Architectural structures have been significant factors in the preservation of different types of mural paintings. A brief history of the relationship of conservation agencies to wall paintings (in contrast to architectural monuments which are designated national treasures) is given. Few mud wall paintings have survived; conservation of the kaolin-coated mud wall paintings at the kondo of Horyuji was the first Japanese experience of using synthetic resins, and what had begun as a preservation effort <i>in situ</i> became a study in mural transfer due to a fire. Case histories over an approximately 30-year period indicate the improvements in the transfer procedure. The general conservation procedures followed regarding wall paintings on wood panels suggest minimal intervention; an archive of copies of the original paintings is being developed. Screen paintings are susceptible to damage from even slight variations in the environment; public access has been detrimental to their survival, and thus copies are replacing the originals. Repositories are being established to store the originals in a setting resembling the original.