Chapter 11 – Conservation of the Mural Paintings of the Takamatsuzuka and Kitora Tumuli in Japan
p. 220-251
Texte intégral
11.1 Introduction
1Takamatsuzuka and Kitora tumuli, located in Nara prefecture, were both constructed between the 7th and 8th centuries during the Asuka period. Both tumuli are famous for their beautiful mural paintings that were drawn directly on a thin layer of plaster on the walls in the stone chambers. The mural paintings of Takamatsuzuka tumulus were found in March 1972 in the village of Asuka, in the Nara prefecture. The tumulus was designated as a special historic site in April 1973 and the mural paintings were designated as a national treasure in April 1974. In 2001, fungi were widely found on the wall plaster. The Agency for Cultural Affairs organized an emergency conservation committee for the mural paintings of Takamatsuzuka tumulus in 2003 and a longterm conservation committee in 2004 to develop protective measures against the biological problems of the tumulus. The committee studied various protective measures but finally concluded in 2005 that it was difficult to conserve mural paintings in situ and recommended removing the stones for the restoration of the mural paintings. Following this decision, the stone chamber was dismantled and the mural paintings were moved to a restoration facility in 2007.
2Through an exchange of information between France and Japan, commonalities between the situations of the paintings of Takamatsuzuka tumulus and Lascaux Cave have been identified. In both cases, the paintings have existed for a long time in buried environments with a damp internal atmosphere. In addition to their age difference, an important difference between the Takamatsuzuka and the Lascaux paintings is their relative size. The Takamatsuzuka site is very small. The stone chamber is roughly 1.0 m wide, 2.6 m deep, and 1.1m high, which makes it a difficult place to work. A third difference is that the support layers of the paintings and pigments in Takamatsuzuka are different from those in Lascaux. The chamber of Takamatsuzuka is constructed of rectangular stones of volcanic tuff (tuff breccia). A very thin layer of plaster was applied over the inside surface and the paintings were made directly on it using a variety of pigments. Some of the pigments are thought to be sensitive to some chemical disinfectants or fungicides. Consequently, approaches different from those used at Lascaux were adopted in Takamatsuzuka. These approaches were derived from the specific situation at Takamatsuzuka.
3The mural paintings of Kitora tumulus were found in November 1983 in the village of Asuka, in the Nara prefecture. The tumulus was designated as a special historic site in 2000. The Agency for Cultural Affairs organized a conservation committee for the mural paintings in Kitora tumulus in 2001. In 2004 the committee decided to relocate the wall plaster to the restoration facility since it had partly exfoliated and seemed to be about to fall off. During this relocation process, a drastic increase of gel and fungi was found in the stone chamber. It was also found that small holes had appeared in the wall plaster due to microbiological activities.
4We will now describe environmental conditions and the biological problems encountered at Takamatsuzuka and Kitora tumuli.
11.1 Introduction
5Takamatsuzuka and Kitora tumuli, located in Nara prefecture, were both constructed between the 7th and 8th centuries during the Asuka period. Both tumuli are famous for their beautiful mural paintings that were drawn directly on a thin layer of plaster on the walls in the stone chambers. The mural paintings of Takamatsuzuka tumulus were found in March 1972 in the village of Asuka, in the Nara prefecture. The tumulus was designated as a special historic site in April 1973 and the mural paintings were designated as a national treasure in April 1974. In 2001, fungi were widely found on the wall plaster. The Agency for Cultural Affairs organized an emergency conservation committee for the mural paintings of Takamatsuzuka tumulus in 2003 and a longterm conservation committee in 2004 to develop protective measures against the biological problems of the tumulus. The committee studied various protective measures but finally concluded in 2005 that it was difficult to conserve mural paintings in situ and recommended removing the stones for the restoration of the mural paintings. Following this decision, the stone chamber was dismantled and the mural paintings were moved to a restoration facility in 2007.
6Through an exchange of information between France and Japan, commonalities between the situations of the paintings of Takamatsuzuka tumulus and Lascaux Cave have been identified. In both cases, the paintings have existed for a long time in buried environments with a damp internal atmosphere. In addition to their age difference, an important difference between the Takamatsuzuka and the Lascaux paintings is their relative size. The Takamatsuzuka site is very small. The stone chamber is roughly 1.0 m wide, 2.6 m deep, and 1.1m high, which makes it a difficult place to work. A third difference is that the support layers of the paintings and pigments in Takamatsuzuka are different from those in Lascaux. The chamber of Takamatsuzuka is constructed of rectangular stones of volcanic tuff (tuff breccia). A very thin layer of plaster was applied over the inside surface and the paintings were made directly on it using a variety of pigments. Some of the pigments are thought to be sensitive to some chemical disinfectants or fungicides. Consequently, approaches different from those used at Lascaux were adopted in Takamatsuzuka. These approaches were derived from the specific situation at Takamatsuzuka.
7The mural paintings of Kitora tumulus were found in November 1983 in the village of Asuka, in the Nara prefecture. The tumulus was designated as a special historic site in 2000. The Agency for Cultural Affairs organized a conservation committee for the mural paintings in Kitora tumulus in 2001. In 2004 the committee decided to relocate the wall plaster to the restoration facility since it had partly exfoliated and seemed to be about to fall off. During this relocation process, a drastic increase of gel and fungi was found in the stone chamber. It was also found that small holes had appeared in the wall plaster due to microbiological activities.
8We will now describe environmental conditions and the biological problems encountered at Takamatsuzuka and Kitora tumuli.
11.2 Takamatsuzuka tumulus
9Takamatsuzuka tumulus (fig. 152) is located on the south slope of a small hill. It was made by compacting soil layer by layer to form the two-tier domed-shaped tumulus. The diameter of the lower dome is 23 m and that of the upper dome is 17.7 m.

FIG. 152 – Takamatsuzuka. Mound and modification of the tumulus.
© T. Ishizaki.
10The mural paintings of Takamatsuzuka tumulus (fig. 153) were found in 1972. At that time, the policy for the conservation of the beautiful murals was discussed intensely. Specialists in the conservation of historic sites were invited from France and Italy. Although there was a suggestion to relocate the murals using a method like the strappo method used for frescos, there was also great concern about the stability of the mural paintings, which had existed in highly humid conditions of about 100% RH for more than a thousand years. The condition of the plaster in 1972 varied depending on its location in the tomb. At some places it was very brittle and looked almost like wine lees, while other parts were firm and sound. With this combination of conditions, it was thought to be very difficult to detach the murals from the stone substratum for relocation. An additional concern was that since the plaster layer had been kept under constant high humidity, it might easily exfoliate with small changes in humidity. Drying and relocation could become very difficult challenges. Under these circumstances, it was concluded that the murals should be kept in this very highly humid environment without any relocation and that the stone chamber should be totally closed to the public. To allow the early treatments for consolidation of murals and periodic inspections of the interior conditions, a conservation facility was built to protect the tomb environment from desiccation while allowing access to the chamber.

FIG. 153 – Takamatsuzuka. Painting of the Beauties of Asuka (February 2006).
© NRICPT.
11Figure 154 shows a schematic diagram of the conservation facility built in 1976. Figure 155 shows the inside of the stone chamber. The stone chamber of Takamatsuzuka tumulus is made with cut stone of tuff breccia. The interior diameter is 103 cm wide, 265 cm deep and 113 cm high. On the wall and ceiling, lime plaster of three to five mm thickness was applied and the mural paintings were drawn on the relatively flat wall plaster surface. There is a big hole on the south stone wall, which was made by thieves in the 12th or 13th century. When we look inside from the hole, the north wall can be seen on the front, the west on the left and the east wall on the right. Staff could not stand up inside the stone chamber as it was very small. The environment of such a small space could be easily affected if it was opened directly to the outside. Therefore, the facility was constructed to limit such effects. Figure 156 shows the inside of the antechamber. The stone chamber can be seen in the front. The white band in the center of the stone chamber shows the lid for covering the hole.

FIG. 154 – Takamatsuzuka. Longitudinal section of the conservation facilities of the tumulus.
© Agency for cultural affairs.

FIG. 155 – Takamatsuzuka. Inside the stone chamber (2001).
© Agency for cultural affairs.

FIG. 156 – Takamatsuzuka. Stone chamber and antechamber.
© NRICPT.
12It was sometimes believed that the facility should have a heating, ventilation and air conditioning (HVAC) system to directly regulate the temperature and relative humidity inside the stone chamber at all times, but this is not true. As the surface of the paintings on the deteriorated plaster was very fragile, it was thought that such a plaster surface would not tolerate the effects of air flow caused by a direct HVAC system.
13The policy was thus to leave the stone chamber just as it was in a natural buried environment and the facility was designed to have two small antechambers and vestibule in front of the stone chamber (fig. 154). When staff had to enter to check the conditions, the relative humidity and temperature of the front space were adjusted to match those measured in the soil close to the stone chamber. The facility was thus constructed so that the conditions of the adjacent antechambers could be temporarily adjusted when someone had to enter. Series of copper pipes were installed along the wall, ceiling and floor in the antechamber and water was circulated in the pipes. The water temperature was adjusted to be equal to the ground temperature around the stone chamber in order to keep a thermal regime similar to that before the excavation of the tumulus mound.
14More than 30 years have passed since the decision was made. Although great efforts have been made to maintain an internal environment close to the original one, on several occasions, changes in the conditions have caused fungal outbreaks on the paintings.
11.2.1 Temperature and humidity inside the stone chamber
15The conservation facility was built from 1974 to 1976. After the completion of the facility, various environmental data were periodically recorded. The recorded data included temperatures in the stone chamber at bottom, middle and upper locations, in an adjacent space and in the antechamber, as well as ground temperature and air temperature. Before the construction of the conservation facility, the inside temperature of the stone chamber was also recorded. The minimum temperature was 11°C, recorded in mid-April, and the maximum temperature was 16°C, recorded in mid-November in 1972. In 1973, the temperature was 13.6 ± 2.8°C, while from 1976 to 1977 it was 16.3 ± 1.9°C and 16 ± 2°C in 1978.
16Temperature change inside the stone chamber from March 1979 to October 2005 is shown in figure 157. We can observe that the maximum and minimum temperatures increased gradually with time. It is difficult to evaluate the annual temperature change based on Figure 157, however, because there are monthly changes. In order to evaluate the annual change of temperature, the annual mean temperature inside the stone chamber and its three year moving average temperatures were calculated and plotted with the annual mean air temperature at the Nara meteorological station (fig. 158). This figure shows that the inside annual mean temperature of the stone chamber increased about 2°C in 25 years, while the annual mean air temperature in Nara increased about 1°C in 30 years. Therefore the 1°C increase in the stone chamber might be due to the outside air temperature change. We are now researching the precise cause of the temperature increase in the stone chamber, including the remaining 1°C increase. The inside humidity was from 95% to 100% when no one was in the stone chamber but decreased to 90% when people entered the stone chamber. When considering the favorable conditions for the growth of mold, there are many factors such as temperature, humidity, oxygen concentration, nutrients and pH, but what we would like to focus on here is the chosen relative humidity. Due to concerns about the plaster and the relative humidity of about 100%, maintaining the same relative humidity was seen as the optimal condition in both tumuli. However, it was also quite obvious that this level of humidity is ideal for the growth of molds and bacteria.

FIG. 157 – Takamatsuzuka. Temperature change inside the stone chamber (1979-2005).

FIG. 158 – Takamatsuzuka. Annual mean temperature inside the stone chamber of the tumulus. Solid line: Annual mean temperature inside the stone chamber (thin line) and its three year mobile average value (thick line); dashed line: Annual mean air temperature at the Nara meteorological station (thin line) and its three year mobile average value (thick line) (Miura et al. 2005).
11.2.2 Moisture characteristics of the mound soil and chamber stone
17Relative humidity inside a stone chamber depends on the water content and moisture characteristics of the mound soil and the chamber stone. It is therefore important to obtain the moisture characteristic curves of both the mound soil and chamber stone. Three separate experiments were carried out to obtain the moisture characteristic curves: a hanging water experiment, a plate pressure experiment and a chemical solution experiment. Based on these experiments, the relationship between the relative humidity equilibrium and volumetric water content was obtained (fig. 159). This graph shows that the equivalent relative humidity is almost 100% when the volumetric water content is above 10%. Since the volumetric water content of the compacted soil of Takamatuzuka tumulus is approximately 30%, the relative humidity equilibrium of the mound soil is 100%. This corresponded well with the measured high relative humidity inside the stone chamber.

FIG. 159 – Takamatsuzuka. Relationship between the volumetric water content and the relative humidity of the mound soil of the tumulus.
18The relationship between the volumetric water content and the calculated relative humidity is shown in figure 160. This graph shows that the equivalent relative humidity is almost 100% when the volumetric water content is above 10%. Since the volumetric water content of the stone chamber is calculated to be approximately 20% by using the data of the size and weight of the stone wall at the time of dismantlement of the stone chamber, the relative humidity equilibrium of the stone chamber is about 100%. This also corresponded well with the measured high relative humidity inside the stone chamber.

FIG. 160 – Takamatsuzuka. Relationship between the volumetric water content and the relative humidity of tuff breccia.
11.2.3 Basic concepts for conservation
19In the case of Lascaux Cave, achieving a natural balance was attempted. The same idea was initially adopted for Takamatsuzuka, but due to the difficult conditions in this case, how to conserve the murals was a serious problem.
20In the beginning, the burial site included ample nutrients for microorganisms, and we suspect that there was a lot of microbial activity. Later, the micro-organic activity apparently declined to a state of equilibrium. However, any change in that balance, for example, if organic substances were introduced or the atmosphere altered, could act as a trigger for more microorganic activity.
11.2.4 Events at Takamatsuzuka tumulus
21In the known history of Takamatsuzuka, there were several events that disrupted the tomb’s static balance of microbial activity. For example, in the 12th or 13th century thieves opened the tomb and performed some excavation, and the balance must have changed considerably as a result. That event occurred a long time ago, and we are not able to verify any specific changes that may have taken place. In 1972, however, the archeological excavation took place. At this time, the environment was changed drastically and the balance was again disrupted. After the excavation, it was decided that the murals were to be conserved in situ. However, if an exfoliating portion of one of the paintings fell, it would have been disastrous; therefore, necessary restoration work took place during that time to consolidate the murals.
22The restoration required a long period of intensive work spanning from 1976-1981, and due to this necessary work the tomb’s balance underwent further changes. During this time the first mold outbreak occurred. Synthetic resin Paraloid B-72 was applied to the areas of the mural that had exfoliated. On some of those areas, fungi were able to colonize, however. During a period of significant mold growth and intensive efforts to stop mold contamination, some of the lines of certain paintings were obscured or faded. Solutions of ethanol: formalin, 9:1, and Thiabendazole (TBZ) were used, but they were not very effective. Para-formaldehyde fumigation was adopted at the beginning in 1981, and entry into the stone chamber was restricted further. The mold outbreaks then declined, and balance seemed to have been restored until 2001.
23In February 2001, a second crisis occurred. In the space adjacent to the stone chamber containing the murals, renovation work was done. Soil fell and rain water leakage had occurred because the conservation facility was getting old. The facility underwent renovation, and at that time consolidation of the soil around the tomb was performed. That process may have been another trigger for change. Some portions of consolidated soil and stones became covered with extensive colonies of fungi: Aspergillus, Cladosporium, Penicillium and Fusarium, etc. (figs 161, 162). At the same time, changes in temperature and relative humidity and the likely introduction of nutrients and microorganisms occurred because of the renovation work.

FIG. 161 – Takamatsuzuka, March 2001. Fungal colonies that developed after the renovation of the adjacent space.
© Agency for cultural affairs.

FIG. 162 – Takamatsuzuka, March 2001. Fungal colonies that developed after the renovation of the adjacent space.
© Agency for cultural affairs.
24The annual check of the mural paintings inside the stone chamber had been postponed until the adjacent space was totally cleaned. After 6 months, in September 2001, the stone chamber was opened and we found fungi near the mural paintings (fig. 163). At that time, the fungus observed was Penicillium, and 3 months later, by December 2001, the area where we had found fungal colonies had expanded (fig. 164). Additionally, the temperature at that time was at the highest part of the curve of natural annual change in the underground stone chamber, since the temperature change underground lagged three to four months behind that of the outside climate. For the first time black fungi began to be observed; Acremonium (sect. Gliomastix) sp., which had also been found in Lascaux in 2002 (Orial, Mertz 2006), and Cylindrocarpon sp. were isolated. In the following year, 2002, more severe black stains were found (fig. 165).

FIG. 163 – Takamatsuzuka, September 2001. Fungal colonies near mural paintings.
© Agency for cultural affairs.

FIG. 164 – Takamatsuzuka, December 2001. Fungal colonies near mural paintings.
© Agency for cultural affairs.

FIG. 165 – Takamatsuzuka, October 2002. Black stains.
© Agency for cultural affairs.
25In 2004, even though periodical inspections and cleaning and disinfection work had taken place, not only fungi but also biofilms, including bacteria and yeast, became obvious. In September 2004, when the temperature rose above 20 °C, extensive white mycelia of fungi was found covering part of the paintings, and along with them mites were discovered. The tomb’s interior surface was clearly becoming a food chain. Because it seemed to be a nutrient-rich situation, we could not leave it as it was. Figures 166 and 167 are photos of mural paintings with pigments covered with mycelia of fungi. As an immediate response we sprayed disinfectant, using mainly ethanol as it was thought to be one of the mildest with respect to the pigments used. However, we could not clean the mycelium off from the painting because physical cleaning might have damaged the pigments of the mural. After 2005, isopropanol was used as a disinfectant after further consideration of the problem of the biofilm. Such disinfectants were not very effective, however. Various possibilities were discussed, but none of the methods of control using chemicals, a low oxygen atmosphere, very low temperature, etc., were considered realistic at that time in that given situation. When such outbreaks occurred, fungi caused significant deterioration of the murals, both esthetically and physically. Such deterioration had reached such a high level that it became dangerous to continue to keep the paintings in the original environment. Drastic moves to protect the paintings from further deterioration were considered, and finally relocation of the stones of the entire chamber was performed in 2007.

FIG. 166 – Takamatsuzuka, September 2004. Molds on mural paintings.
© Agency for cultural affairs.

FIG. 167 – Takamatsuzuka, September 2004. Magnified photo of the part where pigments are covered by mycelia.
© NRICPT.
11.3 Kitora Tumulus
26The Kitora tumulus was made by compacting soil layer by layer to form a two-tier dome-shaped tumulus. The diameter of the lower dome is 13.8 m and that of the upper dome is 9.4 m. Kitora was excavated in 2004, more recently than Takamatsuzuka. As a result of preliminary investigation, some differences from Takamatsuzuka were discovered. At the Kitora Tumulus (fig. 168), the paintings are also on a very thin layer of plaster. However, since cracks were very obvious and the plaster was loosely held to the stone, with a slight impact it could be easily made to fall (figs 169, 170). Therefore, it was decided that the paintings should be detached and relocated immediately. Thus, although the Takamatsuzuka and Kitora tumuli are very similar, having been built around the same time period, the initial methods adopted for their conservation were quite different.

FIG. 168 – Kitora, September 2004. Inside the stone chamber of the tumulus.
© NRICPT.

FIG. 169 – Kitora, early 2004. Cracks on the plaster.
© NRICPT.

FIG. 170 – Kitora, early 2004. Cracks on the plaster.
© NRICPT.
11.3.1 Conservation process for Kitora
27In January 2004, excavation of the Kitora tumulus took place, and the relocation of the paintings started in August 2004. However, after people began to go into the tumulus, we started to see fungal growth. In the beginning, fungi such as Trichoderma sp., Penicillium sp. and Fusarium sp. were seen inside the tumulus. Ethanol was mainly used to kill and remove such colonies, as it was thought to be one of the mildest of fungicides with respect to the pigments used in the murals. Phialocephala sp. was also found on stones in the front room, the antechamber. In early 2005, small colonies of viscous gel appeared on some parts of the walls. In the summer of 2005, the viscous gel suddenly developed to form a biofilm on the wall plaster (fig. 171). The gel was a mixture of bacteria and fungi. The biofilm was removed where possible with a low concentration of hydrogen peroxide solution; the area was then treated with about 70% isopropyl alcohol. This method was effective in some areas where the plaster was relatively intact and robust, but it could not be applied to places where the plaster was very fragile. In the fall of 2005, small holes with black substances inside became obvious on the plaster walls; the holes seemed to have developed behind the plaster. An investigation performed by a specialist on microbes in concrete suggested that such holes might have also been caused by the activity of microbes.

FIG. 171 – Kitora, September 2005. Biofilm on paintings.
© NRICPT.
28By the end of 2008, almost all the paintings on the side walls and the star charts on the ceiling were relocated by applying protective facing and cutting away, except for those which might have been hidden by a thin layer of mud on the walls.
11.3.2 Understanding and elucidating the causes and processes
29Detailed analysis of what kinds of microorganisms were involved in the deterioration in the tombs is now being performed (Kiyuna et al. 2008). After the identification of the organisms, we must consider their bioprofiles, i.e. the characteristics of the microorganisms, such as whether they produce organic acids that affect plaster, whether they can tolerate or assimilate some kinds of disinfectants, whether they can assimilate some kinds of resin used at the sites, etc. We have to understand those characteristics in relation to the deterioration and treatments to determine in full the causes of the observed deterioration patterns and how best to approach any future in situ treatments.
11.4 Conclusion
30In February and March 2001, it was found that some portions of the consolidated soil and stones of Takamatsuzuka tumulus, whose mural paintings were discovered in 1972, had become covered with extensive colonies of fungi. Fungi were also found near the mural paintings in September 2001. The conservation committee for the mural paintings of Takamatsuzuka tumulus organized by the Agency of Cultural Affairs studied the cause and protective measures against biological activities in the stone chamber. The main causes of the fungal growth are considered to be the high humidity and temperature increase inside the tumulus and the rupture of the condition of equilibrium due to renovation work executed to consolidate the soil around the tomb. The committee finally concluded that it would be difficult to conserve mural paintings in situ and recommended relocating the stones to the restoration facility. This was carried out in 2007. The mural paintings of Kitora tumulus were found in 1983. Since the wall plaster had partly exfoliated and seemed to be about to fall, the conservation committee decided to relocate it to the restoration facility. By the end of 2008, almost all the paintings on the side walls and the star charts on the ceiling were relocated. When the static balance of microbial activity in a tomb is disrupted in a high humidity condition, micro-organic activity is triggered. It is very difficult to control the activities of micro-organisms such as fungi and bacteria. In order to cope with this difficult problem, it is important to work in cooperation with specialists in different scientific fields.
31Acknowledgments
32We thank the Japanese Agency for Cultural Affairs and Wataru Kawanobe of the National Research Institute for Cultural Properties, Tokyo, for providing many important photographs for this article.
33References
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