
fire, and wear and tear. For example, timber floors in historic buildings are completely deprived ofventilation and prone to decay. Rising damp and poor ventilation limits air circulation and creates afavorable environment for the insects and microorganisms that feed on timber.
(b) Structural issues
Whatever the cause of damage, understanding the extent of the damage and structural implications isessential for determining the course of repair.
Timber floor joists and beams on upper floors span the room. Each member is closely examined and31

only those in critical condition are replaced. These members are often found sagging under the weight
above. It is determined whether the problem is due to the inadequate size of the timber, sinking of the
support, or excessive point load.

Repair or conservation work
It is necessary to take great precautions in repairing structural members. When replacing floor joists,beams, lintels or columns, the horizontal members are jacked up. The removal and replacement of eachmember is done in succession from a suitable point. The outright replacement of joists or other similar
members is avoided unless extremely necessary. It is necessary to study the original timber species andalso assess the strength required for the timber.
Total replacement of a unit is carried out mainly in structural components where structural safety
cannot be compromised. However, other non-structural timber elements can be corrected throughconsolidation, repair or replacement of damaged parts, etc. In conservation, every attempt is made topreserve the original material and existing conditions to retain the intrinsic cultural values.
No chemicals or preservatives are used for conservation of timber in Bhutan. Firstly, Bhutan was
introduced to modern conservation only recently and these chemicals were made available only a few
years back. Secondly, since the chemicals are toxic and not environment-friendly, the government
discourages their use.
Good seasoning and painting—essentially vegetable based—after construction are two major activities
that have helped protect and preserve the timbers of Bhutanese heritage buildings. The paint, however,has weathered over time and the timbers have thus been exposed to agents of decay.
The concept of conservation in Bhutan is still largely traditional and very basic. Though it has proved
to work relatively well enough, it is very urgent for Bhutan to become fully aware of modern ideas
and techniques for conservation. There is not even legislation in place regarding heritage buildings
and sites. With real estate and other infrastructures developing at an exhilarating pace, the need forlegislation is felt more than ever before to protect, conserve, develop and streamline conservation
work.

32

Leki Wangchuk
Senior Conservation Engineer
Division for Conservation of Heritage Sites
Department of Culture

Present Situation and Needs for Cultural Heritage Preservation in Bhutan
Introduction
Bhutan is located on the southern slopes of the eastern Himalayas; the kingdom is landlocked between
the two great Asian civilizations, Tibet (China) to the north and the Indian States of Arunachal Pradesh,
Sikkim, West Bengal and Assam in the east, west, and south. The country lies between latitudes
26o45’N and 28o10’N, and longitudes 88o 45’E and 92o 10’E. Bhutan is well-known for its rugged,
beautiful landscape and for its drive to achieve Gross National Happiness for its citizenry. It has a total
area of 38,394 square kilometres and a population of about 700,000(National Housing and Population Census, 2005). Within thislatitudinal range is found a diverse biodiversity rich enough to beconsidered as one of the ten global environmental hotspots. About
72 per cent of the area is forested, and the law requires the country
to maintain at least 60 per cent forest cover forever into the future.
The climate varies from a hot subtropical climate in the south
to cold alpine slopes in the north. Human settlement is confined
mostly to interior river valleys and a swath of southern plains.
Cultural heritage is fundamental to the lives and the well-being of the people of Bhutan, as it is forpeople around the world. Cultural heritage includes tangible and intangible components, such as
traditional structures, indigenous customs and knowledge, practices and values, as well as monuments,
sites, artifacts, archives and collections.
Depending upon language, culture and spiritual tradition,different forms of architecture have been developed indifferent countries. Bhutanese architecture has a strong
relationship with Buddhist teachings, and for centuries many
structures such as fortresses and temples representing thepalace of the gods have been emulated and built. As such,
Bhutan has unique architectural designs. The main materials
used for such constructions are stone, mud/soil and wood.

33

Present situation
Due to Bhutan’s self-imposed isolation from the international community until the 1950s, the cultural
heritage of the country has remained to a great degree unblemished. The cultural heritage of Bhutan isso rich that almost everywhere one turns, there are examples of skills, values and traditions that haveexisted for hundreds or perhaps thousands of years.

From the magnificent architectural monuments (such as fortresses, temples, stupas, etc.) to the unique
farmhouses in the villages, from the rich and colourful hand woven textiles still used daily to thepure white flags fluttering high up near the clouds in the mountains, from the monks deep in prayer
in ancient monasteries to the small altars enshrined in the modern apartments in the cities, from thecolourful and vibrant mask dances performed in annual community festivals to the folk dances enjoyedin small family gatherings—the rich cultural heritage of Bhutan is very proudly evident.

The Royal Government of Bhutan, with the objective to develop Bhutan without sacrificing its
heritage, established the National Commission for Cultural Affairs in 1985 (now the Department ofCulture under the Ministry of Home & Cultural Affairs) to manage the conservation and developmentof Bhutan’s rich cultural and historical heritage.
The Division for Conservation of Heritage Sites under the Department of Culture, where I presently
work, is the main agency in the country responsible for the conservation, promotion and developmentof the historical heritage sites of Bhutan. The following are the main functions of the office:• Formulation of policies and regulations for the protection of heritage sites in the country.
• Keeping the National Inventory and records of all heritage sites in the country.
• Appraisal, approval and monitoring of projects concerning heritage sites that are implemented in
the country.

34• Provision of technical and administrative assistance to the Districts with regard to heritage sites.
• Co-ordination with other organizations including foreign donors with regard to plans andprojects concerning conservation of heritage sites.
• Organizing workshops and small training sessions for the protection and promotion of heritage
sites in the country.
• Besides conservation work, the Division is also responsible for the establishment of new
structures or sites for cultural and religious activities that are supported by the Department ofCulture.

The conservation and promotion of cultural traditions, heritageand institutions has always featured as important objectives in allof the five year plans of the government and is an integral aspectof the national development vision and Gross National Happiness(GNH).

The existing system of management to carry out the conservation of heritage sites utilizes traditional
materials and techniques in their authentic form, guided by the “Basic Guidelines for the Conservationof Heritage Sites in Bhutan” issued by our office. The Department of Culture has recently completed
drafting the Heritage Act of Bhutan and will be submitting this in the forthcoming session of the
Parliament for deliberation and enactment. The bill comprehensively looks into the protection ofheritage buildings, cultural sites and archaeological sites in the country.
The following are the main challenges currently faced in preserving/conserving cultural heritage in
Bhutan:1. No legal guidelines/legislation.
2. Lack of proper inventory (documentation and photography).
3. Shortage of trained professionals in the field of conservation.
4. Inadequate funds conservation works.

35

5. Lack of proper disaster management system.
6. Most of the heritage structures being living heritage.

Need for cultural heritage preservation
So far, Bhutan has been fortunate to have a majority of its architectural heritage still largely intact
in its authentic state. Although the traditional approaches to architecture are still very much alive
in Bhutan, with the advent of modern development andexposure to external influences, one has to acknowledge
that these traditions, like many other things, are not shieldedfrom challenges to them. They are thus subject to evolution
in terms of approaches and attitudes. It cannot be disputedthat almost every country in the world is still confronted byvarious development challenges. However, for a tiny country
like Bhutan that is being catapulted into the 21st century,
the challenges to its ancient heritage and traditions can beparticularly daunting.
The future of Bhutan’s heritage thus rests mainly upon understanding the heritage, along with theappropriate values attached to it, and consequently, actions taken to conserve and promote these values.
Only through awareness and understanding of their heritage can people feel motivated to safeguard it.
Thus, they themselves become the best custodians of their heritage. This understanding and affection
towards their heritage is in itself, in the long term, a cultural asset. Therefore, understanding the valuesof our heritage and taking appropriate steps towards its conservation, development and promotion areof immense importance.
It has also been a great concern to the government and the people of Bhutan that the majority ofancient and valuable monuments are often ignorantly being dismantled and destroyed instead of being
conserved, thus causing whole treasure troves of our heritage
to be lost forever. The remote and sometimes inaccessible
locations of monuments also cause many constraints in termsof maintenance, safety and conservation. Often due to thelack of legal guidelines, proper inventory (documentationand photography), adequate funds and sufficient trained
manpower in the cultural sector, many of these ancient andrare structures are sometimes left to fall into disrepair or are
repaired or reconstructed without appropriate techniques,
which also leads to irreplaceable losses of heritage.

36

While modern development is to be encouraged and has
many advantages, it is also leading, by a great extent, to thereplacement of traditional skills and principles in various
areas including architectural design, construction techniquesand materials. Physical heritage traditions like architecturaldesigns and construction techniques that are unique,environmentally friendly, and built from local materials by
local craftspeople and villagers are being replaced by modern
structures that are often out of context and often constructed
clumsily due to inexperience and lack of skill. These areslowly resulting in the disappearance of beautiful traditional
houses and at times, entire traditional villages
Therefore, in considering the above, it is felt that the needfor cultural heritage preservation in Bhutan has become very
important.

37

Phuntsho Wangmo
Engineer
Division for Conservation of Heritage Sites
Department of Culture

Present Situation and Needs for Cultural Heritage Preservation in Bhutan
Introduction
The philosophy of Gross National Happiness is the backbone of Bhutan’s development, and the
Bhutanese government recognises the core importance of culture and cultural heritage in Bhutanesesociety, as preservation and promotion of culture is one of its four pillars.
Cultural heritage in Bhutan is an integral part of our identity, unity and continuity, and forms an
indisputable physical record of the historical, artistic and technical achievements of the Bhutanesethrough many centuries. Cultural heritage sites in Bhutan consist of both tangible heritage (including
Dzongs, Lhakhangs and traditional houses) as well as intangible heritage (including traditional
paintings, carvings, sculptures and rammed earth construction techniques)) that has been carefully
passed down uninterrupted from generation to generation.

38

Fig. Paro Taa Dzong

Fig. Neyphug Lhakhang

Fig. Traditional Curving, Intangible heritage
sites

Fig. Rammed earth construction technique

Present Situation
Existing management system of heritage sites in Bhutan:
The Department of Culture under the Ministry of Home and Cultural Affairs is currently the central
authority in the country responsible for the conservation, development and promotion of cultural
heritage. Within the Department, the Division for Conservation of Heritage Sites (DCHS) is the key
central agency that looks after the protection and conservation of heritage sites, including Dzongs.
The DCHS is also responsible for formulation of policies and regulations for the protection of heritage
sites. Nevertheless, the protection and conservation of heritage sites is considered to be the shared
responsibility of all public and private bodies, local communities, and individuals in the country.

1) No legal guidelines
To date, Bhutan has had no legal guidelines to institute effective legislation for the protection ofheritage sites in the country. The Division for Conservation of Heritage Sites under the Department ofCulture was instituted to ensure that heritage sites in Bhutan are conserved, protected and promoted.
While executing this responsibility, the office found that the number of renovations and reconstructions
increased every year. Despite being strict on the do’s and don’ts of executing works of heritage sites,
the end result turned out to be the total reconstruction of sites in most cases, without retaining anyof the earlier features or the character of the respective sites. The offender in each case could not be
penalized due to lack of legal provisions. In this process we lost many important heritage sites.
However, the Department of Culture has recently completed drafting the Heritage Act of Bhutan. It
will be submitted for deliberation and enactment in the upcoming winter session of Parliament. The
bill comprehensively looks into the protection of heritage buildings, cultural sites and archaeologicalsites in Bhutan through a process of registration and designation. The purpose of this Act is to provide
protection for heritage sites and sustain the cultural landscape of Bhutan for present and future
generations.

2) Awareness, understanding and appreciation of heritage sites
There is a need to develop and conduct awareness raising programs on the protection of cultural
heritage. In line with this, the agency concerned,
the Division for Conservation of Heritage Sites(DCHS) under the Department of Culture, has beencreating awareness campaigns at different levelsof stakeholder. In June 2014, the DCHS went tovarious schools creating awareness of heritage sites
and making the students understand what heritage isand how individuals can contribute to protecting ourheritage sites.

39Moreover, in August, the Department of Culture organised
the “International Competition on CulturalLandscape in Bhutan 2014 with the objective “tolearn and educate the ways of understanding andinterpreting our cultural landscape leading to theirsafeguard and sustainability for the wellbeing of
the present as well as the future generations of thecountry.” A cluster of houses in Dopshari Gewog(administrative block) was identified as a casesettlement for the Cultural Landscape Competition.

Fig. International and local juries for the competition
with the participants

Fig. Dopshari Gewog: identified as a case settlement for Cultural LandscapeCompetition

3) Natural disasters vs. heritage sites
A significant number of natural disasters have been occurring more frequently in recent times. Most
heritage sites, especially the Dzongs (fortresses), are built in strategic locations for gaining militaryadvantage as well as political and spiritual influence. It has now become a challenge to put in place
preparedness measures and firefighting. Furthermore, Bhutan, being in Zone V according to the Indian
seismic map, is highly susceptible to earthquakes.
The country was hit by two major earthquakes over the span of two years, in 2009 and 2011, which
affected several important cultural sites including Dzongs, Lhakhangs and chortens. The following aresome of the cultural sites affected by the two earthquakes.

40

Fig. Drametse Lhakhang

Fig. Trashigang Dzong

Fire poses another challenge to preserving heritage sites. One example is Wangduephodrang Dzong,which was undergoing a comprehensive renovation and was burnt down by a tragic fire on 24
June 2012, with the country losing one of its most important and historic heritage sites. The loss of
Wangduephodrang Dzong was a national tragedy in which hundreds of artefacts and murals were lost.
This Dzong is the second oldest Dzong in the country, built by Zhabdrung Ngawang Namgyel in 1638,
and it serves a dual purpose: the offices of both the Dzongkhag administration headed by the Dzongdag(District Governor), and the Dratshag, or monk body, headed by the Lam Neten.
Maintaining the authenticity of this historic site has now become a major and complex issue to beconsidered while preparing the reconstruction plans for the Dzong. However, the reconstruction work
has begun.

Fig: Wangdue Dzong before the fire

Fig: Wangdue Dzong after the fire4) Most heritage buildings are living heritage
Dzongs in Bhutan, being living heritage as they house temples, monk body residences, and district
administrative offices, are consistently subject to alteration in terms of design and materials as well asusage. The increasing number of monks in the Dzongs necessitates the provision of modern facilities
and amenities within the Dzong, thereby changing the historic structure and its fabric.
Moreover, they are exposed to continuous wear and tear, and numerous disaster risks. In this light,
it raises the difficult question of whether the Dzongs of Bhutan can fulfil the criteria of authenticity,
an important requirement of World Heritage properties, in the process of their nomination as World

41

Heritage Sites.

5) Shortage of professionals in the field of heritage and conservation
One of the primary problems currently faced in the field of conservation of heritage sites in Bhutan
is the shortage of human resource in the DCHS office, making it more difficult to assess and monitor
conservation works in the country. The remote and sometimes almost inaccessible locations ofmonuments also cause many constraints in maintenance, safety and conservation. Also, due to thelimited technical capacity within the country in the field of cultural heritage site protection andrestoration, many restoration projects actually become reconstruction projects.

6) Traditional constructions are non-engineered buildings
The traditional method of construction in Bhutan is either the rammed earth method or stone masonrywith composite timber construction. Since our precious heritage monuments are either rammed earthor stone masonry without any scientific and engineering calculations, it becomes difficult to prove
the stability of heritage sites with numbers, which becomes a challenge when the safety of the site isquestioned.

7) Traditional beliefs vs. conservation of heritage sites
It is believed that if the temple or monastery is found in a dilapidated condition, it would bringbad luck to the community. Therefore, Bhutanese people prefer to maintain a temple mostly byreconstructing it, and people believe that carrying out such activities, especially for religious buildings,
would mean cleansing their sins and helping them gain good karma. This is another challenge.

8) Lack of proper inventory of heritage sites
Currently there is no proper inventory of heritage sites in Bhutan, which is fundamental information
required for the protection and conservation of heritage sites. Without an inventory record, it would
be difficult to obtain the information required, especially in the case of reconstruction, which would
most of the time lead to adoption of the earlier design, thus leading to alteration of the whole building.
However, in 2011, the DCHS office started the preliminary work of developing an inventory of
heritage sites in Bhutan, and is expected to complete the work soon.
Need for cultural heritage site protection:
Bhutan is known to the outside world for its cultural heritage, and heritage sites are one of the mostunique identifications of Bhutan. The beautiful heritage sites of Bhutan form an integral core of thecountry’s rich and ancient cultural heritage and traditions.
Tourism is the second largest source of income for Bhutan, and the sustainability of Bhutan’s tourism
industry largely depends on the culture of Bhutan, which is largely influenced by our heritage sites andthe traditions associated with it. Bhutan has become one of the top tourist destinations in the world due
to its cultural diversity and pristine natural environment.
Heritage sites in Bhutan are very much associated with religious values, which are important for42the spiritual and religious beliefs of the local people. And this forms a very integral part of Bhutan’s
culture in the day-to-day life of the average Bhutanese.
Since Bhutan is undergoing modernization at a very fast pace, which includes the introduction of
new construction techniques and materials, and a change in the lifestyle and mind-set of the people.
This poses a threat to the traditional architecture and culture of Bhutan. Therefore, it has become
very important to protect our cultural heritage sites to retain the exemplary traditional Bhutanesearchitecture.
Both natural and man-made disasters are becoming a major threat to our heritage sites. A large numberof heritage sites have been damaged during the recent earthquakes and fire. Therefore in this regard,
the protection and proper restoration of our heritage sites have become very important.

43

Final Reports
by Participants

IV. Final Reports by ParticipantsWith lecturer and interpreter in a full-scale model of a sukiya house at Takenaka Carpentery Tools Museum

Kinley Gyeltshen

Photographic documentation of cultural heritage and management/utilisation of digital data
For the protection and promotion of cultural heritage and cultural properties within the Asia-Pacificregion, the Asia-Pacific Cultural Centre for UNESCO (ACCU Nara) provides various programs andtraining courses related to cultural heritage protection. Since Japan has been taking the lead in thepreservation and restoration of cultural heritage sites and cultural properties in the Asia-Pacific region,
ACCU Nara, mainly through international organizations such as UNESCO and ICCROM, gives
training in preserving and protecting heritage sites and cultural properties in neighboring countries.
With many Japanese experts and its advanced technology, we can learn the latest techniques in our
specific field for saving our cultural properties and heritage sites for the coming generations. In
Bhutan, photographic documentation of heritage structures and other valuable elements is the mostessential activity to be carried out immediately, as current practices are not professional, meaning that
our cultural heritage cannot be preserved for a long period.
Our training was divided into various activities during these 25 days (11th Nov- 5th Dec).
a) Introduction to ancient structures and their historical values, such as Horyu-ji Temple and Todai-ji
Temple with site visits.
b) Basic knowledge in photography regarding both manual and digital cameras.
d) Practical training in using different methods for taking photographs of ancient structures outside
Hase-dera Temple under natural sunlight.
e) Different methods for taking photos of objects and artefacts indoors with artificial light (diffusedlight).
f) Processing and printing of negatives in a darkroom and digital JPEG photos on a computer.
g) Risk management of cultural heritage/sites during a natural disaster with site tours in Kobe cityh) Preserving and utilizing photos of ancient scriptures and artefacts to the public at theHistoriographical Institute, University of Tokyo and National Museum of Japanese History.
Introduction to ancient monuments and historical sites – Mr Kobayshi Ken’ichi
First, we were made aware of the history of Japan in this lecture, and then we were exposed to someof the famous temples in Nara that have been designated as World Heritage Sites. The structures haveremained stable and intact to the present day although thousands of visitors come daily for site visits.
It was noticed that some of the buildings have undergone several restoration works due to natural
disasters occurring in the early years. The historical values of these temples were so important not
only for Japanese but also for people throughout Asia, where Buddhism is still practiced and followed.
The site lecture included the importance of these sites and their significance in Japanese society. With
the site visit we were also briefed on the importance of Nara Palace and the archeological excavations
done in this area and Mr Kobayashi showed us how the artefacts and objects are preserved in themuseum after proper documentation.

47

Fig 1. Todai-ji Temple (visitors versus
World Heritage Sites)

Fig 2. Wooden pillar (Japanese method of conservation)

Site visits to Chion-in Temple, which is undergoing major restoration, and understanding Japanesemethods of restoring wooden structures.

Fig.3 Chion-in Temple (method of Japanese conservation of wooden structures)

Basic knowledge of photography for manual and digital cameras - Mr Ichiro NakamuraFirst, we were introduced to the many types of professional cameras that are used for documenting
cultural properties at Nara National Research Institute for Cultural Properties and the importance ofphoto documentation. Photographic documentation is important for conservation of artefacts, recording
ages, renovation, structural documentation, and recording details of archeological sites that are filled inafter excavation, and the documentation should be preserved for as long as possible for future researchworks. Images of both tangible and intangible cultural properties should be recorded with methods
such as hand drawing, the GIS method, laser scanning, photographing and UAV helicopters, although
in Bhutan we only have drawings and some ordinary photos of conservation works done earlier.
During the training course we had lectures on setting and adjusting the camera for ensuring quality
photos of cultural properties such as structures and artefacts. Producing good photos depends on how
well you can control your exposure. For controlling exposure, the three main functions need to be set
accurately.

Fig.4 Setting each function

48

Fig.5 Getting sharper pictures

Fig.6 Different types of cameras

Aperture: This is composed of tiny blades (octagonal in shape) and controls the amount of lightentering the camera. The amount of light required can be adjusted by opening and closing the aperture.
If your picture is found to be lighter than desired you can minimize the aperture, and vice versa. The
value is indicated on the camera as f/1.4 to f/22.

Shutter speed: The amount of time that the shutter allows the image sensor to be exposed to light isthe shutter speed, and this is measured in seconds. For example, when taking a photo in the dark one
should slow the shutter speed so that enough light falls on the image sensor.

ISO: This determines how sensitive your camera is for incoming light. For taking photos of artefacts
a lower ISO is desired since a higher ISO increases the amount of image noise. It is determined bystandard values ranging from 100 to 1600, and it also differs from camera to camera.
In the training we were also taught how to eliminate unnecessary images from the photos by providing
different lighting from different angles. To eliminate shadows from the pictures we need to provide
lighting from different angles such as side lighting, top lighting, backlighting, semi backlighting, andtransmissive lighting.

Fig.7 Lighting from different angles

Fig.8 Getting a sharper image

Fig.9 Avoiding direct light on theobject

The training also included photo processing after editing in a PC and balancing white by using a graycard is neutral color. We practiced arranging photo layouts in our session, which also enhanced ourcapability to create good publications.
Practical training in taking photographs of ancient structures - Mr Sugimoto (Hase-dera
Temple)We were taught how to set up a tripod and learned about its importance in photographing culturalproperties. We were also taught how to choose the correct image and the details to be photographed,and how to choose the camera angle according to the source of light, since the most important elementin photography is the light, be it sunlight outside or artificial light indoors. We were also taught
about the use of different lenses such as architectural lenses, which are capable of handling high/tallstructures from a nearer distance while showing clear details of the structure. The usual practice oftaking photographs at my site is free-hand with auto-set cameras. From learning how to take RAW
photos with manual settings we can produce quality pictures after processing, and that will best forrecording and display.

49

Fig.10 Steps towards Hase-dera
TempleFig.11 Photos taken with a tripod

Fig. 12 Hase-dera Temple

Risk management cultural heritage - Mr Murakami Yasumichi
Our lecturer emphasized the importance of having a master plan for risk management in case of anatural disaster. With the example of the earthquake in Kobe city in 1995 we were made aware of how
important it is to help each other during a natural disaster and to bring the same atmosphere back to thearea. Kobe city was a multicultural city with many different types of people living there at the time.
Different buildings of worship and residential houses existed before the earthquake; however, most of
the buildings were severely damaged during the disaster and needed immediate repairs. So our lecturer
showed some examples of how we should repair these building without altering or changing them fromthe original design and architecture. All these restored buildings were designated as National Cultural
Properties. The very important thing is that the buildings were utilized as museums for the public.

Fig.13 Restored buildings

Fig.14 Method of intervention in
restoration

Fig.15 Measures for checking
movement

After the experience of the 1995 earthquake, many new alarm methods were introduced so that in avery short time the necessary measures could be implemented. The methods included warning signals
on phones, enabling people to interact quickly. As cited by the lecturer, it took several years for Kobe
to be restored to its former glory and beauty.
Preserving and utilizing photos of ancient scriptures and artefacts to public at theHistoriographical Institute, the University of Tokyo, Tokyo National Museum, National Museumof Japanese History, Sakura city and Nara National Museum.
The main objective of these visits was to learn how important our cultural properties are, andin what way we can bring our past to the present and value our ancestors’ lifestyles, the socioeconomic changes that occurred, and the further development of their lifestyles. One of the main
tools for conducting research on these activities is photography, and one should have a high level ofprofessionalism in photography and also perfect preservation of the fruits of this activity for future
generations.

50

As a result of our training in photographic documentation, we have acquired a lot of useful knowledge
in photographing objects and images that are to be displayed in museums, as well as in the importanceof preserving the negatives in temperature-controlled rooms for future reference. We also got the
chance to learn how to develop a database in order to keep the photos in a very systematic manner.

Fig 16. Tokyo National Museum (demonstration on
photographing objects for the museum)Conclusion
This individual training course on photography has enhanced not only my knowledge of how to takephotos, but also my understanding of the value of photographic documentation for future generations.
The valuable historic structure in Bhutan is undergoing certain changes in its aesthetic view andarchitectural features year by year, and through the means of photographic documentation one canbring back its originality and recreate its former appearance once again. Not only the structures,
but also images, objects and precious scripts can be utilized for educational programs, research andpublication through photographs.
Lastly, I acknowledge ACCU for providing such valuable training for us, and also the time taken byindividual staff for guiding us to our respective lectures and site visits. My heartiest thank you goesto all the lecturers who passed on their knowledge and experience in various fields during the training
period. The same to our interpreter, who provided instant interpretations, which made it easy for us
to understand the subject. Also, I should mention that Nara National Research Institute for Cultural
Properties was the right venue for the training, and I thank them as well.
Thank you and TASHI DELEK.

51

Leki Wangchuk

Photographic Documentation of Cultural Heritage and Management/
Utilisation of Digital Data

Introduction:
The photographic documentation of cultural heritage in Japan has a long history, ever since theintroduction of the camera to the world, and the system of management and utilization of data is welladvanced, precise and detailed, so that it can be an example to the world. In Bhutan, the first camera (stillcamera) was used by Mr John Claude White, the head of mission of the British Indian government
during his visit in 1905, but it was hardly used for the documentation of cultural heritage, and Bhutan
still does not have photographic documentation of its cultural heritage and storage system except forordinary printed photos.
The Individual Training Course on Photographic Documentation of Cultural Heritage andManagement/Utilisation of Digital Data was conducted in Nara, Japan from 11 November to 5
December 2014, organised by ACCU Nara Office, upon the request of the Department of Culture,
Ministry of Home & Cultural Affairs, Bhutan. The main objective of the course was to provide
broad knowledge and practical techniques in the field of photography and documentation of cultural
heritage and digital data management and utilisation (photography techniques, digital data storage andmanagement system).
The training was mainly conducted at the photo studio of the Photography Section of the Nara National
Institute for Cultural Properties (NNRICP), with lectures and practical field exercises (both indoor andoutdoor) provided by various experts from the Institute. The outdoor practical work for photographingbuilding structures was done at Hase-dera Temple. Further, we visited various National Museumsof Japan such as Nara National Museum; Tokyo National Museum; National Museum of Japanese
History in Sakura City, Chiba; and Shoso-in (Treasure House), the Imperial Household Agency, Narato study their existing practices in photographic documentation and data management systems. Apartfrom the main training courses, we also visited historical sites and received on-site lectures on therespective sites; such as Horyu-ji Temple and Todai-ji Temple in Nara, Preservation District for Groupsof Historical Buildings in Kobe City, Takenaka Carpentry Tools Museum, and Restoration of Chionin Temle, Rokuon-ji Golden Temple, Ryoan-ji Temple (Rock Garden) in Kyoto, Nara Palace Site
Museum, Nara National Museum and Kofuku-ji Museum.

Photographic documentation training:
Photography is one of the most important tools for the documentation of cultural properties. The
fundamental principle of photography of cultural properties is to enable storage of materials that record52

an exhaustive amount of information in place of the cultural properties themselves for an extended
period of time. Although we are familiar with cameras in taking ordinary pictures, we are not reallyaware of the camera’s various functions apart from setting the camera to auto mode, and ordinary
photos are used for condition status reports for Structural Heritage Sites and recorded for pictorialreference only. It was on the 13th day of November 2014 in the photo studio of NNRICP that thelesson started with the introduction of basic knowledge of photography by Mr Ichiro Nakamura.

Fig.1 Different types of cameras

Fig.2 Camera & tripod

Fig.3 Use of grey card

During the course we learnt the following:i. Preparation of tools/equipment for photography along with proper handling and functions of theequipment including setting up a tripod.
ii. The various types of cameras and the functions of image saving formats such as JPEG and TIFF.
iii. The mechanism by which a photograph is taken and its structural outline including the camera
angle and use of lenses.
iv. Different methods of taking photographs of both indoor objects and outdoor structures including
archeological sites.
v. Methods for the recording and documentation of cultural heritage with laser scanning.
vi. Processing of images and printing for both film and digital photographs and layouts.
We were also given a brief outline of the Guidelines for the Preservation of Cultural Properties
centered on digital records.

Practical training of taking outdoor photographs of the historic structures at Hase-dera
Temple:We were taught that during outdoor photography of cultural heritage sites, it is important to know thetiming for taking photographs (as per the movement of the sun) as well as the camera angle according
to the source of light. We were also taught to use a tripod, decide the subject of the photography, anduse a lens closer to a telephoto lens in order to eliminate distortion or an architectural lens which iscapable of capturing tall structures from closer distances, and save the photos as RAW files so they canbe processed to achieve the best print quality.

53

Site visits to different museums to study photographic documentation and management
systems:
Visits were made to the following museums: Tokyo National Museum, Historiographical Instituteof the University of Tokyo, and National Museum of Japanese History, Sakura. The photographic
documentation and management system in each place is well established and managed at thehighest level. At every museum, the photographer never touches the object himself; instead, it is theconservator who handles the object, in order not to damage it.

Visits to Buddhist historic monuments:
Horyu-ji Temple was established by Prince Shotoku Taishi and Empress Suiko in 607 AD to showrespect for Prince Shotoku’s late father Emperor Yomei. This building, the oldest wooden building in
the world, was designated as a UNESCO World Cultural Heritage Site in 1993. Todai-ji Temple wasbuilt in the 8th century and the world’s largest gilt-bronze Buddha (Great Buddha) statue (15 m high)of the Cosmic Buddha or Universal Buddha (Dainichi Nyorai), built to bring happiness to the people,
is enshrined there. Spiritually, both sites are very important, not only to the people of Japan, but also to
Buddhist countries around the world. The lesson learned from these visits is that no matter how muchyou lose in due course with unavoidable natural disasters, it is very important to maintain the originalstate of the object or structure by using the same materials and techniques at the time of restoration inorder to hand it on to future generations.

Fig.4 Horyu-ji Temple

Fig.5 Great Buddha

Fig.6 Todai-ji Temple

Disaster risk management for cultural heritage based on the experience of the Great
Hanshin Earthquake:
We visited Kobe City and the lecturer recalled the Great Hanshin Earthquake and explained the overall
damage as well as the damage caused to historic buildings, and the countermeasures undertaken after
the disaster based on an actual example. We also visited one of the renovated historic buildings and thelecturer explained on a model the wall reinforcement method that had been adopted and the installationof equipment to check the inclination of the building at the roof truss level. The lecturer said it was
important to take and keep photographs of the whole structure, which then will help to check the work,or as a reference if the structure has to be rebuilt after a disaster. The photos taken before can be usedas evidence for later recovery works. The lesson learned from this site visit is the rescue measures
to be taken after such incidents and the recovery plans and mitigation measures of the site. We also
visited Disaster Reduction and Renovation Institution and Takenaka Carpentry Tools Museum.

54

Fig.7 Model wall, Kobe

Fig.8 Vertical check, Kobe

Fig.9 Restored Building, Kobe

Visit to historic monuments of ancient Kyoto:
A visit was made to the following Historic Monuments of Ancient Kyoto and to the Chion-in Temple,
where restoration of the main temple hall was taking place, particularly the roof tiles and some partsof the roof trusses. The restorer in charge explained in detail about the works and the methodology
adopted for the preservation, which is very precise, detailed work and well organized, and which canbe an example for us to follow and adopt in Bhutan too. Both Rokuon-ji Temple and Ryoan-ji Temple
are inscribed by UNESCO on the World Heritage List as Historic Monuments of Ancient Kyoto, andare thus internationally recognized as places of exceptional universal value; cultural heritage sites
worthy of preservation for the benefit of all mankind. The inscription date for both Rokuon-ji Temple
and Ryoan-ji Temple was 17 December 1994. The lesson learned from these visits is how to carry out
restoration while maintaining authenticity.

Fig.10 Restoration of Chion-in
TempleFig.11 Rokuon-ji Temple

Fig.12 Ryoan-ji Temple

55

Photography and management/utilisation system at the Shoso-in (Treasure House):
We were taught how to take photographs of the textile fabric withthe positioning of lights in order to capture the pattern designof the fabric for research study and display. We also learnt how
to read carbon ink markings by using an infrared camera lens.
We also learnt that a timber log house can be more effective inpreserving objects and artefacts against humidity.
Fig.13 Shoso-in Treasure House

Conclusion:
The individual training course on Photographic Documentation of Cultural Heritage and Management/
Utilisation of Digital Data for a duration of 25 days was essential for us to participate in, and thecourse has educated me on the subject and also enriched my professional skill in the preservation andrestoration of cultural heritage. As already mentioned earlier, photographic documentation of cultural
heritage in Bhutan has never been done to date, and this knowledge will certainly be helpful not only
to my own work but also to my organisation and the country as a whole.
We are glad to hear that the Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural
Centre for UNESCO (ACCU) is planning to conduct such type of training in our country very soon,
and in this regard, if I may submit herewith my own thoughts, it would be preferable if the participants
are professionals dealing with objects, textiles, library archives and structural heritage sites so thatthe training will be helpful to the agencies concerned in preserving and safeguarding their valuable
treasures in a better way for future generations.
Lastly, I would like to thank ACCU Nara Office, Japan for organising this course and giving us
an opportunity to take part, and to all the individual staff of ACCU Nara Office for guiding us andsupporting us in this training course, which was successfully completed due to their help. I would also
like to thank all the resource persons, including our interpreter, for sharing their knowledge and skills
with us. Finally, I would also like to thank the Nara National Research Institute for Cultural Properties(NNRICP) and the Agency for Cultural Affairs, Japan for providing financial support, the physicalvenue and other resources for the training course.

Thank you56

Phuntsho Wangmo

Final Report on Photographic Documentation of Cultural Heritage andManagement/Utilisation of Digital Data
BackgroundTo the outside world, Bhutan is well known for its cultural heritage, and heritage sites are one of themost unique identifying features of Bhutan. The beautiful heritage sites of Bhutan form an integral
core of the country’s rich and ancient cultural heritage and traditions. Heritage sites in Bhutan arevery much associated with religious values, which are important for the spiritual and religious beliefsof the local people. And this forms an integral part of Bhutan’s culture in the day-to-day life of the
Bhutanese.
Bhutan is undergoing modernisation at a very fast pace, which includes the introduction of new
construction techniques and materials, and changes in the lifestyle and mind-set of the people.
This poses a threat to the traditional architecture and culture of Bhutan. Therefore, it has become
very important to protect our cultural heritage sites to retain the exemplary traditional Bhutanesearchitecture.
Heritage sites throughout the world (natural, cultural or mixed) suffer from wars, natural disasters,
weather changes and human negligence. Thus, both natural and man-made disasters are becoming amajor threat to our heritage sites. A large number of heritage sites have been damaged during recent
earthquakes and fires. Therefore, the protection and proper restoration of our heritage sites havebecome very important. However, there is no proper inventory of heritage sites in Bhutan, which is
the most fundamental information required for the protection and conservation of heritage sites. To
achieve this, photographic documentation plays a very important role.

Role of photography in documentation of cultural heritage
Photography has existed for more than 150 years, but only recently have advances in technology
made high-quality cameras and devices readily available, affordable, and easy to use. Photographic
documentation is an essential technique for recording the nature of heritage objects and illustratingconservation procedures. After visiting several museums in Japan (Tokyo National Museum,
University of Tokyo, National Museum of Japanese History and Nara National Museum), we haveseen that museums have been able to make use of these advances, and today many conservators use
digital photography for the purpose of documenting their work.
It is necessary to make cultural heritage accessible in all possible forms and to all possible users andclients globally. This can be done by preserving them digitally. Thus, photographs can contributesignificantly to the documentation, conservation and presentation of cultural heritage sites andto the growth of research in this field. However, if cultural properties are photographed without

57

understanding the objective and framework for taking photographs, the photographs will not achieve
the information required.
The one month training course covered all the important topics which are important in the field ofconservation and preservation of cultural heritage. The following are some of the areas that werecovered in the lectures:• Introduction to photography: It started with the basic knowledge of cameras and the various
types available. The lectures were delivered in a photo studio, as well as at sites with hands-on
training, on digital photography of archaeological sites, historical buildings, artefacts and othercultural properties. Good photography depends on a combination of shutter speed, aperture value
and ISO speed, under which the aperture affects depth of field, shutter speed affects motion blurand ISO speed affects image noise. Colour charts and grey cards are also used to obtain the true
colour of an image.

Fig.1: Light Orientation in indoor photography

Fig.2: Use of a grey card and colour chart• Digital photograph processing using Raw Therapee software.
• We were also introduced to a new method for documentation of cultural heritage with laser
scanning and SfM.
• Risk management for cultural heritage: We are reminded that cultural heritage is susceptible tonatural disasters based on the experience of the Great Hanshin Earthquake. The need to find asolution to protect three factors simultaneously—way of life, safety and cultural property—wasemphasized.
• Photographic documentation of cultural heritage and management systems of digital data.
• Restoration of historic monuments in Horyu-ji Temple, Todai-ji Temple and Chion-in Temple:
Visiting those historical monuments was a good experience to learn that the reconstructionof each temple was done in the original form and design, apart from changing the wooden
components through proper investigation, survey and documentation of the temple’s history.
We had an opportunity to see non-functional wooden members from the 8th century, which are
well preserved and carefully numbered for scientific research analysis. The functional wooden

58

components from the 17th century are amazing to observe with much less revolution throughproper conservation techniques. We saw that some intentional gaps are created in the wooden
components especially in columns in order to prevent cracks in the other direction (Shown in the
figure below from Horyu-ji Temple).

Fig.3: Intentional cracks

Fig.4: Joinery

Fig.5: Replacement of decayed
memberRestoration of the Mieido of Chion-in Temple, Kyoto as a cultural property
As part of the training course, we also got a chance to visit Chion-in Temple, which was first built
in 1639 and is currently under restoration exactly 100 years after the last restoration. The temple is awooden structure with a hip and gable roof where flat and round tiles are laid alternately. According to
the chief architect, the main hall (Mieido) was renovated twice in the past, especially the roof structure,
which was repaired with better reinforcement. The roof tiles were found to have undergone partial
repairs many times and thus various types of roof tiles have been laid that date to different times,
identifiable by the nails used in the roof structures. For example, nails used in the past are flat and laterones are round.
Japanese traditional wooden cultural buildings have survived for a long time and they can still beseen today. This may be due to regular maintenance with appropriate methods. While carrying out therestoration of cultural properties like the Mieido, original components are reused as much as possible.
The components that have been seriously damaged are replaced with new ones. In such cases the newcomponent is fabricated with the same species/material used for the original components using theoriginal method and then the year of the repair is engraved on the component.
If the components are partially damaged, only those damaged parts are removed and replaced by
new material. The other parts of the member in good condition remain in use even if they have beenused for hundreds of years. If necessary, reinforcement is also provided to a minimum extent withoutcausing any damage to the original component. In this particular project, the tilted roof trusses havebeen dismantled and they are to be reassembled soon. The eaves were lowered due to the heavy roof
truss and they are now being jacked up to their original place. The deteriorated roof tiles were removed
and they are soon to be replaced by new tiles.

59

Fig.6: Decayed roof members being replacedroof members being replaced

Fig.7: Joinery of old and new timber components

Fig.8: Varieties of nails used in different eras roof
members being replaced

Fig.9: Eaves being jacked up to their originalplace

Conclusion
Cultural heritage is a human creation intended to inform the next generation, so it is our core
responsibility to protect and pass it on to future generations, as they have a right to know about
their own culture. In this context, it is very important to document cultural heritage so that future
generations know how it used to be in the past. Thus, photographic documentation plays a vital role in
the preservation and conservation of cultural heritage.
Being able to have the opportunity to learn and understand the importance of photographic
documentation, I would like to extend my heartiest gratitude to the Agency for Cultural Affairs, Japan;
Asia-Pacific Cultural Centre for UNESCO (ACCU); and National Institutes for Cultural Heritage, Nara
National Research Institute for Cultural Properties for organising this one month training programon Photographic Documentation of Cultural Heritage and Management/Utilisation of Digital Data.
I believe this training program has enhanced and strengthened my skills in the field of preservation,conservation and management of cultural heritage monuments.
I would also like to thank all the staff of ACCU Nara Office, lecturers, and all the members who were60

directly or indirectly involved, for your kind efforts and support in making the training programme
successful and fruitful.
Last but not least, I would also like to thank the Head, Division for Conservation of Heritage Sites,
Department of Culture, Ministry of Home and Cultural Affairs, Bhutan for nominating me for thistraining programme. Without her support, I may not have received this opportunity to participate inthis training programme.
Thank you.

61V. Appendix
1. List of Participants
2. List of Lecturers and Interpreter

Appendix

3. Staff Members, ACCU Nara Office

At Moegi House, Kobe city1. List of Participants

Kinley Gyeltshen
Executive Engineer

Division for Conservation of Heritage Sites, Department of Culture
Ministry of Home and Cultural Affairs
Thimphu, Bhutan P.O. Box No. 233
Tel : (+975) 2 322 694/325 116 FAX: (+975) 2 321 285
Kinleygyeltshen41@yahoo.com

Leki Wangchuk
Senior Conservation Engineer

Division for Conservation of Heritage Sites, Department of Culture
Ministry of Home and Cultural Affairs
Thimphu, Bhutan P.O. Box No. 233
Tel : (+975) 17 618 012 FAX: (+975) 2 321 285
leki.wangchuk@yahoo.com

Phuntsho Wangmo
Engineer

Division for Conservation of Heritage Sites, Department of Culture
Ministry of Home and Cultural Affairs
Thimphu, Bhutan P.O. Box No. 233
Tel : (+975) 2 322 694 FAX: (+975) 2 331 328
wpinso@yahoo.com

65

2. Lecturers and Interpreter■

Nara National Research Institute for Cultural Properties (NNRICP)
247-1 Saki-cho, Nara 630-8577 Japan<Department of Planning & Coordination>
NAKAMURA Ichiro, Official Research Photographer, Photograph Section
Tel: (+81) 742 30 6838 Fax: (+81) 742 30 6859 e-mail: ichiro@nabunken.go.jp<Center for Archaeological Operations>
KANEDA Akihiro, Senior Researcher, Archaeological Research Methodology Section
Tel: (+81) 742 30 6844 Fax:(+81) 742 30 6856 e-mail: akaneda@nabunken.go.jp■

Saidaiji Photo Studio4-28 Saidaiji Honmachi, Nara 631-0816 Japan
Tel/Fax: (+81) 742 33 0267
SUGIMOTO Kazuki, Archaeological Photographer
e-mail: higeji@nabunken.go.jp■

Hyogo Prefectural Board of Education
5-10-1 Shimoyamatedori Chuo-ku, Kobe 650-8567 Japan
Tel: (+81) 78 362 9443

Fax: (+81) 78 362 3927

MURAKAMI Yasumichi, Head, Cultural Assets Divisione-mail: yasumichi_murakami@pref.hyogo.lg.jp■

Kyoto Prefectural Board of Education
Yabunoushi-cho Shin-machi Simotateuri-dori Kamigyou-ku, Kyoto 602-8570 Japan
Tel: (+81) 75 414 5898/5900

Fax: (+81) 75 414 5897

ASAI Ken’ichi, Technical Staff (Architecture), Cultural Properties Divisione-mail: k-asai29@pref.kyoto.lg.jp■

Takenaka Carpentry Tools Museum
7-5-1 Kumochi-cho Chuo-ku, Kobe 651-0056 Japan
Tel: (+81) 78 242 0216 Fax:(+81) 78 241 4713
SAKAMOTO Tadanori, Manager/Chief Researcher
e-mail: sakamoto.tadanori@dougukan.jp■

Tokyo National Museum
13-9 Ueno Park Taito-ku, Tokyo 110-8712 Japan
Tel: (+81) 3 3822 1166

66

Fax: (+81) 3 3822 1118

FUJISE Yusuke, Photographer, Registration Collections Management Divisione-mail: y-fujise@tnm.jp■

The University of Tokyo
7-3-1 Hongo, Bunkyo-ku ,Tokyo 113-0033 Japan
Tel: (+81) 3 5841 5964 Fax: (+81) 3 5841 5956
TANI Akiyoshi, Photographer, Researcher of History of Photography
Conservation Laboratory, Historiographycal Institutee-mail: tani@hi.u-tokyo.ac.jp
TAKAYAMA Sayaka, Photographer, Conservation Laboratory, Historiographycal Institutee-mail: takayama@hi.u-tokyo.ac.jp■

National Museum of Japanese History
117 Jonai-cho Sakura-shi, chiba 285-8502 Japan
Tel: (+81 ) 43 486 0123

Fax: (+81) 43 486 4210

KATSUTA Toru, Chief Photographer, Museum Management Divisione-mail: katsuta@rekihaku.ac.jp■

Imperial Household Agency, Office of the Shosoin Treasure House
129 Zoshi-cho, Nara 630-8211 Japan
Tel: (+81) 742 26 2811 Fax: (+81) 742 24 0132
KITADA Hitoshi, Photographer, Cabinet Officee-mail: hitoshi.kitada@kunaicho.go.jp■

Nara National Museum
50 Noborioji-cho, Nara, 630-8213 Japan
NOJIRI Tadashi, Curator of Writings, Curatorial Division
Tel: (+81) 742 22 4460 Fax: (+81) 742 24 7211 e-mail: nojiri@narahaku.go.jp■

Interpreter
SOHMIYA Ayako, Freelance Interpreter■

Assisted Organisation and Collaborators
ISHIMURA Tomo, Senior Researcher, International Cooperation Section, Department of Planning& Coordination, Nara National Research Institute for Cultural Propertes
DOI Kazutaka, Director, Weathercook House
Hase-dera Temple
TOYOSHIMA Junko, Chief, Cultural Assets Division Kobe Municipal Board of Education67

3. Staff Members, ACCU Nara Office
NISHIMURA Yasushi, Director
nishimura@accu.or.jp
TAKAHASHI Wataru, Deputy Director
takahashi@accu.or.jp
KOBAYASHI Ken’ichi, Director, Programme Operation Department
kobayashi@accu.or.jp
WAKIYA Kayoko, Director, International Cooperation Division
wakiya@accu.or.jp
HORIKAWA Kazuko, Chief, Planning & Coordination Divisionhorikawa@accu.or.jp
SAKIMOTO Keiko, Chief, International Cooperation Division
sakimoto@accu.or.jp
NISHIDA Michiko, Staff, Planning & Coordination Divisionnishida@accu.or.jp
SHIMOMURA Nobuhito, Staff, International Cooperation Division
shimomura@accu.or.jp

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
http: //www.nara.accu.or.jp/6869