Bangladesh / Cambodia

20

2018

The Twentieth Regular ReportIndonesia / Maldives

ACCU Nara International Correspondent
The ACCU correspondents periodically send reports on cultural heritage protection activities in which they have been
recently involved. This is a collection of nine reports submitted by international correspondents in the Asia-Pacific region.

The Twentieth Regular Report
Contents
Bangladesh

1Mst. Naheed Sultana
Mangalkot: A Significant Archaeological Site of Bangladesh

Cambodia

4

Vitharong Chan
The Emergency Conservation of Octagonal Towers in Prasat Yeay Poan, Sambor Prei Kuk
Archaeological Site

Indonesia

8

Dewi Puspito RiniReconstruction of Defense Bunker at Cagar Alam Hill, Pangandaran Regency, West Java Province,
Indonesia

Maldives
Shiura Jaufar
Documenting the Endangered Heritage of the Maldives: Maldives Heritage Survey Project10

Mongolia

12

Munkhtulga Rinchinkhorol
Protection and Preservation of Settlement Sites in Mongolia

Nepal

17

Suresh Suras Shrestha
Rehabilitation: Bauddha Stupa after the Nepal Earthquake 2015

Pakistan

23

Tahir Saeed
Activities of the Department of Archaeology and Museums for Digital Documentation of Cultural
Heritage in Pakistan

Philippines

28

Louella Solmerano Revilla
San Sebastian Basilica: A Formidable Edifice of Faith

Sri Lanka
D.A. Rasika Dissanayaka
Conservation Project Development in the Department of Archaeology, Sri Lanka

37

Bangladesh
Bangladesh

Mangalkot: A Significant Archaeological Site of Bangladesh
Mst. Naheed Sultana, Regional Director
Department of Archaeology, Ministry of Cultural Affairs
Mahasthangarh (the ancient capital city of Pundranagara)
is situated in the village of Mahasthan, 12 km north ofBogra town and on the western side of the Karatoya Riverand to the north of the Dhaka-Rangpur highway. It issurrounded by the Karatoya River to the east and a moaton the other three sides. The massive mud and brick-built
citadel measures about 1500 m N-S and 1350 m E-W andhas an average height of 5 m from the surrounding level.
The ancient archaeological site Mangalkot (24°57´23"N89°19´37"E) is situated at the northern end of the village
Palibari under Namuja union of Bogra Sadar Upazila. It is
about 1.25 km west of the ancient Pundranagara or
Mahasthan citadel. The other three sides are surrounded
by a bil (marshland) known as Likara bil. The site measuresabout 70 m N-S and 30 m E-W (0.21 hectare), with a heightof 5 m.
This mound was largely destroyed by miscreants in 1974.
Subsequently, the Department of Archaeology conducted
an archaeological excavation in 1981 and it was continued

The Bogra district shown on a map of Bangladesh

Mangalkot and Pundranagara with other sites

1over the next three years under the supervision of Md.
Shafiqul Alam and other scholars. The ruins of two
important temples have been discovered from the
excavations and nearly 1000 large-sized broken terracotta
sculptures, ornamental bricks, stone beads and terracotta
oil lamps etc. have been collected from the deposited
cultural accumulation.
Of the two unveiled temples, the main prayer chamber ofthe larger temple is approximately square in shape and themeasurement of its Garvagriha (main prayer chamber) is
4.3 m (N-S) and 3.8 m (E-W). The Garvagriha is enclosedby the north, south and west walls. The eastern wall has
not been traced at the excavation.
The measurement of the Garvagriha of another temple is5.02 m (N-S)×5 m (E-W). It is surrounded by two layers ofbrick walls which were built 1 m away from each other.
One meter-wide spaces were used as circumambulatory
passages for the temple. From the excavation, 16 building

Archaeological sites of the Bogra district

The ancient archaeological site Mangalkot

The existence of a huge number of terracotta sculptures ina small space of the temple area is surprising. The
sculptures were collected from the eastern part of themound. It is usually flooded in the rainy season and damp
conditions exist for the remainder of the year. So, therecovered sculptures were found in a very bad condition
during the excavations. Among the sculptures, enormous
female heads with serpent hoods are noteworthy. In
addition, different parts of bodies, legs and upper parts offigures have also been unearthed. The insides of the
sculptures are hollow and empty. Each head features one
or several serpent hoods, which is very significant.
Serpent hoods are found on the Nag Goddess of Hinduism
as well as on the head of the Jangulee Goddess of
Buddhism. Basically, the worship of Nag Devi wasconventional practice of the non-Aryans. Subsequently,
the Aryans received some religious practices from nonAryans. This type of worship is one of them. The worshipof Manasa Devi was very famous in Bengal from the 8th
century CE. Most of the sculptures with serpent hoods arefemale figures. Indeed, a few male figures have crowns on
their heads. The general features of these male and female
sculptures are beautiful faces, broad eyes, thin and tallnoses, developed cheeks and thick lips. Besides, the very
beautiful face of the female sculptures and well-developed
breasts, and the beauty of other organs are very compatible
and indicative of the developed art and culture of Bengal.
The sculptures are seated on a half circle, rectangular or
square pedestal and one leg is folded on the seat and otheris seen hanging. The sculptures are depicted holding fruitin one hand and a bird in the other. Their hairstyles are ofdifferent types and very nicely decorated, and ornaments
include air rings, necklaces, bangles and waist ornaments.

Bangladesh

levels have been traced, of which four are major of them.
The foundation of this temple includes a number of largesized terracotta sculptures which were unearthed.
Moreover, a 24 meter-long and 1.4 meter-wide brick wallon the edge of an ancient road was discovered to thesouth of the site and another square-sized room was also
unveiled. Every arm of the sculptures is 1.8 m long andsome separate walls were built on the huge number ofdeposited broken terracotta sculptures. It is very difficult
to provide a proper explanation of this kind of exclusive
and significant occurrence. This special type of arrangement
was probably used for sacred purposes and for this reason
these early period sculptures were preserved underneaththe foundation of a later period construction. Of the 16
building levels, most of the terracotta sculptures and otherantiquities were recovered from layer 9-11. Of the broken
female and male sculptures, various types of animals werealso discovered.

These special types of terracotta sculptures are not foundat any other archaeological site in Bangladesh. Yet thedeveloped bodies and ornamentation of these sculptures
are comparable with North Indian culture. This sort ofaesthetic culture was created in the later period of the
Gupta Empire, between 320 and 550 C.E.
References
Ahmed, N. 1979. Mahasthan. Dhaka: Bangladesh Govt.
Press.
Ahmed, N. 1997. Mahasthan Moynamati Paharpur. (inBengali) Dhaka: Bangladesh Govt. Press.
Alam, M. S. 2007. Nomination of Mahasthan and its Environ
for Inclusion on the UNESCO World Heritage list,
Bangladesh (unpublished).
Ali Mohammad and Swapan Bikash Bhattacharjee, 1986.
Archaeological Survey of Bogra District. Dacca: Directorateof Archaeology and Museums.
Misser, K. M. 2007 (Reprinted) Bogurar Itikahani(Brikatlara Bogura zilar Itihash, 38/2-Ka Bangla Bazar,
Dhaka 1100.
Sen. Probhas Chandra. 1929. Mahasthan and its Environs.
Varendra Research Society Monograph no.2. Rajshahi:
Varendra Research Society.
Zakaria, A.K. M. 1984. Bangladesh Pratnasampad (inBengali) Dacca. Bangladesh shilpakala Academy), Divga
Prakash, 38/2ka, Banglabazar, Dhaka. 1100.
** The maps were prepared by Md. Abusaid Inam Tanvirul,
Custodian, Rangpur Tajhat Palace Museum, Department ofArchaeology.

Broken terracotta figures recovered from Mangolkot

2

Bangladesh
Terracotta heads recovered from Mangolkot

Terracotta heads recovered from Mangolkot

Broken terracotta figures recovered from Mangolkot

3Cambodia
Vitharong Chan, Director
Department of Site, Archaeology and Conservation, National Authority for Sambor Prei Kuk, Ministry of Culture and Fine Arts
1. Introduction
Sambor Prei Kuk assumes unique importance in Khmer
and Southeast Asian architectural history, as well as having
a special place in the global history of architecture. The
surviving octagonal temples, which are a distinct adaptation
with an Indian influence, introduces and translates itself in

Cambodia

The Emergency Conservation of Octagonal Towers in Prasat Yeay Poan, Sambor Prei Kuk
Archaeological Site

to new aesthetic forms that were manifested at the end of
the 6th to early 7th centuries CE, known by thenomenclature as “Sambor Prei Kuk Style.” The site is amajor Shivaite complex in the early of the Chenla Dynasty(early 7th century). Sambor Prei Kuk was designated as a
World Heritage Site on 8th July 2017.

The map of Sambor Prei Kuk Archaeological Site.

2. Past Actions
In the early 1990s, the Ministry of Culture and Fine Arts
(MCFA) began clearance activities in this Group with somepreventive actions such as filling in the illegally excavatedcentral area in each tower. In addition, the Sambor Prei
Kuk Conservation Project (cooperation between MCFA
and Waseda University) took conservation measures forthe interior pedestal arrangement within S1 and S2 towers,
and S17-1 mandala.
Since 2000, the MCFA and the newly-formed National
Authority of Sambor Prei Kuk (NASPK) have monitored
and provided rudimentary emergency support for these
five octagonal towers, and for S2 tower after it collapsed(see Report vol. 13/2014: 8-9). However, there is still theunknown but obvious danger of degradation and collapse,
at which time they will become just a footnote in history.
Due to the risks associated with the towers and their global
outstanding universal value, this proposed project is a vitalstep in preserving cultural heritage from danger and forthe enjoyment of future generations.
Very recently, the MCFA implemented much needed
emergency projects for some brick temples in the south ofCambodia and Sambor Prei Kuk (see Reports vol. 16/2016:

5-8 & vol. 17/2017: 8-14). However, this is still a very
limited number of works compared to the number oftemples which are in danger in Cambodia, particularly in
Sambor Prei Kuk.
3. Aim of ProjectThis project will comprise an intervention for five octagonal
towers and their artwork in Prasat Yeay Poan (known as
the Southern Group) as part of a much larger protection,conservation, and restoration effort. In terms of thesustainability of conservation, this project is significant for
the future. The project will introduce the opportunity to
educate the next generation of restoration specialists andconservation scientists under the direct supervision of
specialists. This initiative will provide on-site practicalexperience. It is intended that the project participants will
gain a more comprehensive understanding of ancient
Khmer construction techniques and materials through onsite research and restoration of these towers and artwork
without compromising authenticity, enhancing sustainable
development of the communities surrounding the site, andeducational outreach. This project has been planned andwill be implemented by the Department of Site,
Archaeology and Conservation of NASPK.

4

Cambodia

A. Conservation of S11 Tower
The S11 tower is an octagonal tower where conservation
activities by NASPK are currently (2018) in progress. In
2006, the MCFA team installed a temporary cabling harness
to reinforce the cracked wall structure. After monitoring
the structure, in 2011, MCFA decided to enhance thesupported structure with a roof covering. The lessons
learned and elements that have been identified as risks ofvarying degree will be applied to the emergency
conservation of other towers and used to base conservation
requirements on. As new risks are identified they will beprioritized and incorporated into the project plan of each
tower. Conservation efforts based on current risk analysis
knowledge may include wire restraints, and wooden
propping, shoring and bracing. This is the first in a series
of interim actions to ensure temple longevity. The technicalteam will evaluate the risks of each temple in advance
before starting the data survey and risk mapping.
B. Preservation of Wall Decorations
Impressive decorative elements can degrade and disappear
due to several causes such as: the ages of the materials andstructure, damage from natural causes such as vegetation
and rainwater, construction techniques, and man-induced

activities.
Many of the brick temples have various carvings on theirexterior walls, including 142 ‘flying palaces.’ Flying palaces
are given priority for preventive action. They are unique toSambor Prei Kuk-style architecture. Additionally, otherunique decorations, such as kudu which are attached tothe temple, also fall into the category of wall decorations
requiring preservation.
4. Outcome of the Project
The extended effects of this project will lead to a longterm framework of sustainability in the safeguarding,preservation and conservation of the monuments in the
Sambor Prei Kuk. We will also contribute to an increasein trained human resources that will be available for future
activities, and for the continuation of work on otherimportant sites. Moreover, the project will provide asource of employment and training for inhabitants of thelocal communities in the Sambor Prei Kuk environs. This
activity is essentially the act of saving the Outstanding
Universal Value of unique architecture and its aesthetic
forms built from the end of the 6th to the early 7th centuries
CE, so that it can be enjoyed by future generations.

Master Plan of Prasat Yeay Poan, Southern GroupThe state of conservation of the five octagonal towers in Prasat Yeay Poan

5

Cambodia

The high risk conditions selected from the risk map of S11 tower

Photoscan images of elevations of the S11 tower before restoration

Example: The ‘flying palace’ wall carving of S8 tower and its state of conservation (left & middle: before; right: after)

6

Cambodia
Example: The kudu carving of S10 tower and its state of conservation (left: before; right: after)

Some activities in the conservation works

Remarks: This report is part of the conservation works
which are being carried out by the Department of Site,
Archaeology and Conservation, National Authority for

7

Sambor Prei Kuk. Most of the photos in this report weretaken during the conservation period by members of the
project team.

Indonesia
Dewi Puspito Rini, Archaeologist
Heritage Conservation Office of Banten under the Ministry of Education and Culture
Pananjung Nature Reserve Area in Pangandaran Regency,
West Java Province contains cultural heritage structures
which are spread over several locations. Some of them thatstand out are the Japanese defense buildings in the form of
bunkers, dungeons and defensive trenches. The Japanese
defense buildings in Tanjung Pananjung, Pangandaran arelocated on three hills, one of them being Cagar Alam Hill.
On this hill there are basements, bunkers, and trenches.
One of the bunkers is located outside the Pananjung
Nature Reserve, but is still in Cagar Alam Hill. This bunker
is privately owned.
On September 7, 2016, the bunker was dismantled by theland owner, who planned to build a shophouse. According
to the landowner, the demolition occurred due toignorance of the fact that the bunker was a cultural heritage
structure protected by law and was listed on the reserve
inventory list of Balai Pelestarian Cagar Budaya Banten.
Following up on the demolition, Balai Pelestararian Cagar
Budaya Banten sent a letter to the landowner in order tostop the activity and immediately conducted a study toassess the impact of the demolition. After BPCB Banten
and the landowner discussed the demolition of the bunker,
the owner finally agreed to follow the recommendations
and directions from BPCB Banten to reconstruct the
bunker. The scope of the supervision was that the damaged
bunker would be reconstructed to restore it to its originalstate, i.e., what it was like before the demolition. The
initial form of the bunker prior to dismantling was to berestored to its original state by prioritizing the principles ofmaterial authenticity, workmanship, and layout, reusing
the rest of the reusable material, as well as the use of newmaterials as a substitute. This activity was conducted from
May to June 2017.
Reconstruction of the bunker through several stages asfollows:
1. Cleaning
Cleaning was done to reveal the bunker material thatremained covered. This activity was carried out by theowner by picking or cleaning up the remains of the bunker
covering the center or part of the remaining bunker wall.
The materials from the cleaning were collected near the
bunker then sorted into materials that may still be used toreconstruct the bunker, especially relatively intact stones.
The constituent materials that could still be used inconstruction of the bunker were iron and stones.
2. Reconstruction
Reconstruction began with reinforcement of the bunker aswell as protection of the hillside below the bunker area on
the northern and eastern sides of the bunker. The
reinforcement was to be done in the form of an

Indonesia

Reconstruction of Defense Bunker at Cagar Alam Hill, Pangandaran Regency, West Java
Province, Indonesia

embankment or awning with a pair of split stones startingfrom the bottom to the top of the hill parallel to the groundsurface. Installation of the embankment was to be done
because the landowner had constructed a garage at thebottom of the hill, and there was a need to avoid landslides
from the top of the hill where the bunker is located.
Reconstruction included:a. Depiction
After cleaning, the more visible part of the bunker wasdamaged but still intact, but it was also possible to measure
the volume of the damaged bunker. To know the size ofthe bunker more clearly, certain drawing activities weredone.
b. Installation of framework
Next, installation of a framework using a board that wasadapted to the shape and size of the bunker was done.
The use of this board was based on observations andcomparisons with other bunkers in the Pananjung Nature
Reserve. The framework used board that had been
mounted on the ceiling of the original bunker .
c. Installation of iron construction
The addition of iron to some parts of the bunker wasallowed because the addition was only minor, and only on
the northern wall of the bunker. The installation was doneby using an iron wire bond without rings.
d. Casting
After installation of the framework and iron construction,
and ascertaining its strength, the process continued withcasting using the remaining materials that could still be
used plus new materials that matched the old material.
The concrete comprises a mixture of cement, sand, andgravel with a ratio of 1 part cement, 2 parts sand, and 3
parts gravel.
e. Demolition of framework and finishing
Demolition of the framework was done about one monthafter casting the concrete, followed by finishing, which
comprised repair of parts of the bunker. All parts of the
bunker were fixed so that the shape and size of the bunker
were in line with the original.
The reconstruction process was carried out by the ownerof the bunker using construction workers. The bunker
reconstruction was supervised by a team from BPCB
Banten with the aim that the reconstruction activities were
to be carried out in accordance with the rules of restorationof cultural heritage buildings. In addition, this supervision
was to ensure that the owner reconstructed the bunker inaccordance with the recommendation of the Heritage
Preservation Office of Banten (BPCB Banten).

8

Indonesia
Concrete reinforcement assembly

Wall framework installation

Details of wall framework and concrete reinforcement

Sand and gravel for making the concrete

The result of the bunker reconstruction

9

Maldives
Maldives

Documenting the Endangered Heritage of the Maldives: Maldives Heritage Survey Project
Shiura Jaufar, Archaeologist
Department of Heritage, Republic of Maldives
The small island nation of the Maldives has a rich history
comprising a number of previously undocumented
archaeological sites belonging to the Buddhist and Islamic
periods that are scattered across the country’s atolls. Dueto its location in the midst of the ancient Indian Ocean
trade route, it served as a rather crucial transit point. The
country was thus influenced by people from various partsof the world who frequently visited the islands along with
their trade goods. Their influence on the people, history
and culture of the country can still be seen today. However,
the archaeological record of this history today faces serious
human and environmental threats and lacks proper
documentation.
With the aim of addressing this dire situation, a two-year
pilot survey project was launched earlier this year by Dr.
Michael Feener, Sultan of Oman Fellow at the Oxford
Centre for Islamic Studies. With funding from Arcadia andadditional support from the Earth Observatory ofSingapore, the project is being carried out in partnershipwith the Maldives Department of Heritage. The project
team consists of Principal Investigator Michael Feener
along with Co-Investigator Patrick Daly and a survey teamwith members from Aceh, Indonesia and the Maldives(including staff from the Department of Heritage) — withadditional expertise contributed by Michael Frachetti ofWashington University in St. Louis and Paula Levick at
Oxford.
The major aim of the project is to systematically inventory
and document the endangered tangible cultural heritage in
the Maldives including “mosques, Muslim grave markers,
the remains of Buddhist ritual sites and other historicalstructures and physical objects. This is being done throughdigital photography, 3D terrestrial scanning, and GIS tocreate an open-access online heritage database” (Feener
and Daly 2018). During the survey the project also aims to
document and evaluate potential threats to cultural heritage
from both natural and human factors that can contribute toa heritage management plan for the Maldives. The projectwill also “train a local unit in the Maldives in heritage
survey, field methods and documentation techniques,
heritage management and conservation, and environmental
issues, as well as provide a foundation for academic output
on the changing history and environment of the Maldives,and its role within wider Indian Ocean maritime trade
networks, based upon data collected” (Feener and Daly
2018).
The project will be divided into various phases over the
two-year period and the team will be visiting several atollsin the Maldives for the surveys including the capital Male’— central Maldives, Laamu, Fuvamulah and Addu Atolls insouthern Maldives and Haa Alifu and Haa Dhaalu Atolls in
the north. Other areas of potential prominence will also be
surveyed depending on the progress of work in the field.

Fig. 1: Map of Maldives with survey areas circled(Photo credit: www.bizbilla.com)

10

Maldives

The project website includes a fieldwork blog where
updates can be followed (Feener 2018).
Over recent months, the first phase of the project has
focused on Laamu Atoll, where 43 islands have beensurveyed to date, in the course of which a total of 74 sites
with 196 structures, 1183 gravestones and 33 small objects
have been documented. These sites have included coralstone mosques, cemeteries, and three large Buddhist ritualcomplexes (Feener 2018). A number of small pre-Islamicstatues have also been recorded, including two pieces
recovered during construction work carried out to expanda mosque on Isdhoo Kalaidhoo. After the Ramadan break,the team resumed its fieldwork involving conducting

Fig. 2: Field team for season one(Photo credit: http://maldivesheritage.oxcis.ac.uk/)

Fig. 4: Recording pre-Islamic statues(Photo credit: http://maldivesheritage.oxcis.ac.uk/)

11

systematic surveys of the largely uninhabited islands of thewestern rim of Laamu atoll (Feener 2018). The
documentation of the sites surveyed are now being
processed for entry into the database, which will be madeavailable with open access later this year.
References:
Feener, Michael (2018) Maldives Heritage Survey, [online]
Available at: http://maldivesheritage.oxcis.ac.uk [Accessed
29th August 2018].
Feener, Michael and Daly, Patrick (2018) Maldives Heritage
Survey [unpublished proposal].

Fig. 3: Recording tombstone inscriptions(Photo credit: http://maldivesheritage.oxcis.ac.uk/)

Fig. 5: Meeting with relevant authorities(Photo credit: http://maldivesheritage.oxcis.ac.uk/)

Mongolia
Munkhtulga Rinchinkhorol, Researcher
Institute of History and Archaeology, Mongolian Academy of Sciences
The ancient settlements in the territory of modern Mongolia
were first studied by a mission from the Imperial Russian
Geographic Society in the 1870s [Tseveendorj et al. (2007)2014: 325]. By the mid-twentieth century, thanks to the
independence and modernization of the country,
Mongolian archaeologists began to study Early andMedieval Ages settlement sites through a variety ofacademic disciplines [Perlee (1961) 2012: 146]. Now, morethan 400 settlements of various types from the Neolithic
period to the Medieval Ages have been registered.
Between September 25 and October 10, 2017, within thescope of the national project, “The roles of the Inner Asian
pastoral nomads to the development of the Silk Road,” wecarried out archaeological documentation work at 57
cultural heritage sites in Central and North Central
Mongolia [Enkhtör et al. 2018: 19]. Most of these sites show
traces of urban life in the Early and Medieval Ages in
Mongolia, the heartland of the Inner Asian pastoral
nomads, including walled cities, walls, craftsmen towns,
military towns, palaces, etc.
In this way, we also redefined the state of protection of the
Early and Medieval settlement sites in the aforementioned
areas.
Karakorum
As mentioned many times in the medieval sources,
including travelers’ notes, historic annals, inscriptions, etc.,
the question about the location of the Karakorum, therenowned capital of the Mongol Empire, has long attracted
historic and archaeological investigations. The ruins ofKarakorum are now included in The Orkhon Valley
Cultural Landscape, which was inscribed on the UNESCOWorld Heritage List in 2004 [Decisions 2004: 37; Tüükh
2017: 147]. In 1995-1996, the Mongolian-Japanese Joint
Expedition conducted by UNESCO made a full topographic
map of the ruins of Karakorum. Based on this map, theexpedition members defined the protection zone of thecity and enclosed the zone with a fence made of wooden
posts and barbed wire [Bayar (2002) 2013: 119; Bayar(2002) 2013b: 125].
It should be noted that the center of Kharkhorin soum,Övörkhangai aimag has already endangered the area of
Karakorum from the late 1950s [Bayar / Erdenebat (2003)
2013: 396-397]. At the same time, a state farm wasestablished there, which ploughed over the ancient
settlement areas in Orkhon valley, including Karakorum,
Karabalgasun, etc. The Kharkhorin state farm established acemetery at the northern part of the ancient Karakorum
and reused its stone monuments and bricks for modern
graves. Besides the agricultural structures, many buildings
were also constructed at the ruins of Karakorum [Bayar/
Erdenebat (2003) 2013: 397].

Mongolia

Protection and Preservation of Settlement Sites in Mongolia

The area of the ruins of Karakorum, one of the mostimportant cultural heritages of Mongolia, was almost
entirely abandoned after the long-term academic activitiesof the Mongolian-German Joint Archaeological Expeditions
at the Karakorum sites between 1999 and 2015. The local
authorities and cultural organizations have still not paid
attention to the Karakorum protection zone, even though
it is the most-visited cultural heritage site in Mongolia. The
urban center of Kharkhorin soum is now extending day by
day and its population is still growing organically, evenfaster than in the 20th century. The fence of Karakorum,
the only sign of the protection zone, is now being
destroyed by the local people, who want to use its posts
for firewood (Figs. 1 and 2). Recently, the local authorities
began to give permission for land use on the southeast,
east and northeast sides of the protection zone of
Karakorum and some cultural heritage sites outside thezone (Figs. 3-6).
To the west of a large millstone at the eastern part of theruins of Karakorum, there is a hole which was mostprobably dug by looters in September 2017 (Figs. 7 and 8).
There were small cattle bones, wood charcoal and logs on
the mound, which was piled with earth from the hole(Figs. 9 and 10). Many fragments of luxury Chinese
porcelain were in front of the hole (Figs. 11 and 12). It canbe concluded that these are traces of the looting of an
unusual hoard of Yuan period luxury porcelain.
Complex on Melkhii Tolgoi Hill
On the top of a hill to the south of the center of Kharkhorinsoum, there is a turtle-figure stone statue, forming the baseof a stele (Fig. 13). This hill is called Melkhii Tolgoi (literally‘Turtle Hill’). A memorial complex, which includes theturtle-figure stone statue, is dated to the Uighur period(Fig. 14). Both the inner and outer walls of the Melkhii
Tolgoi memorial complex have become a road for visitors’
vehicles (Figs. 15 and 16).
Kha Khul Khagan’s city
Ruins of a Mongol Empire (perhaps early Yuan) period
city are located to the south of the Khanui river, several
kilometers southwest from the center of Erdenemandal
soum, Arkhangai aimag. Some walled building complexes
in the northeastern district of the city have been destroyed,with a water canal passing from the Khanui River to theeast through the ruins (Figs. 17-19). The biggest complex
in this district is similar to the Yuan period temple complex
called “The Pavilion of the Rising Yuan” in the southwestern
district of Karakorum city.
Tsagaan Süm 1
A Uighur period settlement called Tsagaan Sümiin Balgas
is located on the east bank of the river Tsagaan Sümiin Gol
in Khotont soum, Arkhangai aimag [Enkhtör 2015: 58]. The
northern end of the east side of the 5-6 meters high main12

Mongolia

wall of the palace complex in this settlement has collapsed
due to natural factors, particularly caused by livestock
such as horses and yaks (Figs. 20 and 21).

suggested that uncontrolled tourist activities have also
impacted the preservation of the finds of settlement sites in
Mongolia.

Tsagaan Süm 2
There is a small rectangular earthen wall to the southeastof Tsagaan Süm 1. Inside the wall there is garbage that has
been dumped by the nearest tourist camps (Fig. 22).

All the above examples show that the present state ofprotection and preservation of settlement sites in Mongolia
requires decisive change.

Talyn Dörvöljin
A Uighur period earthen wall is located to the north of thecenter of Kharkhorin soum, Uvurkhangai aimag. This
early wall is now full with modern graves (Fig. 23). On thesouthern side of the wall, there is even seen a human skull(Fig. 24).
Tsogtyn Tsagaan Baishin
This is part of the temple complex consisting of six
monasteries built by Tsogt Taij (1584-1637) and his mother
Queen Madi Taiqal from 1601 to 1617. It is situated to thewest of the Tuul River in Dashinchilen soum, Bulgan
aimag. Tsogt Taij, who was a famous Khalkha Mongolian
poet and a contributor to the “Red Hat” sect of Tibetan
Buddhism, also erected a stele with Mongolian and Tibetan
inscriptions near his Tsagaan Baishin (literally ‘WhiteHouse’), after its construction was completed [Budsuren
2011]. The poorly-preserved wall of Tsagaan Baishin wascarved with numerous modern inscriptions that were
written by visitors (Fig. 25). In summer 2017, a room of themonastery was dug up and many color-glazed clay
decorations from the building were revealed and were left
at the site (Fig. 26).
It should also be noted that at the palace sites of theMongol Empire period, such as Khar Khul Khagan’s city,
Doityn Tolgoi and Erchü city of Möngke Khagan (12081259), we could find only a few small pieces of the greenglazed roof tile, a symbol of Khagan’s palace. Dr. Enkhtur
told us that ten years ago there was a sufficient number ofpieces of this green-glazed roof tile. Therefore, it can be

Fig. 1: Remains of the fence of the Karakorum protection zone in October
2017

13

References
Bayar (2002) 2013a – Д.Баяр. Орхоны хөндийн түүх соёлын
дурсгалын үнэ цэнэ, ач холбогдол. - Д.Баяр. Монголын
Дундад Зууны археологийн судалгаа. II боть. Уб.: 118-123
Bayar (2002) 2013b – Д.Баяр. Хархорум хотын судалгаа. Д.Баяр. Монголын Дундад Зууны археологийн судалгаа. II
боть. Уб.: 124-129
Bayar / Erdenebat (2003) 2013 – Д.Баяр. Их Монгол улсын
нийслэл Хархорум хотыг археологийн талаар судалсан
нь. – Д.Баяр, У.Эрдэнэбат. Монголын Дундад Зууны
археологийн судалгаа. II боть. Уб.: 385-408
Büdsüren 2011 – Д.Бүдсүрэн. Цогт хун тайжид холбогдох
түүхэн баримтын судалгаа. Уб.
Decisions 2004 – Decisions Adopted at the 28th Session of
the World Heritage Committee (Suzhou, 2004). Paris
Enkhtör 2015 – А.Энхтөр. Цагаан сүмийн балгас баУйгурын хотын онцлог. – Этүгэн эрдэм шинжилгээний
бага хурлын эмхэтгэл. Уб.: 58-64
Enkhtör et al. 2018 – А.Энхтөр, Р.Мөнхтулга, Т.Батбаяр,Л.Мөнхбаяр. “Торгон замын хөгжилд Төв Азийн
нүүдэлчдийн гүйцэтгэсэн үүрэг” суурь судалгааны сэдэвт
ажлын хүрээнд 2017 онд гүйцэтгэсэн археологийн хээрийн
судалгааны урьдчилсан тайлан. Уб.
Perlee (1961) 2012 – Х.Пэрлээ. Монгол Ард Улсын эртдундад үеийн хот суурины товчоон. – Д.Пэрлээ. Бүтээлийн
чуулган. I. Уб.: 138-253
Tseveendorj et al. (2007) 2014 – Д.Цэвээндорж, Д.Баяр,У.Эрдэнэбат. Монголын эртний хот суурины судалгаа.
Д.Баяр. Монголын Дундад Зууны археологийн судалгаа.
III боть. Уб.: 324-360
Tüükh 2017 – Түүх, соёлын үл хөдлөх дурсгалын лавлах.
Уб.

Fig. 2: Remains of the fence in August 2018

Mongolia

Fig. 3: Ruins of the Karakorum city. From the northFig. 4: Ruins of Karakorum. From the southeast

Fig. 5: The recently cultivated area of the ruins. From the northwest

Fig. 6: Endangered craftsmen’s quarter along the modern canal, to thesoutheast of the soum center. From the east

Fig. 8: The hole and a millstone. From the west

Fig. 7: A looters’ hole at the ruins of Karakorum. From the northFig. 9: Wood charcoal from the hole14

Mongolia
Fig. 10: Fragments of Chinese porcelain from the hole.
From the southwest

Fig. 11: Fragments of Chinese
porcelain from the hole. Fromthe south

Fig. 13: A turtle-figure stone statue on the Melkhii Tolgoi Hill

15

Fig. 12: Fragments of Chinese porcelain from the holeFig. 14: The memorial complex on the Melkhii Tolgoi Hill. From the south

Fig. 15: The western side of the inner wall of the complex. From the south

Fig. 16: The western side of the outer wall of the complex has become a road.
From the west

Fig. 17: Ruins of Khar Khul Khagan’s city and a water canal. From the northeast

Fig. 18: Ruins of Khar Khul Khagan’s city and a canal. From the northMongolia

Fig. 19: The canal. From the east

Fig. 20: The southwest corner of the wall of Tsagaan Süm 1. From thenortheast

Fig. 21: The northern end of the eastern side of the main wall of the palace
complex. From the northeast

Fig. 22: The northern side of the wall of Tsagaan Süm 2. From the southeast

Fig. 23: A modern cemetery at the Talyn Dörvöljin site

Fig. 24: The southern side of the wall of Talyn Dörvöljin. From the east

Fig. 25: Western wall of Tsagaan Baishin

Fig. 26: Color-glazed clay decorations of Tsagaan Baishin

16

NepalNepal

Rehabilitation: Bauddha Stupa after the Nepal Earthquake 2015
Suresh Suras Shrestha, Under-Secretary (CAO) /Head
World Heritage Conservation Section, Department of Archaeology, Government of Nepal
1. Introduction
Bauddhanath, the largest stupa in Nepal, lies about 8 km
away from centre of Kathmandu. The stupa is also known
as Khasti Chaitya, Khashau Chaitya, Khasto Chaitya
and Khasa Chaitya. It is believed that the name Khasti
is associated with Khasa, a townlet of Tibet which lieson the way between Lhasa and Nepal. Bauddhanath has
been a place of pilgrimage and veneration throughout theages for the entire Buddhist world since the very dawn of
Nepalese history. This also has been a place of Buddhist
learning and religion since time immemorial.
The authentic history of this place based on factual
evidence, however, is lacking. The famous Indologist of
the 19th century, Henry Ambrose Oldfield, in his book
Sketches from Nepal, has said that this magnificent stupa
was erected over the corporeal relics of a Lama from
Khasa, and the stupa was named after the place where hebelonged.
Another renowned French historian, Sylvain Lévi, in
his book Le Népal, has given a different but equallyinteresting story about its consecration. According to
the story, this massive stupa was erected long ago by
an unknown king intending to please the goddess
Vajrayogini, a widely revered goddess in Nepal, byoffering his intense gratitude from whose kind grace
he could be freed from a heinous sin he had once
unknowingly committed. It is also very interesting toknow that he carried out this very deplorable act on thevery wish and command of his own father. It is said that
his father had given him this strange order so as to makethe once-dried-up narayanhiti (water spout) run again
as advised by his court astrologer. An almost identicalstory while dealing with the purpose and motive behindthe construction of this stupa has also been given in
the oldest available chronicle of Nepal, The Gopal Raj
Vamsavali, a 14th century manuscript. Here, unlike thestory narrated in Lévi's book, the names of both the kings
and the prince have also been given. The king who had
asked his son to chop off his own head was Dharma
Deva and his son's name was the famous Lichhavi kingMana Deva (459-505 AD). Apart from this, the same
chronicle also has a reference to a king named Siva Deva
as its consecrator.
1.1 Architecture of Bauddha Stupa
Bauddha Stupa represents the best example of Nepalesestupa architectural design. This massive stupa stands
over three-tiered crossed rectangles designed in tantricmandala form. This unique and exquisite design has also
made it a rare and exclusive piece of traditional Nepalesestupa architecture. This type of stupa architecturaldesign is not common in Nepal or elsewhere. Apartfrom its exclusive design and style, its massive size anddimensions also make it a distinct structure. The stupa

17

covers an area of 82.36 m×82.03 m and its total height
including a three-tiered base is 43.45 m. Moreover, unlike
other existing stupas in Nepal, this lacks the idols of thefive Dhyani Buddhas attached the main dome’s cardinal
directions. Instead, it has only one image of Dhyani
Buddha, the Akchhobhya, which has been installedon the northern side of the dome base. The stupa is
made from materials such as mud, bricks, lime, stone,
metal and wood. It has an enclosure wall all around it
and has a total of 735 metal prayer wheels fixed into its
147 chambers. On each prayer wheel is embossed the
popular Buddhist mantra Om Mani Padme Hum in the
Newari script, which was popularly used in medieval
times.
The base of the stupa dome rests on its three successive
tiered platforms, which are also used as circumambulatory
passages. A little above the base of the dome there is aseries of recessed niches encircling the entire periphery ofthe dome where a total of 108 beautiful stone sculpturesof different Mahayana Buddhist deities have been
installed. The stupa has its main entrance on the northernside, from where devotees can approach the base of the
stupa for a holy circumambulation, passing again throughthe flights of stairs given to each of the successive tiers
which can also be used as a separate circumambulatory
passage. These successive tiers again have six miniature
stupas built over them; four to the north and two to thesouth. On the top of the stupa dome, a square harmika
has been erected facing all cardinal directions. Eachside of features sketches of pairs of eyes along with asymbol like question marks, which have been done very
artistically. It is said that with these ever-cautious eyes the
Lord beholds every happening constantly with very keen
attention and so nothing is secret to him.
Above the harmika towers the spire with thirteen steps.
According to Buddhist religious belief, these steps
represent the different mental stages of human beings
which have to be crossed before attaining final salvation,or nirvana, by one who wants to be freed from worldly
bondages. Above this, over a gilded amalaka, or theform of an inverted lotus petal, a vessel has been placed,
which, according to the tradition, is filled with the waterof knowledge. On the top, there is a gilded metal parasol
along with a pinnacle, which is also made of gilded
metal. There is a large amount of prayer flags attached tothe canopy, leading down along the stupa’s dome. These
prayer flags contain powerful mantras or prayers.
2. Rehabilitation Activities
2.1 The 2015 Earthquake and Preliminary Assessment of
Bauddha Stupa
The 2015 Nepal earthquake damaged many heritage
structures in Nepal; however, the Bauddha Stupa was
not severely affected in the mainshock on 25th April, but

The assessment reported that the upper part of the stupa
was severely damaged and must be renovated, however
the lower part was not affected that much. But the easternsmall stupa, Rangkarik Chaitya, was severely damaged.
As per the assessment report and the recommendations,
temporary protective works were carried out immediately;i.e., scaffolding and shoring for the her mika andtrayodasha bhuvana, covering with tarpaulins, etc.
The rainy season and the associated high risk tovulnerable structures was the main challenge at thattime, which had to be addressed immediately. Therefore,
all of these activities were done with coordination
between Department of Archaeology and Bauddha Area
Development Committee and with the participation of thelocal community.
2.2 Community Initiative and Processing for Approval
Due to the vulnerable condition of the structureof Bauddha Stupa, temporary action was taken for
immediate protection; however, the community and the
Bauddha Area Development Committee (BADC) took the
initiative for the renovation of Bauddha Stupa soon after
the assessment report and the temporary works werecarried out; due to its historical and religious importance,
values and belief.
Existing drawings and an estimation of the renovation
were prepared by engineers deployed by the Departmentof Archaeology, as BADC had already declared and madecommitments on all the responsibilities to be borne by
the Committee in support of the local communities.
All these documents were sent to the department for
approval to allow BADC to carry out renovation activities.
Finally, approval from the department was granted
to BADC and the rehabilitation work started and wascompleted within the proposed time frame. As the
stupa is a major listed monument on the World Heritage
List, the DoA clearly mentioned that all process andprocedures must be followed and no compromise would
be made on the quality of the conservation work andmaterials, and the process was also strictly supervised by
DoA technical staff. The approval was given to Bauddha
Area Development Committee on 26 November 2015
(2072/08/10 BS); and renovation work was started formallyon 23 January 2016 (2072/10/09 BS) and completed on 18
October 2016 (2073/07/02 BS).
2.3 Rehabilitation Activities
After receiving approval from the Government of Nepal/
DoA, BADC organized a meeting with all stakeholders
including DoA and came to the conclusion that therenovation project should be led by BADC. However,a Steering Committee was established that included
technical personnel from DoA and representatives from

the Ministry of Culture, Tourism and Civil Aviation,
Kathmandu Metropolitan City, Nepal Police, Guthi
Corporation and other local institutions, as well as local
community leaders. The Steering Committee was fully
devoted to completion of the renovation work within theset time frame. The following activities were carried out
during the rehabilitation of the stupa:

Nepal

it was subsequently reported that the upper part of the
stupa was damaged severely and must be renovated. As
per the site report by the rescue team deployed from the
Department of Archaeology, the site was assessed again
as a preliminary assessment for the detail documentation,and the diagnosis was to renovate or to take quick action.

Formulation of Steering Committee
The Steering Committee was established by a grandmeeting of the stakeholders as per the suggestion of
the representatives of the Department of Archaeology,
consisting of 27 members including government
authorities and local communities. The committee wasestablished to ensure that the project activities ran
smoothly, and this helped to complete the project ontime.
Documentation (including religious and archaeologicalobjects from the stupa)
The documentation work was started immediately after
the earthquake that damaged the stupa. As preliminary
assessment the detail drawings included an estimate
for approval; however, when the Steering Committee
was established, the first step was preparing the
documentation, which included documentation before
conservation – during dismantling of the worst parts ofthe stupa, religious and archaeological objects came out
from the upper part, and work such as storing them,witnessing documents (muchulka – a traditional legal
document) and many activities needed to be done before
starting the conservation work.
Documentation during the conservation work – in otherwords, activities carried out during working time –included each and every step of the construction work,
reinstallation of the religious and archaeological objects
which were moved out from the same place and stored,again witnessing documents, the use and reuse ofdifferent construction materials, and also drawing up themeeting minutes of the committees, etc.
After completion, separate documentation was also
prepared. Accordingly, it was a big challenge to prepare
these kinds of documentation during the aftermath of theearthquake when there was a lack of human resources;
however, some of the documentation was preparedin accordance with the traditional system and some as
per the archaeological documentation system, but theimportant thing is that a record was prepared, which was
also a great achievement.
Scaffolding works (bamboo and metal scaffolding)
Before starting any activity physically in the stupa, it wasnecessary to build scaffolding around it. Therefore, inthe very beginning of the conservation work, bamboo
scaffolding was established on the upper part. It needed
to be lightweight because it had to be built around thedome of stupa, enabling easy access to any portion of theupper part of the stupa.
In the second step, metal scaffolding was built, with theground being the base, to make it easier to walk and18

Nepalwork around any part of the stupa. This work was also
very challenging.
Removing copper sheets, cleaning and gold gilding
The plated gold on copper sheets had gradually fadedeven before the earthquake and a project to gold gild thewhole copper sheets was once considered, but that did
not happen. As the upper part was damaged due to theearthquake, all the copper sheets needed to be removed
and repaired; therefore, they were removed and cleaned
to be re-plated with gold. During the other renovation
work, all the copper sheets were gold gilded.
Reinstallation of copper sheets, wood work, metal work
(copper and gold), brick work (including lime surkhi)
The monuments of Nepal were constructed with amixture of available local material, predominantly wood,stone, brick with mud mortar, and latterly introduced,
lime surkhi mortar. Therefore, there was heavy use of brick
and wood as well as stonework. When all the physicalwork with these materials was completed, to cover the
stupa, the gold gilded copper sheets were reinstalled,which was actually the final work for the renovation of
the stupa.
Following the religious practice for removal and reinstallationof different parts of the stupa – Chhema Puja, Soksing Puja,
etc.
Monuments in Nepal are regarded as living monuments,that is, they are considered to be “alive” like humanbeings and form part of the community. Therefore, there
are several sacred or religious activities that need to be
performed for each monument before any activity canbe carried out. For example, there is the practice ofperforming Chhema Puja (worship to excuse any case ofincorrect activity during renovation work) before touching
the monument for conservation or renovation.
Before starting any work in the stupa, a grand Chhema
Puja was performed by the religious traditional priests of
Bouddha in which a large number of local communities
participated, especially by the workers who were going
to be directly involved in the renovation work. During
the renovation work itself, there were several pujas
as per tradition, and also a grand Chhema Puja after
completion. This kind of religious activity is a unique andvery important element of the outstanding universal valueof the monument.
Security of the site and overall materials (stored)
Security of the elements of the stupa was a big challenge
during the renovation work. Security of the site wasa big responsibility on one hand and security of thestored elements from the stupa was another important
responsibility. Good coordination with the Nepal Police
was maintained, CCTV cameras were connected andmonitored, and the Government of Nepal deployed aunit of police for temporary security until the completionof the renovation work at Bouddha stupa under thecommand of a Sub-Inspector for the whole time. The
security force of the Bouddhanath Area Development
Committee was also mobilized.

19

All the stored elements as well as the site were protected
through a combination of these manual and modern
advanced security systems, which were fully reliable andsuccessful.
Reinstallation of religious objects in the Hermika and above
All elements, both religious and archaeological objects,
which were found in the Hermika and above weresystematically recorded in a muchulka (a traditional
legal and recording document) in the presence ofthe designated committee members and government
officials during the opening (dismantling) of walls, floors
and other parts of the stupa, and these were kept incompletely secure storage during the renovation work.
After completion of the respective work they werereinstalled as they were before in the stupa. There was alarge number of both religious and archaeological objects.
All the objects were checked against the muchulka(record prepared when they were found) and reinstalledin the same place. A few new religious objects were also
added as per local tradition, but due to the heavy load on
the stupa, this procedure was suspended.
3. Conclusion
The Nepal Earthquake 2015 affected numerous monuments in Nepal and damaged several monuments within
Kathmandu Valley World Heritage Property. Many of themcompletely collapsed and some of them had not been
well recorded before the earthquake. One of the mostbadly damaged monuments was Boudhhanath stupa, butluckily the stupa was damaged only on the upper part,and the foundation and dome were not damaged. Afteran immediate assessment, the upper part of the stupa wasrenovated, a process initiated by the local communities
and led by Bouddhanath Area Development Committee(BADC). Receiving approval from the Government of
Nepal/DoA, the renovation work was completed within
a year, making it one of the biggest renovation works
involving monuments damaged by this earthquake
and the fastest ever recovered/renovated monument in
Nepal with local community involvement, with a big
contribution by the religious community as a continuationof the heritage conservation system.
Bibliography:- BADC (2016). Chintamani Bouddha Stupa, The
Bouddha Stupa Renovation 2016 – A Brief Study.
Kathmandu: Bouddhanath Area Development
Committee.
- DoA/GoN (2066 BS). Inventory of Classified
Monuments within Bouddha Protected Monument
Zone. Kathmandu: DoA/GoN.
- DoA/GoN (2015). Preliminary Report ofMonuments Affected by Earthquake April 25, 2015.
Kathmandu:GoN/DoA.
- DoA/GoN (2015). Preliminary Reports on Earthquake
Affected Monuments in the Kathmandu Valley World
Heritage Property. Kathmandu: DoA/GoN.
- DoA/GoN (2016). State of Conservation Reports
on Kathmandu Valley World Heritage Property.
Kathmandu: DoA/GoN. [www.unesco.org – Extracted
on 17 July 2018]- DoA/GoN (2017). State of Conservation Reports--

Hutt, Michael (1994). NEPAL A Guide to the Art andArchitecture of the Kathmandu Valley. New Delhi:
Adroit Publishers.
JBR, Bramha Shamsher (1990 BS). Nepalko
Mahabhukampa 1990 [Great Earthquake of Nepal
1934). Kathmandu: Jor Ganesh Chhapakhana

Nepal

-

on Kathmandu Valley World Heritage Property.
Kathmandu: DoA/GoN. [www.unesco.org – Extracted
on 17 July 2018]
DoA/GoN (2018). State of Conservation Reports
on Kathmandu Valley World Heritage Property.
Kathmandu: DoA/GoN. [www.unesco.org – Extracted
on 17 July 2018]

Damaged Bouddha Stupa due to Eartquake 2015

Bouddha Stupa before Earthquake 2015

Damaged due to Earthquake 2015

The damaged associated stupa within Boudha Main Stupa

Damaged due to Earthquake 2015

Damaged upper parts of sutpa-trayodasha bhuvana

20

Nepal21

Bamboo scaffoldings prepared for renovation work in the beginning

Damaged parts of harmika , explored after removing the copper sheets

Damaged parts of harmika , explored after removing the copper sheetswith new support

Stupa after opening the severely damaged upper parts to renovate

Reinstalling the soksing (yesthi ), the central shaft beam which is
the main vertebra of the stupa after performing religious activities

Metal scaffoldings to work easily on the upper part of the stupa

NepalFinalizing the renovation of stupa-plastering with lime surkhi in the lower parts of Stupa

Topmost part, gazur-finial of Stupa, almost finalizing therenovation of upper part

After completion of renovation of Stupa

22

Pakistan
Pakistan

Activities of the Department of Archaeology and Museums for Digital Documentation of Cultural
Heritage in Pakistan
Tahir Saeed, PhD Scholar/ Deputy Director
Department of Archaeology and Museums, Islamabad, Pakistan
Introduction to the Rich Cultural Heritage of Pakistan:
The nation of Pakistan is truly heir to at least two
million years of socio-political history going back to the
Palaeolithic Age. The earliest stone tools found in the
Potohar region of Pakistan belong to an ancient primitive
stage in human development and culture. These oldest
known tools, comprising cores and flakes from the
Siwalik hills of the Potohar region at Rawat are of greatinterest, as it links the Potohar region with a vast complex
of such early centers of human activity stretching from
France and Spain through the Mediterranean, south andeast Africa, Palestine and Syria, and then on as far as
north–eastern China. The archaeological evidence fromthe Palaeolithic and Mesolithic periods symbolize thehunting and gathering stage in human history, while the
Neolithic period symbolizes the stage of food production;i.e., plant cultivation and animal husbandry around 7000
BCE, which enabled man to break through the barrier
between barbarism and civilization. Naturally, the fullfledged Neolithic cultures of Pakistan did not spring
into existence in a few generations, but were the resultof a process of evolution from the Mesolithic stage(7th millennium BCE), which culminated and appeared
around 2500 BCE as the Indus Civilization in the greater
Indus Valley.
The Achaemenian Empire of Persia established its
sovereignty over most of the land comprising present-day
Pakistan during the 6th century BCE. The Macedonian
invasion led by Alexander the Great in 326 BCE is
likewise a gigantic event in the history of this region,

Isld,4GB, 1

which served as a moving force in the process of culturalinteraction between Eastern and Western civilizations.
Buddhism reached Gandhara (northern part of Pakistan)in the 3rd century BCE during the reign of Asoka theGreat of the Mauryan dynasty. The impetus given to
Buddhists by the Mauryan Emperor, Asoka, and theartistic impulses emanating from the Bactrian Greeks
in Central Asia led to the culmination of Gandhara Art
under the patronage of Kushans and their successors. The
period from the 1st to 4th centuries CE is a remarkable
period in the history of Pakistan, when sculptural art
became a hand maiden to spiritual zeal. The real impactof Islam was felt in Sindh when it came under the controlof the Arab general Muhammad ibn-al-Qasim in 711-12
CE. The beginning decades of the 16th century witnessed
yet another political change in the Subcontinent, andbrought a new reigning power to the scene in the formof Mughal Rule. The Mughal rulers patronized almost allart forms such as paintings, calligraphy, coinage, armory,and other minor arts & crafts. They established imperial
libraries and studios to create the best specimens of thesearts. Their objects of daily use were in fact objets d’art
which were made of gold, silver and other precious andsemi-precious metals and stones. Numerous examples ofthese arts, as well as illustrated manuscripts of classical
Persian works, albums of painting and calligraphy, andgold and silver coins, are now the proud possessions ofvarious museums and art galleries of Pakistan. The richimmovable and movable cultural heritage of Pakistan canbe observed from the following charts:

Sindh

Punjab

Baloch, 30

KPK

Baloch

Isld

1% 4%
7%
Punjab, 149

KPK, 92

Sindh, 129

Distribution of 405 protected archaeological sites and monuments inPakistan (province-wise): Punjab=149, Sindh=129, Khyber Pakhtunkhwa(KPK)=92, Balochistan=30, Gilgit-Baltistan=1, Islamabad=4

23

7%

81%

Distribution of movable cultural wealth in Pakistan: Sindh =193495, Punjab=16924, KPK=16924, Balochistan=2500, Federal = 8000

Preservation of Cultural Heritage through Digital
Documentation:
Heritage is explained in UNESCO documents as “ourlegacy from the past, what we live with today, and what
we pass on to future generations.” A heritage is passed
from generation to generation because it is valued.
The idea of cultural heritage is a familiar one: thosesites, objects and intangible things that have cultural,
historical, aesthetic, archaeological, scientific, ethnologicalor anthropological value to groups and individuals. In
Pakistan, a great number of archaeological sites andhistorical monuments of both secular and religious
importance are the landmarks of its national history andarchitectural heritage. Additionally, there are thousands of
antiquities and works of art in the shape of inscriptions,
manuscripts, traditional arts and crafts as well as othercultural material which need proper preservation.
Keeping in view the need for proper preservation andprotection of these cultural assets, the Department ofArchaeology and Museums has recently established a“digitalization centre for documentation of artifacts andarchival material”.
Importance of Document Management:
Preserving and maintaining all important documents is notan easy task. However, a good document management
system helps to organize documents in an efficientmanner, so that any document can be found wheneverneeded. With the advent of automation and computing inour daily lives, we naturally turned towards a computerbased document management system to take advantageof the speed, capacity, efficiency and error-free operationof computers. Digital paper is an innovative and versatile
software product to manage the growing accumulationof both paper documents and digital documents to createarchives or repositories for convenient and efficient
operation.

National and International Obligations for Protection ofCultural Heritage:
The role of inventories or documentation in the
management of cultural heritage has long beenrecognized, as they are indispensable for the purposesof identification, protection, interpretation, andphysical preservation of movable objects, historicbuildings, archaeological sites, and cultural landscapes.
Documentation and inventories have a significant placein all the major international conventions relating to theprotection of heritage. The 1972 UNESCO Convention
Concerning the Protection of the World Cultural andNatural Heritage included a provision that a World
Heritage Committee be established, to which each stateparty would submit an inventory of its national heritage.
The Inventories are also recognized as a vital weapon in
the fight against the illicit trade in cultural objects. Article
5 of the 1970 UNESCO Convention on the Means of
Prohibiting and Preventing the Illicit Import, Export, andTransfer of Ownership of Cultural Property called for theestablishment and maintenance of national inventories ofcultural property.

Pakistan

History of Cultural Heritage Protection in Pakistan:
The Federal Department of Archaeology and Museums(DOAM), which serves as one of the main cultural
heritage protection agencies, is a continuation of theArchaeological Survey of India (ASI) established in 1860
during the British Colonial Period. It was establishedfor carrying out archaeological researches including
excavations, explorations, protection and conservation of
the moveable and immoveable heritage of British India.
After the creation of Pakistan on 14th August 1947, thenation inherited the same department by changing its
nomenclature to the Department of Archaeology andMuseums to fully express its functional obligations.
Since its inception, the Department of Archaeology
and Museums served as almost the sole custodian of
tangible cultural heritage of Pakistan until 2011. However,as a result of the 18th Constitutional Amendment, allmonuments/sites were transferred to the respective
provinces in 2011 along with associated assets andhuman resources, whereas the Department of Archeology
and Museums was retained to perform national andinternational obligations under the appropriate legislation,i.e., the Antiquities Act, 1975 and rules framed under thisAct for the proper preservation of cultural heritage.

Rationale for the Application of Digital Documentation:
Basically, documentation is the information (such assoftware manuals, survey designs, and user guides)
provided by a creator and the repository that supplements
the metadata and provides enough information to enable
the resource's use by others. It is often the only material
providing insight into how a digital resource was created,
manipulated, managed and used by its creator and it
is often the key to others to make informed use of theresource. The importance of 3D metric documentationof cultural and natural heritage is well recognized at
the international level, and there is increasing pressure
to digitally record heritage sites and objects in three
dimensions. Therefore, continuous development of newrecording sensors, data capture methodologies, and multiresolution 3D representation as well as the improvementof existing methods can contribute significantly to theconservation and presentation of heritage.
Establishment of a Documentation Centre for Digitalizationof Cultural Artifacts and Archival Material:
The roles and functions of museums are becoming
more diverse and expanding day by day in every
country. Today, museums are expanding their activities
to educate society, providing an opportunity for the
younger generations to look deep into their history andre-build their national narratives. There is great potential
for museums in Pakistan to serve society as places oflearning and education — promoting creativity andfostering peace and social cohesion.
Proper preservation and documentation has always
been a matter of great concern in the academic researchof the moveable and immovable cultural wealth of acountry. The fragility of archaeological material andlack of documentation of the archaeological artifacts inthe national repository limits academic study and theverification of records. For the purpose of preservationof archaeological material and its documentation, it
is considered imperative that the entire record of the24

Pakistan25

The establishment of a documentation centre is expectedto achieve substantial results such as improving the
educational role of the Department of Archaeology
and Museums (DOAM) to promote creativity, social
cohesion, peace and tourism. This will ultimately help
in the development of educational content, accessto researchers and academics across the globe, teleexhibitions in collaboration with other foreign countries,
and linkages with creative industries. Further, it willcontribute to prohibiting the illicit trafficking of antiquities
and their quick identification at ports of exit and entry
through the sharing of information. The main purpose forestablishing the documentation centre at the Departmentof Archaeology and Museums is to:i) create a database of artifacts with comprehensive
information developed through digital
documentationii) protect artifacts from illicit traffickingiii) share information for the propose of research,educationiv) prohibit illicit export and import of movablecultural properties.
The Department of Archaeology and Museums has
engaged relevant staff and IT professionals for its
establishment, as well as a database system, and has
initiated the process of digital documentation throughthe inventorying of artifacts with the Department ofArchaeology and Museums, especially those located at
Islamabad Museum. This new project of the Departmentof Archaeology and Museums, Government of Pakistan isin the process of achieving the following goals and tasks:i) Preparing authentic information and descriptionsof the artifacts and archival material available at
DOAM.
ii) Preparing 3D images of the antiquities available at
DOAM and Islamabad Museum for the propose of
inventorying and documentation (2000 objects).
iii) Developing quick response (QR) codes foreach object so as to provide easy access to theinformation to relevant stakeholders.
iv) Preparation of a Design Database for systematicallyo rg a n i z i n g , s t o r i n g a n d r e t r i e v i n g a l l t h e
information.
v) Developing an online portal to provide access toobject information for the general public and otherstakeholders.
vi) Training the relevant staff of DOAM and sisterorganizations (at both the federal and provincial
levels) in the process of digital documentation.

Digitalization Center at Department of Archaeology and Museums, Islamabad

Digitalization Center at Department of Archaeology and Museums, Islamabad

Antiquities stored at Department of Archaeology & Museums, Islamabad

Antiquities stored at Department of Archaeology & Museums, Islamabadarchaeological artifacts in the custody of the Departmentof Archeology and Museums be digitally documented,
which will not only provide an opportunity to record
it for posterity but also make available interpretive
information about the data to scholars. Further, this will
also be a deterrent against the pilfering of objects fromarchaeological sites and monuments and their ultimate
sale on the black market, as this data will be sharedinternationally with INTERPOL and other databases fordiscouraging illicit trafficking in archaeological objects.
Besides, it will enable compliance with the UNESCO
Convention (1970) on “Prohibiting and Preventing the
Illicit Import, Export, and Transfer of Ownership ofCultural Property”.

Pakistan

Antiquities stored at Department of Archaeology & Museums, IslamabadSpecimens of the artifacts to be documented

Specimens of the artifacts to be documented

Specimens of the artifacts to be documented

Specimens of the artifacts in the process of documentation

26

PakistanSpecimens of the artifacts to be documented

Specimens of the artifacts to be documented

Specimens of the artifacts to be documented

Specimens of the artifacts to be documented

27

Philippines
Louella Solmerano Revilla, Head-Conservation
Conservation Laboratory, San Agustin Museum, Intramuros, Manila
For the past and most recent years, San Sebastian Church— Roman Catholic Minor Basilica, located in Plaza delCarmen, Quiapo, Manila, and administered by the Orderof the Augustinian Recollects, has encountered threats to
its structural integrity. There is a conservation andrestoration programme being carried out to save thebasilica, spearheaded by the San Sebastian Basilica
Conservation and Development Foundation, Inc., a nonreligious organization whose objective is to preserve thecultural and structural aspects of the building. Their main
goal is to extend the life span of the San Sebastian Minor
Basilica by practicing international conservation standards,
and to integrate strategic community outreach andplanning to ensure the project’s sustainability and relevancewithin the local and national community. This masterpieceof an entirely metal structure, the only one of its kind in
the Philippines, is important for its historical and aesthetic
significance. The San Sebastian Basilica is an example of a
Neo-Gothic architecture noteworthy for its original
interiors. It holds the distinction of being the only
prefabricated church in the Philippines. The San Sebastian
Church is the first church in the country to be given the
grand status of a minor basilica. This building is protectedunder its designation as a National Historical Landmark
through P.D. 260 on August 1, 1973 and its listing as a
National Cultural Treasure on August 15, 2011.
The present San Sebastian Basilica was completed andinaugurated in 1891. Its construction began in 1888. The
property has retained its level of authenticity in terms of its
structural design, materials used, techniques and original
setting since its inception. It has continuously served as aplace for spiritual retreat and solace for the religious
community of the Order of the Augustinian Recollects anda place of veneration for devout parishioners. The estate ofCalumpang, as the location was then known, was donatedin 1621 to the Order of the Augustinian Recollects, also
otherwise known as the Order of Discalced Augustinians,by a generous patron and devotee, the Spanish Don
Bernardino del Castillo Maldonado y Rivera, Maestre deCampo of the Royal Infantry Battalion and Commander ofFort Santiago, and his wife Doña Maria Enriquez deCespedes, the same people who funded in 1608 theconstruction of the convent and church in Intramuros. The
place was bounded by the old progressive district of
Quiapo to the north and west, Sampaloc to the east, andSan Miguel to the south. The place got its name from a tree
which grew in abundance in the area. Fr. Rodrigo Moriz
Agunduru as Vicar Provincial of the Augustinian Recollectsconsidered the estate and house of Calumpang an ideal
location as a house for religious and a place of retirement
for missionaries. Through a Royal decree, the colonial
government readily approved the donation and plans forthe new church. On 16 February 1621, the Archbishop of
Manila, Msgr. Miguel Garcia Cerrano, O.S.A., issued thenecessary authorization for the foundation of the new
church and convent.

Philippines

San Sebastian Basilica: A Formidable Edifice of Faith

The Order of the Augustinian Recollects pioneered inbringing the first revered Carmelite image to the Philippines,
the image of Our Lady of Mount Carmel or Nuestra Señora
del Carmen. Devotion to the Brown Scapular of Our Ladyof Mount Carmel and this image was fostered and became
popular through the efforts of the Augustinian Recollect
Order.
It was Father Agunduru who headed the third Augustinian
Recollect mission of fifteen religious to the Philippines. He
sailed from New Spain (Mexico) on 18 July 1617 andreceived a serene image of the Nuestra Señora del Carmen,
as an esteemed token from the Discalced Carmelite
Contemplative Nuns serving as a worthy testimonial to thatspecial fraternal bond and spiritual relationship between
the Discalced Carmelites and Discalced Augustinians. The
Discalced Carmelites and the Discalced Augustinians were
offspring of the Catholic Reformation in the 16th century.
The expedition reached Manila in 1618.
The church was first built in 1621 under Father Rodrigo
Agunduru and through the generosity of Bernardino delCastillo Maldonado, which only lasted for twenty brief
years. A series of misfortunes befell the church. The church
had to be rebuilt and reconstructed when it was devastatedduring the uprisings of the Sangleys in 1641 andearthquakes in 1859 and 1863. The church materials thenwere made of wood, brick, stone, lime and cement. It wascompletely destroyed by another earthquake in 1880.
In the 1880s, the parish priest of the ruined church, Father
Esteban Martinez, sought the expert advice of therenowned Spanish engineer, Genaro Palacios y Guerra,head of public works of the Spanish colonial government
at the time. The engineer proposed a plan and design of achurch that could withstand fires and earthquakes. He
raised the idea of a metal church with Father EstebanMartinez, who was superior of San Sebastian convent in
1879-1882, and to his successor, Father Provincial Father
Fidel de Blas 1882-1885, and Prior Provincial Father
Leandro Arrúe. Due to the enormous expenses regularly
incurred in repairs after several setbacks and calamities,
the Order of the Augustinian Recollects approved the plan
to build a church made of sturdier material, and this time,
the church would be of Neo-Gothic style wholly made ofmetal. The rebuilding of the church commenced
immediately after the approval. Engineer Genaro Palacios
spent years travelling to Belgium, Germany and France,
canvassing the most acceptable bids, inspecting the
progress of construction in the foundries and looking forthe best altars and the most brilliant glass windows andmosaics, buying the cheapest but sturdiest tools and cranesin Europe for assembling the steel parts in the church of
Manila. The contractor that won the bid was the Société
Anonyme d'Entreprises de Travaux Publics á Brusells.
Palacios monitored the detailed plans of their proposed28

Philippines

works including the final blueprints and condition ofmaterials to be used in the project. The prefabricated metal
sections for the church were manufactured in Binche,
Belgium. The basilica, composed of 1,500 tons of metal,
was shipped to Manila. The assembly of the church wassupervised by Belgian engineers, the first column of which
was erected on September 11, 1890.
The stained-glass windows were imported from Heinrich
Oidtmann Company, a German stained glass firm. Theinteriors, including 140 figural paintings, were handpainted in 1890 by the country’s premier school, theAcademia de Dibujo, Pintura y Arte. Around 400 students
painstakingly painted the church interior over eightmonths. The church was raised to the grand status of aminor basilica by Pope Leo XIII on June 24, 1890. Uponits completion the following year, on August 16, 1891, theBasilica Menor de San Sebastian was inaugurated by the
25th Archbishop of Manila Bernardino Nozaleda y Villa,
O.P. with the presence of the image of Our Lady of Mount
Carmel above the altar.
Since the completion of this all-metal church in 1891, theSan Sebastian Basilica has withstood several earthquakesthat have shaken the land. Up to this day, it stands
prominently in Manila with its impressive spires, atestimony of the years of deep-rooted religious life of theOrder of the Augustinian Recollects, the ever-increasing
devotion to the Virgen del Carmen, and the incessant faithof the people.
Through the years, only minor changes have been made tomaintain the authenticity of the basilica. The Order of theAugustinian Recollects is beset now with a monumental
task. Condition assessments of the building show heavy
corrosion, several holes in the walls, extensive pools ofwater in columns, damaged windows, and severe painting
deterioration due to water infiltration. The San Sebastian
Basilica Conservation and Development Foundation, Inc.
organized a 10-year effort to save this basilica starting in
the year 2012. The board members include the Order ofthe Augustinian friars, aided by an international
multidisciplinary team of experts and volunteers. The
project has received prior funding from both local andinternational institutions, together with private donors.
Fundraising is still on-going to help save this historic San
Sebastian Basilica. The target date of completion of the
project has been set for the year 2022.
The restoration process will entail in-depth research andstudy. A tremendous amount of planning is required. It
will involve experts from different fields. It will take years
to accomplish.
Everything will be worth the effort. The San Sebastian
Basilica, after all, is part of the Philippines’ deep-rooted
heritage. We have a lot to gain in saving this formidable
historic edifice.

The first two photos above (from left) were taken in Belgium when they were doing trial mounts of the prefabricated pieces before disassembly and shipment to
the Philippines. They had to make sure of the correct measurements before shipping the parts. The San Sebastian Basilica consists of 1,500 tons of metal. The
first shipment arrived in 1888 and the first column was erected on September 11, 1890. The basilica has one dome, two towers, 132 columns and 64 spires.

29

Philippines

Historic photographs showing the San Sebastian Basilica’s facade, its exterior and interior, the main aisle, the old altar and the pulpit. Don Lorenzo Guerrero
designed the retablos in the transept as well as the pulpit and the confessionals. Don Eulogio Garcia carved all these fixtures and statues. The retablo of thehigh altar, hewn in wood and in Gothic style, has Saint Sebastian in its pinnacle. Thirteen Gothic chandeliers, gold plated and with the Carmel coat of arms, werehung in December 1892. Quintin, a Chinese carpenter, was paid for the wooden floor of the church. With the installation of electricity in the capital, these French
chandeliers were conveniently replaced with ones manufactured in the shop of Hilario Sunico. Isabelo Tampingco executed the ornate designs of the beautiful
chandeliers. The area of the entire floor which accommodates the faithful is 704 square meters.

Above the main altar in the interior is an image of Our lady of Mount Carmel, given to the church by the Carmelite sisters from Mexico City in 1617. San Sebastian
Basilica houses this first Carmelite image, the origin of the devotion in the Philippines. The image was enshrined in 1618. The Cofradia of the Virgen del Carmen
was established in 1625. The image also survived the earthquakes of 1859, 1863, and 1880. It was canonically crowned in 1991.

A 1934 marker can be seen in the facade of the San Sebastian Basilica. It reads: “San Sebastian Church was designed by Genaro Palacios. The structural metalof which this church is uniquely built was manufactured in Belgium and erected here by Belgian Engineers. The church was solemnly blessed on August 15,
1891. Earlier churches built on this site by the Recollect Friars since 1611 were destroyed by earthquake in 1859, 1863, and 1880.”

30

Philippines
The 56 stained glass windows, including 10 stained glass windows depicting images of the Joyful and Sorrowful Mysteries and four rose windows with images of
the Four Evangelists, were imported from the oldest stained-glass firm in Germany, the Heinrich Oidtmann Studio. Local artisans assisted in applying the finishing
touches. The windows and interior paint of San Sebastian are still authentic and original except for one stained glass window depicting the Presentation of Jesus
at the Temple, restored by the Kraut Company after the original was destroyed during WWII.

31

Philippines

The interiors with 140 figural paintings hand-painted by the country’s premier school,
the Academia de Dibujo, Pintura y Arte. The Academy Professor Lorenzo Rocha wascommissioned by the provincial council to paint the entire edifice. This job, which
took months to finish, was shared with his excellent students Felix Martinez, Isabelo
Tampinco, Antonio Sanchez, Manuel Martinez, Clemente Paredes, Manuel Espiritu,
and Simon Fortic. Several ornamental figures including the four evangelists are
painted on the wall behind the main altar. So are the paintings of various saints
and angels high above the internal dome. From the floor, the basilica’s nave rises
12 meters (39 ft) to the dome, and 32 meters (105 ft) to the tip of the twin spires.
There are trompe l’oeil murals of Carmelite saints on the dome’s tholobate. The
painting on the steel columns, ceilings and walls was executed to give the illusion of
marble and jasper.

Full and detailed photographs of the interior showing trompe l’oeil paintings of saints and martyrs. Aside from the result of the paintings’ aging process, theextensive corrosion of the metal supports and water leakages further contributed to its deterioration. As an integral part of the conservation and restoration
process, there have been initial assessment and testing analyses of these paint layers. The Order of the Augustinian Recollects are seeking assistance on how topreserve these 127-year-old paintings.

32

Philippines

Conservation and Restoration of the San Sebastian Basilica
Phases of Restoration
PHASE I (2012-2015):
Research, Documentation, Diagnostics, Condition
Assessment, Testing and Analysis

2. Assessment of exterior and interior parts:
The structure is faced with 126 years of corrosion
hidden beneath the church paint.

3. Condition of the columns:
Testing and analysis show extensive deterioration of
the structure. There are over 300 leaks, large holes
inside walls and columns, and pools of water incolumns.

33

The metal structure, windows and interior paintings aredamaged by corrosion.
1. Building documentation:

Philippines

4. General condition:

34

5. Further investigation:

Philippines• 3D Structural Modeling• Paint Impedance Testing• Ultrasonic Thickness Gauging• Calculations of Roof Drainage• 3D Model to Track Leaks• 3D Model of Foundations• Ground Penetrating Radar• Inclinometers• 3D Laser Scan & Manipulation of
Point Cloud Data
• Temperature & Relative Humidity
Monitoring• Soil Test
• Trompe l’oeil Painting Assessment• Major probes (subfloor conditions)

Emergency Repairs: Urgent structural problems(southwest corner repair, valley gutter repair, replacementof downspouts, pinnacle valley repair and box gutter
repair), and column repairs

PHASE II: 2016-Present
Design through a grant and local counterpart funding:
A. Restoration recommendations and design documents
B. Stabilization, mock ups & construction documents
C. Community development, site development andurban planning

Architectural Design & Repairs (In-House)

35

Consultancy Work and Professional Collaboration:
Restoration recommendations for different aspects of thePhilippines

Sample Architectural Designs and Repairs:
Dome column, cornice gap ceiling, steeple flashing,dome pinnacle, steeple gutter repairsbuilding and site (testing, sampling, recommendations,and minor restoration work)

Design Consultancy Work:• Structural Engineering• Lighting Design• Passive Cooling• Mechanical Engineering• Site Planning• Cathodic Protection Design• Sanitary Engineering• Architectural Conservation• Paint Conservation• Stained Glass Conservation

PHASE III: Public Lecture/Dissemination of the restoration
work
There was a lecture on conservation about Passive
Cooling attended by 217 participants as part of thepromotion of public awareness on protecting andpreserving historical monuments. Members of the public
can also easily take part in the fundraising campaign bysimply booking a tour. A member of the team will act asa guide to promote understanding of faith, art, history,
and the on-going restoration of the historic San Sebastian
Basilica.
Acknowledgements:• Special thanks to the Order of the Augustinian Recollect
Fathers, through Fr. Amado Emmanuel Bolilia,
OAR (Executive Director-The San Sebastian Basilica
Conservation and Development Foundation, Inc.) formaking this paper possible by providing the researchmaterials and necessary photographs• Reference material from the book by Emmanel Luis A.
Romanillos: The Spires of San Sebastian. San SebastianParish, Plaza del Carmen, Quiapo, Manila, 15 August
1991.
• Archival photographs courtesy of the Archives of theOrder of the Augustinian Recollects• Photographic documentation, technical drawings andimages of the project by the Technical Team of the
San Sebastian Basilica Conservation and Development
Foundation, Inc.
• Photographic documentation of San Sebastian Basilica
by Estan Cabigas and Chester Ong• The San Sebastian Basilica Conservation andDevelopment Foundation, Inc., through Ms. Maria Carissa
Veloso and Ms. Ysabel de Dios for their assistance.

36

Sri Lanka
Sri Lanka

Conservation Project Development in the Department of Archaeology, Sri Lanka
D.A. Rasika Dissanayaka, Assistant Director (Promotions) /Civil Engineer
Department of Archaeology
Introduction
Sri Lanka has a recorded history of more than 2,500 years.
Our cultural heritage has been built with the help of thearrival of Buddhism in the 3rd century BC. Heritage
identified for protection is defined in the Antiquities
Ordinance. Sri Lanka is gifted with thousands ofarchaeological monuments, and among those there aregigantic monastic complexes and administrative capitals,
created as a result of the introduction of Buddhism to thecountry in the 3rd century BC. These consist of architecture,
sculptures and paintings. The most striking feature of these
heritages is their continued use since their creation startingfrom the 3rd century BC to the present. At present, there
are six World Heritage Sites in the country. Due to theirreligious importance, even trees can be identified as
heritage in the country but there are still major gaps in theidentification of heritage. For instance, massive irrigation
systems that have been created since the pre-Christian era
and which still function today have not yet been protected.
The many heritage values connected with these monuments
could be identified.
National Priority
In Sri Lanka the climate is tropical with monsoonal rains
and occasional floods. Relative humidity varies from 70%
during the day to 90% at night. In the lowlands, the climate
is typically tropical with an average temperature of 2730°C. Bright sunny warm days are the rule. In a country
like Sri Lanka, a decayed monument is always in danger
due to the heavy rains. Therefore, the monuments mustfirst of all be protected from rain.
Apart from this, these structures are threatened by
negligence, deterioration, climate, humidity, biologicalattack and lack of maintenance. A conservation program
should be proposed with the first priority being given totimber monuments. Then the others will commence.
Therefore, these monuments must be preserved in a wellfitted manner. In most cases, before starting conservation
work, a temporary protection roof, mainly thatched withwoven cadjan (dried leaf of the coconut tree), is erected
over the monument. That will enable conservators to workin the sun and rain as well.
The main problem related to protection activities is thelack of funds for conservation and maintaining cultural
heritage. Although cultural properties contribute a great
deal to the country's economy, this is not directly visible.
Therefore, the funds allocated for conservation are lower
than funds allocated to other purposes in the National
Budget.
A large number of monuments are in a state of decay so it
is the duty of the Department of Archaeology to protect
and preserve all listed cultural properties. But due toinsufficient monetary allocations, the department has not

37

been able to carry out all conservation work. Therefore,
the general public is conserving most of the monuments asa meritorious act, because most of our monuments areliving monuments related to religion.
The responsibility for conserving the architectural heritageof Sri Lanka belongs to the Architectural Conservation
branch of the Department of Archaeology. Fulfilling thistask, four conservation architects, one engineer, about
sixty architectural conservators and skilled and unskilled
technicians are employed by this Branch.
Normally we follow a procedure for Architectural Conservationof Monuments and Layout of Sites
1. Prioritizing conservation projects
2. Documentation/condition assessments
3. Preparation of conservation plans, cost estimates
4. Planning for implementation, and organisation ofmaterials and manpower
5. Implementation of conservation work and quality
control
6. Final report (for annual report)
1. Prioritizing conservation projects
The list of monuments and sites to be conserved in eachprovince has already been obtained from regional offices.
The main problem for protection activities is the limited
funds available for conservation and maintaining cultural
heritage. In order to achieve best use of the limited funds,
priorities are decided among the many buildings to berestored. A priority list has been prepared with the help of
points system.
This system contains a questionnaire for finding the mostimportant monuments to be restored immediately.
Monument Name: ……………………
▪ Age of monument
100 years………… 1 point………… 2 points
200 years
Above 200 years………… 3 points▪ Present Situationa. Foundation
Satisfactory condition………… 1 point……….. 2 points
To be conserved
To be conserved immediately ………. 3 points
b. Walls
Satisfactory condition ………………… 1 point
To be conserved………… 2 points
To be conserved immediately ………… 3 pointsc. Roof & ceiling
Satisfactory condition………… 1 point
To be conserved………… 2 points
To be conserved immediately ………… 3 points

Interconnected environmental condition
Environmental condition is notharmful for the monument………… 1 point
Environmental condition is harmful………… 2 points
for the monument
Environmental condition is very………… 3 points
harmful for the monument▪

What is the immediate requirement for conservation?
Political………… 1 point………… 2 points
Socio-economic
Religious………… 3 points▪

How long it will exist without conservation………… 1 point
More than 1 year
1 year………… 2 points………… 3 points
6 months▪

▪

▪

Difficulties faced without conserving this monument………… 1 point
Economic problems
Religious problems………… 2 points………… 3 points
Social problems▪ Other details which are important to decide priority
Give 1-3 marks according their importance; i.e.
values, factors of deterioration etc.
*…………………………
………… 1 point*…………………………
………… 2 points*…………………………
………… 3 points
TOTAL Points

Financial or other contribution from external bodies
for conservation
Give marks according to their contribution
Labour………… 1 point
Materials………… 2 points
Funds………… 3 points
Benefit for people living in the area after conserving
this monument
Economic………… 1 point
Religious………… 2 points
Social………… 3 points

Sri Lanka▪

▪

Signature:
Designation:……… points
Prepared by:
Date:

This contains various data to support the evaluation to
select the most critical monuments.
2. Documentation/condition assessments
i. Documentation mostly by hand measurement
ii. Condition assessment using a standard templateiii. Documentation and condition assessment conductedjointly
iv. Emergency measures are taken (temporary shelter)
The documentation is mostly done by hand measurement,
and qualified and experienced draughtsmen preparedrawings.

Existing drawings

38

Sri Lanka

Condition Assessment Report
A standard template is used for condition assessment. In
most cases, documentation and condition assessment are
conducted simultaneously. Conservators, draughtsman,technical personnel, photographers and skilled carpentersand masons often collaborate to prepare this conditionassessment. In most cases, the owners of these monuments,
normally head monks, help the conservation groups
because they have experience dealing with any problems
related to the relevant structure. At this stage, if it isobserved that the monument is in danger, emergency
measures are taken. Normally a temporary roof is erected
over the monument. At this stage, if it is observed that themonument or part of the structure is in danger, or isleaning and liable to collapse, emergency measures aretaken. Normally, a temporary roof is erected over themonument, as it helps protect the conservators from thesun and rain.
Condition Assessment Using Standard Template
・ Preparation of documentation condition reports- Measured drawings, sections, elevations of themonument- Photographs- Survey plans (if required) etc.

・ Condition Report- Name of the monument- Ownership・ Location and area of the monument- Province / district etc.
- Route・ Identification- Topography- History- Social system- Folklore- Environmental features
・ History of conservation
・ Present state of monument- Foundation- Walls- Columns- Roof, etc.
・ Proposals for conservation- What is to be conserved- Problems and difficulties……………………

ExampleBuilding
Elements
Foundation

Floor

Walls

39

Material / Finishes/ Observations

Assessment

Proposed Intervention

Drumming Hall

Rough finishedstones and cement
mortar joints, laterinterventions

Uneven mortar joints

Remove existing cement
grooves and reapply in theproper way

Tampita Vihara

Smooth finishedstonesProper condition

No intervention

Drumming Hall

Terracotta tiles laidon floor

Proper condition

No Intervention

Tampita Vihara(Ground Floor)

6”×6” Ceramic tiles
with some printed
tiles

Displacement /Bulging

Remove existing ceramictiles and replace withsuitable tiles

Tampita Vihara(Upper Floor)

Cement rendering on
timber floor

Weight of this cement
plaster will affect theload bearing capacityof upper floor level
timber beams

To reduce the weight on
the timber frame, it isrecommended to remove
cement plaster and fixed
timber planks

Drumming Hall3’-9” height, 12” thickwalls around thedrumming hall with
top thick cement
layer

Detached cement
layer

Rectify small cracks andwhitewash. Remove the top
cement layer and fix timberplank.

Tampita Vihara(Ground Floor)

Clay walls /Wall paintings on
inner and outersurfaces / Anotherlayer of wall painting
under the existing
painting on outersurface

Discoloured finish

Fill cracks and plaster ifnecessary and whitewash/ Remove the laterintervention / Conservationof wall paintings

Tampita Vihara(Upper Floor)

Wattle and daubwalls /Wall paintings
on inner and outersurfaces

Discoloured finish

Filling cracks and plastering
if necessary and whitewashing / Conservation ofwall paintings

Drumming Hall

Pekada on stone
columns

Cleaning the stone columns
using brushes

Tampita Vihara(Ground Floor)

Pekada on stone
columns

Cleaning the stone columns
using brushes

Tampita Vihara(Ground Floor)

Timber columns inouter row

Tampita Vihara(Upper Floor)

Timber columns
in outer row withrailings in between
them

Timberframe onground floor
walls

Tampita Vihara(Ground Floor)

3 Timber frames onclay walls. Paintingsare existed on innerside of beams

Decayed timber
beams / Seriously
damaged timberparts

Replacing timber beams/ or filling cavities withsuitable strengthening
materials. Consultation withprofessionals for further
intervention.

Timberframe onupper floor
walls

Tampita Vihara(Upper Floor)

Timber frames on
wattle and daubwalls. Paintings exist
on inner side of
beams

Decayed timber
beams / Seriously
damaged timberparts

Replacing / Filling cavities

Ceiling

Tampita Vihara(Ground Floor)

Timber planks underside of upper
floor / Paintings

Spaces between
planksFilling cavities in a suitablemannerTampita Vihara(Upper Floor)

Timber planks Paintings

Spaces between
planksFilling cavities in a suitablemannerDrumming Hall
Tampita Vihara(Upper Floor)

Timber rafters arecarved and Kandyan
tiles appear on
timber frame work

Decayed rafters

Replacing decayed timberparts

Tampita Vihara (Mainroof)

Kandyan tiles ontimber frame work

Staircase

Tampita Vihara

TimberCracksNo intervention

Doors

Tampita Vihara

Timber doors

Good

No intervention

Already installed

Irregular

Introduce proper electricalinstallation system

Roof

Electrical
Installation

CracksSri Lanka

Columns

Fill cracks with suitablefilling material. Removing
the paint layer. Applying
colourless woodpreservatives.
Cleaning the timbercolumns and railing andapplying colourless woodpreservatives.

No intervention

3. Preparation of conservation plans, cost estimatesi. Develop proposals
ii. Prepare conservation drawingsiii. Estimates and budgets and specifications(Follow the Standard Rate Analysis & Specifications of
Sri Lanka Standard Institute (www.slsi.lk)
iv. Program (if required)
After considering structural problems and causes of decay
a conservation plan is raised. Accordingly, conservation
drawings are prepared and followed by estimates andspecifications. Normally a conservation project cannot be
restricted to the allocated budget, because conservation
decisions change when the conservation works are being
done. In some cases an additional amount of money isestimated for unforeseen works.

Conservation drawing

40

Sri Lanka

4. Planning for implementation, and organisation of materials
and manpower
About 99% of conservation projects are implemented bystaff working in the department. In most cases, army
engineering regiments are utilised for easy handling andmobilization. The major components of conservation
projects are:・ Materials and services
・ Manpower – labour
Materials and services
In Sri Lankan practice, an open tender procedure isfollowed for the supply of materials. In this method, pricequotations are called from suppliers who wish to supply
materials and services for the project. Government
procurement guidelines are followed (http://www.
nprocom.gov.lk), which are administered by a tenderboard appointed by the head of the department. The
quotations are evaluated by an evaluation committee andpriority is given to the quality of the materials and prices.
The supplied materials are checked by the technical officer(architectural conservator) and according to their technicalreport, the materials are used if the report finds them to be
acceptable. All these materials should fulfill the
specifications of the Sri Lankan standards. (www.slsi.lk)
Also, in most cases, people living in the vicinity donate
materials as a meritorious act. However, obtaining timberis the main difficulty in conservation works.
Manpower
The labour requirement for the work is divided into:
a. Skilled – masons & carpentersb. Unskilled - labourers
For most conservation projects a permanent staff of skilled
labour is used, as they possess experience in various kindsof work. As normal construction work differs fromconservation work, personnel with expert skills should be
employed.

Normally the practice is that unskilled labour is recruitedfrom nearby areas if our permanent staff is insufficient.
The people living in the vicinity of the monument will
therefore be interested in preserving the heritage. Even
after the project is completed, they will be messengers forconservation, as they will continue to live with themonument. On most occasions people in the vicinity havevoluntary joined in the conservation work.
5. Implementation of conservation work and quality control
All projects will be administered by the conservationarchitect, who will have the responsibility for the overall
project. He will visit the monument occasionally anddirect the project through the senior technical personnel.
i. When a project starts, it will be supervised by an officer
in charge of the project, full time and on site. The O.I.C.
will be responsible for implementing the project as per
the project proposals and estimate. He has to arrange
the labour, materials and services properly.
ii. The senior technical personnel will give the necessary
advice, and major matters will be directed to theconservation architects. The project will be regularly
inspected by the conservation architect and the seniortechnical officer with the participation of the custodian.
All the conservation works are carried out under the directsupervision of the department’s technical staff. The officer
in charge of the site keeps all records for future reference.
Further changes and modifications done for theconservation proposal are also included in the documents.
As a conservation principle, the operational site is closed
to the public until the conservation works are completed.
6. Final report (for annual report)
At the end of any conservation project the officer in charge
prepares a conservation report for future reference andmaintenance work. It includes all the works done andproblems encountered with the conservation, with thehelp of drawings and photographs. It will be published in
the annual report of the relevant year.

Engineering regiments of army forces

41

Sri Lanka

Volunteers joined the conservation work in Abhayagiri Dagata, Anuradhapura.

While Conservation

While Conservation

42

Sri Lanka
Before conservation

After conservation

43

Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: +81-742-20-5001
Fax: +81-742-20-5701
E-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp© Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2018

Mongolia / Nepal / Pakistan

Philippines / Sri Lanka