Technical research of wooden sculptures in Meiji period and study of conservation of them, especially the Gigeiten, statue ceated by kyuichi Takeuchi

明治时期木雕技术研究及其保护研究，特别是竹内久一创作的仪艺天像

• 批准号: 11308004
• 负责人: NAGASAWA Ichiro
• 金额: $ 10.29万
• 依托单位: TOKYO NATIONAL UNIVERSITY OF FINEARTS AND MUSIC
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (A)
• 财政年份: 1999
• 资助国家: 日本
• 起止时间: 1999 至 2001
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-11308004/
• 关键词: Sculptures in Meiji Period; Wooden Sculpture; restoration technique; polychrome Sculpture; imaging plate; nondestructive analyisis; *; 3Dレーザースキャニング; 日本彫刻; 制法技法; 非破壊調査; イメージング・プレート

The purposes of the present project are to clarify carving technique and finishing technique of polychrome wooden sculptures in Meiji period and further to develop conservation and restoration techniques of such sculptures.We studied on composition and structure of sculpturesand making technique of them at that time. Photographic, procedures with various kinds of cameras were carried out. Photographs underpolarized light were taken to realize flaking and detachment of pigment layer on the surface of the object.X-ray photographs were also taken to survey of inner structures of two sculptures, e.g. images of a Buddhist God Gigeiten and an ancient Japanese Emperor Jinmu.Output of imaging was processed using an imaging computer software analyzing and printing-out through 16bit digital signal. From the results of above research works, it can be clearly understood that the Gigeiten image was not created by techniques in Edo period.We imagine the image was planned and created hopeing It should be displayed at the Chicago International, Exposition. Any damage could not be detected within the inner structure and no patina could be observed on surfaces of metallic parts.In processes of restorationof flaked surfaces we used acrylic resins instead of acryl emulsions and tried newly developedmethod for cleaning and stabilization of them.Referring figures showing combined blocks of woods drew by late Meister Kouun Takamura, we tried modeling up a replica sculpture and studied the ancient technique creating Buddhist Images in Edo period.Studying the history of Japanese conservation for Buddhist images, capability of conservation method adopted at Bijutsuln Studio to Modern cultural heritages was examined. Finally, three-dimentional measurement for solids were tried using a 3D-laser scanner and better results could be obtained.

本课题旨在阐明明治时期彩色木雕的雕刻工艺和精加工工艺，进一步发展这类雕塑的保护与修复技术。用各种相机进行了照相、程序。在偏振光下拍摄照片，实现了物体表面颜料层的剥落和剥离。还拍摄了两个雕塑的内部结构的X射线照片，如佛教吉吉丹和古代日本天皇的图像。成像输出使用成像计算机软件进行处理，通过16位数字信号进行分析和打印输出。从以上研究工作的结果可以清楚地理解，Gigeiten形象并不是由江户时代的技术创造的。我们想象这个形象是经过策划和创造的，希望它能在芝加哥国际博览会上展出。内部结构没有发现任何损伤，金属部件的表面也看不到任何光泽。在片状表面的修复过程中，我们使用了丙烯酸树脂代替丙烯乳液，并尝试了新开发的清洁和稳定方法。参照已故高村美斯特绘制的组合木块的图形，我们尝试制作了一个复制品雕塑，研究了江户时代佛教形象的古代创作技术。研究了日本佛教形象保护的历史，考察了比珠津工作室采用的保护方法对现代文化遗产的能力。最后，用三维激光扫描仪对固体进行了三维测量，取得了较好的效果。

项目成果

早川泰弘, 三浦定俊, 津田徹英: "ポータブル蛍光X線分析法による木彫像の彩色材料調査"保存科学. 第40号. 75-83 (2000)

Yasuhiro Hayakawa、Sadatoshi Miura、Tetsuhide Tsuda：“使用便携式 X 射线荧光分析研究木雕的彩绘材料”《保护科学》No. 40. 75-83 (2000)。

Ichiro NAGASAWA,W.T.CHASE,Tsukasa SHIDA,Naoki FUJITA,and Masaka.KOYANO: "Conservation of Japanese Polychrome Buddhist Sculpture"Summaries of the Posters IIC Melbourne Congress,. 20 (2000)

Ichiro NAGASAWA、W.T.CHASE、Tsukasa SHIDA、Naoki FUJITA 和 Masaka.KOYANO：“日本彩色佛教雕塑的保护”IIC 墨尔本大会海报摘要。

信太 司, 長澤市郎, 稲葉政満, 山崎隆之, 水野敬三郎: "科学研究費補助金研究成果報告書 基盤研究(C)(2)平成9年度〜平成11年度"天平塑像の心木構造の研究-新薬師寺十二神将-. 1. 8-16, 24-58 (2000)

Tsukasa Shinta、Ichiro Nagasawa、Masamitsu Inaba、Takayuki Yamazaki、Keizaburo Mizuno：“科学研究补助金研究成果报告科学研究（C）（2）1997-1999”天平雕像-新药师寺核心树结构的研究十二将军-. 1. 8-16, 24-58 (2000)

I.Nagasawa, T.Shida, H.Oshima, M.Koyano, F.Preusser: "Polychromed Wooden Buddhist Sculptures in Japan -History, Materials and Techniques"12th ICOM-CC cogress paper. 1. 434-437 (1999)

I.Nagasawa、T.Shida、H.Oshima、M.Koyano、F.Preusser：“日本的彩色木制佛教雕塑 - 历史、材料和技术”第 12 届 ICOM-CC 大会论文。

田淵俊夫, 宮廻正明, 三浦定俊 東京芸術大学美術研究科日本画研究室: "よみがえる日本画"伝統と継承1000年の知恵 東京芸術大学大学美術館. 1. 151 (2001)

田渊俊夫、宫崎正明、东京艺术大学美术研究生院日本画研究室：“复兴日本画”传统与传承一千年的智慧，东京艺术大学大学美术馆1. 151。 (2001)