no :

Super Clone Cultural Properties
Important cultural artifacts have been reproduced/and put on display in a series of exhibits/called “Super Clone Cultural Properties.” The exhibits feature clones of important cultural artifacts,/created by Professor Miyasako Masaaki/in a project he directs at Tokyo University of the Arts. What does it mean to “clone” a work of art? What is the purpose?
　　Professor Miyasako talks with Rie Davidson,/host of the popular podcast,/“Rie’s Gallery.”

Rie (R) :

Welcome to “Rie’s Gallery,”/Professor Miyasako.

Miyasako (M) :

I’m delighted to be here,/Ms. Davidson. May I call you “Rie-san”?

R :

Please do! Most of my guests just call me Rie.

M :

I know. I’m a regular listener.

R :

Your “Super Clone Cultural Properties” exhibits/have been a great success. Congratulations! Now,/my first question for you is:/What made you decide to create cloned cultural assets?

M :

The short answer is:/To keep great art safe/and, at the same time,/to make it accessible to as many people as possible.

R :

And the long answer?

M :

Museums face a dilemma. We need to preserve cultural properties. At the same time,/we want to make them available to the public. Unfortunately,/for reasons of security and preservation,/people have only limited access to them.

R :

An impossible dilemma! But you have a solution?

M :

We are challenging the impossible. With our clone technology,/we can exhibit the clone and keep the original safe,/all at the same time.

R :

That’s ingenious. But I have a question. Why do you call these reproductions “clones”? Are they any different from ordinary replicas?

M :

Good question! The term “clone” is usually used to refer to living things,/as in the case of Dolly the sheep. So we are not using “clone” in the original sense. But I couldn’t think of anything more accurate/to describe our creations. They really are “clones.”

no :

Shaka Triad Statue

R :

Could you say a little more about that?

M :

Sure. Let’s talk about the Shaka Triad statue in Horyuji. It’s very old. The metal is deteriorating/and some parts are missing. We could make a reproduction of it/as it looks today. However,/we wanted to restore the statue/to exactly the same condition it was in/when it was created in 623. You might say/we wanted to retain the original “genes.”

R :

So if we compare the actual statue in Horyuji/with its clone,/we’ll notice some differences,/right?

M :

That’s right. For one thing,/look at the central figure. It has curls of hair on its head. Some of these were missing in the original,/but they have been restored in the clone. We also restored the flying heavenly maidens/around the halo behind the figures.

R :

Very impressive! But how could you reproduce something you’ve never seen?

M :

That’s the tricky part. First of all,/we learned everything we could/about Buddhist statues. Then we supplemented that knowledge/with 3-D measurements of the statues. We also consulted academic references and records/in order to reproduce colors faithfully. The bronze we used/was as close to the original as possible.

R :

That must have taken a lot of time. And people.

M :

Lots and lots of people. Art history professors,/material analysis experts,/painters,/sculptors,/and traditional craftsmen. Specialists in Takaoka copperware and Inami wood carving/helped us make the castings. Without the partnership of cutting-edge technology/and traditional craftsmanship,/we couldn’t have completed our project.

no :

Transcend the Original

R :

The Shaka statue was only one of many clones. You also cloned modern art. My favorite was Manet’s The Fifer . You not only cloned the painting,/you also brought the boy/—and his flute!/—right off the canvas/and into the audience in full 3-D. I could touch him!

M :

One of the features of clones/is that we don’t have to worry so much about security or deterioration. You can touch them with your own hands. Currently,/we’re developing a clone boy/who will actually play the flute live for you.

R :

I can’t wait!

M :

We are also making ukiyo-e  clones. Of course,/you know Utagawa Hiroshige’s blooming plum tree. What’s amazing about our clone/is that you can smell the blossoms. We soaked the clone in fragrance. You can touch it/and feel the subtle irregularities of the surface. In fact,/this kind of clone transcends the original/and even expands the possibilities of art. That’s why we call them “super” clones.

no :

Build Peace through Art

R :

Super clones! Transcending the original! Is there any limit/to what you can do with technology? But now I have to ask you:/What is your goal? It’s fun,/but do you have a higher purpose?

M :

Well,/I’d say my main goal/is to protect our cultural heritage/and pass it on to the next generation. Much of the world’s great art is endangered. It is being lost to natural disasters,/destroyed by conflict,/damaged during restoration,/displaced by history,/or discolored by age. May I read you a few sentences from the exhibit catalog?

R :

Of course. Please do.

M(reading) :

“With our clone project,/we hope to restore damaged cultural properties/and allow people all over the world,/especially young people,/to appreciate great human accomplishments. Cultural properties lead people/to appreciate not just the individual artwork’s ingenuity/but also the diversity of cultures/which is instrumental in creating great art. The greater your access to artworks,/the greater your respect for different cultures. We hope that will contribute to making a peaceful world.” In short,/our mission is to build peace through art.

R :

Build peace through art. That’s a very appropriate closing thought. Professor Miyasako,/thank you very much. I’m looking forward/to the next exhibit of “Super Clone Cultural Properties.” And I hope you’ll join me again on Rie’s Gallery.

M :

It’s been a pleasure,/Rie-san.

R :

Just call me Rie.