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DESCRIPTION:Conservation Thinking in Japan brings together scholars from Ja
 pan and the United States to explore the history of conserving in Japan. A
 mong the topics to be discussed are the role of replicas in a culture of c
 onservation\, the relationship between traditional materials and conservat
 ion practices\, the conservation of wooden sculptures and Buddhist sculptu
 res\, the transition from antiquarianism to cultural heritage\, the histor
 y of heritage legislation\, and the relationship between conservation and 
 museums. The afternoon presentations on paintings will constitute a sympos
 ium within the symposium\, with presentations offering a microhistory of a
  single painting’s conservation history\, a discussion of conservation of 
 Buddhist paintings\, and a roundtable discussion with paintings conservato
 rs focusing on the way the mounting of paintings—and the different ways co
 nservators are trained to think about mounts—shapes the practice of conser
 vation. Conservation Thinking in Japan is the first of two days of symposi
 a to focus on the robust and distinctive conservation traditions of Japan 
 and India. When launching Cultures of Conservation in 2012 BGC hoped to fo
 ster a dialogue between the field of conservation and scholars of the huma
 n sciences and bridge the gulf generated by institutional divisions and th
 e inevitable self-siloing of successful research agendas. The associated r
 esearch project\, “Conserving Active Matter\,” then taught us that the way
 s in which we conceive of “conservation\,” like the ways we think about “m
 atter” and “activity\,” reflect the shape of European and then Euro-Americ
 an institutional and intellectual history. The working group on Indigenous
  ontologies of matter made us aware that the Euro-American model described
  but one set of possibilities. A recognition that the conservation worlds 
 of India and Japan operate differently reinforced our discovery of the pro
 vincialness of Western conservation thinking\, regardless of how globalize
 d it has become. As Cultures of Conservation comes to an end\, we launch e
 xploratory probes into these different conservation worlds in the hope of 
 reshaping an understanding of conservation as a human science.Conservation
  Thinking in Japan and Conservation Thinking in India are being held in co
 njunction with the current exhibition\, Conserving Active Matter (March 25
 –July 10). It is the concluding event in Cultures of Conservation\, a ten-
 year initiative largely funded by The Andrew W. Mellon Foundation\, and de
 dicated to modeling a cross-disciplinary conversation between conservators
 \, conservation scientists\, and humanists.Funded by The Andrew W. Mellon 
 Foundation.Schedule9 amPeter N. Miller (Bard Graduate Center)  Welcome and
  Introduction9:10 amYukio Lippit (Harvard University)“The Shōsōin Imperial
  Treasury and the Cultures of Conservation in Japan”9:50 amCoffee Break10:
 10 am          Michihiko Mori (Kyoto National Museum)“The Protection and C
 onservation of Cultural Heritage During the Edo (1615-1868) and Meiji (186
 8-1912) Eras: The Foundation of Japan’s Conservation of Cultural Propertie
 s”10:50 am          Takeo Oku (Agency for Cultural Affairs)“The History of
  the Conservation of Japanese Buddhist Sculpture”11:30 am          Nobuyuk
 i Kamba (Tokyo National Museum\, Emeritus) and Melissa M. Rinne (Kyoto Nat
 ional Museum)In Conversation12:30pm          Lunch Break2 pm           Nor
 iko Hayakawa (Tokyo National Research Institute for Cultural Properties)“T
 he Relationship Between Traditional Painting Materials and Techniques in J
 apan from a Scientific Perspective”2:40 pm           Ryusuke Masuki (Unive
 rsity of Tokyo)“The Conservation of Buddhist Painting in Japan’s Heian Per
 iod (794-1192)”3:20 pmCoffee Break3:40 pm           Miriam Chusid (Univers
 ity of Washington)'Buddhist Painting Repair as Soteriological Practice: Th
 e Case of the Taima mandara'4:20 pm           Jennifer Perry (Metropolitan
  Museum of Art)\, Akiko Niwa (Freer Sackler Galleries\, Smithsonian Instit
 ution)\, Keisuke Sugiyama (Tohoku University of Art and Design)\, and Tany
 a Uyeda (Museum of Fine Arts\, Boston)\, chaired by Yukio Lippit (Harvard 
 University)Roundtable on Paintings Conservation5:30 pmReceptionBiosMiriam 
 (Mimi) Chusid is Assistant Professor of Art History at the University of W
 ashington. She received her Ph.D. from Princeton University (2016)\, and h
 as also taught at Haverford College and Columbia University. Chusid’s publ
 ications include “Constructing the Afterlife\, Re-envisioning Salvation: E
 nma Halls and Enma Veneration in Medieval Japan” (2019)\, and she is curre
 ntly working on a book about the creation\, display\, and maintenance of h
 ell imagery in premodern Japan.Noriko Hayakawa is Head of the Restoration 
 Materials Section at the Tokyo National Research Institute for Cultural Pr
 operties\, where she has been employed since 1998. Hayakawa has published 
 widely on the use of traditional organic materials in the conservation of 
 art and is Editor-in-Chief of the Journal of the Japan Society for the Con
 servation of Cultural Property. Publications include “The Conservation of 
 Wall Paintings of Tumuli in Japan” (2020) and “Analysis of an Ancient Adhe
 sive\, the So-Called Mamenori (Unfermented Soybean Paste)” (2014).Nobuyuki
  Kamba is a conservator and author. Previously he served as head of the Co
 nservation Department at the Tokyo National Museum (1998-2015)\, which he 
 helped to establish. Kamba has also worked as a conservator at the Sokei S
 chool of Fine Art in Tokyo and Associate Professor at the National Museum 
 of Japanese History. He has published widely on conservation matters. The 
 English translation of one of his books\, Conservation Practice in Museums
 : For Researchers and Museum Professionals\, was published this spring.Yuk
 io Lippit is Professor of History of Art and Architecture at Harvard Unive
 rsity. In 2018 he was appointed Harvard College Professor for a five-year 
 term for distinguished contributions to undergraduate teaching. Recent pub
 lications include Sesson Shūkei: A Zen Monk-Painter in Medieval Japan (202
 1) and “Japanese Painting: Mounting\, Mediation\, Transmission\, Renewal” 
 (forthcoming from the Clark Art Institute\, 2022).Ryusuke Masuki is Associ
 ate Professor of Japanese Art at the University of Tokyo. Previously he wr
 okked at the Yamato Bunkakan Museum (1999-2004) and the Agency of Cultural
  Affairs (2004-2013) before teaching at Kobe University (2013-2021). He ha
 s published widely on early Japanese and East Asian Buddhist painting\, in
 cluding Insei-era Buddhist Painting and Tang-Song China (Insei-ki butsuga 
 to TōSō kaiga\, 2015)\, and Volume One of the series The Art History of th
 e Imperial Court (Tennō no bijutsushi\, 2018).Michihiko Mori is curator of
  medieval Japanese painting at the Kyoto National Museum. He previously se
 rved as curator at The Museum of Kyoto (2012-2019). Mori’s primary researc
 h interests center around both painting of the 14th thru 16th centuries\, 
 and the mounting\, archiving\, preservation\, and conservation of antiquit
 ies in Japan\, including the “cultures of conservation.” Among his many pu
 blications\, the most recent include National Treasures of the Capital (Mi
 yako no kokuhō\, 2021) and “The Preservation and Transmission of Screen an
 d Wall Paintings during the Early Modern Period” (Kinsei ni okeru shōhekig
 a no hozon to keishō\, 2020).Akiko Niwa is a conservator of Japanese paint
 ing at the National Museum of Asian Art. She uniquely combines traditional
  training in Japanese painting conservation with a Ph.D. on the history of
  hanging scroll formats from Kyoto University of the Arts (2019). After se
 ven years of training\, Niwa received a certificate as Master Mounter and 
 Conservator of Paintings and Calligraphy from the Kyoto Cooperative Associ
 ation of Mounters and Conservators\, and opened her own conservation studi
 o in Kyoto. Niwa has also worked as a curator\, and teaches an extension s
 chool course on mounting techniques at the Kyoto University of Art and Des
 ign.Takeo Oku is Chief Investigator of Cultural Properties at the Agency f
 or Cultural Affairs\, where he has worked since 1991. Oku also serves on t
 he Editorial Board of the art history journal Kokka. He has published wide
 ly on the history of Japanese and East Asian Buddhist sculpture and overse
 en numerous government-sponsored conservation projects of important works 
 of art. Book-length publications include The Seiryōji Shaka Sculpture (Sei
 ryōji Shaka nyorai zō\, 2009) and The Creation and Reception of Buddhist S
 culpture\, Centering on the Heian Period (Bukkyō chōkoku no seisaku to juy
 ō—Heian jidai o chūshin ni\, 2019).Jennifer Perry is the Mary and James Wa
 llach Family Conservator of Japanese Art at The Metropolitan Museum of Art
 . She graduated in art history from Williams College (1986) and obtained a
 n MA in art history and a diploma in conservation from the Institute of Fi
 ne Arts (1993). Perry trained in Japan at the Yamaguchi Bokunindō (1995-19
 97) and Oka Bokkōdō in Kyoto (1997-2003). During her tenure as Associate C
 onservator for Asian Paintings at the Cleveland Museum of Art (2004-2010)\
 , she established a program for the care and treatment of Asian paintings.
 Melissa Rinne is Senior Specialist in the Department of Research and Inter
 national Collaboration in the Curatorial Division of the Kyoto National Mu
 seum\, as well as an ICOM-ICDAD board member and lecturer at Kyoto City Un
 iversity of Arts. Previously she served as Associate Curator of Japanese A
 rt at the Asian Art Museum of San Francisco (2005–2013). Rinne is a specia
 list in the history of Japanese textiles\, and recent publications include
  “Foreign Textile Collectors in Taishō Period Kyoto: A Guestbook from the 
 Shop of Nomura Shōjirō” (2022) and “Jōfu: A Bast Fiber Textile Imitating S
 ilk” (2020).Keisuke Sugiyama is Associate Professor in the Department for 
 Conservation of Cultural Property at the Tohoku University of Art and Desi
 gn\, as well as running the private conservation practice Shozuidō. He pre
 viously worked at the Usami Shōkakudō conservation studio (1997-2006) befo
 re serving as Senior Conservator of Japanese Paintings at the British Muse
 um (2007-2015). He many publications in both English and Japanese include 
 “Conservation of Japanese Paintings on Silk and Paper: Tradition and Innov
 ation” (2014).Tanya Uyeda is Conservator for Japanese Paintings at the Asi
 an Conservation Studio of the Museum of Fine Arts\, Boston\, where she has
  worked since 2000. She earned a B.A.in East Asian Studies (Japanese langu
 age and history) from Oberlin College (1988)\, and an M.A. in Conservation
  of Cultural Properties from Tokyo University of the Arts (Tokyo Geijutsu 
 Daigaku) (1997). Additional academic programs and fellowships include the 
 Associated Kyoto Program at Doshisha University (1986) and University of N
 agoya (Japanese literature) (1989-1991) and the Japan Foundation (2004). H
 er research interests include mounting styles for nikuhitsu ukiyo-e hangin
 g scroll paintings\, and opportunities for collaboration with Euro-America
 n Textile and Paper conservation.Attendance DetailsIn PersonWe have opened
  registration for a limited in-person audience. Bard Graduate Center requi
 res proof of vaccination and photo identification to enter the building. G
 uests are required to wear masks regardless of vaccination status.ZoomThis
  event will also be available on Zoom. A link will be circulated to regist
 rants in advance of the conference. This event will be live with automatic
  captions.
DTSTART;TZID=America/New_York:20220506T090000
DTEND;TZID=America/New_York:20220506T173000
SUMMARY:Bard Graduate Center: Symposium—Conservation Thinking in Japan
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