We did the same on the tail paper which attached to the honshi and later attached to a bamboo roller. To mount them in a scroll format we attached three different linings to the honshi before joining them together. The two honshi (main art works) selected by the organisers to make our model scrolls were printed pages from the famous Ogura Hyakunin Isshu (an anthology of 100 poems by 100 poets). Although it is located in a modern building, the studio is everything one would expect from a traditional Japanese conservation studio: low work tables, tatami mats, paste bowls and sieves, drawers full of Japanese repair papers and of course, karibari boards of all sizes lining the walls!Ītsushi Ogasawara using a Uchibake pounding brush. The ground floor is a reception and digitisation area, the first floor is dedicated to the conservation of painted hanging scrolls, hand-scrolls and folding screens and the second floor to archive (historical documents), calligraphy and book conservation. The Handa Kyūseidō studio is set-up across 3 separate floors. Since completing her internship, she has regularly returned to Ireland and made one of these visits in early April 2015 – around the same time I found out I had been accepted for the JPC course- so we kept in touch regarding a possible visit to her workplace in Tokyo. Keiko was the first Heritage Council conservation intern at the National Library of Ireland in 2007 and she has been working at the Handa Kyūseidō studio since returning to Japan. The visit was organised thanks to Keiko Furumoto. Makoto Kawabata, senior calligraphy and archive conservator and IICROM course tutor, demonstrating use of the karibari.
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