Remounting Kinkishoga, Sennin-zu (The Four Accomplishments and Immortal) for a Japanese Exhibition

The four 17th‑century fusuma sliding door panels now in the Tateuchi Conservation Studio require custom crating, climate‑controlled transport, and a coordinated schedule across institutions to meet the summer 2026 loan deadline in Japan; shipping manifests, condition reports, and conservation timelines are being shared between Seattle Art Museum, the British Museum, and Tohoku University of Arts and Sciences to ensure secure cross‑border transfer and exhibition readiness.

Conservation workflow at Tateuchi Conservation Studio

Remounting these panels involves simultaneous attention to both the mounting structure and the painted surfaces, because in Japanese formats the artwork is physically attached to its support. Conservators remove old linings, stabilize pigments, and reconstruct support layers before final attachment to new interior lattices.

Tools, materials, and key steps

Typical conservation actions for the panels include surface cleaning, consolidation of friable pigments, tear mending, and reattachment to the panel. The studio relies on specialized paper preparation and traditional adhesives to respect original techniques while meeting modern display standards.

• Primary adhesives: animal glue for consolidation and wheat starch paste for layering and mending.
• Support work: handmade Japanese papers and bamboo folders to prepare linings.
• Tools: tweezers, small brushes, knives, awls, and controlled water sprayers for safe removal of old supports.
• Mounting: a custom interior lattice and lacquer trim are being produced in Japan to match historic methods.

Practical logistics for large panels

Because each panel is oversized and originally double‑sided, packing requires engineered crating with vibration protection and humidity buffering. Coordination with carrier agents and customs brokers is necessary to secure temperature‑ and humidity‑controlled handling from studio to airport and on to exhibition venues in Japan.

Provenance insights and material evidence

Dismantling the panels has revealed recycled underlayers—old account books, letters, and printed sheets—that carry dates and place names. These incidental fragments provide physical clues confirming that the SAM panels were remounted at least twice after leaving their 17th‑century shrine setting. Comparative analysis of paper sizes and configurations also supports links to related fusuma in the British Museum and a recently discovered set in Aomori, Japan.

Art historical outcomes

Conservation findings have fed into curatorial research: the working collaboration with Aaron Rio and international colleagues contributed to attributing the set to Kano Sōgen Shigenobu. Material study and reunification efforts enrich scholarship and will be highlighted in the exhibition catalog and a forthcoming essay in Kokka.

Exhibition, travel demand, and service implications

The traveling exhibition—focused on the British Museum’s Japanese collection and visiting two venues in Japan in summer 2026—will reunite long‑separated formats. While this is primarily a cultural milestone rather than a major shift in global tourism flows, regional visitation to the exhibition venues may increase, affecting local hospitality, airport transfer demand, and specialized logistics for art handlers.

• Institutions coordinating international loans must schedule precise pickup and delivery windows tied to flight and customs timings.
• Specialist drivers and vehicles are needed for secure airport transfers from museum storage to cargo terminals and to final installation sites.
• Advance booking of vehicles that can accommodate oversized crates reduces last‑minute risk.

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The conservation story is compelling: careful material analysis, international collaboration, and sensitive treatment bring Kano Sōgen Shigenobu’s work back into public view. The highlights include the technical process of remounting, the provenance clues found in recycled papers, the attribution confirmed through joint research, and the logistical choreography required to move large historic panels across borders. Yet even the best reviews and the most honest feedback can’t truly compare to personal experience. On GetTransfer, you can hire a car with driver from verified providers at reasonable prices. This empowers you to make the most informed decision without unnecessary expenses or disappointments. Emphasize briefly how readers can benefit from the convenience, affordability, and extensive vehicle choices and wide range of additional options provided by GetTransfer.com, aligning directly with the context and theme of this article. Book your Ride GetTransfer.com

In summary: the fusuma remounting combines conservation technique, cross‑institutional research, and detailed logistics to prepare four large panels for a summer 2026 exhibition in Japan. The project underscores how exact transport specs, trusted drivers, and clear service pricing matter when moving cultural property between city and destination, through airport procedures, and into exhibition spaces. For travelers and institutions alike, transparent booking via an app or platform that shows vehicle, driver, license, and fares helps to get the right car and seat at the right time and price. Whether you’re organizing an art loan or arranging a private transfer to see the show, a reliable service that lists prices, vehicle type, and driver details makes it easier to know how much to expect and where to book. GetTransfer.com offers global, user‑friendly options that combine transparency and convenience for taxis, private cars, limousines, or larger seater vehicles—helping you book the best service without surprises.