Bhutan /Cambodia

24

2020

The Twenty-fourth Regular Report

China / Kazakhstan

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 eight reports submitted by international correspondents in the Asia-Pacific region.

The Twenty-fourth Regular Report
Contents
Bhutan1

Cambodia

7

China

11

Kazakhstan

17

Karma Tenzin
Drapham Dzong Ruins Consolidation Project

Sokonthea Sort
National Museum Building, Conservation and Repair

Bi Yi & Yang Ge
On the New Practice of Protection for Heritage with Chinese Characteristics–Construction of theLong March National Cultural Park

Gulnaz Kulmaganbetova & Smailov Zhuman Eginbaevich
Archaeological Research on the Zhoshy Khan Mausoleum

Kyrgyzstan

24

Nepal

26

Papua New Guinea

33

Sri Lanka

37

Kunbolot Akmatov
The Horse Harness of the Tien Shan Nomads in the Mongol Epoch

Suresh Suras SHRESTHA
Patan Durbar Protected Monument Zone: Post Earthquake Rehabilitation of Cultural Heritage

Jason Kariwiga
Motupore at the Crossroads: A Study in Increasing Value & Diminishing Care

Getsy Thavarajah
History and Conservation of Theru Moodi Madam in Jaffna District, Northern Province, Sri Lanka

Bhutan
BhutanDrapham Dzong Ruins Consolidation Project
Karma Tenzin, Senior Architect
Division for Conservation of Heritage Sites, Department of Culture, Ministry of Home and Cultural Affairs
Consolidation of Drapham Dzong
Following the successful implementation of the Drapham
Dzong Archaeology Project, a monograph was publishedin 2018. The scientific excavation resulted in a better
understanding of the layout of the fortress. The main
fortress complex runs approximately 200 m long in anorth-south direction, with the main tower (Utse) situatedin the northernmost side as the innermost sanctum of thecomplex. The surrounding structures (shabkhor) werebuilt along the north-south direction while maintaining acourtyard space in the center (see Fig. 1).

Brief description of the project
The Bhutan Swiss Archaeology Project, a cooperation
project between the Royal Government of Bhutan,
HELVETAS Swiss Intercooperation (HSI) and the Swiss
Liechtenstein Foundation of Archaeological Research
Abroad (SLSA), was established in 2007, on the requestof the Royal Government of Bhutan to HSI to support
an archaeology project in Bhutan. Drapham Dzong
Archaeology Project was the first ever archaeology
project executed in Bhutan under Phase I of the Bhutan
Swiss Archaeology Project, which spanned over three
years from 2008 to 2010. The project resulted in three
excavations, a comprehensive survey of the entire site,and human resource development through hands-on
training given to Bhutanese counterparts at the site aswell as educational exchanges, and presentation of the
project to the Swiss public.

With the aim of presenting the site to the public andvisitors as a model for display and conservation ofarchaeological heritage in Bhutan, the consolidation ofDrapham dzong was carried out in April, May and June
2020. The consolidation works were carried out strictly
as per conservation principles by consolidating only
the damaged portion of walls of the ruins structure (seeFigs. 2, 3, 4, 5, 6, 7 and 8). All the walls of the Drapham
dzong ruins were built in stone masonry with mud mortar.
Only the upper section of the walls of the ruins whichwere damaged over the period were consolidated using
the same construction techniques and skills. The larger
damaged sections of the walls were repaired using thesame technique by maintaining and respecting the samelayout, form and thickness of the original walls.

Location
The Drapham dzong (fortress) ruins are situated in the
Bumthang district in central Bhutan. (Exact position: N 27
39’ 15.4” E 90 45’ 14.9” Height: 2930 m above sea level)
Oral history
The fortress is said to have been the winter residenceof Choekhor Deb (leader of the Choekhor community
in Bumthang). It dates back to the early 15th century
during the period of Pema Lingpa (a great Buddhist saintand treasure revealer), before the period of Zhabdrung
Ngawang Namgyal (a great Buddhist saint and historicalfigure of Bhutan, who unified the country in the 17th
century). In Bhutan, the existing Dzongs (fortresses) were
mostly built by Zhabdrung Ngawang Namgyal himself
during his period, or built later. Since the Dzongs of the
pre-Zhabdrung era are all in ruins, one of the objectiveof the Drapham Dzong excavation project was to study
and compare pre-Zhabdrung Dzong architecture with
Zhabdrung architecture.

A plain cement concrete band (5-10 mm thick) was
provided on the topmost level concealed by one to two
courses of stone masonry as a water proofing layer toprotect the walls from rainwater seepage, which is oneof the main causes of damage to the walls. A footpath
was also constructed from the base of the hill leading to
the site for visitors along the old original footpath to thedzong (Figs. 9 and 10).

Shabkhor (surrounding structures)

Main tower

Cour

tyard

N
Fig. 1 The ground plan of Drapham Dzong ruins

1Bhutan

In continuation, the master plan for presentation of
the site to the general public and visitors with proper
signage, maps, and information boards on the history andfindings of the excavation shall be developed based on
the monograph and later installed and implemented in
2021 and later opened to the public and visitors.

Fig. 2 Before consolidation works of Utse

Fig. 3 After consolidation works of Utse

2

BhutanFig. 4 Before consolidation works at the main entrance of shabkhor (surrounding) structure

Fig. 5 After consolidation works of shabkhor (surrounding) structure3

BhutanFig. 6 Before consolidation works

Fig. 7 During consolidation works

4

BhutanFig. 8 Before consolidation of main entrance steps to the fortressFig. 9 After consolidation of main entrance steps to the fortress5

BhutanFig. 10 The footpath to the site before works

Fig. 11 Construction of the new footpath to the site

6

Cambodia
Cambodia

National Museum Building, Conservation and Repair
Sokonthea Sort, Officer
Project and Planning Office, Department of Museum, Ministry of Cultural and Fine Arts
1. Introduction
The National Museum of Cambodia is located on
Street 13 in central Phnom Penh, next to the Royal
Palace (Northern). The museum houses one of world’s
greatest collections of Khmer cultural material including
sculptures, ceramics and ethnographic objects. With theaim of educating and inspiring its visitors, the Museum
promotes awareness, understanding and appreciationof Cambodia's heritage through the presentation,conservation, safekeeping, interpretation and acquisitionof Cambodian cultural material. The National Museum’s
shape and design is also of importance for young Khmer
architects to learn about traditional Khmer architecture.
The design of this quintessential building is today
synonymous with “traditional Khmer architecture.” Boththe collection and building are important to conserve.

was reconstructed under the direction of Mr. Chea Thay
Seng. The renovation included a new upper level for an
administrative office and library as well as undergroundstorage. This building was used as the Museum (eastgallery) and School of Art Decoration of the Royal Palace(south, west and north galleries).
3. PlanA huge building with three top roofs decorated withtraditional Khmer ornaments from eastern façade, andtwo wings at the either side of the eastern façade. The
two wings are now used as repair workshop (stone,bronze and ceramic) for the collection, and the mainbuilding is a temporary exhibition gallery. The upper
level of the building is an administrative office, with alibrary and storage underground.

We are working on three main projects this year toprotect the museum building such as preventing pigeons
from living in the building, restoration of the southernpart of the roof, and repairing and recoloring somedamaged parts of the wooden windows and doors. The
Department of Museum is also cooperating with otherdepartments of the Ministry of Culture and Fine Arts forexpert and technical work on the roof repair project.
2. Historical Background
The National Museum was built in 1917 and inaugurated
in 1920 during the period of the French Protectorate
in Cambodia (1863-1953), with the original design by
George Groslier and the curator of the Museum being
Albert Sarraut. Instructors and students at the Royal
University of Fine Arts were responsible for the ornamentson the wooden windows and doors, and also thecomposition of paintings representing various charactersfrom traditional folk tales. The first design of this building
in 1920 comprised just the three main buildings. In 1924,
it was slightly altered with wings added at either endof the eastern façade, which made the building evenmore imposing. In 1969 the East Gallery of the Museum

4. Damage
After 100 years, most parts of the building are alreadydamaged, including the exterior, ground floor, wall, roof
structure and ornaments. There are many cases of damage
from the atmosphere (rain, sunshine) and animals. Rainhas caused flooding around the foundation causing
erosion. Pigeons live everywhere in the building including
the rooftop. Nests, droppings and eggshells are piled on

Original design, 1920

After the addition of wings at either end of the eastern façade

After the addition of wings at either end of the eastern façade

7

Cambodia

the water tank, clogging it up so that water can’t flow,
and missing tiles allow water to flow into the building
and cause timber decay. There is also erosion of the brickwall, as well as moss on the foundation.
4.1 Damaged Parts
Roof: decaying timber, missing and damaged roof tiles,
decaying water tank structure, damaged ornaments
Wall: erosion of mortar on the brick wall, moss and cracks
in the foundation
Windows and Doors: faded color on ornaments, erosion ofpainted drawings, cracked wooden doors
Floor: broken, shrinkage and erosion of floor tiles
Foundation: surrounding moss, cracks and erosion
5. Conservation Activities
5.1 Restoration
There are three ongoing projects for preserving thebuilding. The first project involves roof restoration.
The Department of Museum is in cooperation with
the Department of Safeguarding and Preservation of
Monuments of the Ministry of Culture and Fine Art toprovide expertise and techniques to repair roof damage.
Here are the steps to be taken: Restore part of the roof,
block damage on part of the roof and select which isseriously damaged. Do the documentation (photographs,
risk map and report) before, during, and after finishing
the restoration. Restore the south-east part of the roof,
dismantle roof tiles and take down ornaments to remove
decayed wooden timber and the water tank structureof the roof and install new timber. Use traditional paintto protect water proofing on the water tank structure.
Then reinstall the roof tiles. Some old tiles are broken so
we need to use new tiles by matching the color of theoriginals to provide the same look.

The damaged timber zone

Damaged timber before and after restoration

8

Cambodia

Damaged timber before and after restoration

Damaged timber before and after restoration

5.2 Prevention
The second project involves protecting the museum
building from pigeons. Pigeons are a big problem forthe museum building as their nests and droppings cause
harm to the roof structure, the building’s aesthetics andthe collections in the museum. The plan is to install aprotective barrier to bar pigeons from the parts of thebuilding where they live. The pigeons live in the space
between roof levels, on the window frames, beams, andthe ornamental roof. They will leave the building if theycannot find a good place to build their nests.
5.3 Repairing windows and doors
The plan is to remove old damaged paint from thewindows, doors and repaint them with traditional paint.
Then fill the cracks in the doors with wooden pieces
before repainting.

9Cambodia
The pigeon nest and droppings on the roof

6. Conclusion
There is damage to the entire National Museum building,from the rooftop to the ground floor, but rooftop
restoration and pigeon prevention should be the first stepin protecting the building. The next plan may focus on
foundation or wall repair. In addition to the conservation
work that I have presented above, another activity in

10

progress is maintaining the fire protection system suchas the installation of firefighting equipment on some partof the building and checking to see if the equipment isworking or not. Finally, giving presentations to young
students about architecture conservation work in themuseum is our next step.

ChinaChina

On the New Practice of Protection for Heritage with Chinese Characteristics—Construction of theLong March National Cultural ParkBi Yi, Project Leader
Studio Three, Beijing Guo Wen Yan Cultural Heritage Conservation Centre Co.Ltd.
Yang Ge, Planner
Beijing Tsinghua Tongheng Urban Planning & Design Institute Dept.V of Research Center for Heritage
Conservation and Urban-rural Development (Enterprise)
1. On the “Long March” Cultural Heritage
The Long March is an important historical event in
the modern history of China. In 1927, the cooperation
between the Chinese Communist Party and the Chinese
Kuomintang against the rule of the northern warlords
broke down. Beginning in 1930, the Kuomintang army
launched several “encircling and subduing” actions
towards the heads of the Communist Party, government
and military of the Chinese Soviet Republic. After the
failure of the fifth counter-campaign in 1934, the Central
Committee of the Communist Party of China and the
Red Army under its leadership began a strategic shift towithdraw from the central revolutionary base and moved
north to take part in the Anti-Fascist War. This great andarduous military operation was known as the “Long
March.”
From October 1934 to October 1936, the Central Red
Army, the Second Red Army, the Fourth Red Army, andthe Twenty-fifth Red Army under the leadership of theCommunist Party of China experienced more than 600
battles during the Long March, spanning nearly 100 rivers,
more than 40 mountains, and total travel of more than
65,000 miles. They traveled across a large area of China
and left thousands of Long March cultural relics. They
formed a huge cultural route with different human andgeographical environments in the Hengduan Mountains,

Sichuan Basin, Qinghai-Tibet Plateau, and Loess Plateau
along the way.
The Long March lasted only two years, but it had a hugeand lasting impact. Over the past 80 years, the continuous
memory of the Long March and the inheritance andpromotion of the “Long March spirit” have penetrated
every level of Chinese society. The Long March has
become an important part of China’s national memoryand national spirit.
Similar to cultural routes such as the Grand Canal and the
Silk Road, The Long March cultural route reflecting thehistorical facts of the Long March of the Red Army is anextremely large heritage system. According to statistics,
there are more than 1,600 Long March cultural relics
distributed over 15 provinces, autonomous regions andmunicipalities directly under the central government.
“Long March” is the common theme of these relics,
and they reflect historical facts about different teams or
historical events.
2. Proposal for the Construction of the Long March National
Cultural ParkOn July 24, 2019, General Secretary Xi Jinping chaired theninth meeting of the Commission for Deepening Overall
Reform of the CPC Central Committee, which deliberated

Distribution of cultural relics of the Long March at different levels

11ChinaConstruction of the National Cultural Park is of great significance to the inheritance of the national spirit.

and approved the Construction Plan for the Great Wall,
Grand Canal and Long March National Cultural Park.
The plan points out that construction of the Great Wall,the Grand Canal and the Long March National Cultural
Park, with a focus on creating important symbols ofChinese culture, is of great significance for strengthening
cultural confidence, highlighting the lasting influence ofChinese excellent traditional culture and the strong vitalityof the advanced culture of socialism.
The emergence of the concept of “national cultural park”
not only puts forward a new mode of heritage protection,utilization and inheritance, but also serves as a carrier ofpublic culture, which is expected to shape the national
image, strengthen cultural confidence, promote culturalcommunication and build the national identity.
3. Difficulties in the Construction of the Long March
National Cultural Park
The Long March is a magnificent epic composed by
the Communist Party of China and the Red Army, atowering monument in the historical process of the great
rejuvenation of the Chinese nation, and an importantpart of the national memory of the new China. The
construction of the Long March National Cultural Park is
of great epochal and practical significance for “the Long
March in the new era.” However, there are quite a few
difficulties lying ahead.

The Grand Canal was declared a World Heritage Site
in 2014 after eight years of application, while the Great
Wall was added to the World Heritage List as early as
1987. After years of research and protection, these two
grand projects, which span a long historical period andcost a lot of manpower and material resources, havecultivated a high degree of consensus on their heritage
value, components, and protection and inheritanceconcepts both at home and abroad, and complete plans
have already been drawn up in terms of their protection.
In contrast, the concept of preserving and utilizing thehistorical remains of the Long March as a whole heritage
system has only been put forward in recent years, whichcannot be compared with the former two in terms ofresearch and practice. In addition, although there are alarge number of Long March remains, they are scatteredacross 15 provinces, municipalities, and autonomous
regions, and most of them are remote. Considering thefierce battle conditions at the time, most of them were notbuilt specifically for the Long March, but only transformed
from existing building structures, so the types are very
complex, from residential structures, Taoist temples,churches, and workshops, to ferries, bridges, roads, andpasses, as well as slogans written on walls, trenches
submerged in the mountains, tombstones set up by theside of the road, and even a cave, a tree, and a well. Mostof these remains are small in scale and of limited artistic
or scientific value, which makes them more difficult toprotect and display.

The Long March cultural relics are scattered in terms of distribution, and their individual value is not prominent.

12Loushanguan Battle Site

be fully disseminated, and social and economic benefits
cannot be brought into play.
In the aspect of environment, the Long March red heritage
also has particularity. With a poetic touch, the Long Marchoutlines the difficulties and obstacles that were overcomein the natural environment. The Red Army’s marchroutes were seldom flat and thoroughgoing, and mostly
involved steep mountains, rapids, and even the traverseof inaccessible areas such as snow-capped mountains andgrasslands on many occasions. These places are restrictedby geography and transportation conditions, and can beconsidered as remote areas. Compared with the Grand
Canal, which winds through the developed provinces
along the eastern coast, and the Great Wall running
across the Beijing-Tianjin-Hebei region, the Long March
National Cultural Park, which runs through the relatively
underdeveloped regions of southeast and northwest
China, undoubtedly faces greater difficulties in terms of
the foundation of the cultural tourism industry and the
support of large city clusters.

China

Scattered and small, the Long March remains are limited
in visual impact and visual appeal. “Can you see the Great
Wall from space?” This proposition has been debatedfor decades from common people to academic circles,
and it is enough to prove the visual shock and deep
impression of the Great Wall, which stretches to the endof sight. Many important passages of the Grand Canal are
still navigable, and you can see all the scenery on bothsides of the river, which is undoubtedly a highlight ofthe exhibition. In contrast, many historical relics of theLong March cannot achieve a good display effect basedon their appearance alone. They would need detailed
content design and environment creation. In addition, inorder to maintain the red atmosphere and revolutionary
tone, they must be controlled in terms of entertainmentand commercialization. This makes it difficult for somehistorical relics of the Long March to find suitable formsof display and utilization. They are often too serious,
insufficiently flexible, and lack attractiveness to the
public, especially the younger generation. They would
be limited to a reception unit collective visit. Therefore,
the value of heritage and revolutionary culture cannot

The Wumeng Mountains through which the Red Army passed

4. Innovative Ideas for the Construction of the Long March
National Cultural ParkThe objective difficulties mentioned above are thedifficulties in the construction of the Long March
National Cultural Park. However, challenges are always
accompanied by opportunities. With a positive perspective
and careful analysis, some of the most shining characteristicsof the Long March red heritage are hidden in these “difficulties.”

protection emphasizes the integrity of values, and theoverall value is greater than the sum of individual values.
The historical remains of the Long March are connectedwith each other through the road and the story, whichreflects the integrity value of “1+1 > 2.” Each individualis like a jigsaw puzzle containing unique historicalinformation and historical details, presenting a panoramic
story of the Long March from an overall perspective.

Scattered in locations and gathered in the same spirit.
The historical remains of the Long March are loosely
distributed in space, but as a part of the great epic of
the Long March, it has a more concentrated and distinct
theme and a complete and compact storyline comparedwith other large cultural lines. The “bright line” wovenby the route of the Long March and the “dark line”
turned into the historical facts of the Long March areclosely connected, together showing a grand and detailed
historical scene, which achieves the idea of “scattered inlocations and gathered in the same spirit.” The concept
of “cultural route” in the field of international heritage

Full of charisma of the times. Compared with ancient
cultural relics, there is an important way of thinking in theprotection and utilization of modern and contemporary
heritage, which can be described as “heritage is memory.”
The Long March does not have a long history, but becauseof this, the memories and emotions of the nation, and thecollective and individual memories are still vivid. Today’s
literature, paintings, music, and film and television often“return to the historical scene” in various ways, showing
people’s spiritual need to rediscover and understandhistory. In the exhibition and communication of the Long
March red heritage, the perception and experience of13

ChinaThe memories and emotions carried by the cultural heritage of theLong March are still fresh.

About 30,000 people visit Zunyi, the holy land of the Long March, every day at its peak(2019 data).

living historical memory—rather than simply watching or
looking at the exhibition—will have a strong appeal topeople, especially the younger generation.
The original ecological natural and cultural environment.
The Red Army marched from southeast to northwest
across a large area of China, through the transition areaof the landform ladder in central and western China,
but also the region with the most diverse ethnic culture
and regional culture. The endless grassland in northern
Sichuan recorded the hardships as depicted in a poem:“The green fields are boundless, and all you can see
are wind and sand. People walk through the quagmire,
and the grass is higher than the knee.” The scattered,uninterrupted loess beams and hilly terraces of Sichuan
and Taiwan contain the heroism as depicted in the poem:“The mountains are high, the roads are long and the pits
are deep, and the army gallops ahead.” On the Qin-Jin
Plateau covered by ice and snow, the scenery in the line
“Silver snake dancing in the mountains and wax elephants
rampaging across the plateau” can still be seen. The line
“Tibetan pot, Miao pot and soldiers of all ethnic groups
share one pot” expresses the Long March spirit of national
unity. The Long March passed through remote anddangerous areas, but at the same time, the areas are alsomagnificent and rich, just as “the world’s great, strange,
extraordinary view, often lies in the danger far.” It was
through the Long March that the Chinese Communists
first had a comprehensive and in-depth understandingof the different physical geography, history, culture
and folk customs in the land of China, thus gaining a
deeper understanding of the national conditions andfinally achieving the victory of the revolution. Becauseof its remoteness, the natural environment and cultural
ecology along the route of the Long March have been
more completely preserved. In the eyes of urbanites, theLong March is not only a red revolutionary road, but alsoa cultural and natural route of tour and adventure, which
naturally coincides with self-driving travel, outdoor sports
and cross-country hiking.
5. The Construction Strategy of the Long March National
Cultural Park
In the traditional sense, a “park” is a place mainly forrest and entertainment. As a cultural strategic project,
the goal of a national cultural park is obviously notlimited to that, but also to achieve image building,
tradition inheritance, cultural communication and spirit
promotion in this process. The characteristics of theLong March relics and cultural resources—a distinct
and unified theme, a skeleton of historical paths andstory lines, vivid historical memories and emotions, andprominent natural and humanistic ecological conditions—
all highlight the importance of emphasizing a narrative,
experiencing and creating an atmosphere, and integrating
it into the environment. Therefore, the construction of
the Long March National Cultural Park should focus on
the protection, utilization and inheritance of a series of

Natural and cultural beauty along the way of the Long March

14

Take the “story” as the main line and “retake the road” asthe means. The Long March historical trail should betaken as the most important and basic way of experienceand display in the Long March National Cultural Park.
Combined with historical data research and field
investigation, the existing “Red Army road” and “Red
Army village” were searched and sorted out. The Red
Army road with its clear route, rich heritage, complete
historical environment, safe geological conditions andrelatively mature infrastructure was selected. Aftercleaning and introducing protection measures, it wasmoderately renovated and upgraded to become thehistorical trail of the Long March. The Red Army village
with a strong red atmosphere, concentrated cultural
relics and cultural resources, foundation of cultural andtourism development, and great potential was selected tobe the Long March camp, forming the basic frameworkof “thousands of miles of footpaths and thousands ofvillages.” This framework connects the rich Long Marchcultural relics and cultural resources, memorial halls,
and related natural and cultural resources along the line,
connecting, telling and displaying the Long March stories
and historical memories contained in them according tohistorical themes. Thus, an immersive walking experiencethroughout the whole process was formed, achieving the
purpose of unity of knowledge and action, refreshing the
body and mind, and understanding of the spirit of theLong March.

China

Long March cultural relics and resources with the coreof “retaking the road of the Long March and feeling its
spirit.”

The activity of “revisiting the Long March” on the historical trail

Take “interaction” as the focus and “activity” as theapproach. The exhibition of the Long March National
Cultural Park should break free from the previous modeof “watching exhibitions and listening to explanations”,
and hold active and interactive cultural activities
represented by “revisiting the Long March” by relying
on the Long March historical trail, Long March cultural
relics and pavilions. This includes not only the “Red Army
Festival,” “martyr worship,” “historical scenes re-run,” andother activities with a certain sense of ritual. It also covers“Long March story sharing,” “literary and artistic works
recitation,” “indoor and outdoor scenography drama”,“theme photography and painting competition,” and otheractivities with a high level of participation from local
people, diverse organizers, life and regular activities. In
addition, orienteering, mountaineering, hiking and other

The Long March themed sports events

sports and events are also highly consistent with thestory and spirit of the Long March, thus creating a seriesof cultural activities of the Long March National Cultural
Park that are open and shared, rich in red atmosphere,
and deeply integrated with the public's spiritual andcultural life.
Take “penetrating” as the guide and “spreading” as the goal.
Compared with the Great Wall and the Grand Canal,
the historical relics of the Long March are scattered in
distribution, so it is more necessary to strengthen theunity in visual image, so as to strengthen the integrity of
the heritage and assist it to achieve the goal of “penetrating.”
Therefore, a visual image recognition system should beestablished for the National Cultural Park of the Long
March to form an exclusive cognitive symbol. The main

Martyr worship memorial activities

15

Chinawork includes the formation of a unified, exclusive, andhighly recognizable visual image in the aspects of theme
logo, identification system, promotional materials, media
interface, cultural and creative product image, public
space landscape design, etc. And this should be combinedwith the construction of the Long March historical trail toform a linear historical and cultural landmark throughout
the whole process, thereby shaping the image IP andcultural brand, making the National Cultural Park of theLong March “a park” and expanding its social influenceand communication power. At the same time, under theguidance of the idea of “new infrastructure,” 5G+AR,
VR, big data, cloud platform, AI, XR and other new
technologies and means will be used to form online andoffline communication patterns that complement eachother and enhance the enjoyment and experience of thepark.

“Integration” as the method. In addition to the cultural
relics along the Long March, there are a large number ofhigh-quality sites. Taking Guizhou as an example, there
are 4 world cultural and natural heritage sites, 14 nationallevel scenic spots, 8 national-level geological parks, 21
national-level forest parks, and merous traditional Chinese
villages, and national-level provincial-level towns andvillages along the Long March. There are more than 400
locations, and many of these resources are historicallyand culturally connected with the Long March. The joint
display of relevant resources in the way of “integrating
theme and route” can not only expand the depth andbreadth of the display content of the Long March National
Cultural Park, but also fully integrate the great rivers
and mountains with patriotism education, and create abrand-new cultural tourism brand, expand its market
attractiveness and act as a comprehensive driving force.

The Long March cultural relics are scattered in terms of distribution, and their individual value is not prominent.

Take “education” as the meaning. Education and inheritancehave always been the most important functions of theLong March National Cultural Park. As an importanteducational resource along the Long March, party schools
and executive leadership colleges should include theLong March cultural relics and cultural resources into thecurriculum, and expand the scope of on-site teachingand experiential teaching. Based on this, they should
fully cooperate with universities, primary and secondary
schools, and private organizations to develop and launchresearch, education, and training courses and routes foryoung people, corporate employees, parents and children,
middle-aged and elderly people, and other social groups
to form a diversified Long March Academy Red education
system.

16

6. Conclusion
This national cultural park is a major innovation ofChina’s cultural strategy, which should be actively triedin theoretical research and practice in shaping thenational memory, strengthening national identity, andestablishing a national image. We should give full play tothe important role of cultural heritage in carrying forward
China’s excellent traditional culture, promoting regional
development, and improving the quality of the people,
and build a symbol of national spirit recognized by thewhole people. Through theoretical innovation, practicalinnovation and institutional innovation of the Long Marchcultural heritage in cognition, protection, management,
display, utilization and dissemination, we will promote
the establishment of a cultural heritage protection theory
with Chinese characteristics and open a new stage ofdevelopment for protection of the country’s cultural
heritage.

Kazakhstan
Gulnaz Kulmaganbetova, Chief Researcher
Kazarchaeology LLP

Kazakhstan

Archaeological Research on the Zhoshy Khan Mausoleum

Smailov Zhuman Eginbaevich, Director
Kazarchaeology LLP

In order to study the history of the development of
the State of the Kazakh people, it is important to study
monuments connected with the period of the ulus
(state) of Zhoshy Khan. Our knowledge of these issues
was originally limited to oral folk tradition, in which the
Ulytau region occupies the primary role as the center ofgrowth and development of the Kazakh state’s power. The
significance of Ulytau as the political center of the Kazakh
people was established by Kanysh Satpayev. Research onmonuments of historical and cultural heritage, carried out
in due time by A. Kh. Margulan, gave a scientific basis
for the historical legends of the Kazakhs about the roleof Ulytau in the history of our people and statehood.
Unfortunately, in those years there was no opportunity toidentify cultural layers, or to carry out a comprehensive
identification of monuments linked with specific historicalfigures and events. Also, the time of Margulan’s research on
the Ulytau monuments, the mausoleums of Alash Khan
and Zhoshy Khan, coincided with a period of repressive
policies on the part of the Soviet authorities.
Despite the negative attitude of the authorities to thestudy of history, archaeological and architectural research,and restoration work on the medieval mausoleums of
Ulytau were carried out. Information about the Zhoshy
Khan mausoleum is mainly contained in the historicallegends of the Kazakh people. Without collecting
historical legends, epics, place-name data, and othermaterials on the ethnography and culture of the Kazakh
people, the study of the Zhoshy Khan mausoleum would
be impossible.
The earliest written evidence of the Zhoshy Khanmausoleum dates back to the 16th century. In a
description of the campaign of the Bukhara ruler Abdallah
against Ulytau, undertaken by him in the spring of 1582,
the mausoleum of Zhoshy Khan is mentioned: “OnSaturday, the 6th [day of this] month, [the khan] stopped
near (Navaja) Sarai in front of the mazar [mausoleum]of Jochi Khan.” Analysis of the data on the route of
Abdallah’s troops makes it possible to identify the mazar
indicated by the author of this text as the mausoleum ofZhoshy Khan. Prior to the above description of Abdallah’s
campaign, the only mention known is in the history of
the move to Ulytau of Emir Timur. According to scant
information, the chroniclers of Emir Timur traced theroute as follows: Saryk-uzen – Kyachik-tag – Ulug-tag– Ilanchuk. Those names have survived in ones used
today, which are: Sarysu river (Sarik-uzen), Kishitau
mountain (Kichik-tag), Ulytau mountain (Ulug-tag),
Zhylanshyk river (Ilanchuk). From the route thus givenof the troops of Emir Timur, it is clear that it ran not on
the western part of the Ulytau mountains, but therefore
on the eastern side, in the basin of the Kengir river,where the monuments being studied are located. Emir
Timur immortalized his stay on Ulytau with a “triumphal”
inscription on Altyn-shoky, located to the west of the
Ulytau mountains, which confirms the route of the troopsof Emir Timur. The route of Abdallah from Bukhara to
Ulytau also followed the basin of the Kengir river, andthe author of the textual description noted above, Hafiz
Tanysh, thus mentions the mazar of Zhoshy Khan.
Subsequently, in the period of the 19th to early 20th
centuries, the mausoleum of Zhoshy Khan was mentioned
in connection with the mausoleum of Alash Khan.
These monuments are named in the article by Ch. Ch.
Valikhanov “On the Kirghiz-Kaisak tombs (molahs) andantiquities in general.” The monuments are described in
more detail by Yu. Schmidt in his “Sketch of the Kyrgyz
steppe south of the Aral-Irtysh watershed.” About themausoleum of Zhoshy Khan, in the work of K. Schmidt itsays only the following: “3 versts south of Kyzyljar, in the
steppe of the left bank, another monument has stood, thisis the grave of Khan Dzhus, which is made of red brickwith a spherical dome of blue glazed bricks and generally
resembles the Alash Khan monument.” In the work of Yu.
Schmidt, the legend about Alash Khan and Dombaul isgiven.
A. Krasovsky mentions the Zhoshy Khan mausoleum.
In giving a description of and dating the mausoleum of
Alash Khan, comment on the mausoleum of Zhoshy
Khan is contained in the 18th volume of the Complete
Geographical Description of Russia.
None of the above sources provide information sufficiently
complete for the restoration of the lost elements of theportal, decor, or the outer dome of the Zhoshy Khanmausoleum. The first scientific study of the monument
is associated with the activities of Margulan, working
with the Kazakh SSR Academy of Sciences. But first, theinformative article by Satpayev, “Prehistoric monumentsof the Dzhezkazgan region,” should be noted, which set
the task for archaeologists to study Ulytau as the ancient
political center of the Kazakh steppes. In his article,
Satpayev ascribes the Zhoshy Khan mausoleum to theGolden Horde period.
In 1945, the mausoleums of Zhoshy Khan and Alash
Khan were examined by M. B. Levinson’s expedition.
The expedition made a preliminary survey of the sites,
but winter conditions did not allow them to study thesites in detail. In 1946, archaeologists Margulan and G. I.
Patsevich, together with architects M. B. Levinson and G.
G. Gerasimov, examined the mausoleum.
Archaeological research was carried out at the Zhoshy

17

Kazakhstan

Khan complex by Margulan in 1946. He excavated burials
in mausoleums of the Zhoshy Khan necropolis and bothburials of the Zhoshy Khan mausoleum. He notes that
before him, the Zhoshy Khan mausoleum was robbed
in 1929 by a group of Atbasar residents, together with acertain party named Shon (Chong) who lived near themausoleum. As a result, the grave goods and humanskeletal remains buried in the mausoleum were not intheir original condition.
In addition, he notes that in the past the portal niche of
the mausoleum had tiles with inscriptions, which were
removed in 1911 “for showing to the Steppe GovernorGeneral.” Inside the mausoleum, Margulan excavated
two graves. In the first burial he found the remains of awooden coffin, reinforced with iron nails. The researcher
was interested in the fact that the deceased did not havethe bones of one hand. In the burial, in addition to theskeleton of a person, the bones of wild animals, a camel’sskull, fragments of skin, tissue, and a banner (tug) were
found.
The second burial, in contrast to the first, was lined with
unfired bricks measuring 48 × 21 × 10 cm and plasteredwith alabaster mortar. The length of the burial chamber
was 190 cm. Inside the crypt, Margulan discovered an
oak coffin with a skeleton, but without a skull, which
had been seen during the predatory excavations in 1929.
In this crypt, a slab with the inscription “ykpal” wasfound. The letters of the Arabic script are carved against
a background of a complex floral ornament. The slab,
measuring 42.5 × 42.5 × 2.5 cm, lay under the scapulaof the interred, with the inscription down. Based on
the absence of the bones of one hand, the presenceof bones of wild animals in the grave, the historicallegends of the Kazakhs, and the information from Hafiz
Tanysh, Margulan believed that Zhoshy Khan himself
was buried in the first grave, and in the second was hiselder wife, Bektumysh, daughter of Toghrul, the Kereit
Khan. The construction of the mausoleum according
to Margulan dates to 1228. A number of works by theprofessor of architecture M. Mendikulov are devoted
to the architecture of the mausoleum and to issues of
the genesis of monuments such as the Zhoshy Khanmausoleum.
The next period of study of the monuments is associatedwith the work of the Central Kazakhstan expedition of
the Ministry of Culture. In 1973, this expedition surveyed
the Zhoshy Khan mausoleum. From a historical andarchaeological point of view, noteworthy in their researchis the clearing of the inner dome near the barrier on the
inner side of the portal, as a result of which fragments of
the outer dome were found. In addition, the researchers
made probes at the site and its fence.
M. K. Sembin collated extracts from research and sources
regarding the Zhoshy Khan mausoleum, providing historicalinformation. In 1991, the necropolis was examined by
the Zhezkazgan detachment of the Novostroyechnyarchaeological expedition, under the leadership of Zh.
E. Smailov. In the course of archaeological excavations,
we discovered the unfortified settlement of ZhoshyOrdasy. It was also concluded that the mausoleum andthe settlement constitute a single complex of the Zhoshy
Khan Ulus period. The excavations revealed the remains

18of houses. Based on the materials of these archaeologicalexcavations, for the first time remains of settlementsof the Ulus period of Zhoshy Khan were identified
in the territory of Central Kazakhstan. Analysis of thearcheological data and written sources made it possible toidentify the unfortified settlement of Zhoshy-Ordasy withthe city of Orda-Bazar mentioned in written sources.
To give an overview of the monument, the Zhoshy Khan
necropolis is located on the east bank of the river Kengir,
45 km northeast of the city of Zhezkazgan, on a small
hill. Downstream, the Kengir river flows into the drying
up Basbulak stream, which originates from the Kyzylzhar
springs. The Zhoshy Khan mausoleum looks mostimpressive from the south along the east bank of the
Kengir river. From this side, the mausoleum is clearlyvisible from a distance of 9 km. At the same distancefrom the mausoleum, near the former water metering
station Shotkara, on the top of the hill there are the ruinsof a medieval fired brick mazar, surveyed in 1991. Here,near the structure, there was the medieval settlement of
Shotkara.
Near the necropolis of Zhoshy Khan, the Kengir river hasa bend and flows over a 1 km stretch from east to west.
Old riverbeds of the Kengir run parallel in the form of
dry channels, one below the necropolis under the baseof the hill on which it is located, and a second at the
wintering place of Adylbai. An area in the floodplain of
the river, bounded by an oxbow near the necropolis andthe riverbed, was used for crops. There are remnants ofan irrigation system here. The dating of the irrigation
system is difficult, but it can be assumed that the last time
it operated was at the beginning or middle of the 20th
century. Upstream along the river Kengir, 5 km from the
Zhoshy Khan mausoleum, there is the ritual structureof the Dombaul mausoleum, surrounded by mazars of
the 19th to early 20th centuries. Next to the Dombaul
mausoleum, there are burial grounds of the Bronze Age,of early nomads and of the Middle Ages.
The Khan complex consists of the Zhoshy Khan mausoleum,
the remains of medieval mausoleums and residential
structures in the form of hillocks, and a pit up to 2.7 m
deep. Kazakh mazars lie adjacent to the mausoleum tothe south and southeast, among which there are grave
structures made of lime mortar similar to those at the
Koitas cemetery, which are uncharacteristic for Central
Kazakhstan.
From the southeast to the northwest behind the Zhoshy
Khan mausoleum, a chain of mounds stretches in an arc
in three rows at the top of small hillocks, which are theremains of structures made of unfired and fired bricks.
Near the Zhoshy Khan mausoleum, on the northwestside, there are the remains of three medieval fired brickmausoleums. One of them was eventually excavatedby Margulan. On the eastern side of the Zhoshy Khanmausoleum, there is a pit 11 m in diameter and up to 2.7
m deep.
The use of aerial photographic data made it possible toidentify a settlement adjacent to the necropolis complex.
The study of the settlement showed that it directly relates
to the Zhoshy Khan complex. The settlement stretchedfrom north to south for a distance of about 350 m, along

Thus, of the two remains of structures surveyed in thesettlement, one can be interpreted as a residentialbuilding, the second as a production building – a brickkiln. At this stage of research, we cannot determine thenumber of structures in the settlement or definitely say
anything about the functions of the settlement.
Archaeological surveys conducted over two years madeit possible to eliminate the question of the presenceof pre-Muslim burials at the necropolis. Searches for“hidden” burials described in written sources haveyielded no results. Based on this, we can conclude thatthe necropolis originally appeared as a Muslim one. We
associate the emergence of the Zhoshy Khan necropolis at
this place with the location of the earlier cult building of
Dombaul not far away. A paucity of studies of monumentsof the Dombaul type forced us to examine two othermonuments of this type near the villages of Otkelbai and
Yeginda. Inspection of those monuments allowed us toverify Margulan’s conclusion that this type of religious
building was in essence a “temple of the ancestors.” In
our opinion, the mausoleums of Alasha Khan and Zhoshy
Khan served not only as burial structures, but like thestructures of the Dombaul type, they also served asancestral temples, places of worship, and monuments tostatehood. In Kazakh historical legends, the khans were
elected at the mausoleum of Alash Khan. Legends link
the historical election of Kenesary as khan in Ulytau witha specific place near the Zhoshy Khan mausoleum, on
Kyzylzhar.
The study of archaeological monuments of the nomadsof the Kazakh steppes, due to the absence or paucity ofsuch written sources, must draw upon folk knowledge inthe form of oral histories of the steppes, mythology, andepic legends. These realms of historical knowledge ofthe steppes were widely used by Margulan in his works.
Archaeological excavations at the complex pursued not
only purely empirical goals, but also the achievement of
the necessary scientific and practical results to enable theidentification of additional cultural aspects, of doubtlessvalue for a more complete restoration of the monument.
Therefore, along with the description of the excavations,
we drew conclusions as far as possible regarding the
purpose of the identified elements.
During archaeological excavations, one focus consisted of
the remains of a “large” house, which have survived to aheight of up to 1.5 m. The walls of the house were madeof adobe bricks 40 × 20 × 10 cm in size. The house inplan is an almost symmetrical structure with an entrance
oriented to the southeast. The central room, from theentrance to the back wall of the house, has an area ofover 20 m². This room is adjoined by a niche formed bystrongly thickened (up to two meters) walls separating
Room 5 from Rooms 4 and 6. A sufa (bench) was
attached to the back wall of the niche.

Kazakhstan

the east bank of the Kengir river. The area occupied by
the settlement was repeatedly plowed for crops in the
1940s to 1950s. Remains of structures in the form ofextensive mounds up to 0.4 m high are recorded only
on the peripheral part of the settlement. The rest of thestructures can be traced by aerial photography. During aground survey, the remains of the settlement’s structures
were faintly traced. In this regard, the master plan of thecomplex includes the remains of those structures thathave been identified as a result of localized clean-ups
and excavations. Supporting material, as in most medieval
settlements as yet known in this region, is practicallyabsent. Thus, a partial cleaning of the northernmost
hillock showed that these are the remains of a structure
subrectangular in plan. The walls of the building weremade of 40 × 20 × 10 cm mud bricks, i.e. the same
brick from which the “large” and “small” houses of theinvestigated complex were built. The southernmost
structure of the settlement is the remains of a brick kiln.
The remains of the furnace before the excavations werea massive mound with weakly defined edges up to 15
m in diameter. The surface of the mound before the
excavations was strewn with broken bricks, pieces ofslag, and modern debris.

Judging by the thickness of the side walls, and the findsof trapezoidal bricks, this room could well have been
covered with a vault or dome. The paucity of studies ofexamples of residential architecture of the Middle Ages ofSary-Arka does not allow drawing close analogies for thistype of dwelling. However, anyone who has studied themonuments of religious architecture of the Kazakhs of the
19th century is fully aware that some Kazakh mazars arenothing more than copies of residential buildings, from
simple yurt-like to complex multi-chamber dwellings.
The residential buildings of the Zhoshy Khan necropolis
are currently the only structures representing this type ofdetached house of the Middle Ages in Central Kazakhstan.
It is also important that the fill on the premises of thesmall house, and especially as seen at Room 5, consistsof blocks of adobe bricks. The absence of any ceilingremains or other material in the rubble allows forattention to be drawn in the following observations to
the presence of elements favoring domed or vaulted
ceilings of residential buildings in the Middle Ages. In thefill of the premises of the “large” house, we observe not
the gradual destruction of the walls in the form of layers
deposited from flooding, but a jumble of bricks, which isa typical condition most likely resulting from the collapseof the walls with a domed or vaulted ceiling.
Rooms 1, 2, 3, 6, and 7 served as living rooms. Theirinterior is made with an L-shaped sufa located along two
walls. The rooms were heated with the help of tandoors(ovens) deep in the sufas. Fragmented chimneys leading
into the wall run from the tandoor. The floors in therooms are clay, well defined by a thin ash-humus artifactbearing layer. Clearing the sufa fill in Room 6 revealed
an interesting heating design. The entire inner space ofthe sufa was lined with stone. The stones had previously
been fixed by the use of chips to fit closely together.
On one side, the stone layout is closely adjacent to thewalls of the tandoor, located at the end of the sufa. The
tandoor, embedded in the sufa, had an unpreserved
chimney, judging by the accumulation of ash, and fromtraces on the surface of the sufa, the chimney was
installed at the corner of the room. The fact that thebuilders of the house knew how to make chimneys canbe seen from the excavations of Rooms 1, 2, and 3, in
which stoves such as fireplaces with chimneys were
uncovered. The stonework inside the sufa, coated with alayer of clay on top, served for an original way of heating
the sufa’s surface. The stones, closely fitted to each other19

Kazakhstan

and to the tandoor, gathered heat from the tandoor andconducted it to heat the surface of the sufa.
As a result, when studying the method of heating living
quarters, an especially important element for the territoryof Sary-Arka, we have two types of heating spaces thatare unlike each other. The first type includes stoves of
the “fireplace” type, the second consists of tandoors. The
presence of three fireplaces in a single room indicatesthe use of these types of heating in the first construction
period.
When examining the house, it was revealed that thehouse originally consisted of five rooms, three residential
and one for storing grain. The absence of running bondin the masonry indicates places where two rooms eachwere later added on both sides of the house, living
quarters on the northeast side, and a utility room and amill on the southwest side – a room with a millstone in
the middle. The paving under the millstone, as it turnedout during detailed cleaning, was made of adobe bricks.
The lower part of the millstone had split into dozens ofparts, with the fragments being identified by the presenceof the grinding surface of the millstone. The upper
millstone with a diameter of 105 cm was found at theentrance to the room and has an opening in the central
part, from which four grooves extend along the working
surface at right angles to each other. On the edge of themillstone, a hole was made up to 7 cm deep and up to 3
cm in diameter.
In general, excavations of the “large” house have shownthat this house was originally planned almost symmetrically.
In the center, behind the vestibule, there was Room 5,
from which it was possible to enter Rooms 3 and 4 on
the right and on the left into Rooms 6 and 7. Later, Rooms
1 and 2, and Rooms 8 and 9, were added on both sidesof the house as shown by the masonry of the walls.
Excavation No. 2 was set up at the site of the mausoleum.
After clearing the excavation area of the fences andpavements left by the excavation conducted in the early
1970s, the entire area of the excavation precinct was
divided into a grid of 2 × 2 m squares. After removing
a layer of 5–7 cm, a medieval pavement of the site wasrevealed in the western part of the excavation, made offlatly laid fired bricks of various sizes. The central andeastern parts of the excavations were deepened by 0.15
m and cleaned out. There was no pavement in this partof the excavation. Four late burials were uncovered there.
During the excavation, a subsidence in the pavement was
revealed in the squares V-1, V-P G-1, G-N. After fixing
the pavement in these squares, the pavement bricks
were removed. Cleaning off the subsoil revealed a gravepit, in which the burials of an adult and a child were
found when excavated. The burials were made according
to Muslim burial rites and covered with fired bricks.
Apparently, a small foundation pit existed here before theburial. Then, after digging back all of the edges of the
excavation precinct and cleaning down to the subsoil,
squares Г-IV and Г-V were deepened. Deepening thesesquares by 0.2 m further showed undisturbed natural
strata. The area paved with fired bricks was thus only
5.9 m wide. A portion of a wall of fired bricks stretches
for the same distance along the southwestern side of20

the excavation. The site of the wall of fired brick is
fragmentary to the southwestern side, but complete on
the northwest side. An open section of the site, bounded
by a wall of fired bricks, is paved with fired bricks. In the
excavation precenct were found fragments of ceramics,
carved glazed tiles, and a coin.
Later, this excavation was expanded to the northeast andembraced the hilly area adjacent to the mausoleum site.
An excavation area of 420 m² encompassed the entire
structure. During the excavation, the remains of a mudbrick wall that enclosed an area of 225 m² were found.
The fill inside the walls was clay soil formed during
the collapse of the walls, interspersed with whole andbroken fired bricks. Judging from the excavation site andthe rampart around the mausoleum, the mausoleum had
fences made of adobe and fired bricks. The fragmentationand strong destruction of the walls makes it impossible todetermine the temporal connection between the fences
made of unfired and fired bricks. It is quite possiblethat the wall and the fired brick pavement were notcompleted and belong to a different construction period
than the mud brick fence.
Related to this excavation site is another excavation
precinct set up inside the Zhoshy Khan mausoleum.
The excavation covered the central and rear parts of themausoleum, i.e. the area above the two burials describedby Margulan, based on the results of the excavationsin 1946. Excavations of the burials were carried out inorder to clarify the structure of the burial facility, conduct
anthropological research on the skeletal remains, andclarify the funerary rites associated with the burials. Afterdismantling the brick floor laid by restorers in the 1970s,
a layer-by-layer deepening of the excavation was started
over an area 2.8 × 2.65 m. After removing a layer 0.3 m
down from the level of the modern floor, the originalancient floor of the mausoleum, laid with fired bricks,
was fragmentally revealed. With further deepening, bothburials were revealed. The fill in the excavated area wasloose light soil interspersed with construction waste.
Burial A is located at the back wall of the mausoleum andis an earthen pit, dug into a dense white natural stratum.
The dimensions of the grave pit are quite extensive,
although due to repeated excavations they cannot betaken as the original ones. The grave pit is oriented with
its long axis from east to west. At the edge of the grave
pit on the eastern side, a camel’s skull was uncovered,mentioned in the description of the excavations carriedout by Margulan. The fill of the grave pit contained theremains of a wooden coffin and construction waste. On
the lateral side, adjacent to Burial B, the wall of the burial
is adobe brickwork belonging to the neighboring burial.
The expansion of Burial A towards Burial B is most
likely associated with repeated predatory excavations
carried out before 1946. At the bottom of the burial pit,
the bones of the interred were uncovered, the main
portion of which was stacked in the western part of thepit. The skull is missing. From the parts of the coffin
obtained during the excavations, we reconstructed oneof the pieces, consisting of two horizontal boards anda crosspiece connecting these boards. Judging from therecovered fragments, it served as one of the sides of thecoffin and was more than one meter in length. If weconsider that the width of the grave pit is 86 cm at theBurial B is located in the center of the mausoleum. During
excavations above this burial, at the level of the ancientsurface, fragments of the facial part of a human skull
were found. The burial was made in a burial chamber,
the walls of which were lined with mud bricks measuring
38–40 × 20 × 10 cm, i.e. they are identical to the bricksof the “big house.” The bottom of the burial chamber, as
described by Margulan, was lined with fired bricks. The
fill of the burial pit was loose sifted soil interspersed withconstruction waste. The burial chamber is trapezoidal. As
in Burial A, the bones of the deceased were gathered in
one place at the head, although the skull was missing.
In the pavement of the bottom of the burial chamber, atthe position of the head, there were two bricks missing,which Margulan had removed.
As a result of the excavation of the burials, due to therepeated destruction by grave robbers, it was not possible
to identify any elements of the grave structure. Whenexamining the burials, special attention was paid to theircorrespondence with the mausoleum. The assumptionthat a corresponding structure should have been erected
over the burial of Zhoshy Khan, who worshiped theGreat Blue Sky like all his fellow tribesmen, and thespirits of his ancestors, required the identification ofelements corresponding to this rite. First of all, these
could be the remains of the original structure such as
a mound or dyng, as, for example, over the grave ofEmir Edygei, buried on one of the peaks of the Ulytau
mountains. Or, according to information we know fromwritten sources, he could have been interred secretly in a“hidden” burial. In that case, we can doubt that a Muslim
mausoleum was later erected over the “hidden” burial of
Zhoshy Khan. Excavations have not revealed traces ofany early structure. Objects of material culture, the skullof a camel, and a burial in a wooden coffin described
during the excavations in 1946 do not allow one tounambiguously attribute Burial A to either the shamanicor Muslim burial rites. Burial B can be interpreted as
Muslim, associated with the time of the existence of themausoleum. A study of the ruins of other mausoleums at
the Zhoshy Khan necropolis showed that the main burials
located at the back wall of the mausoleums were madein earthen pits under a fired-brick tombstone in the formof a sufa. From this we can conclude that initially, burials
were made in earthen pits. Then, during the constructionof the mausoleum, a tombstone in the form of a sufa
was erected over the burial. Therefore, we cannot
unequivocally classify the pit burial as an early burial,over which, after many years, a mausoleum was erected.
Based on the results of the study of the mausoleum, we
are inclined to believe that the mausoleum was most
likely planned over Burial A, and that the mausoleum wasoriginally planned for one burial.
Excavation 3 was laid out at the location of the pit anddivided into 5 × 5 m squares, so that their border divides thepit into two equal halves. The excavation was conducted
to a depth of 3.69 m. Fragments of ceramics and animalbones were found in the pit. According to the results of
excavations, the pit can be interpreted as a well.

Excavation 4 was focused on the “small” house locatedbehind the Zhoshy Khan mausoleum. In addition to thehouse, the excavation uncovered a small pit, which wemarked as Pit 2. The excavations revealed the remainsof a small house made of adobe bricks. The houseconsisted of three rooms arranged in a row. The easternroom has a separate entrance, into which a late burial
was inserted. The main part of the room is occupied bya fragmentary surviving sufa. In the eastern corner of theroom, a ruined hearth was uncovered, filled with ash,animal bones, and pottery fragments. The remaining two
rooms are connected to each other, and their common
entrance is equipped with a vestibule. There is one sufa
on the northwestern wall of both rooms. Both sufas
were destroyed by late burials introduced into them.
The floor of the premises is earthen, in which utility pits
and hearths are arranged. Fragments of glazed and nonglazed ceramics were found in the excavation, along withanimal bones, and two iron plowshares. Excavation of
Pit 2 showed it to be a pit with straight edges, and with abottom that had been scorched by fire. Animal bones andpottery fragments were found in the lower part of thepit fill. Among them, the most interesting is the fragmentof the crescent top of a dome covered with blue glaze,apparently related to the earlier top of the Zhoshy Khanmausoleum, which was eventually replaced by a lower
quality analogue.

Kazakhstan

head (i.e. on the west side), and 64 cm at the feet, thenthe part we reconstructed could only serve as the longside of the coffin. In this case, this is a part of a coffin
with a length of more than one meter.

Conclusions are important for the restoration of themausoleum, and determination of its time of construction
based on architectural research was done by the authorof the project for the restoration of the Zhoshy Khanmausoleum, E. Kh. Khorosh. As a result, an important
conclusion for the study of the Zhoshy Khan mausoleum
was made. This allows us to say that the mausoleum wasoriginally lower in height, about 0.7 m, and had only
one dome. Later, the walls and portal of the mausoleum
were added, and a star drum with a second dome was
erected over the original dome. During this second periodof construction, the outer drum dome was tiled withblue glazed tiles. In addition, Khorosh verified that themausoleum had been periodically repaired.
These findings explain many things, in particular, thatthe mausoleum was constantly looked after as a religious
building. The original mausoleum was without its
current exterior cover, which allows it to be attributed
to the period of Uzbek Khan. We have written that theheadquarters of the Jochids Orda-Bazar was located near
the mausoleum, known in literary sources as the place
where the “throne of Sain Khan,” that is, Batu Khan, waslocated.
In the 15th century, Abu’l-Khair Khan ascended andseized the “throne of Sain Khan” in Ulytau. The greatpower policy pursued by Abu’l-Khair Khan demanded theappropriate expressions, which could be satisfied by theconstruction of a superstructure over the Zhoshy Khanmausoleum. As noted by V. P. Yudin, the Shaybanids
were proud descendants of Tokhtamysh and Tuqa-Timur,and glorified themselves by the fact that they counted
as their ancestors Genghis Khan, Horde Ejen, and Sain
Khan. In “Tarikh-i Abu’l-Khair-khani,” as chroniclers
have noted, the idea is put forth that Abu’l-Khair Khan
became ascendant over the Timurids, taking the roleas their patron while the Timurids became his vassals.

21

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Having settled in Ulytau, Abu’l Khair Khan fought forpossession of the Timurid territories. In this struggle with
the Timurids, he needed exaltation of his famous ancestor
to prove the legitimacy of his rule over the territories of
the Timurids. This great-power policy is reflected in thesources of the Shaybanid dynasty and is aimed not onlyat supporting the Shaybanids’ claims to the Timurids’
possessions, but also the legitimacy of their accession to
Mawarannahr.

In this situation, perhaps during the burial of one of
the Jochids in the mausoleum, or during the ceremonial
accession to the “throne of Sain Khan,” a superstructure
was erected over the existing mausoleum. According
to the data on the restructuring and constant care of
the Zhoshy Khan mausoleum, it can be said that themausoleum, like the grave of the first ancestor of thekhans of the Zhoshy ulus, played a great ideological role.

A plan of Zhoshy Khan's mausoleum

The mausoleum of Zhoshy Khan, a front view

22

Kazakhstan

23

Kyrgyzstan
Kyrgyzstan

The Horse Harnesses of the Tien Shan Nomads in the Mongol Epoch
Kunbolot Akmatov, Specialist
The Archaeological-Ethnographical Museum-Laboratory, Kyrgyz-Turkish Manas University
Horse harness items are some of the most common finds
in the burial sites of the Mongol Epoch in Tien Shan.
They have been discovered both in male and female
graves. In one documented case, some horse harness
items were found in the grave of a child. Usually, these
items are situated at the feet of the deceased, and rarely
near the head or other parts of the body.
Full sets of horse harnesses are rare finds in the burialsites. In most cases, a combination of a saddle, bits
and stirrups or a buckle from belly-band have been
discovered. Finds of bits and stirrups or a saddle andstirrups have been documented in several burial sites. It isinteresting to note that all three known full sets of horseharnesses have been found in female burial sites, which
include remains of a bridle with or without bits, saddle,
stirrups and a buckle from a belly-band. Some bridles
were lavishly decorated with metal plates. On the basis of
the archaeological finds, taking into account the pictorial
sources, it is possible to reconstruct the horse harness
used by the Tien Shan population in the 13th to 14th
centuries.
Four remains of bridles have been found in the burialsites of Tien Shan. The bridle from a female grave at the
Seki I cemetery is more complete and richer example, whichallows us to reconstruct it more easily and confidently.
According to our reconstruction, it consists of a leather
headstall comprising a noseband, a forehead band, twocheek bands, a crownpiece and a throatlatch, an iron bit,and two lead straps for the reins. The headstall is lavishly
decorated with metal plaques and pendants. Large andround plaques are mounted at the juncture of the cheekstraps and the noseband and forehead band. E-shaped
plaques are fitted onto the cheek bands and noseband.
The same fittings are used to decorate the “heart-shaped”
leather pendant in the center of the noseband. The
forehead band is decorated with triangular plaques. A
spherical bronze rattle-bladder is also attached to it. The
bit is composed of a two-piece snaffle with a large roundring at either end, to which the reins are attached.
The saddle set from the burial sites is represented bywooden saddletrees, iron stirrups, girth buckles and metal
pendants to the breast and crupper straps. The saddletrees
are made up of two sideboards, a vertical pommel andan inclined cantle, which are tightly tied together withleather laces. They belong to the so called “Mongolian”
type, which is known to date from the beginning of the II
millennium AD. There are three subtypes of “Mongolian”
saddles in Tien Shan. The main difference among themis in the shape of the pommels. Obviously, different
subtypes of saddles were used for different purposes and/or by different age/sex groups. For example, saddles withtrapeze-shaped pommels were presumably used mainly
by women. The saddles were accompanied by a girth
strap, a breast strap and a crupper strap. They are notpreserved in the burial sites. But there are finds of girth
buckles and pendants made of metal and bone, which
are included in our reconstruction. The stirrups from theburial sites are made of iron and consist of two posts thatform an arch over the foot and a tread on which the footrests. There are three types: arch-shaped, trapeze-shaped
and round. Judging by the number of finds, the archshaped stirrups were in widespread use.

Fig. 1. A photo and a graphic illustration of burial 26, the cemetery Boz-Adyr, with remains of a horse harness (a)24account the pictorial sources, we were able to reconstruct
the most likely original look of the horse equipment of
the Tien Shan population in the Mongol epoch.

Kyrgyzstan

On the whole, we may conclude that the grave items
represent an important and almost complete source on
the subject. On the basis of these materials, taking into

Fig. 2. The bridle remains from cemetery Seki (1) and its reconstruction (2)Fig. 3. Reconstruction of the horse harness of the Tien Shan nomads in the 13th to 14th centuries

25

NepalNepal

Patan Durbar Protected Monument Zone: Post Earthquake Rehabilitation of Cultural Heritage
Suresh Suras SHRESTHA, HeadWorld Heritage Conservation Section, Department of Archaeology, Nepal
1. Introduction
Nepal has its own glorious history and is well-known
around the world for its diversified cultural heritage.
The Lichchhavi period is known as the Golden Agein the ancient history of Nepal. The special bronze
art, wood art and building architecture developed in
the medieval period, known as the Golden Era for
Bronze art in Nepal, still exists today, especially in
the Kathmandu Valley. The same art and architecture
continued in the Shah and Rana periods as well, and isactually the original tradition or culture of Nepal. They
comprise the unique cultural heritage not only of Nepal
but also of this universe, fulfilling the criteria as per the
Operational Guidelines for implementation of the World
Heritage Convention, Kathmandu Valley was listed on
UNESCO's World Heritage List in 1979, consisting ofseven separate monument zones. Patan Durbar is one ofthese monument zones, in which the 25 most significant
monuments are included.
The Nepal Earthquake 2015 badly affected 14 districts
with huge physical destruction as well as humancasualties, and impacted 35 districts in total (DoA, 2015).
The earthquake damaged several significant cultural
heritages of Nepal. Many cultural and historicallysignificant monuments in Kathmandu Valley including
seven protected monument zones were severely damaged
and collapsed. Some 170 monuments were affected bythis earthquake: 33 monuments completely collapsed
and 137 monuments were partially damaged and/or
partially collapsed within the Kathmandu Valley World
Heritage Property (DoA/GoN, 2019). Among them, sevenmonuments completely collapsed, whereas 15 werepartially damaged in Patan Durbar Protected Monument
Zone, a component of Kathmandu Valley World Heritage
Property (DoA/GoN, 2015; KVPT, 2017).
The Department of Archaeology/Government of Nepal,
however, started the renovation and rehabilitation ofdamaged monuments, mostly through Kathmandu Valley
Preservation Trust (KVPT), which has been working
on the renovation and rehabilitation of those damaged
monuments with permission from and in coordination
with the Government of Nepal/Department of Archaeology(DoA). Most of the monuments within Patan Durbar
Protected Monument Zone have now been rehabilitated.
2. Rehabilitation of Earthquake Damaged Monuments in
Patan Durbar PMZ
It has been the practice worldwide that human beings
should be the first priority for rescue in any kind ofdisaster situation, and only then should other things
would come (SHRESTHA, 2009). Accordingly, there wereseveral rescue teams from different agencies either fromthe Government of Nepal or the non-governmental
agencies an hour immediately after the earthquake

26(SHRESTHA, 2016). However, it was a devastating
situation and no one could think about heritage, thecreation of human kind, which always comes after humanbeings. Nevertheless, the Department of Archaeology
inspected the site as much as possible to at least find andidentify collapsed or damaged monuments immediately
after the earthquake.
In the beginning, from right after the earthquake,
whenever a staff member got in contact with the DoA,
they were sent to sites to conduct a preliminary assessment
on an ad hoc basis, and from the second day after theearthquake, most of the staff were in contact and this task
could be done systematically, and they did whatever they
could do in that situation (SHRESTHA, 2017).
Then after a week, with the preliminary assessments
having been done, the Department deployed a teamconsisting of an archaeological officer, an engineer/architect and a photographer as EMERGENCY HERITAGERESCUE TEAM to the various sites. The team urgently
worked through the preliminary data and undertook
the emergency rescue of art objects, determined thevulnerability of structures, and such necessary activities
right at the sites. The rescue team worked jointly with
the Nepal Army, Armed Forces Police and Nepal Police
as well. All the teams were very closely coordinatedby the Department of Archaeology regarding all postearthquake activities for cultural heritage during thistime (SHRESTHA, 2017). The main objective of this joint
team was to salvage the art objects and other elements
scattered around the collapsed and damaged structuresat the sites; therefore, the team salvaged all the elements
and stored them in a proper place where possible withonsite documentation — photographs, listing or preparing
the name and number of objects salvaged, storage place,custodian and other required data as used in the Nepalese
MUCHULKA (a kind of traditional legal documentation
system for preparing to hand over or store anything).
Most of the sites were salvaged by the rescue team but
at some sites, especially in Patan and later in Sankhu,
the local communities, with Department of Archaeology
representatives, salvaged in this way as they were verymuch aware of the need to safeguard the heritage. They
also stored all elements/objects in the proper place as
guided by the representatives from the Department ofArchaeology. Kathmandu Valley Preservation Trust andPatan Museum made their best efforts in this as well (DoA/
GoN, 2016).
The Department of Archaeology also immediately formulated
the NATIONAL EXPERT TEAM, which consisted mostly of
structural engineers, architects, archaeologists, earthquake
engineers, legal experts and other required experts. This
expert team visited sites as and when necessary, making
a detail assessment of the whole site (DoA/GoN,

During this time, the Department of Archaeology invited
ICCROM to assist Nepal through their experts in salvage
and proper scientific documentation. The result was the
Joint Mission Team consisting of experts from ICCROM,
ICOMOS, ICOM, and the Smithsonian Institution. The
Mission worked for a week on evacuation, salvage
and emergency documentation, and was the firstformal mission for heritage rescue after a disaster in
Nepal that included related staff from the Department,
through which an opportunity was provided to build
the capacity of local experts in such a situation (DoA,
2015; SHRESTHA, 2016). The Joint Mission Team from
ICCROM played a training-cum-working role with a teamof the Department that included site engineers, architects,
traditional carpenters who carried out shoring/supporting
work, masons, and some contractors as well. Therefore,
it was also an opportunity for national experts and staffof the Department to engage in capacity building (DoA/
GoN, 2017).
In the case of Patan Durbar Protected Monument Zone,
KVPT, as a leading non-governmental organization, withpermission from the Government of Nepal/DoA, actively
led the various efforts for salvage, documentation andstorage of the salvaged artifacts and all kinds of materials
during that time; this was much useful later on during therenovation and rehabilitation of monuments.
KVPT took the initiative to conduct for some research anddetail study on the damaged and collapsed monuments,
the elements or components of the monuments, andthe stability of the land where the monuments wereconstructed, and re-assembled the monuments whichwere salvaged. It has also been taking the lead in theconservation and rehabilitation of the cultural heritage ofPatan Durbar Protected Monument Zone as well.
The coordination among almost all stakeholders in
Patan Durbar Protected Monument Zone was very good,which resulted in an extremely smooth post-earthquake
rehabilitation process. At the very beginning of the postearthquake salvage and storage of all elements fromthe site, the local people were very much aware of andinterested in assisting with the salvage efforts, and helping
to provide secure storage in coordination with the DoA
and other local authorities/institutions (DoA/GoN, 2015a).
The major authorities responsible for Patan Durbar PMZ
were the DoA, Kathmandu Valley Preservation Trust(KVPT), Lalitpur Metropolitan City, Metropolitan City
Police, various local clubs and social organizations,
Mangal Tole Sudhar Samiti, Hakha Tole Sudhar Samiti,
and local residents. Almost all stakeholders also accepted
the leadership of KVPT and KVPT followed the guidelines
and instructions of the DoA; this was the major positive
part of the process that kept the site under control andenabled further progress in a managed way. Therefore,

each and every activity in Patan Durbar Square Protected
Monument Zone is still going smoothly, even theimplementation activities of conservation, renovation andrehabilitation in the post-earthquake situation.

Nepal016a). The expert team was also involved in providing
proper instructions for the stabilization of vulnerable
and remaining structures for their rehabilitation orconservation, and renovation after proper planning would
be came out (SHRESTHA, 2016 & 2017).

The DoA, as the sole authority of the government regarding
cultural heritage conservation and management, must
grant permission or approval for any conservation,
renovation or rehabilitation of cultural heritage; therefore,
KVPT as a heritage partner that has been collaboratively
working for more than a decade in the Patan Durbar,
applied for permission to rehabilitate those monuments
which were badly damaged and had collapsed due
to Earthquake 2015 (DoA/GoN, 2016). The DoA/
Government of Nepal granted permission to KVPT torenovate the monuments in close coordination among theDoA, Lalitpur Metropolitan City (LMC), local communities,
and all stakeholders as necessary.
In this context, the previously formulated steering committee
for the conservation of Patan Durbar has been working
continuously in this post-earthquake conservation andrenovation project of the monuments within Patan Durbar
PMZ by KVPT. The committee consists of representatives
from the District Administration Office (CDO office),
LMC, KVPT, Kathmandu Valley Heritage Trust (KVHT – alocal partner of KVPT), the Metropolitan Police – Mangal
Bazar, Chair of Ward / LMC (2 Wadadhyaksha), Guthi
Corporation and head of the Monument Preservation
and Durbar Maintenance Office, Patan. The committee
is chaired by the Director General of the DoA (DoA/
GoN, 2015- 2018). It is mandatory for KVPT to coordinate
with the National Reconstruction Authority and Social
Welfare Council, as an International Non-governmental
Organization under its governing rules and regulations in
Nepal.
As per the permission granted to KVPT, it has beenworking on the site in a very balanced way, coordinatingwith related authorities, local communities, andstakeholders as well. Therefore, the rehabilitation works
are almost in the final stages; however almost all of
the monuments have been renovated/rehabilitatedcompletely. The permission/approval was granted for thefollowing monuments in order to carry out appropriate
conservation and rehabilitation activity after the damage
caused by Earthquake 2015:
1. Sundari Chowk – East Lounge
2. Mulchowk including Taleju Temples
3. Mani Mandap (two Manadapas)
4. Yog Narendra Malla Stone Pillar Statue (in front ofPatan Durbar)
5. Stone Pillar in front of Bhimsen Temple
6. Krishna Mandir
7. Bishweshwor Temple
8. Char Narayan Temple
9. Hari Shankar Temple

27

NepalThe conservation and rehabilitation of Sundari Chowk,
Mulchowk including two temples of Taleju, Mani Mandap(two Mandapas), Yog Narendra Malla Stone Pillar Statue
in front of Patan Durbar, Stone Pillar in front of Bhimsen
Temple, Krishna Mandir, Char Narayan Temple, Hari
Shankar Temple and Bishweshwor Temple have alreadybeen completed (DoA/GoN, 2018; 2019; KVPT, 2017). The
conservation and rehabilitation of Kumbheshwor Temple,
which will be completed soon, is being carried out by the
DoA, and the rehabilitation of Bhimsen Temple is being
carried out by the local community in support of LMC
with the technical support of KVPT (DoA/GoN, 2017,2019).
The renovation and rehabilitation of almost all of themonuments for which permission has been granted to
KVPT have been completed; however, there are still a few
monuments to be completed. Hopefully they will also becompleted very soon, even in this worldwide COVID-19
pandemic and its widespread negative impact.
3. Conclusion
E a r t h q u a ke 2 0 1 5 d a m a g e d t h e m o s t s i g n i f i c a n tmonuments of Nepal and more damage occurred in Patan
Protected Monument Zone. However, the dedication,
excellent management and good coordination of all
those involved resulted in positive progress in the Patan
Durbar area. The LMC could not contribute financiallytowards the rehabilitation of these monuments; however,
due to its positive and coordinative attitude towards
heritage conservation and management, KVPT has beensuccessfully making progress in all these activities,
while coordinating with the national authorities, local
communities and international agencies as well.
The progress made in the Patan Durbar Protected
Monument Zone regarding post-earthquake conservation,
renovation and rehabilitation indicates that good andadequate coordination among the authorities, local
communities and stakeholders, as well as excellent
management, can result in successful completion of
the rehabilitation of all damaged and affected cultural
heritage in the future. This is a good example of theparticipation of the community and coordination among
all stakeholders for the rehabilitation of cultural heritagein Nepal.

References:
DoA/GoN (2015). Preliminary Report of Monuments
Affected by Earthquake April 25, 2015. Kathmandu:
DoA/GoN
DoA/GoN (2015a). Preliminar y Assessment ofMonuments Affected by Earthquake 2015 in Patan.
Kathmandu: DoA/GoN (Unpublished Reports)
DoA/GoN (2016). State of Conservation: Kathmandu
Valley World Heritage Property. DoA/GoN (Unpublished
Reports).
DoA/GoN (2016a). Assessment of Monuments Affectedby Earthquake 2015 Kathmandu Valley World Heritage
Property. Kathmandu: DoA/GoN (Unpublished Reports)
DoA/GoN. (2017). 2072 Salko bhukampabata kshatibhayeka Lalitpur jillaka sampadaharu (The Monumentsof Lalitpur District Damaged by Earthquake 2015).
Kathmandu: DoA/GoN.
DoA/GoN (2018). State of Conservation: Kathmandu
Valley World Heritage Property. DoA/GoN (Unpublished
Reports).
DoA/GoN (2019). State of Conservation: Kathmandu
Valley World Heritage Property. DoA/GoN (Unpublished
Reports).
DoA/GoN (2015-2018). Disseminated Information.
Kathmandu: DoA/GoN (Unpublished)
KVPT (2017). Earthquake Response Campaign Overview
of Projects. Kathmandu: Kathmandu Valley Preservation
Trust.
SHRESTHA, S. S. (2009). “If Hundreds of People Workfor Rescuing People, Only One Person Can Do for
Heritage Rescue”. In Research, Analysis and Preservationof Archaeological Sites and Remains. Nara: ACCU
Nara, Japan.
SHRESTHA, S.S. (2016). “Post-Earthquake Conservation,
Reconstruction and Rehabilitation in Nepal: Current
Status”. In The International Correspondent Regular
Report No. 17. September 2016; Nara: Cultural Heritage
Protection Cooperation Office, Asia-Pacific Cultural
Center for UNESCO (ACCU) Nara, Japan.
SHRESTHA, S.S. (2017). “Post-Earthquake Response
to Cultural Heritage: Tradition of Cyclical Renewal”.
In The Cultural Heritage of Nepal, before, during andafter the 2015 Earthquakes; Current and Future
Challenges. Kathmandu: Oriental Cultural Heritage
Sites Protection Alliance (OCHSPA).
Some photographs of the monuments which have beenrehabilitated and some which are continuing to undergo
rehabilitation work

1-1 Sundari Chowk, collapsed by the earthquake

28

Nepal

1-2 Char Narayan Temple, collapsed by the earthquake

1-3 Harishankar Temple (behind the stone pillar), collapsed by the earthquake

1-4 Krishna Mandir, collapsed by the earthquake

1-5 Manimandapa, collapsed by the earthquake

1-6 Taleju Temple, collapsed by the earthquake

1-7 Vishweshwor Vishwanath, collapsed by the earthquake

29

Nepal
2-1 Sundari Chowk-East after rehabilitation30

1-8 Yognarendra Statue, collapsed by the earthquake

2-1-1 Sundari Chowk-East after rehabilitation

2-2 Char Narayan after rehabilitation

2-3 Harishankar Temple after rehabilitation

2-4 Krishna Mandir after rehabilitation

2-5 Maniwandapa after rehabilitation

Nepal

2-6 Taleju Temple after rehabilitation

2-8 Yognarendra Malla Pillar after rehabilitation

2-9-1 Yognarendra Temple Pillar after rehabilitation

2-7 Bishweshwor Temple after rehabilitation

2-9 Bhimsen Templle Pillar after rehabilitation

2-10 Kumbheshwar Temple, work on going31

Nepal2-11 Radha Krishna (Octagonal) Temple, work on going

32

Papua New Guinea
Jason Kariwiga, Teaching Fellow
University of Papua New Guinea
The island of Motupore, located in the Central Provinceof the Independent State of Papua New Guinea (PNG),
is an excellent case study of what can be done to bothmanage and protect a cultural and historically significant
site. In the decades since its acquisition by the Universityof Papua New Guinea (UPNG), significant strides havebeen made to ensure the island’s management plans,
infrastructure and legacy are safeguarded. On the other
hand, Motupore serves as a reminder to all stakeholders
that the practice of cultural heritage management is athoroughly fluid one, one that must respond to bothinternal obstacles and external pressures, and which
requires constant monitoring and constructive reinforcement.
Motu = island; pore = gravel or sand bank (in the indigenous
Motu language)
Motupore is a small waterless island located 15 km southeast of the capital city of Port Moresby and situated in
the picturesque Bootless Bay (see Fig. 1). The island isdominated by a single steep ridge and measures c. 800

m long, 61 m high and around 275 m at its widest point
and is separated by 600 m of shallow water from themainland. Vegetation on the island consists largely ofgrassland—Themeda triandra, formerly T. australis—and Eucalyptus with mangroves lining the shores. The
northern end of the island is a cuspate sandspit (~1.4ha) stabilised by grassland (Allen 1978) and the only flatarea; fronting this is a tidal sandspit extending northwardwith the shore protected by a seawall (see Fig. 2). The
climate of the whole Bootless Bay/Port Moresby area isdominated by two opposing wind systems–south east
trade winds bringing dry and cool conditions to theisland blow from April until December and in between,north west monsoons dominate, delivering warmer andwetter weather; finally, because the Port Moresby area lies
within a rain shadow, precipitation is among the lowest
in the country (1000-1500 mm per annum) (MacAlpine etal. 1983). Motupore was purchased by UPNG in 1970 as
an archaeology field station and laboratory as well as foruse by other disciplines. Today, Motupore is still yielding
up its past secrets, as well as being a centre for marine

Papua New Guinea

Motupore at the Crossroads: A Study in Increasing Value & Diminishing Care

Figure 1. The map showing the location of some sites mentioned in the text. Adapted from Allen et al 1997:13

33

Papua New Guinea

biology and environmental science research. Programmes
at Motupore are currently run by the Motupore Island
Research Centre (MIRC).
They came, they made pots, they traded, they disappeared.
Archaeological investigations at Motupore have beensporadic but ongoing since the late 1960s to as recent as
2018. Cumulative evidence suggests that Motupore was
first occupied around 1200 AD by a group of people
from the east who settled the island and created a
massive pottery manufacturing centre, focused on longdistance trade and the production of large quantities ofshell bead ornaments (Allen et al 1997). Archaeologicaldeposits are massive and include (but are not limitedto) flaked stone artefacts, faunal remains, shell beads,
abundant human skeletal remains and the ever-present
and stylistically unique pottery (Allen 2017). The extent
of the Motupore trade network is astounding giventhat sites in the non-pottery-producing Papuan Gulf,
approximately 300-400 km to the west, report having
pottery stylistically akin to those made at Motupore(Frankel et al 1994:28, Rhoads 1994:67). Occupation at
Motupore lasted 500 years until around 1700 AD, when
the island was suddenly abandoned (Allen 1977). The
history of Motupore is also closely intertwined with theoral histories of the indigenous Motu people. The Western
Motu, who today occupy the site of the capital city andthe surrounding areas to the west of Bootless Bay, trace
their ancestry to Motupore, which they say was settled
and then abandoned after continuous warfare between its
inhabitants and those living on the neighbouring islandof Loloata, the latter are regarded as ancestors of theEastern Motu who currently occupy Bootless Bay andnearby areas (Oram 1969). In fact, Motupore once had
another name—Motu Hanua— hanua meaning ‘village’.
A country needs a constitution.
There is a small permanent structure on the northernend of Motupore facing the mainland that sits snugly
and close by a small grove of mangroves adjacent to thewater. It is quite modest and solitary, and is built awayfrom the main residential dwellings on the island. Perhaps
only someone intimate with the political history of PNG
would know the significance of this unassuming dwelling,for it was in this house that a group of young Papua New

Guineans spent time writing and ironing out an important
text—the constitution of a soon-to-be independent
nation. The Constitutional Planning Committee was set
up in June 1972, charged with developing a ‘homegrown’ constitution (Woolford 1976:138), one that would
eventually be formally adopted one month before
independence in September 1975. Today, ‘Constitution
House’ as it is called, is cared for by the MIRC as ahistorical building of national significance.
There’s something in the water.
Today, Motupore is probably most known to the PNG
public as a marine conservation area and a marine
biology research centre. The island is within the Bootless
Bay Marine Conservation Initiative/Bootless Bay Managed
Marine Area, managed by the country’s top environment
conservation body, CEPA (Conservation and Environment
Protection Authority), and funded and run jointly by theJapan International Cooperation Agency ( JICA) (see Kama
2016a, also ‘Cepa, UPNG to protect marine life’, 2017).
According to CEPA:
Bootless Bay displays a wide range of major marine
habitats, including mangrove forests, seagrass beds,
sandy beaches, rocky shores and reefs, intertidal andsublittoral carbonate and mud bottoms, open water,
patch and fringing coral reefs. The Bay also has anumber of wrecks scattered on its bed, each with
their own distinctive biological communities.
(Conservation and Environment Protection
Authority, n.d.)Indeed, Bootless Bay is known for its fauna and flora
diversity (e.g. Baine & Harasti, 2007). For example, fish
species calling the bay home number 485, representing
a total of 72 different families and with a further estimateof between 515 and 558 from the same study (Drew et al2012).
So, what’s working so far?
UPNG through its MIRC has effectively run and managed
heritage on Motupore for the last forty years. This is
despite the numerous issues and challenges facing theinstitution (see below). Facilities on the island consistof two large multi-room accommodation buildings, a

Figure 2. Motupore at low tide, as seen from the sandspit, facing south towards the northern end of the island, 2016. ocation of Constitution House is circled.
Photo: Nick Sutton <http//archaeologyactually.blogspot.com/2016/07/motupore-island-excavations-2016.html>

34

Challenges? Yes!
The challenges that face Motupore are both unique andsimilar to many other sites of cultural significance aroundthe world. Apart from the new field laboratory, the restof the facilities date back to the transfer of the island to
UPNG, and although very well maintained, have fallen
victim to the ravages of time that even Constitution House
itself stands in a state of disrepair. Limited funding has
always been an issue; the Acting (now) Director of MIRCJohn Genolagani has said in the past:[Motupore] is the first and the only surviving marine
research icon of PNG. Since the 1970s, hundredsof publications were produced based on researchat MIRC. Unfortunately, due to usual budget cuts,
the research station has depreciated over the last
20 years. The university is trying its best to bring it
up again. Right now, we are only doing core andimportant mentainance (sic) works on the facilities,
including accommodation, staff residences both on
Tahira and Motupore Island. In terms of studies, thenormal classes for undergraduate and post-graduate
are going on but when these (sic) research requires
facilities like laboratories or diving or IT services likeinternet and telecommunication, are (sic) no longer
available here. [Kama 2016b].
The most recent concern that has an indirect effect on
Motupore is tourism. The neighbouring island of Loloata,less than 1 km to the southeast (of Motupore), has aninteresting history. Compared to Motupore, archaeologicalresearch on Loloata has been minimal. This suggeststhat Loloata was occupied twice, the last time 300 years
ago, which is contemporaneous with Motupore; pottery
recovered from Loloata is also similar in design to otherpieces found on Motupore (Sullivan & Sassoon 1987).
Taken from landowners around the time of European
contact in 1895, Loloata has been privately-owned, andin 1977 a resort was opened on the island. In September
2019, a new PGK130 million diving resort was opened.
The issue of ownership came to a head in August 2020;
on 14 August, traditional landowners from the adjacentmainland village of Tubusereia protested against the
Loloata developer, alleging the destruction of traditional
burial sites, physical and verbal harassment by employeesof the resort when fishing in nearby waters, and missed
business opportunities along with overall historical claims

to the island (‘Nasfund will look into villagers concerns’,
2020, Emtv Online 2020). These issues have been taken
on board by the local governor and the resort owners
so it remains to be seen what outcomes will eventuate.
Whilst the example of Loloata does not directly impact
Motupore, there are a few takeaways:•Motupore was recognised as culturally significant
early on, which was acted upon, in contrast to Loloata;•There needs to be a compromise between local
fishermen and conservation-enforcing authorities in
Bootless Bay;
•The local Motuan landowners must be involved in the
management of Motupore; and•The tourism industry centred in Bootless Bay needs tobe aware of the significance of the surrounding lands
and waters, so they adhere strictly to conservation rules.

Papua New Guinea

conference room and a kitchen with full amenities, thedirector’s on-site residence, a recently completed field
laboratory space, along with a water tank and pump,a home for on-site caretakers and a power generator.
At the insistence of MIRC and its partners, Bootless
Bay is now earmarked as a protected area. The MIRC
has also created effective partnerships with both local
and international groups, and government and nongovernmental organisations. For example, MIRC is at theforefront of teaching and organising local participation
towards rehabilitating, replanting and managing mangrove
forests along Bootless Bay on the adjacent mainland (seeMangun 2019). Motupore is still used by undergraduate
and post-graduate students from UPNG and researchers
as a conference, training and research centre.

Motupore at the crossroads: the future
So where to now for Motupore? It’s certain that Motupore
must be protected, but where will that urge for culturalprotection come from, given that Motupore is relatively
unknown outside of academic circles, and not in thewider public imagination, where economic development
sometimes supersedes heritage protection? As Muke
(1998:66-67) points out, “many Papua New Guineans also
have the mentality that traditional and archaeologicalsites are obstacles to development issues and therefore
planners and policy makers often have the misconceptionthat they should not waste money on an uneconomic
enterprise”. In addition, adequate funding, properly
updated management plans and continued institutional
partnerships are vital to keep MIRC afloat. What’s certainis that UPNG’s ownership of Motupore into the future isessential; as Professor Steven Winduo (of UPNG) affirms,“As long as it remains with UPNG, the archaeological,
anthropological, historical, political, scientific, andeducational platform it provides to the young people of
Papua New Guinea will remain intact. It is a unique spacefor learning and for our people” (Winduo 2016).
Acknowledgements:
The author was part of excavations carried out at Motupore
from 2016-2018, attempting to redate the site, under theguidance of Dr Matthew G. Leavesley (UPNG) and amaster’s candidate Ms Teppsy Beni. Thank you to the
UPNG Archaeology Lab Group.
References
Allen, J. 1977. Fishing for wallabies: Trade as a mechanism
for social interaction, integration and elaboration on thecentral Papuan coast. In J. Friedman and M. Rowlands (eds),
The Evolution of Social Systems, pp. 419–455. Duckworth,
London.
Allen, J. 1978. The physical and cultural setting ofMotupore, Central Province, Papua New Guinea. Bulletinof the Indo-Pacific Prehistory Association 1:47-55.
Allen, J. 1985. Comments on complexity and trade: a view
from Melanesia. Archaeology in Oceania 20(2):49-57.
Allen, J. 2017. Excavations on Motupore Island Central
District, Papua New Guinea. University of Otago,

35

Papua New Guinea

Working Papers in Anthropology, Number 4. Departmentof Anthropology and Archaeology, University of Otago,
Otago.

Kama, L. 2016b, August 12. Motupore island loses value.
The National. Retrieved from <https://www.thenational.
com.pg/motupore-island-loses-value/>

Allen, J., Holdaway, S. & Fullagar, R. 1997. Identifying
specialisation, production and exchange in the archaeologicalrecord; the case of shell bead manufacture on Motupore
Island, Papua. Archaeology in Oceania 32:13-38.

Mangun, W. 2019, December 27. Awarded for saving
mangroves. The National. Retrieved from <https://www.
thenational.com.pg/awarded-for-saving-mangroves/>

Baine, M. & Harasti, D. 2007. The marine life of Bootless
Bay Papua, New Guinea. Motupore Island ResearchCentre, Port Moresby
Cepa, UPNG to protect marine life in Bootless Bay.
2017, July 27. The National. Retrieved from <https://www.thenational.com.pg/cepa-upng-protect-marine-lifebootless-bay/>
Conservation and Environment Protection Authority.
n.d. Bootless Bay Managed Marine Area. Retrieved from<https://oceanconference.un.org/commitments/?id=21432>
Emtv Online. 2020, August 14. Loloata Island under
Dispute. Emtv Online. Retrieved from <https://emtv.com.
pg/loloata-landowners-present-petition-to-government/>
Drew, J., & Buxman, C., Holmes, D., Mandecki, J., Mungkaje,
A., Richardson, A., & Westneat, M. 2012. Biodiversity
Inventories and Conservation of the Marine Fishes of
Bootless Bay, Papua New Guinea. BMC Ecology, 12(1):1–
15.
Frankel, D., Thompson, K, & Vanderwal, R. 1994.
Kerema and Kinomere. In D. Frankel and J. Rhoads(eds) Archaeology of a Coastal Exchange System: Sites
and Ceramics of the Papuan Gulf. Research Papers
in Archaeology and Natural History, No. 25. pp. 1-49.
Canberra: Division of Archaeology and Natural History,
Research School of Pacific and Asian Studies, The
Australian National University.
Kama, L. 2016a, August 11. Marine protected area to beestablished. The National. Retrieved from <https://www.thenational.com.pg/marine-protected-area-to-beestablished-2/>

McAlpine, J.R., Keig, G. & Falls, R. 1983. Climate of Papua
New Guinea. Canberra, Commonwealth Scientific andIndustrial Research Organisation and Australian National
University Press.
Muke, J. 1998 The Death (and Re-birth) of Kuk: A
Progress Report on the Recent Development at the KukPrehistoric Site, Western Highlands Province. In Kuk
Heritage: Issues and Debates in Papua New Guinea. A.
Strathern and P. Stewart, eds. pp. 64–86. Port Moresby,
Townsville and Pittsburgh: The National Museum ofPapua New Guinea, the James Cook University Centre
for Pacific Studies and the Department of Anthropology,
University of Pittsburgh.
Nasfund will look into villagers’ concerns. 2020, August
15. Kalang FM. Retrieved from <https://kalangfm.com/
news/nasfund-will-look-into-villagers-concerns-912>
Oram, N.D. 1969. Taurama. Oral sources for a study ofrecent Motu prehistory. Journal of the Papua New Guinea
Society 2(2):79-91.
Rhoads, J.W. 1994 The Popo site. In D. Frankel and J.
Rhoads (eds) Archaeology of a Coastal Exchange System:
Sites and Ceramics of the Papuan Gulf. Research Papers
in Archaeology and Natural History, No. 25. pp. 53-69.
Canberra: Division of Archaeology and Natural History,
Research School of Pacific and Asian Studies, The
Australian National University.
Sullivan, M.E. & Sassoon, M. 1987. Prehistoric occupationof Loloata Island Papua New Guinea. Australian Archaeology
24:1-9.
Winduo, S. 2016, November 25. Necklace of green shells.
The National. Retrieved from <https://www.thenational.
com.pg/necklace-green-shells/>
Woolford, D. 1976. Papua New Guinea: Initiation andIndependence. University of Queensland Press, Brisbane.

36

Sri Lanka
Getsy Thavarajah, Development Officer III
Archaeological Museum, Regional Archaeological Office-North, Department of Archaeology, Ministryof National Heritage
Introduction
In Sri Lanka, madams have been constructed as housesor halls for pilgrims, traders, employees and travelers totake a rest. In common usage, this monument is calleda madam in Tamil and ambalama in Sinhalese. But
this particular monument was built across the street andwith aisles on both sides of the road. The two aisles
have provided space for people to rest safety when they
travel from towns to villages with commercial goods.
The terminology THERU MOODI MADAM in the Tamil
language means the roofing system across the street thatruns through the madams on either side of the street.

Fig. 1: Madam - Location

Fig. 3: Madam in 19th c. AD

Sri Lanka

History and Conservation of Theru Moodi Madam in Jaffna District, Northern Province, Sri Lanka

This heritage site is being protected as an archaeologicalprotected monument under Antiquities Ordinance No.09
of 1940. This place is located 32 km from Jaffna cityand 140 m along Thumpalai Road from Sivan Koviladi
junction on Jaffna-Point Pedro Road on the right side.
This heritage site is located in the Point Pedro Divisional
Secretariat Division, Point Pedro J/401 Grama Sevaka
Division. The location falls on latitude 15°N and longitude
30°E.

Fig. 2: Location

Fig. 4: Madam in 1990-201937

Sri Lanka
Fig. 5: Madam in 2019–After being damaged

Fig. 6: Madam in 2020–After conservation

1.1 Ancient transportation and madams
In Northern Sri Lanka, people in earlier periods moved
between their settlements and traded with the use oftransportation systems which enhanced their lives. They
used transportation via both land and sea. When theyused land routes to travel to harbors and jetties fromtowns and villages they used a bullock cart as the main
vehicle for long distance travel and to transport things.

1.2 Origin of madams
When the road system was introduced by the Dutch
rulers in Jaffna, these type of madams were also built forthe purpose of transporting and selling goods like salt,arricanut, etc. It is said that the madam at Point Pedro wasbuilt by a Brahmin priest, namely Panchadchara Sarma,
the father of the Brahmin Vaitheeswara gurus who lived
there between 1898 and 1901.

When the passengers travelled along the land routes
by bullock cart, they put their loads down and stayedat the madam during their travel for safety and peaceof mind day and night. Therefore, these monuments
were erected in Jaffna as major business centers, publicgathering places in the areas nearby temples, and at thesites of drinking water centers on the journey. Though
there are many examples of this type of structure foundin other parts of Sri Lanka, this one does not resemble
the others in terms of the style of architecture or its
pattern. The only example in Jaffna of these roadside
heritage monuments is the Theru Moodi Madam at Point
Pedro with the unique feature of the Dravidian styleof architecture. This madam is facilitated with a cattle
rubbing stone (aavuranchkkal), a well (kinaru), a stone

1.3 Architectural features
The building was constructed by using well-polishedlimestone. Theru Moodi Madam is an open doublewalled structure with a rear wall 35 feet long and 34 feetwide, allowing passengers to rest safely from the rain
and harsh sun. The distance between the two walls of
the main structure is 15 feet 8 inches. The back walls of
the verandas on both sides are built of limestone andplastered, and the height from the existing ground level is
13 feet 10 inches.

water tub (thanneer thoddy), etc.

Fig. 7: The side elevation

38

1.4 Pillars
The pillars are made of engraved masonry reflecting Dravidianarchitecture on top of four limestone bases that at the groundlevel. Parts of the pillar can be divided into pillars, columns
or capitals, architraves, friezes, or cornices. On one side of
the madam there are a total of eight engraved masonrypillars—six of these are on the front side and two are at theback. On the opposite side the madam has the same structure.
The names of people who supported the building of thismadam and to prepare the pillars appear in Tamil script on
1.5 feet high engraved stones on the six pillars. Some of
the inscriptions are obscure.

Fig. 8: Pillars

2.1 Funding the project
After the last accidental damage, an effort was made by
Jaffna Archaeological Office to conserve the monument
immediately. The Point Pedro Town Development Society
and Point Pedro-Switzerland branch requested theArchaeological Department to conserve the Theru Moodi
Madam immediately by allocating a financial contribution
through the Divisional Secretariat. Accordingly, withthe approval of the Director General of Archaeology,
the guidance of conservation officers, and with thecontribution of the Central Cultural Fund, the construction
works started by restoring the roof and madam as it was
before, to be handed over to the public.

Fig. 9: The square shaped bended iron rod for the arch

2.2 Conservation works
Project Period: 10.09.2019 to 15.01.2020
Expenditure: LKR 1,103, 158.00
2.2.1 Method of restoration of the arch as it was before tobear the roof of Theru Moodi Madam
Conservation experts tested whether the arch of the madam
could bear the roof and the ancient madam for a longer
period and whether the madam was sturdy. As per theiradvice, on a bended iron rod, formwork (shuttering) was
set up using wooden planks (Fig. 9). The concrete arch
was prepared with a width of 9” by using a mixture of
cement, sand, and crushed limestone (size 3/4”) in theratio of 1:2:4. The arch was erected similar to its original
shape by placing engineering bricks on the concrete andpainting it with lime. To bear the weight of the arch on
four sides of the madam, additional concrete pillars wereerected (Figs.10 &11).

Sri Lanka

2. The reason for conservation of Theru Moodi Madam
The ground level of the madam was naturally covered
with sand originally. Due to the rise in the road level as aresult of road renovation, the structure was damaged byheavy vehicles twice in 2019.

2.2.2 Restructuring the roof to the traditional model
In 1990s, a roof was installed on both sides of the madam;a wall plate was fitted and four iron bars were fitted acrossthe wall, and on the iron pillars a roof arch made withpalmyra timber was fitted. The deteriorated and damaged
roof structure was replaced by employing trained
traditional carpenters found locally. Timber for the roof
was fitted in 11 cubits and with the space of 45 cm.
Because of insufficient quality palmyra batten (reeps),
first-grade timber was fitted as it was. Old tiles werecleaned and additional tiles were also purchased for thebalance. Ridge tiles were fixed by cement mortar. At theends of both sides of the roof, wooden valance boards

Fig. 10 & Fig. 11: Arch conservation

Fig. 12 & Fig. 13: Restructure of the roof

39

Sri Lanka

were fixed for the safety of the wood. The wood wascoated with preservative oil to increase the durability ofthe timber (Figs. 12 &13).
2.2.3 Restoration of deteriorated walls and pillars
Two side walls of the madam’s deteriorated parts were
removed due to accidental damage to the wall made oflimestone with cracks caused by the used of massive ironslabs, and roots of trees growing on the building surface
and penetrating into the building. In order to bear theweight of the roof, two 6” long, 12 mm thick iron rods
were placed inside the wall and plastered with a mixtureof cement, lime and sand in the ratio of 1:2:10. The rightfront porch of the madam (off Point Pedro Street) and thecontinuing walls connecting the shop and the Brahmin’s
house at the back were removed and rebuilt to preserve
the uniqueness of the madam.
As peepal (Ficus religiosa) tree roots penetrated into thewall near the shop, part of the old wall measuring 65 cm
in length and 40 cm in width was removed and rebuilt.
The concrete pillar erected by the general public for theprotection of the madam was removed and the area wasrestored to its original form (Figs.16 &17).

Figs. 14, 15, 16, &17: Wall conservation progress40

to human activity and natural factors. The gaps for thestones were coated with the tested cement mixture oflime, termitarium soil, and red roof tile powder in equalamounts (Figs. 18 & 19).

Sri Lanka

2.2.4 Finishing the floor stones in the veranda of the madam
The ground of the madam was rendered with neatly
sized limestone slabs, and the grooves between the stones
were plastered with a fine mortar (ashlar). Plaster layers
on the floor were found to be in a state of extinction due

Fig. 18 & Fig. 19: Pointing work before conservation

2.2.5 Restoration of the stone-framed doorway located in theback wall of the left side madam
People used to close the entrance with concrete blocks
because there was no door. Those concrete blocks were
removed and rebuilt with bricks to provide temporary
protection during this conservation work. This temporary
brick wall will be removed when it is re-fixed in the
future.

2.2.6 Restoration of other unique building parts associatedwith the madam
Due to threats to heritage monuments, a lamp stand, around stone water tub made from a separate stone fordrinking water for the cattle, and a cow rubbing stonethat had been erected near the madam for the use of
Theru Moodi Madam, which have been handed overto the management of Point Pedro Sivan Temple forsafekeeping, were brought back. The lamp stand andwater tub (Fig. 21) were brought from the temple and refixed permanently.
2.2.7 Finishing activities
All walls were washed and old lime wash removed, while
the interior and the exterior of the walls were coatedwith lime wash twice. With the permission of the Director
General of the Department of Archaeology, a description
board was prepared measuring 6 feet high and 3 feetlong in three languages—Tamil, Sinhala and English—
and placed near the madam. To reveal the antiquity ofthe madam, automatic glowing yellow light bulbs werefitted for night lighting in the madam. Electricity was
temporarily obtained from a neighboring house. Efforts

Fig. 20: Before & After, door conservation work

Fig. 21: The lamp stand and the water tub

are underway to obtain a permanent power connection.

Fig. 22: Night view

41

Sri Lanka

Conclusion
Even though the need for reconstruction of endangered
heritage monuments in Northern Sri Lanka is high, it is
not possible to rehabilitate them due to various reasons
such as inadequate allocation of funds, disruptions in
the reconstruction of heritage monuments in private
places, non-co-operation of people, urbanization, andthe widening of roads. We need to protect the residuary
heritage of our region from past civil wars, natural
disasters and human activities. It is noteworthy that the
Point Pedro Theru Moodi Madam in Jaffna, which boasts
of being the only unique madam in Sri Lanka, wasrenovated and handed over to the public on 15.01.2020.
References:
1. Sivalingarajah, S. “Jaffna Culture - Vanished and
Hidden”, Transport (pp.46-47). Colombo: KumaranBook House, 2014.

42

2. Dr. Malini Dias, Sunil Bandara Korale, Kalpa Asanga,“The Archaeological Heritage of Jaffna Peninsula”(pp.154, 225), Department of Archaeology, 2016.
3. Sasitha, K. “Heritage Symbols of Northern Sri Lanka &their Preservation: A Study Base on Jaffna”, Life Style ofJaffna (pp. 55-65) Jaffna, 2012.
4. Sivaruby, V. “Aavuranchi (Cow rubbing) Stones andSumaithaangi (Load Bearing) Stones in Tamil Cultural
Life”, Life Style of Jaffna (pp. 60-72) Jaffna 2012, inTamil.
5. Magazine, Thedal (pp. 60-173) Archaeological Study
Circle, University of Jaffna, 2016.
6. Kumutha. S, “Madam & Madam Architecture in Jaffna
Culture,” 2007.
7. B. Kabilan, Conservation Officer, Therumoodimadam
Conservation Report 2020, Department of Archaeology,
Jaffna.
8. “Documentation of Heritage Features: A Research
Based on Jaffna District”, Central Cultural Fund, Jaffna
Project (Tamil), 2017.

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) 2020

Kyrgyzstan / Nepal

Papua New Guinea / Sri Lanka