UNESCO Sub-Regional Symposium on Paper Conservation; 6th; Paper conservation and paper making traditions in East Asia; 2016

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1 United Nations Educational, Scientific and Cultural Organization

2 Published in 2016 by the United Nations Educational, Scientific and Cultural Organization, 7, place de Fontenoy, Paris 07 SP, France and UNESCO Beijing Office 联合国教育 科学及文化组织 丰特努瓦广场 7 号 巴黎 07 SP, 法国 及 联合国教科文组织驻华代表处 于 2016 年出版 UNESCO 2016 This publication is available in Open Access under the Attribution-ShareAlike 3.0 IGO (CC-BY-SA 3.0 IGO) license ( creativecommons.org/licenses/by-sa/3.0/igo/). By using the content of this publication, the users accept to be bound by the terms of use of the UNESCO Open Access Repository ( The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of UNESCO and do not commit the Organization. 此出版物为开放获取出版物 授权条款为 Attribution-ShareAlike 3.0 IGO (CC-BY-SA 3.0 IGO) ( 此出版物内容的使用者无条件接受遵守教科文组织开放获取储存档的一切条 件和规则 ( 本出版物所用名称及其材料的编制方式并不意味着联合国教科文组织对于任何国家 领土 城市 地区或其当 局的法律地位 或对于其边界或界线的划分 表示任何意见 本出版物表达的是作者的看法和意见 而不一定是联合国教科文组织的看法和意见 因此本组织对此不承担责任 Translators: Cai Yinghong, Chen Siyue, Du Xiaotong, Zhang Dongning, Zhao Dongxu 译者 杜晓通 张东宁 陈思玥 赵东旭 蔡映红 Cover design: Zhang Lu Typeset: Zhang Lu, Zhang Dongning Typeset Proofreaders: Li Yuanfang, Sung Min-ji, Wang Shunze, Zhang Dongning 封面设计 : 张璐 排版 张璐 张东宁 排版校对 王舜泽 李沅芳 成敏智 张东宁 2

3 Editorial Board (In alphabetical order) Nergui Chimeddulam, Du Xiaofan, Himalchuli Gurung, Hwang Kwang Il, Federica Iellici, Ku Jinhong, Kozo Oka, Park Chi-sun, Masayuki Sakata, Wang Jinyu, Yang Yi, Zhang Jinping, Zhuang Lizhen 编委会 按姓氏笔画为序 千木朵兰 王金玉 冈兴造 古榕 叶晓菲 朴智善 庄立臻 杜晓帆 杨艺 坂田雅之 张金萍 库金红 黄光日 3

4 Preface Dr Marielza Oliveira Director and Representative UNESCO Beijing Office Paper is one of the most ubiquitous, useful and ancient materials produced by humanity. Since its invention some 2000 years ago, paper has served a variety of functions, from the most important medium for recording and transmitting knowledge and information, to packaging, filtering, daily hygiene, and even as legal tender and currency. Little can happen nowadays without paper being involved in one way or another. Think of books, kites, coffee filters, birthday cards, money, paper cups, shoe boxes, passports The origin of paper can be traced to countries in the East Asian region, which share longstanding paper heritage and traditions, comprising both paper making and paper conservation techniques. From China s ancient capital Xi an to the Korean Peninsula, the Japanese Archipelago and the Mongolian Plateau, paper and paper making technology spread throughout the region, providing a major contribution to its prosperity. This paper heritage legacy now gives testimony to ancient civilizations art work, philosophical traditions and history. This publication, Paper Conservation and Paper Making Traditions in East Asia Proceedings of the 6th UNESCO Sub-Regional Symposium on Paper Conservation, reflects a collection of articles presented and/or submitted to the Symposium on the subject. The Symposium is a continuation of the series of sub-regional technical exchanges and meetings, within the framework of the UNESCO project Paper Conservation: Methodology of Paper Conservation and Paper Making Traditions in East Asia. The various articles presented in this publication contain the latest paper conservation techniques used and good practices applied in the East Asian region. The collection provides an opportunity to optimize the exchange of ideas and understanding among practitioners from the different countries in the paper conservation field, and consequently supports the protection of our paper heritage legacy. Apart from enabling the articulation of the continuous dialogue between the five countries served by UNESCO Beijing Office, it is my sincere hope that the publication will serve as a useful information source for a wider audience in East Asia and beyond. I therefore invite you to enjoy and share the knowledge here contained. 4

5 序言 欧敏行 联合国教科文组织驻华代表处 代表 纸是人类文明的宝贵创造 纸无处不在 无人不用 从两千年前的古人到我们今天 纸的用途 极为广泛 它不仅忠实地记录下人类的历史 让知识和信息代代相传 更能不拘地在打包 过滤 清洁以及货币交换等生活的各个层面被广泛运用 没有纸的各种功用 我们现代人几乎会无法成事 想象一下没有书籍 风筝 咖啡滤纸 生日卡片 钞票 纸杯 鞋盒和护照的生活吧 纸的发明当要归功于东亚的诸个民族 他们共同保有了珍贵的纸质遗产和历久弥新的纸张制造 与保存技艺 从中国的帝都长安 到朝鲜三千里江山 日本列岛朝阳初现 蒙古高原天地苍茫 纸 和造纸术纸穿梭时空 极大地推动了东亚文化的繁荣昌盛 是纸存留了古人画家的工笔 书家的飞白 史家之绝唱和哲人的慎思明辨 使我们有幸能够欣赏与赞叹至今 此次 东亚纸张保护与纸张制造传统第六次区域研讨会 是在联合国教科文组织主导的同名项 目框架下举办的 是该项目一系列区域性技术研讨和会议中有机的一环 这本论文集即旨在汇集此 次研讨会上论文以及会前提交但并未上会研讨的论文 一体付梓刊行 论文集中收录的数十篇论文 反映出了东亚纸张保护技术的前沿成果以及收效甚广的实践工作 其中既有令人欣慰的思想交汇 亦反映了国家间的文物保护人员不断加深的理解与互信 也正是各 国间这样胼手胝足砥砺前行 方能将保护纸质文物遗产的工作一以贯之地继续推动下去 在联合国教科文组织驻华代表处所协调的五国之间联结起持续性的对话是本论文集的愿景之一 然而也十分期望东亚及其以外的更广大读者能在其中获取有用的信息 由此 请允许我邀请您一道徜徉其间 一同汲取此中知识的宝藏吧 5

6 Table of Contents PREFACE 4 Agenda 10 UNESCO: UNESCO Project Paper Conservation: Methodology of Paper Conservation and Paper Making Tradition in East Asia Significance and Practices in China 16 Democratic People's Republic of Korea: Implementation of the UNESCO Project Paper Conservation: Methodology of Paper Conservation and Paper Making Traditions in East Asia in the Democratic People s Republic of Korea 24 Japan: Contemporary Realities and Challenges Facing Japan with regard to Restoration Techniques for Art on Paper: Combining Technology and Ethics 29 Results of the Exchange Program and the Joint Investigation of Traditional Methods of Paper Manufacturing between Japan, China and South Korea 39 Mongolia: The Preservation of Buddhist Manuscripts at Gandan Tegchenling Monastery - the Centre of Mongolian Buddhists 57 Preservation and Protection of Mongolian Paper Heritage 62 People's Republic of China: China Traditional Mounting Style Analysis 68 A Preliminary Study of Mounting and Color Fixation Materials for Traditional Paintings and Calligraphy 76 Studies on Conservation of Ceiling Painting of Donghua Gate, Palace Museum 86 Restoration of the Ancient Book Bao s Genealogy in Taidong Jianxi 98 Paper Selection for Ancient Books Restoration 110 Republic of Korea: The Preservation of Paper Type Relic in Korea 6 139

7 APPENDIX: The Conservation of Paper or Silk Based Paintings and Calligraphy in Museums 162 Tibetan Archives Patching Work 167 Study on the Conservation of Historic Paper Relic by Cyamopsis Tragonolobus 173 A Research on Modern Paper Relics in Henan Museum with Three Examples 185 A Research on the Fibrous Composition of Paper in the Experiment of XWY-VI Fiber Tester 200 The Relationship among Mounting, Conservation and Protection in Paper or Silk Based Paintings and Calligraphic Works 207 Study of the Linen Paper of Shanxi Qinyuan in Qing Dynasty 221 Discussion on Some Questions of Jiajiang Paper 228 The Practice of Preservation and Innovation on the Restoration History of Shanghai Museum Paintings and Calligraphy 241 Preventive Conservation for Paper Heritage 245 Research on the Tangyun Paper 250 Research on Fox Spots in Tongcao Albums from Opium War Museum Collection 256 The Methodology of Chinese Traditional Painting and Calligraphy from Zhuanghuangzhi 262 On the Disease and Nondestructive Detection of Shuilu Paintings from Youyu Baoning Temple in Ming Dynasty, Collection of Shanxi Museum 267 Discussion on Eight Kinds of Chinese Medicines Applied to Painting and Calligraphy Mounting 280 Study on the Paper of Wu Xu Archives in Qing Dynasty and their Restoration Materials 286 Gelatinization of Wheat Flour and Homogeneous Starch 299 Nanotechnology Leads the Innovation of Paper-based Archive Conservation 309 Researches on the Current Situation of Chinese Handmade Paper for Calligraphy and Painting 317 Studies on the Properties of Xuan Paper Produced with Different Crafts 327 Comparative Study on the Transmission and Development of Handmade Paper between China and Korea 332 Detection and Analysis of Black Bamboo Long Scroll Painted by Xia Chang 344 7

8 目录 5 序言 10 会议日程 联合国教科文组织 UNESCO 东亚传统纸张保护项目的意义及中国的实践 20 朝鲜民主主义人民共和国 纸张保护 东亚纸张保护传统和纸张制造方法 项目在朝鲜的实施 27 日本国 日本纸本修复技术的现状与课题 34 有关中日韩三国纸张传统制造技艺交流项目的调查成果报告 50 蒙古国 蒙古佛教中心甘丹得千林寺的佛经手稿保护 60 蒙古纸质遗产的保存与保护 65 中华人民共和国 中国传统装裱技术流派浅析 73 传统纸本书画装裱固色材料的初步研究 81 故宫东华门天花彩画材质工艺分析及保护修复研究分析及保护修复研究 92 从天一阁馆藏家谱的收藏 谈 台东涧溪鲍氏宗谱 修复 106 古籍修复加固连接用纸的性能评估 126 大韩民国 韩国纸类文化遗产的保存 150 8

9 附录 博物馆纸绢类字画的修复与保养 162 略谈西藏历史档案的制浆补洞裱糊技术 167 瓜儿豆胶对纸质文物加固保护的应用研究 172 馆藏近代纸质文物保护探索 以三件纸质文物保护为例 185 常见纸张纤维图谱辨析 以天津图书馆纸张检测数据为例 200 纸绢类书画装裱 修复与保护技术的关系 207 山西沁源清代麻纸分析 221 关于夹江 纸 起源和发展的几个问题探讨 228 传承与创新的实践 浅谈上海博物馆书画修复历史 241 纸质文物的预防性保护 245 探秘棠云纸 250 鸦片战争博物馆藏纸质通草画册中狐斑初探 256 从 装潢志 看我国传统书画保护修复理念 262 山西博物院藏右玉宝宁寺水陆画的病害情况及检测分析 267 浅谈八味中药在书画装裱中的应用 282 对清代吴煦档案纸张的调查和修复用纸的思考 286 小麦面粉及同质淀粉的糊化研究 299 纳米科技将引领纸质文献保护技术的新革命 309 我国传统书画用手工纸现状的研究 317 宣纸制作工艺及其性能的研究 327 非物质文化遗产保护视野下的中韩手工纸造纸术发展与传承的比较研究 332 夏昶墨竹图卷检测分析 344 9

10 UNESCO Paper Conservation: Methodology of Paper Conservation a nd Pa pe r M a k ing Tr a d i t ion s in E a s t A si a L a u nc hing C e r e m on y a nd S ub-reg ional Sym posium on Pa pe r Conse rvat ion Organized by: United Nations Scientific, Cultural and Educational Organzation Ningbo Municipal Bureau of Culture, Broadcasting, Television, Press and Publication East Asia Paper Heritage Conservation Committee 主办单位 联合国教科文组织 宁波市文化广电新闻出版局 东亚文化遗产保护学会纸质文物保护专业委员会 Supported by: China State Administration of Cultural Heritage China Cultural Heritage Conservation Technology Association 支持单位 中国国家文物局 中国文物保护技术协会 Hosted by: Tianyige Museum 承办单位 宁波市天一阁博物馆 Financed by: China Cultural Heritage Foundation 项目资助单位 中国华夏文化遗产基金会 In partnership with: 协办单位 Democratic People s Republic of Korea (DPRK): National Authority for the Protection of Cultural Heritage, National Commission of the Democratic People s Republic of Korea for UNESCO, Korean Central History Museum, Korean Folklore Museum, Grand People's Study House, Pyongyang Han Tok Su University of Light Industry 朝鲜民主主义人民共和国 国家文物局 朝鲜民主主义人民共和国联合国教科文组织全国委员会 朝鲜中央历史博物馆 朝鲜 民俗博物馆 人民大学习堂 平壤韩德秀轻工业大学 Japan: The Association for Conservation of National Treasure, The Kyushu National Museum, The Kochi Prefectural Paper Technology Centre, The Kyushu Foundation of International Exchange for Cultural Properties 日本国 国宝修理装潢师联盟 九州国立博物馆 高知县立纸张产业试验中心 九州文化财国际交流基金 10

11 联合国教科文组织 纸张保护 东亚纸张保护方法和纸张制 造传统 项目成果发布会暨东亚纸质文物保护学术研讨会 Mongolia: Ministry of Education, Culture and Science, Mongolian National Commission for UNESCO, Mongolian Academy of Sciences, National Library of Mongolia, General Archival Authority of Mongolia, Center of Cultural Heritage of Mongolia, Gandan Tegchenling Monastery the Centre of Mongolian Buddhists, National Museum of Mongolia, Book Palace for Children, Choijin Lama Temple Museum, Goethe Institute 蒙古国 教育 文化和科学部 蒙古联合国教科文组织全国委员会 蒙古科学院 蒙古国家图书馆 蒙古国 家档案馆 蒙古文化遗产中心 甘丹得千林寺 蒙古国家博物馆 青少年图书宫 乔金喇嘛庙博物馆 歌德学院 People s Republic of China: Jiangsu Provincial Administrations of Cultural Heritage, Gansu Provincial Administrations of Cultural Heritage, Sichuan Provincial Administrations of Cultural Heritage, Shanxi Provincial Administrations of Cultural Heritage, Guizhou Provincial Administrations of Cultural Heritage, Xinjiang Uygur Autonomous Region Bereau of Cultural Heritage, Zhejiang Provincial Administrations of Cultural Heritage, Anhui Provincial Department of Culture, Anhui Research Center for Intangible Cultural Heritage, Guizhou Cultural Heritage Conservation Centre, Nanjing Museum, Chinese Academy of Cultural Heritage, Fudan University, Peking University, University of Science and Technology of China, Gansu Provincial Museum, Gansu Archaeology Research Institute, Sichuan Museum, Guizhou Provincial Museum, Shanghai Museum, National Library of China, Chinese Academy of Sciences, Museum of Xinjiang Uyghur Autonomous Region, Turfan Museum, Shanxi Museum, Zhejing Provincial Museum 中华人民共和国 安徽省文化厅 安徽省非物质文化遗产研究中心 甘肃省文物局 贵州省文物局 贵州省文化遗产 保护中心 江苏省文物局 山西省文物局 四川省文物局 新疆维吾尔自治区文物局 浙江省文物局 南京博物院 中国文化遗产研究院 复旦大学 北京大学 中国科技大学 甘肃省博物馆 甘肃省 文物考古研究所 四川博物院 贵州省博物馆 上海博物馆 国家图书馆 中国科学院 新疆维吾 尔自治区博物馆 吐鲁番博物馆 山西博物院 浙江省博物馆 Republic of Korea (ROK): The Korean Mounting and Conservation Association, The Jung-Jae Conservation Centre, Young-in University, Kook-min University 大韩民国 韩国装潢研究会 靖斋文化财保存研究所 龙仁大学 国民大学 Dates: 7-10 December, 2015 时间 2015 年 12 月 7 日 - 10 日 11

12 AGENDA 会议日程 Tuesday, 8 December 2015, Tianyige Museum 12 月 8 日 星期二 天一阁博物馆 AM 上午 Launching Ceremony and Exhibition (Location: Tianyige Yun Zai Tower) 发布会及展览 地点 天一阁云在楼 9:30-10:20 Session I: Opening Remarks Chair: Mr Zhao Huifeng, Director, Ningbo Municipal Bureau of Culture, Broadcasting, Television, Press and Publication 第一部分 开幕致辞 主持 赵惠峰先生 宁波市文化广电新闻出版局 局长 Mr Zhang Minghua, Deputy Mayor of Ningbo 张明华先生 宁波市副市长 Ms Himalchuli Gurung, Programme Specialist for Culture, UNESCO Beijing Office 古榕女士 联合国教科文组织驻华代表处 文化项目官员 Ms Geng Ying, Chairman, China Cultural Heritage Foundation 耿莹女士 中国华夏文化遗产基金会 会长 Mr Duan Yong, Director of Museum and Cultural Heritage Division, State Administration of Cultura Heritage 段勇先生 国家文物局博物馆与社会文物司 司长 Mr Hwang Kwang Il, Deputy Director of Museum Department, National Authority for the Protection of Cultural Heritage 黄光日先生 朝鲜文物局博物馆部 副主任 Mr Kozo Oka, President, East Asia Paper Heritage Conservation Committee 冈兴造先生, 东亚文化遗产保护学会纸质文物保护专业委员会 会长 日本代表 Ms Nergui Chimeddulam, National Project Coordinator, Mongolian National Commission for UNESCO 千木朵兰女士 蒙古联合国教科文组织全国委员会 国家项目协调员 Ms Park Chi-Sun, Director, The Korean Mounting and Conservation Association 朴智善女士 赵燕珠女士代 韩国装潢研究会 会长 Mr Zheng Jianhua, Deputy Director, Zhejiang Provincial Administration of Cultural Heritage 郑建华先生 浙江省文物局 副局长 10:20-10:25 Session II: Launching and Introduction of the Paper Conservation Guidelines Ms Himalchuli Gurung, Programme Specialist for Culture, UNESCO Beijing Office 第二部分 发布并介绍纸张保护导则 古榕女士 联合国教科文组织驻华代表处 文化项目官员 12

13 10:25-10:30 Session III: Inauguration of the exhibition 开展仪式 / 嘉宾上台剪彩 10:30-11:00 Visit the exhibition 参观展览 11:00-11:40 Tour visit of Tianyige Museum 参观天一阁博物馆 PM 下午 Sub-regional symposium (Location: Tianyige Yun Zai Tower) 区域研讨会 地点 天一阁云在楼 14:00-14:30 Keynote Speech Chair: Mr Chen Gang, Deputy Director & Professor, Fudan University 主题演讲 主持 陈刚先生 复旦大学文物与博物馆学系副主任 教授 UNESCO Project Paper Conservation: Methodology of Paper Conservation and Paper Making Tradition in East Asia Significance and Practices in China UNESCO 东亚传统纸张保护项目的意义及中国的实践 Speaker: Mr Du Xiaofan, Consultant, UNESCO Beijing Office; Professor, Fudan University 杜晓帆先生 联合国教科文组织驻华代表处 文化遗产保护专员 复旦大学 教授 Presentations 各国代表演讲 14:30-15:00 On the Implementation of Paper Conservation: Methodology of Paper Conservation and Paper Making Traditions in East Asia project in the Democratic People s Republic of Korea 纸张保护 东亚纸张保护方法和纸张制造传统 项目在朝鲜的实施 Speaker: Mr Hwang Kwang Il, Deputy Director of Museum Department, National Authority for the Protection of Cultural Heritage 黄光日先生 朝鲜国家文物局博物馆部 副主任 15:00:15:30 Results of the Exchange Program and the Joint Investigation of Traditional Methods of Paper Manufacturing between Japan, China and South Korea 由日中韩三国的交流事业以及传统纸张制作技术共同调查的成果 Speaker: Mr Masayuki Sakata, President, The Association for Conservation of National Treasures; Mr Tadashi Ohsuga, Personnel, The Association for Conservation of National Treasures 坂田雅之先生 国宝修理装潢师联盟 理事长 大菅直 国宝修理装潢师联盟 社员 13

14 Chair: Ms Zhuang Lizhen, Director, Tianyige Museum 主持 庄立臻女士 天一阁博物馆馆长 15:45-16:15 Preservation and Protection of Mongolian Paper Heritage 蒙古纸质遗产的保存与保护 Speaker: Ms Choidog Dulmaa, Conservation Technician, National Central Archives of Mongolia 道玛女士 蒙古国家中心档案馆 保护技术专家 16:15-16:45 Traditional Mounting Methods in China 中国传统装裱技术 Speaker: Mr Du Weisheng, Researcher, National Library of China 16:45-17:15 杜伟生先生 国家图书馆 研究员 The Preservation of Paper Type Relic in Korea 韩国纸质遗产的保护 Speaker: Ms Kim Na-Hyung, Specialist, The Academy of Korean Studies 金娜幸女士 韩国学中央研究院 专员 Wednesday, 9 December 2015, Howard Johnson Sunshine Plaza 12 月 9 日 星期三 宁波阳光豪生大酒店豪生厅 AM 上午 Sub-regional symposium (Location: Tianyige Yun Zai Tower) Chair: Ms Zhang Jinping, Researcher, Nanjing Museum 区域研讨会 地点 天一阁云在楼 主持 张金萍女士 南京博物院 9:00-9:20 Contemporary Realities and Challenges facing Japan with regard to Restoration Techniques for Art on Paper: Combining Technology and Ethics 日本纸本作品修复技术的现状与课题 技术与伦理并重 Speaker: Mr Iwataro Yasuhiro Oka, Director, The Association for the Conservation of National Treasures 冈岩太郎 泰央 先生 国宝修理装潢师联盟 理事 9:20-9:40 Paper Selection for Ancient Books Restoration 古籍修复加固连接用纸的性能评估 Speaker: Mr Chen Gang, Deputy Director and Professor, Department of Cultural Heritage and Museum, Fudan University 演讲人 陈刚先生 复旦大学文物与博物馆学系 副主任 教授 14

15 9:40-10:00 The Preservation of Buddhist Manuscripts at Gandan Tegchenling Monastery - the Centre of Mongolian Buddhists 蒙古佛教中心甘丹得千林寺的佛经手稿保护 Speaker: Mr Ven. Batchuluun Munkhbaatar, Foreign Affairs Officer, Gandan Tegchenling Monastery, the Centre of Mongolian Buddhists 蒙克巴托先生 蒙古甘丹得千林寺 外事专员 Chair: Mr Wu Laiming, Researcher, Shanghai Museum 主持人 吴来明先生 上海博物馆研究员 10:15-10:35 The Donghua Gate Tianhua Paintings Preservation and Restoration: An Analytical Study of Materials 故宫东华门天花彩画材料工艺分析及保护修复研究 Speaker: Ms Li Guanghua, Assistant, The Palace Museum 10:35-10:55 李广华女士 故宫博物院 助理馆员 Restoration of Bao s Genealogy in Taidong Jianxi Village 天一阁博物馆古籍 台东涧溪鲍氏宗谱 的修复 Speaker: Ms Ma Dengcui, Assistant, Tianyige Museum 演讲人 马灯翠女士 天一阁博物馆 助理馆员 11:00-11:20 Preliminary Studies of Mounting and Color Fixation of Traditional Books and Print 传统书画装裱固色材料的初步研究 Speaker: Mr He Weijun, Associate Researcher, Nanjing Museum 何伟俊先生 南京博物院 副研究员 PM 下午 Field visit 实地考察 13:30-17:30 Field visit to Fenghua (traditional paper making), Qingan Hall and Ningbo Museum. 奉化 传统纸张制造 庆安会馆 宁波博物馆考察 Other Activity 相关活动 8 Dec ~ 7 Jan Paths of Paper: Exhibition on UNESCO Project Achievements of Paper Conservation: Methodology of Paper Conservation and Paper Making Traditions in East Asia (Location: Tianyige Museum) 纸之路 联合国教科文组织 纸张保护 东亚纸张保护方法与纸张 制造传统 项目成果展 展出地点 天一阁博物馆 15

16 UNESCO Project Paper Conservation: Methodology of Paper Conservation and Paper Making Tradition in East Asia Significance and Practices in China Du Xiaofan UNESCO Beijing Office Fudan University, China I would like to express my gratitude today. There are many institutions involved in this project, and some of them may not have been included in the opening speech this morning. I need to thank all the participants for the seven years endeavor and the accomplishment. Progress has been made despite the encountered problems, but we can still achieve more if we follow our ambition. We have to continue contributing more to overcome any obstacles ahead. Today, the origin of this project has been mentioned by Madam Geng Ying as well as by other speakers. It was a cold day in the winter of 2005, just like today, on which the members of the Association for Conservation of National Treasures (ACNT) came to Beijing. At that time, they faced a problem concerning restoration material. One example was that the material used for restoring the painting and calligraphy works from China could hardly be found in Japan. The purpose for their visit to Beijing was to find the materials in China. Today, the Chinese Academy of Sciences is involved because in the beginning, in my search for specific paper conservation expertise I found the Institute for the History of Natural Sciences of the Chinese Academy of Sciences as the first institute related to this. I also consulted with the Palace Museum for advice at the time, after which a basic consensus was reached for a cooperation ground. Then in 2006, the first international symposium on paper conservation was held. As you may see in the exhibition, there were more than 120 participants in that conference, which was much beyond our expectation of only 30 to 40 attendants. We had to change the venue because of this unexpected high turnout, and due to the urgent relocation the new venue could hardly leave the appropriate impression for our successful first conference. Nevertheless, this symposium showed that the countries in East Asia were in real need of communication on this topic, thus the whole story of the paper conservation project began. We had a constructive discussion with the China Cultural Heritage Foundation, and they agreed to provide funds to support our project. Since 2008, 16

17 the beginning of this project, many events have been organized with your participation, which means I don t need to explain too much about them. We have organized meetings in China, Japan and ROK, and DPRK and Mongolia also contributed a lot to the project. I thus got to learn much about the situation of paper conservation and what was progressing in DPRK and Mongolia. Furthermore especially in 2012, we established the East Asia Paper Heritage Conservation Committee during the conference held in the Nanjing Museum. The committee does not yet function as good as the mature organization we envisaged. Because this project of UNESCO will come to an end someday, we need an organization to sustain efforts for the conservation cause, which is indeed the reason for establishment of the committee. Today, this conference can be regarded as the first major activity held by the committee. We hope that in the future this committee can continue to grow its functionality and pursue the establishment of its name in the field. The significance and meaning of this project is quite larger than the concrete topic itself. The projects that are organized by UNESCO, especially the cultural projects, are mainly aiming at sustaining the cultural diversity of humanity. The ultimate objective of the protection of World Heritage and safeguarding of Intangible Cultural Heritage is to achieve world peace through intercultural communication and mutual understanding among different countries, races and regions in the light of cultural diversity. The core target of all UN agencies is peace and development of human kind. Although our project on paper conservation is not big in this perspective, it can very well reflect the characteristics and cultures of all the East Asian countries. For this reason, we emphasize the maintaining of cultural diversity. As can be seen in the outcome of the project, originally we planned to formulate a unified operational manual and guidelines for the paper conservation in East Asia through the cooperation and communication among five countries. However, in practice this turned out to be a very complex and constrained exercise. It was finally decided that the five countries first formulate their own suitable guidelines. Consequently, the common ground as well as the characteristics of each individual country can be found in these guidelines, which is a clear reflection of cultural diversity. In the future, when the guidelines are referred to by people from other fields, they will notice that the paper itself, material of the paper and paper conservation techniques share many common aspects in these five countries, but that each country also retains its own features. Therefore, although the countries share many similarities in the field, just like the representative from ROK mentioned, through this project they have become gradually aware of the importance of their own particular culture and technique. UNESCO, as I showed in the slides, has formulated the Universial Declaration on Cultural Diversity, and in 2005 the Convention on the Protection and Promotion of the Diversity of Cultural Expressions came out. However, this convention is not well-known among the public yet. In my personal view, it is a convention that 17

18 is perhaps more important than the Convention Concerning the Protection of the World Cultural and Natural Heritage and the Convention for the Safeguarding of the Intangible Cultural Heritage. The fact that this convention does not provide a specific operational guidelines to implement yet inhibits the general society s familiarity with it. On the other hand, I believe this convention is quite well-known in the culture industry. It is aiming to solve the unequal communication among cultures. In East Asia, this type of imbalance also exists. And this project we work on has a deep influence and big contribution to the enhancement of mutual understanding among East Asian countries and to protecting the cultural diversity in the world. We hope this project can rightly showcase its effort in the conservation field and that its significance be recognized by all practitioners. Naturally, we still have many challenges to deal with. During these seven years, with limited funding, we have been supported by many institutions from China, DPRK, Japan, Mongolia and ROK to finish the project. It is our hope that this project can continue and be continuously supported by all of you, not only financially and physically, but also intellectually. For the next steps, firstly, we need to protect and respect the copyright. Under this premise, we will be able to gradually publicize and exchange the conservation techniques, in order to achieve the earlier mentioned goal of mutual understanding. This priority is dependent on the mindset of conservation practitioners of every country, who should be open to more communication and exchange to benefit from each other. Secondly, we hope to reach a consensus in the East Asian region through further cooperation and communication. Initially, it was also intended for this project to provide such consensus to the international world, in particular Europe and the United States who are keeping a large collection of paper heritages from Eastern countries. These countries would welcome additional understanding and guidelines for the conservation of their collection of Eastern paper heritages, supplementing the international standards and principles they currently follow. To achieve this, we first need more exchange and mutual understanding of the subject in our region. Thirdly, we will talk on the technical level. One of the issues is the material for restoration. Today the representative from ROK has mentioned the dilemma of restoration material and I believe that China, DPRK, Japan and Mongolia face the same challenge. The availability of restoration material, though high in the ancient time, is suppressed for both social and environmental reasons. The change of natural environment has had a strong impact on the material. Social changes, especially the change of manufacture technique and procedure, are problematic. One other such significant threat is the personnel training. As Mr Du Weisheng 18

19 (Researcher of National Library) has taught us, we would do well to create strong links between the school education system and master apprentice system. Some countries, like Japan, coordinate the two systems better than other countries, and thus inherit the old traditions. However, this kind of coordination would not be easily implemented in China. In China, it is generally considered that one system is better than the other and therefore a clear choice is often made. However, each of the two systems I mentioned has its own pros and cons. The possible combination is therefore worthy of our consideration. Someone who graduated from the university will not easily solve technical problems in practice. Technical skill is something accumulated by practical experience, not from the studying of a book. Finally, I will mention the issue of universality and diversity, which is often a challenging one. In East Asia, there may be some common grounds on the conservation techniques, methods, and even on aesthetic tastes. However, they are still different, and the problem is determining the extent of the difference is, which features we should protect and which ones we should not, how to balance generality and uniqueness when we treat the object as a cultural relic or cultural heritage. Discussing the binding and restoration of books, paintings and calligraphy works, we need to understand them in all three dimensions, which are the functional object, the art work and the cultural relic. Only by understanding and treating the works from three different angles, we can formulate guidelines that are practical and meaningful. Especially in China, the concepts of binding and restoration are usually combined: the person who can bind the books is also fit for the restoration work. However, there are some differences between the aesthetic tastes for binding books and the restoration of books, and hopefully in the future there will be more dialogue on this matter. In doing so, we can ultimately also let the world recognize the shared and precious culture in East Asia. Thank you for listening. 19

20 UNESCO 东亚传统纸张保护 项目的意义及中国的实践 杜晓帆 联合国教科文组织驻华代表处 复旦大学 中国 今天在此处 我希望向参与联合国教科文组织协调下的 东亚传统纸张保护项目 的各个机构 表达我的感激之情 这个项目到今天为止已经持续了七年了 我们做了七年 七年的努力使我们做 出了一些成绩 虽然我们当下也面临着一些问题和挑战 但只要我们大家继续携手努力 我相信我 们会把这个成绩做得更好 这个项目的发轫 耿莹先生在她今早的发言中也讲到了 在 2005 年的冬天 跟此时季节很相 似的一个寒冷的冬日 日本国宝修理装潢师联盟一行到了北京 他们在这些年逐渐的修复过程中发 现了一个非常大的问题 那就是在历史上有一些中国的古画传到了日本 修复这些作品需要一些在 日本难以得到的材料 他们希望了解在中国是否还现存有这样的材料 这也成为了他们进行进一步 深入调查的初衷 我自己本人不是非常了解这一领域 所以寻求了中国科学院自然史所专家的帮助 也同北京故 宫博物院做了一些交流 大家逐渐形成了一个共识 并在 2006 年开了第一次国际学术会议 对于 这次会议的规模 我们最初的设想是三十到四十人 没成想报名者就有一百二十名之众 我们只好 临时更改会场 虽然有这个小插曲 我们还是成功举办了第一次会议 这次会议给了我们信心 也坚定了在东亚各国之间更多交流的决心 这就是我们今天这个项目 的缘起 后来 我们接洽了华夏遗产基金会 而他们也慷慨地向我们的项目提供了资金支持 2008 年项目正式启动后 在场的嘉宾参与了其中的很多活动 因此我在这里也不再赘述 会议的会场大 致落在中日韩三国 不过大家知之甚少的蒙古 朝鲜也做了很多工作 这也让我们了解到这两个国 家为纸张保护事业所做的努力 2012 年 我们在南京博物院的会议上成立了东亚纸质文物保护的 专业委员会 在教科文组织的项目结束时 这个委员会将承担起未竟的事业 我们十分希望我们的 20

21 这个组织 能够在将来发挥出它更大的作用 联合国教科文组织的绝大多数项目 特别是文化方面的项目的最核心的目标 是要维护人类的 文化多样性 通过对世界遗产或非物质文化遗产的保护 起到维护文化多样性的作用 从而加强不 同国家 不同民族 不同地区之间的更好了解 最终达到和平的目的 人类的和平以及发展 同时 也是联合国所有组织的核心目标 虽然我们的纸张保护这个项目规模比较小 但很好地体现了东亚 各个国家文化所独有的特性 所以这个项目也就切合了维护了文化的多样性主旨 回首我们最初的愿景 是希望通过东亚五国之间这些合作与交流 促使形成一个统一的纸质文 物保护操作手册以及操作指南 然而在实践中 我们发现这一点是难以达成的 因为虽然在造纸和 纸张保护上各国有很多共性 但每个国家都有其自身独特的个性 最终我们的决议是 五个国家各 自会撰写本国的纸张修复与保护导则 其中既有各个民族和国家的个性 也能看出彼此之间的共性 这正是文化多样性的集中体现 读者们特别是其他领域的读者在利用这些导则的时候 该能够看到中 日 韩 朝 蒙五个国家虽然用的纸 用的材料 技术 都有相当多的相同的地方 但是每个国家 都有自己的不同 就像今天韩国代表在他们致词中间讲到的 通过这个项目 他们逐渐体会到自己 国家文化的重要性 自己技术的重要程度 我想这个是我们这个项目中间最重要的一个意义 联合国教科文组织发表过世界文化多样性宣言 也在 2005 年决议出 保护和促进文化表现形 式多样性公约 这个公约并不广为所知 然而我个人觉得它比世界遗产公约 比非物质文化遗产 公约更有意义 该公约在社会上被了解的并不多 可能是因为它没有一个实际操作的手段 但是 从事文化行业的人应该都知道这个公约 也知道在合约商定时 反对国只有美国和以色列 这应该 是东西方文化之间的一个不平等的问题 联合国教科文组织希望改变这样一个文化的不平等 大家 可能有切身的体会 我们看到的很多的美国大片在院线都十分火热 可想而知 我们现在或主动或 不自觉而接受的美国的文化有多少 实际上我们中国的文化乃至整个东方文化在美国 在欧洲的传 播其实是很少的 这个公约正是想解决这样文化交流中间的一个问题 回到我们自己东亚之间 其实也有这样的一些实际上文化交流的不平等 我想 我们看似小的 这么一个项目 从它的深远意义上来说 对于增进东亚各国之间的理解 维护世界文化的多样性 是应该能够做出贡献的 我们也希望它对国际文化遗产保护领域做出它的一定贡献 得到大家一定 的认可 这是本项目的意义所在 当然我们还有很多的课题 因为我最近实在太忙 没有时间做更多的梳理 昨天晚上 我匆匆 忙忙整理了三个想法 还经不住考验 但是我想 这七年在这么少的经费下 我们靠很多中国国内 21

22 机构的支持 以及日本 韩国 蒙古 朝鲜 集中了很多人力来完成这个项目 我们是希望这个项 目可以继续走下去的 也希望在座的各位能够继续支持这个项目 除了人力和经费上的支持 我们 更需要大家的智慧 下一步我们面临的课题 第一点是我首先想提到的 是要维护和尊重知识产权 在这个前提下 来逐步公开和互相交流我们的技术 我想在文物保护技术方面 我们拥有知识产权 也尊重别人的 知识产权 但是这种交流恐怕是必须的 如果没有技术的公开和交流 我们其实达不到互相的理解 这是第一点 这需要每个国家以及每位技术工作者要有一个良好的心态 如果你敞开你的胸怀 你 也能收获更多的东西 第二点 也希望我们下一步能够通过更进一步的合作和交流 最终达成一个东亚的共识 当时 我们想这个项目的最终的目标 是希望国际社会特别是欧 美国各国 这些大量拥有东方的纸质文物 收藏大量的作品的国家 也产生一个基本的认识 在面对东方这些遗产的时候 应该有一个保护的 基本法则 而并不仅仅是依靠某一种所谓的国际原则来去判断 这是这个项目我们希望达到的一个 最终的目标 为了达到这个目标 我想我们彼此间可能需要更多的来交流 去互相理解 第三点 应该是技术层面的东西 技术层面 我不是专家 我也不懂 我所能考虑到的 一是 修复材料 今天 来自韩国的代表也讲到了修复材料的困境 我想我们中国也同样面临着这样的问 题 日本也面临这样的问题 蒙古 朝鲜也是一样 修复材料我们找不到了 而这些用来修复和保 护书画作品的东西 在原来可能很轻易就能 这一方面是社会原因 也有环境的原因 自然环境的 变化对于材料也产生变化 而社会的变化 特别是制作工艺和流程 也可能也会给我们带来一些问题 二则是人才培养 人才培养是大的问题 我是从杜伟生老师那里得到的这个启示 我们传统的师徒 式传承和现代的学校教育 到现在并不能够更好的结合 有些国家像日本 一直传承的比较好 比 起其他国家略微进步一些 在传统的传承过程中间 现代学校培养的人怎么和传统师徒式的传承结合 这点我们在中国现在很难走 要么我们经常说师徒传承就是好于学校 要么就是说学校好 莫衷一是 杜老师认为二者各有利弊 我想这种结合也是我们每个人需要思考的 大学毕业 有了一定的知识 进到一个实际的工作场所 可能很难非常快的就解决实际的技艺方面的问题 毕竟技术是靠技艺 而不是靠简单的知识学习就可以完成的 归于共性和个性的这个问题 这个问题上要一分为二去看 东亚各国之间当然是有共性的 例 如保护的技术 方法 包括我们的审美情趣 但是也有区别 而这种区别到底有多大 在哪些地方 应该保护 哪些方面是不应该保护的 比如作为一个文物看待的时候 作为一个文化遗产去看待的 时候 我们这种共性去怎么看 在那时我们又怎么考虑个性 当面前的是一件艺术品 我认为我们 22

23 要把书画的装裱 修复 包括书籍的装桢 也就是把它文物的属性与艺术品 或者是纯粹的作为书 籍的时候 要仔细分开 要有所区别 这样 可能在原则的制定上才会更切合实际 有的时候我觉得 特别是在我们国内 经常把书画的装裱和修复混在一起 觉得能做书画装裱的人就能做修复 我认为 现代书画装裱的审美取向和文物遗产的修复之法是有差异的 所以 下一步的过程中间 我特别希 望我们五个国家之间 能有更多的交流 我们把各自国家优秀的东西保护的更好 就自然能够让我 们之间具有共性的东西为世界所认可 使我们东亚共同的宝贵的文化能屹立于世界之林 我就说这么多 谢谢 23

24 I m p l e m e n tat i on of t h e U N E S C O P r o j e c t Pa p e r Conservation: Methodology of Paper Conservation and Paper Making Traditions in East Asia in the Democratic People s Republic of Korea HWANG Kwang-il National Authority for the Protection of Cultural Heritage, DPRK I feel much honored to take this floor to be able to brief on the implementation of the UNESCO Project Paper Conservation: Methodology of Paper Conservation and Paper Making Traditions in East Asia in the DPRK. And, first of all, I d like to express my sincere gratitude to UNESCO Beijing Office and China Cultural Heritage Foundation who have initiated this project and contributed to its successful implementation. My greetings also go to the Chinese organizers for their sincere effort in making this significant event come true. It is a consistent policy of our government to encourage the cultural exchange and dialogue with international organizations and other countries. In this context, between 2008 and 2015 the project was implemented by the concerted effort and coordination of the National Commission for UNESCO of the Democratic People s Republic of Korea, National Authority for Protection of Cultural Heritage and UNESCO Beijing Office. In the span of the project, several activities have been conducted and produced fruitful results. For the successful implementation of the project, the National Authority for Protection of Cultural Heritage organized two teams, i.e. a research team and a conservation team, involving relevant researchers and conservators from domestic institutions such as Pyongyang Han Tok Su University of Light Industry, Grand People s Study House, Korean Central History Museum and Korean Folklore Museum. The research team took up the study of the origin and history of the Korean paper and came up with the research report entitled The Korean Paper. The report covers the invention of paper, development of paper making techniques and materials and methods used in the traditional papermaking in our country. At the same time the conservation team carried out in-depth study focused on theoretical and practical issues arising in conservation and restoration of paper. This team participated in the international workshops and prepared the Paper Conservation Guidelines. 24

25 Within the period of the project five international workshops altogether were held in Pyongyang, conducted by international experts focusing on theory and practice of paper conservation. The workshops proved to be a very good opportunity for the domestic paper conservators to acquire internationally universal techniques and methods concerning the conservation/restoration of paper heritage. The most prominent result of all the activities, which I would like to stress, is the preparation of the Paper Conservation Guidelines in the Democratic People s Republic of Korea, which materialized by the sincere assistance of UNESCO Beijing Office and international experts. The Paper Conservation Guidelines is targeting not only specialists and experts in the field of paper conservation, but also the public. The Paper Conservation Guidelines is mainly composed of three sections and annexes. The first section is introduction which generally describes the origin and development of traditional paper in Korea and the current UNESCO paper conservation project. The second section contains typology of paper heritage, main causes and preventive measures for damages, while the third section defines guidelines for restoration touching upon materials, equipment and tools as well as the techniques and methods such as cleaning, holefilling, tear-closing, flattening, pressing, drying, binding and others. Lastly it is annexed with the UNESCO handbook Care and Handling of Manuscripts which would be useful not only for experts, but also for any other relevant stakeholders. It is also annexed with a simple documentation format for restoration, which can be used as a general reference. The project specifically aiming at research and conservation of traditional paper in East Asia brought about fruitful results thereby promoting visibility of traditional paper and its importance as part of our culture and heightening the social concern for the conservation and production of traditional paper. Thanks to the governmental policy for protection of cultural property, the paper artifacts in the museums and libraries have been taken care on a nation-wide scale. For example, the Complete Collection of Buddhist Scriptures printed in 80,000 wooden blocks that was kept since the 1980s in the Myohyangsan History Museum has been well preserved in air-tight glass boxes filled only with argon gas. And the restoration activities for paper objects are being carried out giving importance to the traditional restoration techniques, domestic materials and tools. Meanwhile, the contribution of this UNESCO Paper Conservation Project to all the domestic activities mentioned above cannot be underestimated, which means it has made a big contribution in its own way. 25

26 In this context, while strengthening our efforts in the study and research on conservation and restoration of paper heritage, we will endeavor to foster closer and wider cooperation and dialogue with other countries in this field in the future. Ending my speech, I would like to express my thanks again to UNESCO Beijing Office and China Cultural Heritage Foundation who, by promoting the international cooperation and dialogue in the region, made great contributions to the study of traditional paper and its conservation in East Asia. My thanks also go to the Ningbo municipal authority for its support to the organization of this significant event here in Ningbo. Furthermore, with regard to the very successful and fruitful conclusion of this project, I would like to express my hope that this kind of cooperation continues in future not only in the field of paper conservation but also in many other cultural heritage fields. Thank you for your attention. 26

27 纸张保护 东亚纸张保护传统和纸张 制造方法 项目在朝鲜的实施 黄光日 朝鲜国家文物局 我深表荣幸能在此简要介绍联合国教科文组织 纸张保护 东亚纸张保护传统和纸张制造方法 项目在朝鲜的实施 首先 衷心感谢联合国教科文组织驻华代表处以及中国华夏文化遗产基金会构建并成功实施了 此项目 同时 也非常感谢中方的组织者为这一活动付出的努力 我们的政府坚持贯彻鼓励国际间组织和国家间文化交流对话的政策 在这一氛围下 在 2008 至 2015 年间 本项目在朝鲜得以实施 这得益于朝鲜联合国教科文组织全国委员会 国家文化遗 物保护局 以及联合国教科文组织驻华代表处的不懈努力 在项目框架下 我们开展了一系列的活动并取得了丰硕的成果 为了保证项目的成功实施 国家文化遗物保护局组建了两个小组 研究组和保护组 其中的人 员包括来自平壤韩德秀轻工业大学 人民大学习堂 朝鲜中央历史博物馆以及朝鲜民俗博物馆的研 究者和保护人员 研究组开展了对于朝鲜纸张的起源以及历史的研究 并写成报告 朝鲜纸 这 份报告囊括了纸的发明 纸张制造技术和材料的演变 以及本国传统造纸法 与此同时 保护组开 展了关于保护和修复纸张的理论和实践问题的深入研究 这一组的人员参与了国际研习班和 纸张 保护导则 的撰写 在这一时期 国际专家在平壤组织了五个关于纸张保护理论和实践的研习班 这对于朝鲜国内 的保护人员是一个非常好学习机会 他们学到了关于纸质遗产保护和修复的一些国际上的技术和方 法 27

28 需要强调的是 我们取得的最重要的成果是对于 纸张保护导则 的撰写 关于这份导则的准备 我们需要特别感谢联合国教科文组织驻华代表处以及国际专家的大力协助 纸张保护导则 的受 益者将不仅仅是此领域的学者和专家 更是普通大众 纸张保护导则 主要包括三个部分以及附录 第一部分简要介绍了朝鲜传统纸张的起源和发 展以及联合国教科文组织纸张保护项目的现状 第二部分介绍了纸质遗产的类型 主要损坏类型 以及相应的预防方法 第三部分是修复的指导 包括材料的选择 设备 工具 技术 以及方法等等 比如清洁 填洞 修补裂缝 抚平 按压 干燥 装订以及其他 附录一为联合国教科文组织的指 导手册 手稿维护与处理 不仅仅是专家 此手册相关人员都易阅读 附录二为用于修复的记录 模板 可以作为参考 这一项目旨在研究和保护东亚地区的传统纸张 并得到了丰硕的成果 宣传了传统纸张及其作 为我们文化一部分的重要性 提高了社会对于传统纸张的保护意识 由于政府对于文化物品的保护 政策 全国范围内的博物馆和图书馆内的纸张物品都得到了良好的保护 比如 从 1980 起的 80,000 册的木刻佛教经书全册被保存在了 Myohyangsan 历史博物馆 永久放置于密封的充满氩气的玻璃盒子内 修复过程中运用了重要的传统修复技术 材料和工具 同时 联合国教科文组织 纸张保护导则 对于上述所有活动的贡献也不可低估 导则 在 朝鲜境内发挥到了相应的功能 我们在更努力的学习和研究纸质遗产保护和修复的同时 也将加强 与其他国家同领域更广泛 更密切的合作与对话 在我演讲的最后 我想再一次向联合国教科文组织驻华代表处以及中国华夏遗产基金会致以衷 心的感谢 感谢他们构建了这次国际间的交流 为东亚传统纸张的保护做出了贡献 也非常感谢宁 波市政府以及主办单位对活动的大力支持 基于这次项目取得的成功 我希望未来不仅是针对纸张 保护 更可以在其他的文化遗产领域开展此类长期的合作 谢谢 28

29 Contemporary Realities and Challenges facing Japan with regard to Restoration Techniques for Art on Paper: Combining Technology and Ethics Iwataro Yasuhiro Oka The Association for the Conservation of National Treasures, Japan As the title says, my focus of the speech will be on paper restoration in Japan, with equal attention to its techniques and morals. Techniques on relic restoration are generally related to morals in Europe, but rarely in East Asia. That is why it is difficult to define a unified moral for all countries, since this standard will easily hinder development of restoration techniques. About techniques and morals of paper restoration in Japan, paper documents in Chosoin will be the first to talk about specifically regarding to restoration of paper relics in Japan. In the eighth century, Emperor Shomu dedicated his treasures to the Todaiji, including a large number of books and classical literature made of paper. Paper was first introduced into Japan from China together with Buddhism, and gradually developed into local materials made by independent Japanese paper making techniques. According to The Tale of Genji, written in the eleventh century, the Chinese paper was very brittle, so Japanese wanted to make the paper more durable. Followed by the book, Onna Sannomiya (the third daughter of Suzakuin), the second wife of Genji, brought some scriptures, written on Japanese paper instead of Chinese paper with her when she decided to leave the court to be a nun. This indicates that royal people back then had attached great importance on the quality of paper. It might go beyond our imagination how people used different types of paper depending on its usage. Currently, various types of paper are regarded as invaluable relics in Japan. A few decades ago, we began to conduct tests on those paper. We used to repair and fill up deficit parts of ancient paper using the similar kind of paper in order to ensure same appeared output. But now, before the restoration, we test paper using C staining solution. We decided to conduct a test on types of ancient paper when we were questioning what might be the safest materials to use during the restoration. The second study report of special treasure 29

30 survey released in No. 29 Chosoin Document recorded a lot of details about ancient paper. From the report, we found out that it is unsafe to select paper to restore ancient documents by only its appearance and texture, and our old practices. Based on the test analysis, we now select repair paper based on the same fiber kind in the operation room, then observe it under light, and decide the method of paper restoration. This is the progress we made during restoration practices. We have talked about the restoration of Tan Paper filling up deficit parts by pulp in the Western paper production method, and DIIBS. In Japan, experts not only concentrate on restoration techniques, but also on materials and tools. Activities have been carried out by authorities or at civil level to develop paper restoration, such as the exhibition held in the Nara Museum Washi, Japanese paper for restoring paper relics. The exhibition was for both experts and the public, with focus on stressing the importance of traditional techniques of paper making, and materials and tools for paper restoration. More related activities will continue to be held. Besides, Hosokawa paper, Mino paper, Sekishūyu paper have been listed as UNESCO Intangible Cultural Heritage, which is also a great news. By this opportunity, I would like to talk more about morals and principles of paper restoration, and I hope you can share sharp opinions with me here on this. For Techniques and Morals, we need case studies to support this, those have extensive similarities with many other cases around the world. We shall not only pay attention to restoration of ancient documents and classics, but also to ink and wash paintings and calligraphy, originating from China, considered as study objects for history of art and cultural relics. I will first talk about ink and wash painting and calligraphy. How shall we define ink and wash painting? The painting method by ink of Ma Bu Shan Shui painting in the eighth century Japan had not been much developed since then. From the late thirteenth century to the early fourteenth century, ink and wash painting began to prosper, greatly influenced by the painting style in the Song and Yuan Dynasties. While after that, it can be seen from Buddhist paintings imported from Ningbo, the style of painting trees, stones, rivers and mountains had been influenced by Japanese painting. In the fifteenth century, painting and calligraphy scrolls like Josetsu, Shūbun were popular in Japan, as well as paintings of "Poet Monks from Five Mountains" (Gozann no Shisou). Their paintings with a topic of "Ideal Village were influenced by China and the Korean Peninsula. Sōami and Sesshū are great figures who have promoted the development of Japanese painting. With great passion for paintings of Song and Yuan Dynasties, Sesshū came to China during Ming Dynasty to study painting skills. Nevertheless, we can tell from his paintings that he painted in a quite different way from other Chinese painters. 30

31 Moji, in Japanese, is a generic term for calligraphy written by Zen monks. What matters for calligraphy not only involves writing skills or how it looks like, but also dignity and morals of calligraphers in the works, and calligraphers like Rikyu are those we had study on. These pieces of painting and calligraphy are mounted by valuable materials for appreciation. For instance, it says in the Nanbōroku that Sen no Rikyū believes tea bowls and pots as well as other tea ceremony tools are of great importance. Painting scrolls are important requiring both more attention and patience to restore and repair them. The focal point for us to restore cultural relics is to repair damages and fix them up. Wash and ink painting and calligraphy, as a paper media to deliver cultural expression, are very aesthetic with historical values and we should try to preserve. In addition, these pieces also add new values to activities of tea ceremony. These values are brought about by the old flavours. From the light of aesthetics, we should prevent paper relics from cracking. Some would suffer from discoloration, fluffing and creasing, only seen from short distance by optical fiber. Bamboo paper is commonly used for painting and calligraphy restoration where need to fix creases and cracks however it easily causes other damages. In fact, a number of paper works are not kept well for exhibition. What methods should we adopt to repair for creased or cracked bamboo paper? In order to restore them in a complete way, the inner layer of paper shall first be removed and reinforce the outer layer. Water is usually washed during this process to flatten creases, however, it might also wash away the pained parts. In addition to this, the pained traces will disappear if cracked parts with fluff contacts with water. In the past, we removed the outside thin layer of the backing paper to flatten creases. Over a half of a century ago, we improved the method by rolling the layer up slowly. The operator should put attention when taking inner layer off since it might cause uneven thickness of the book. The thickness of the book can be observed under the light. On this occasion, it would be very dangerous to deal with the backing paper by water. So we choose funori and fiber paper to repair the surface of paper, and then press it with wet tissue, which is called drying method. However, this method might lose its paintings in traces by washing it away. From this level, we should be careful not to adopt methods with substantial repairing steps unless the piece is thick enough. As techniques and skills develop, we now smear a layer of funori on the upper layer of backing paper and then remove the lower layer. In this way with water not being used, the original or old traces of paper relics would not be damaged. This step of course requires much attention, because materials are different. Operators are thus required to be experienced and have dealt with the work in a subtle way. It is sensitive and not easy to control the amount of water when restoring paper relics, so the issue that 31

32 needs to be discussed is how this step shall be conducted and how much water will be needed. Even though water might cause damages, we still need to restore by this method. Some art historians make comments on whether it is right to restore paper relics by water. Some insist that antique beauty is added values people impose on those works by creases and fluff, and not being constantly cleaned, the works will certainly not be well kept for the future generations. Although the antique beauty might be lost after cleaning, but it will show again with creases and fluff as time passes. So we should not address too much the importance of antique beauty by reserving creases and fluff, instead paying most attention to restoration in the safest way. When we repair damages, the best restoration method shall be decided after comprehensive discussion and studies by technique experts and historians. Speaking of antique beauty, it depends on what kind of relics it is. William Morris once said in the book Art and Socialism that antique beauty is occasional beauty given by time that should be more appreciated than the ideas and beauty of the works themselves. But the beauty from appearance is no more important than what it carries, because the antique beauty cannot exist alone. Antique beauty can never make an awful piece of work into a highly appreciated one. Otherwise, fakes would be valuable as well. In conclusion, antique beauty is what given by people, not worth of being worshipped that much. This is the same view as mentioned above. Another issue that needs to be paid attention to involves how to deal with the old traces left by restoration. I will explain this by Chu Shan Shi Jia Painting and Plum Blossom Painting collected by Liang Kai. This piece of work includes three parts, Sakya in the middle with two pictures of plum flower in blossom each side. We suppose the three parts were independently created, but researches proved the left picture of plum flower was painted by a Chinese while the right one was an imitation work by a Japanese. Then I will talk about how to deal with old traces left by restoration and added ink lines in this painting. By careful observation, we could see some ink lines were added by former operators for restoration, especially on the branches of plum trees. But those added lines were not painted in a skilled way. The collector of the piece may rather make no changes in the painting with no added lines left. However, we decided to remove all traces left as we believe what we should appreciate is the original painting without added traces. To decide the restoration method is to choose from several feasible plans offered based on the principles and morals of restoration. Here is a typical principle for restoration in Japan that all added traces or materials left by restoration should be removed from the work to reserve aesthetic values of the original. As for lost parts, we should fill them 32