In this box is a traditional oriental hanging scroll.

It had been stored in a poor environmental condition for a long time.

In Japan, Christianity had once been banned.

This woodblock print was made approximately 150 years ago, when the ban was lifted.

"The Last Judgement."

In the Christian religion, it is the last day of the world when God, in the form of the resurrected Christ,

will decide who will be given eternal life and who will go to hell.

This is a depiction of that teaching.

The topknot hair style and kimono
are depicting the people of the Edo period.

Particularly, the Hidden Christians.

This valuable print tells us the realities of Japan during that era.

However, the damages were too extensive to exhibit the artwork.

But now, it has been analyzed and restored using the latest technology.

How was this unique print brought back to life?

I was nervous throughout the project.

Today we will take an inside look at this restoration project,

which has proven to be invaluable for the history of Christianity in Japan.

Hi, I'm Michelle.

Today I am in the city of Nagasaki, located in the western part of Japan.

Until the 19th century, Japan was closed off from the rest of the world for more than 200 years,

and Nagasaki was the only city in Japan where trade with the West was allowed.

As western culture was introduced, it created a different atmosphere from other cities in Japan.

Ever since the 16th century, the Christian population in Nagasaki grew

as a result of the European missionaries.

However, the religion was banned and violently suppressed for 250 years.

Those who secretly defended their faith in the midst of such oppression were called "The Hidden Christians."

Even today, Nagasaki is one of the regions in Japan with the largest number of Catholics.

In Nagasaki, we can find woodblock prints that were made in the late 19th century

to spread the teachings of Christianity.

Recently, a project was undertaken to restore one of the prints,

which is important to the history of Christianity in Japan.

What secrets were discovered in the process of restoration?

Today, we will take an in-depth look at how the restoration was carried out,

with Eiji Mizushima, Director of the Nagasaki Museum of History and Culture.

The Nagasaki Museum of History and Culture features exhibits on Christianity.

The "Annunciation" is an angel's announcement to the Virgin Mary

that she would conceive the Son of God, Jesus Christ.

It was depicted in a unique Japanese style.

It‘s amazing to see so many churches in Nagasaki.

And I understand the Hidden Christian sites in Nagasaki and the Amakusa Region

were registered as a UNESCO World Heritage Site!

There are various museums in Nagasaki
that preserve and and exhibit Christian cultural properties.

During the Christian ban of over 260 years,

many followers disguised as Buddhists
and continued their faith in secrecy.

In 1865, a dozen members visited Oura Catholic Church
and admitted they were Christians.

That event is known around the world
as "The Discovery of the Hidden Christians."

That's really impressive.

Nagasaki is not only home to a large number of Christians,

but it is also characterized by the fact that the faith was passed down through the generations

even as they were practicing in secret during the long period of oppression.

First, let us take a look at the circumstances behind the creation of the print "The Last Judgement."

A monument stands in the heart of Nagasaki.

This is where 26 Christians and missionaries were executed in 1597

for violating the ban against Christianity.

With the exception of a certain period of time, Christianity was banned in Japan until 1873.

The government at the time cracked down on Christianity through measures such as "fumi-e"

where people were forced to trample on images of Christ or the Virgin Mary.

They also encouraged tip-offs.

Followers were condemned to death or exiled.

In the late 19th century, Japan was forced to open its borders to the rest of the world,

and many ships began to arrive from foreign countries.

Churches were built for foreigners living in Japan.

This is the Oura Catholic Church.

One day, a group of about a dozen Japanese individuals came to visit the French priest at the church.

These were people who had been hiding from the government and practicing their Christian faith in secrecy.

They asked the priest, " Where is the Virgin Mary?"

The statue of the Virgin Mary that the priest had pointed to can still be found in Oura Catholic Church.

This is "The Discovery of the Hidden Christians," an event that shocked the world.

During its long ban, Christians disappeared
from Japan except in Nagasaki.

Followers survived by forming secret groups
and converting to Buddhism on the outside.

They endured “fumi-e” by stepping on images,
then seeking forgiveness from God.

There were 20,000 to 30,000 Christians
in Nagasaki at the time.

In 1873, a priest was appointed to Oura Catholic Church.

This is Father Marc Marie de Rotz, a French priest of many talents and skills.

These were his belongings.

Father de Rotz had medical knowledge, and at times, he treated the sick and coached midwives.

Many other tools were also left behind after his death.

Father de Rotz also directed the construction of new churches.

At the time, many Christians lived in poverty.

Father de Rotz not only taught Christian faith,
but also taught the poor how to survive.

How to make fishing nets, pasta, and bread.

He established a vocational training center
to teach the poor how to make a living.

He also took in abandoned babies
and raised them with the community.

In other words, he started
what is now called an orphanage.

In 1930, a valuable discovery was made at the seminary designed by Father de Rotz.

They are commonly called "De Rotz Prints."

The printings vividly depict people being led to heaven and scenes of hell.

Traditional Japanese pigment was used and many are printed for oriental hanging scrolls.

The people being depicted are dressed in Japanese attire.

The production of these prints was also under the supervision of Father De Rotz.

He probably never had time to rest,
because he was working on something new.

His passion, whether farming or medicine,

ultimately led to share the teachings of Christ
with all his heart and soul.

An example of that was woodblock printing.

He didn't teach in an authoritative style,

but devised a way for everyone to understand,
including children and adults.

23 of Father de Rotz's woodblock prints are stored at the Oura Church Christian Museum.

However, they are deteriorating, and some of them, especially those printed in the early 1870's are difficult to even spread out.

The Last Judgement is considered to be one of the early masterpieces of the de Rotz Prints.

This piece was also torn, cracked and covered in mold, making it impossible to put on display.

Pieces were falling off just by unrolling it.
It had to be repaired urgently.

The Oura Church Christian museum launched a restoration project.

They decided to start with "The Final Judgement."

In the late 19th century, the ban was lifted
and people could finally be open about faith.

The cultural properties at that time
are deteriorating.

Some were kept outdoors subject to rain,
wind, typhoons and earthquakes.

Nagasaki has many islands so the properties
endured harsh environments such as salt damage.

That's why we need to restore them.

The restoration was entrusted to Tohoku University of Art and Design in Yamagata City, Japan.

This is the Institute for Conservation of Cultural Property within the university.

Professor Keisuke Sugiyama and Lecturer Won Heejae have many years of experience restoring Japanese paintings.

They will be in charge of the restoration of the "Final Judgement."

First, they started by examining the extent of the damage.

"The Last Judgement" had been made in the unique hanging scroll style.

The type of damage differs from that of Western style paintings.

The two began by writing-out the areas that needed to be restored.

What's particular to scrolls
is the horizontal creases.

Works are often damaged
starting from these folds.

When the damage progresses, cracks appear.
They're shown in green here.

Some scrolls are torn.
It's a very dangerous situation.

Red lines indicate that
the printed paper itself is gone.

Blue marks places where paint is likely
to fall off, fragile areas, or dangerous areas.

In the next step, the paint is analyzed.

They magnified them using this equipment.

Then they analyzed the raw materials of the paint with X-rays.

For instance, take a look at the area with a series of green lines.

We thought the greenish blue was patina
commonly used in Japanese paintings.

Patina causes paper to deteriorate, so I thought
that was the reason for the damage.

But looking under a digital microscope,
we saw a kind of metallic shine.

Then the X-ray analysis revealed
the presence of copper and zinc.

We understood that the green was originally
a shiny, yellowish metallic color, like brass.

The material of the paper was also analyzed, as they needed to replace the damaged areas.

Straw and blue sandalwood were used.

We confirmed it was paper made in China,
widely available in Japan at that time.

Based on this information, we repaired it
using the same drawing paper from China.

The restoration plan had been decided.

The fundamental rule is to not destroy the style of the existing work.

They will not paint over areas where the original paint remains.

For example, the greenish discoloration will be left as is.

They will use paper that's nearly identical to the original.

The print was lined with 3 layers of washi paper.

Because the damage is severe, all 3 layers will be replaced.

In addition, another layer will be added for reinforcement.

This is a very beautiful tatami room.

What kind of space is this?

This is a recreation of
what was once a Nagasaki Magistrate Office.

In the time when Christianity was banned,
this was the base for policing Christians.

I see.

Now going back to the main topic, So, there needs to be lots of analyzing and lots of research to be done

before any restoration can be started.

That's right. It is also necessary to determine
whether modern materials could be used.

Even if the paint were available, it's important
to figure out what techniques to use.

Restoration cannot be achieved without examining
the spirit and background of the period.

It is necessary to know why that particular
technique, color and material were used.

Now, finally, here is how "The Last Judgment" was restored.

This is the actual restoration procedure.

First, 2 layers of back lining are removed.

Then, the paper is treated with deionized water to remove residue.

They repeat the process of dampening the artwork.

Then using another sheet of paper, the water is absorbed.

Next, 4 layers of paper are applied to the front.

This is done so that the surface of the print will not be damaged when the last layer of the back lining is removed.

The remaining back lining is carefully peeled off.

Next, the paper is repaired.

They apply paper of the same material from the back to areas that are torn and missing.

This process involves placing paper
on the back over the missing area.

The paper we place is slightly larger
than the damage.

We shave off the extra parts
and keep only the minimum amount.

In addition, they also put displaced paint back to where it belongs.

A new layer of the first lining is applied.

It is firmly secured with strong adhesive glue.

Next, a new layer for the second lining is applied.

During this process, the paper that had been placed on the front for reinforcement is removed.

Creases are prone to damage.

Thin strips of paper is applied from the back in these areas for reinforcement.

Finally, it's time to add paint to the areas where the pigment is missing.

This was a shiny area where brass was originally used.

In the restoration, however, brass will not be used.

Rather, 3 colors are mixed to create a color that's close to the current condition.

Because of the delicate nature, we had the team reenact the process.

The diluted paint is applied over and over to get the desired color.

Why did they not use brass as in the original print?

If the repaired areas look shiny and new,
they would look out of place.

Your eyes will be drawn to the shine
rather than the original work itself.

We won't use brass,
just because it was originally used.

Instead, we chose a yellowish color
that matched the present atmosphere.

Pieces of cloth are attached around the print on the front.

Being used is the original cloth that had been repaired.

The 3rd and 4th layers of lining are applied to the back.

Weak adhesive glue is used.

It is pounded with a hard brush, made from the branch of a hemp palm.

Flexibility is important for scrolls
because they are rolled up and stored.

That's why we have to use
weak adhesive glue.

To compensate for that weakness,
we pound it down with a brush.

This completes the restoration of "The Last Judgement."

Now, let's compare the work before and after restoration.

The green discoloration at the top was left untouched so as not to destroy the present image.

The Last Judgement, previously torn and faded, has now been beautifully restored.

When I am working on a restoration,
I face the work up close for many days.

During this process, I felt like I was talking
to people who lived 100 or 200 years ago.

This is truly the most exciting
and enjoyable part of restoration.

That is how I felt during the restoration
of the Last Judgement.

The Christian Museum which houses many of the De Rotz prints,

is funded by Oura Catholic Church's admission fee, thus has limited financial resource.

The restoration of other works has yet to be undertaken.

Restoration is costly, so the museum
should promote the value of De Rotz's works

and seek support from more people.

A museum's mission is to collect valuable objects
and exhibit them to the public.

That is, so to speak, the official front.
But actually, there is another important role

which is conserving and restoring the objects.

This is not well known to the public.

Restoration is fundamental, but it's costly
and there's a lack of skilled technicians.

Museums need to keep a good balance
of its official role and the hidden role.

To do so, we need to change our mindset
and think of restoration as a social cost.

There are countless cultural properties worldwide
that need to be restored.

We should improve our techniques by working
with our neighbors in China and Korea.

We brought you today's episode of Science View from Nagasaki,

one of the cities in Japan with a deep connection to Christianity.

Going back in history, you will find that it has had its share of difficult and tragic times.

And for those who have secretly kept their faith,

the joy of coming in contact with these prints must have been very moving and profound.

The restoration of cultural properties plays an important role in passing on such precious history to the future.

And it should be our mission to preserve the assets for the generations to come.