〜私たちは、彫刻文化財の保護をこう考えています。〜
〜Our Views on the Conservation of our Cultural Heritage in Sculpture〜

日本における彫刻文化財の大半は仏像彫刻です。そしてその素材と制作技法は多種多様ですが、木造彫刻の占める割合が圧倒的です。それは6世紀以降、朝鮮半島や中国大陸からもたらされたさまざまな彫刻技法(鋳造、乾漆造、塑造、石造など)が、長い年月のあいだに日本列島の風土と人びとの好みのなかで取捨選択、淘汰された結果です。
 
このような歴史の風雪に耐えた彫刻文化財を保存し後世に伝える努力は、現代を表現する創造活動にも匹敵する大切なしごとです。そのために、制作技法の解明とその技術保存、そして人材育成は不可欠なことです。そのうえではじめて、文化財保護のあたらしい方策も生まれてくるといえましょう。

私たちの研究室では、狭義の修復技術の研究や修理技術者の育成にとどまらず、この風土のなかで生み出された文化財が、祖先の心のよりどころで あったことを常に念頭におきつつ、彼らが遺してくれた素晴らしい文化と造形に最大限の敬意を持って、ものとわざとこころを継承し後世に伝える努力を実践していきたいと考えています。
    


In Japan, the vast majority of traditional sculpture is devoted to Buddhist art and although there was a great diversity in the materials and techniques used in its production, wood has always been the favorite. From the sixth century onwards, numerous different sculptural techniques were imported into Japan from Korea or China (metal casting, dry-lacquer, clay modeling, stone, etc.) but over many years, the national climate and the preferences of the people led to wood being selected as the ideal material.
We believe that the effort to preserve these cultural assets, that have endured through the centuries, is as important as the creation of contemporary works. This means that it is vital that we rediscover and preserve the techniques used in their construction while, simultaneously, fostering artists capable of carrying them out. It is only once this has been achieved that new measures for the preservation of cultural properties will come into being.
At our laboratory we do not limit ourselves to the study of restoration techniques or the education of people capable of carrying them out in the narrow sense. Rather, we treat these marvelous cultural properties, that were born of Japanユs cultural climate and to which our ancestors turned for peace of mind, with the utmost respect, while making every effort to pass them, the techniques and the spirit they embody, on to future generations.