ACCU Nara International Correspondent
The ACCU correspondents periodically send reports on cultural heritage protection activities in which they havebeen recently involved. This is a collection of fourteen reports with one special report submitted by internationalcorrespondents in the Asia-Paciﬁc region.

The Ninth Regular Report
Contents
Cambodia

1

Srun Tech
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China

3

Ma Chaolong$SSOLFDWLRQ5HVHDUFKRQ0RQLWRULQJ0RGHRI/HDNLQJ:DWHULQWKH/RQJPHQ*URWWRHV

India

8

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India

13

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Indonesia

18

Mohammad Natsir Ridwan Muslim
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21

A Ghafar Bin Ahmad
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Nepal

24

Suresh Suras Shrestha&RQVHUYDWLRQDQG0DQDJHPHQWRI/XPELQL%LUWKSODFHRI/RUG%XGGKD:RUOG+HULWDJH3URSHUW\/XPELQL1HSDONew Zealand
Matthew Schmidt:RUOGV$SDUW&HOHEUDWLRQRI-DSDQHVH&XOWXUHLQD1HZ=HDODQG3RUW7RZQLQ3UHVHUYDWLRQRI
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26

Philippines

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Samoa

37

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Sri Lanka

39

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Thailand42

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Uzbekistan

47

Akmaljon Ulmasov
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Viet Nam

51

Nguyen Chi Cong
1HZ([FDYDWLRQLQ7KDQJ/RQJ5R\DO&LWDGHOSpecial Report
Samoa
Mainifo Viliamu
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55

Cambodia
CambodiaNews from Angkor Archaeological Park
Srun Teck, Archaeologist
APSARA (Authority for the Protection and Management of Angkor and the Region of Siem Reap)
From September to October 2011, Cambodia was affectedby the heavy rain. After that rain, the north part of thecountry was seriously flooded, meanwhile the Angkor
region was also flooded. It destroyed some of ancienthydraulic structures and temples. In this repot, I just focus
only on the ﬁrst temporal impacts on Angkor Thom walls
because it was the worst disaster. The 12-kilometer-longwall is formed by laterite stone with earth bank shaping
nearly perfect square which today we call Angkor Thom (orliterary term Maha Nokor, both meaning “Great Angkor”).
That wall, called “Jayagiri” in old inscriptions, itself issurrounded by a wide moat called “Jayasindhu”. One
inscription explicitly compares this ensemble to themountain range and the Sea of Milk which encircles theuniverse in Indian cosmological conceptions adopted inancient Cambodia. Thus Angkor Thom was in its entirety
the world created or recreated after the city sacking by theChams in 1777, emerging as ambrosia after the Churningof the Sea of Milk. This explains why the churning episodewas represented at each of the ﬁve gates giving entry to
the city. (Angkor Thom, a short historical guide: APSARA
Authority, 2001, pp: 16-17).

- Most of trees grow on the wall or the temple and canbe dangerous to the structure. Some of these trees havea hole inside. When they broke or fell during storms
or heavy rain, rocks of the temple or walls opened up,
which made it to lean or collapse.
In order to save the temple, technical teams from different
departments of APSARA Authority took the emergency
measures to rescue the temple by:- Controlling the water level by diversion of water ﬂows
in the temple area
- Cutting down the trees which are growing on theerosion area
- During the restoration work, forbidding visitors bycovering the erosion area with tents and signing boards- Shoring up the laterite wall in the risky areas byinstalling the wooden scaffolding- Building the retaining walls by using the hard wooden
sticks and sand bags in order to protect the existing
walls and earthen walls

Responding to that problem, I took the urgent actions
to survey damage and found the common reason foreach collapsed point as follows (see the risky map anddiagnosis ﬁgures):- The rain caused weakness and erosion of the wall
foundation.
- After raining, the stone absorbed the water and became
loose.
- The tree roots were also the cause of collapse.

Map of Angkor region

1

Risky map of Angkor Thom

Cambodia

Here are diagnosis ﬁgures:

Wall in the normal condition

Wall condition after heavy rain

Collapsed wall condition

Collapsed wall in 17 m length on 11 Oct. 2011

Collapsed wall in 15 m length on 13 Oct. 2011

Collapsed wall in 18 m length on 14 Oct. 2011

Collapsed wall in 5 m length on 15 Oct. 2011

2

ChinaChina

Application Research on Monitoring Mode of Leaking Water in the Longmen Grottoes
Ma Chaolong, Assistant Professor / Vice Director
Longmen Grottoes Conservation Center, Longmen Grottoes Academy
1. Foreword
The Longmen Grottoes has over 1,500 years’ history since
it was excavated in Northern Wei dynasty. Besides manmade destruction, it has been suffered many deteriorations
as weathering, flaking-off, water erosion, dissolving
corrosion due to natural factors and environment, which
severely endanger the long-term conservation of theLongmen Grottoes. Among them, leaking water is one ofmajor deteriorations, therefore, for a long run, treatment
on leaking water is the basis and precondition of relics
conservation in the Longmen Grottoes. The Conservation
Institute has made long-term tracking observation ofleaking water, mainly by qualitative observation, such as
employing people to record leaking water and to takerelated pictures; furthermore, in the analysis on changesof leaking water and evaluation on treatment, researchers’
personal experience would play very important roles toa certain extent. Therefore, the previous leaking waterobservation mode can’t satisfy with requirements fortreatment and research on leaking water any more.

3

conditions in the Longmen Grottoes, to carry out
environment monitoring on cave areas, at the sametime, to take advantage of new leaking water monitoringmode to make all-around continuous monitoring on
experimental caves (the Qianxi Temple Cave, theLudong Cave, and the Huangpugong Cave) and a lotof monitoring information was gathered. By in-depth
understanding and analysis research on the information,
it can provide scientiﬁc references for research on caveleaking water as well as important reference value fortreatment of cave leaking water. This monitoring mode
can also help to summarize experiences in treatment
plan and construction, after treatment construction, it can
carry out a long-term accurate qualitative and quantitative
inspection on anti leaking water achievements, andexamine the results of treatment plan and construction.

In the conservation and restoration program executedby the United Nations Educational, Scientific andCultural Organization (UNESCO) in 2002, a relatively
complete environment and deteriorations monitoring
system was established according to the leaking water

2. Leaking water in the Longmen Grottoes
2.1. Leaking water status
The Longmen Grottoes was excavated on the carbonicacid rock cliffs on both the Xiangshan Mountain andthe Longmenshan Mountain along the banks of the Yi
River. Cave rocks are composed of dolostones of the
Middle to Upper Cambrian and limestone stratum, theUpper Cambrian dolostones can be divided into a set ofdeep layer and massive layer of fine-crystalline, micro-

Fig. 1. Leaking water on the roof of the Wanfo Cave

Fig. 2. Water-storage on the ground of Wanfo Cave

Fig. 3. Leaking water running through cracks onthe north walls
inside the Ludong Cave

Fig. 4. Biological deterioration on the ground caused by drip
water from the roof of the Yaofang Cave2.2. Damage caused by leaking water
The carbonate rocks where the caves are located areeasy for erosion affected by leaking water. Rain seeps
through caves through tectonic cracks and layer cracks,and corrodes rock surfaces along the sides of cracks, andthen enlarges the existing caves, dykes and trough, etc. It
directly destroys sculptures, meanwhile, it can also cause
surface sediment on cave walls and sculptures, and thedeveloped limestone coagulated slurry sediment covers
cave walls and sculptures so that the artistic value can’t berecognized. Percolating water can cause the increase of
humidity inside mini-environment after entry into caves,in the summer the condensation water is accelerated, andthe salt inside sculpture has water loss and crystallizationin the change of dry and humid environment, andvarious problems together accelerate the break of rocksurface granules connection and expansion of cracks, asa result, cause the deteriorations for sculptures, such as
surface cracking, crispy separation and flaking off, etc.
After entry into caves, percolating water, together with

Fig. 5. Weather observation station in the Longmen Grottoes

gaseous carbon dioxide, sulfur dioxide and nitrogenoxides cause hydration, oxidation and acidification on
sculpture surface, and can result in surface disintegration.
Percolating water runs through sculptures and promotes
the growth of microorganism, and acid products are
created during the growth and decease of microorganism
on sculpture surface. According to the analysis, the phvalue of percolating water on microorganism surface
varies from 5.6 to 6.2, which is acid. Its erosion on
sculpture can’t be neglected.

China

crystalline and reef shoal dolostones, while the Middle
Cambrian dolostones are divided into a thin-deep layerof soil zebra limestone and reef shoal limestone. Mostof caves and sculptures were excavated on the middle
and top part of deep layer and massive layer of finecrystalline, micro-crystalline dolostones from the Upper
Cambrian, as well as reef shoal limestone and soil
zebra limestone of the Middle Cambrian. The mineralcomposition of rocks where the caves are locatedis single, with big mechanics intensity, good antidenaturalization performance, but with dissolubility.
Even though rocks themselves are impervious to water,a space lattice percolation network has been formed by
the development of many kinds of cracks, such as layer
cracks, unloading cracks, weathering cracks and tectonic
cracks, which are intersected and incised with each other.
The seepage network became a good seepage tunnel andprovided access for rainfall to seep into. Almost every
big and medium caves in the Longmen Grottoes have theleaking water problems at different degrees, some arevery severe, such as the Qianxi Temple Cave, the Wanfo
Cave and the Kanjing Cave, etc. After careful research, it
is conﬁrmed that layer cracks and unloading cracks are
the main causes responsible for cave leaking water in theLongmen Grottoes.

3. Leaking water monitoring system
In the conservation and restoration program executed
by UNESCO in 2002, an advanced environment
monitoring system was established inside caves areas, inorder to comprehend the effect on artefacts inside theLongmen Grottoes caused by environment, in particular,temperature and humidity, wind direction, wind speed,
atmospheric precipitation, light intensity, air pollution,
river water, spring water, underground water, soil
water content, rock surface temperature, rock depth
temperature changes, etc. in caves conservation central
areas, at the same time, to supervise the changes oftemperature, humidity, percolating water and rock surface
temperature in three experimental caves, which are the
Qianxi Temple Cave, the Huangpugong Cave and theLudong Cave, all together 24 monitoring contents.
Leaking water monitoring system is not independent fromthe general monitoring system of the Longmen Grottoes,
but a composite of the environment and deterioration
monitoring system, which is divided into the outside
caves and inside caves monitoring system:
3.1.  utside caves monitoring programs
The outside cave monitoring contents of the leaking water
monitoring system include seven items: atmospherictemperature, atmospheric humidity, precipitation, caveleaking water quantity, underground water level, andmountain soil water content.
3.2. Inside caves monitoring programs
Inside caves monitoring contents include six items:
temperature, humidity, rock surface temperature, caveleaking water quantity, and leaking water time and area
photographed by digital cameras.

Fig. 6. Temperature and humidity metersand drip measuring apparatus inside caves

Fig. 7. Vidicon for photographing changesof leaking water inside caves.

4Here, we take the Qianxi Temple Caves, the Ludong Caveof three experimental caves for examples, where theobservation apparatus was set inside to analyze leaking
water:

China

4. Analysis and application of leaking water monitoring data
The monitoring system has collected many kinds of dataand photos since its establishment, and the ﬁrst step for
analysis is to how to classify and process those data.
All data should be classified according to monitoring
contents, and then for data summary, maps drawing andcurves of changes so that we can make a further analysis.
All digital photos about observing leaking water should
be filtrated for a complete periodic photos before andafter rainfall, and then be classiﬁed, processed and stored
for analysis on each cave.

1 Leaking water characteristics in the  ianxi Temple Cave
The roof is very thin inside the Qianxi Temple Cave,so that the leaking water is the most severe one among
three experimental caves during the rainfall. According todata analysis, the leaking water here is mainly shown as
follows: when rainfall is small, the leaking water mainly
starts from cave roof to ﬂow downwards, there are many
water-burst points on the layer cracks on the southernwall, the percolation points appear on the next day
after rain with duration of 2 to 3 days, the leaking water
quantity is small and no drip will appear normally; whenrain is heavy, the leaking water is also from roof andsouthern wall to seep downwards, but the percolation
area and quantity are larger, with duration of 5 to 10
days, simultaneously the drippings appear, there will bea dripping zone along the unloading cracks on the caveroofs inside cave gate, in the worst time, more than 30
drippings within 8 square meters, and it lasts a week evenafter rain stops. The leaking water status is complicatedinside the Qianxi Temple Cave, it has both short-time
percolation and long-time one; severe percolation on
roofs, severe seepage along walls from the roof withobvious water-burst point along cave walls, as well asones on sculptures.

4.1. Analysis on the relationship between leaking water andprecipitation
The Longmen Grottoes lie on the west mountainouspart of Henan Province and on the southern edge of theHelou Basin within the temperate continental monsoon
climate. The climate shows distinct characteristics withfour seasons: cold and little rain and snow in the winter,and hot and more rainfall in the summer.
According to the rainfall observation year from 2003 to2004 in the Xishan Mountain area, the total yearly rainfall
is 1,061 mm. From the chart, one can see that rainfall
gathered in June, July, August and September with total
quantity of 800.5 mm, occupying 75.5% of yearly rainfall.
Combining data on cave leaking water, it shows themost severe time is from June to September. However,each cave has its own leaking water characteristics dueto the difference of cave location, rock status and crackdevelopment, but in general the precipitation is the main
source of leaking water in the Longmen Grottoes.

Percolating water gathers at the cave floors, and flows
outside of cave through the ancient threshold drain, but

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Fig. 9. Leaking water map of the Qianxi Temple Cave in July, 2003

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Fig. 10. Rainfall map of the Xishan Mountain in July, 2003

The leaking water status here is complicated, withintersection of unloading cracks, tectonic cracks and layer
cracks, runoff, crack seepage and rock inner water all
flow into caves and cause leaking water. Dealing withthe special status inside the Qianxi Temple Cave, suchas big catchment areas, multi-resource crack water, andcomplicated geographic structure, no single treatment
measure can fulﬁll treatment results, so a comprehensive
treatment measures should be adopted here.
2 Leaking water characteristics in the Ludong Cave
The monitoring apparatus inside the Ludong Caveobserved one leaking water point on the northern wall
cracks and southeast part of the roof, the analysis showsthat the northern wall percolation is obviously affectedby rain, in ﬁve percolation pints, water burst out quickly,
usually happens in 1 to 3 hours after rain, with prominent
characteristics of big water-burst and short percolation.
Fig. 11 and 12 represent the changes of leaking water inthe biggest rainfall on the northern wall, the rainfall time
was from 18:00 28th August to 11:00 30th August withduration of 43 hours and quantity of 139 mm, the biggest
rainfall of the year. From the Fig. 11 the percolation

area changes map, we can see that the percolation
area increased from 0 square meter to the maximum 8
square meters in very short time in this rainfall, and thengradually reduced, and finally stoped one day after therain stopped, the whole percolation process lasted 62
hours.

China

still a lot of water exits on the uneven ﬂoor, which causes
the increase of cave humidity, at the same time, thespatial depth is deep to 5.6 m, and there are cave brim
structures outside caves, to some degree, the ventilation isaffected. This is also the reason why the average humidity
inside the Qianxi Temple Cave is higher than the othertwo experimental caves.

Fig. 13 shows the percolation quantity of a long-termwater-burst point on the southeast cave roof. From theanalysis of the drip data chart inside the Ludong Cave,
we can see that the drip water-burst was stable in certain
rules; the drips appeared in both summer and winter time
were not much affected by the rainfall. The resource ofwater-burst point was wide and far, maybe because ofslow release of storage water inside mountain during
rainfall, and water ﬂowed into the cave along cracks, andas a result, the water-burst was small but stable.
The percolation mode inside the Ludong Cave can be
simply summarized as follows: unloading cracks werethe major and controlling percolation tunnel. Unloading
cracks directly cut through rocks, and water seeped into
caves through uploading cracks and made problems.
There were many water-burst points inside, and all
related to unloading and tectonic cracks. On the roof
there was a small road of even mesa, which was able tohave temporary water-storage. Unloading cracks extended
to the small road, which became one of the water
resources for the unloading cracks. Therefore, treatment
should be focused on the surrounding unloading cracks.

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Fig.13. Map of leaking water inside the Ludong Cave in October, 2003

6

China4.2. Aects made by underground water and river water on
Grottoes
After summary of the observation data of undergroundwater level and river water level through upright drills,
the underground water level varies from 149 meters to
151 meters above sea level inside the Longmen Grottoes
area, which is lower than the cave floor height of the
major cave inside the Longmen Grottoes. In addition
compared with previous observation, the undergroundwater has slight affects on the caves.
Between the east and west mountains of the Longmen
Grottoes, the water level of the Yi River is about 149
meters above sea level, which is lower than the visiting
route of 150 meters in front of the caves. It has some
affects on the buried sculptures along the cave visiting
routes. However there are many records on the floodin the Yi River, which in 1982 the flood caused severe
casualty. Even though the Luhun Reservoir on theupper reaches controls the river flow to some extent,
the riverbed increases annually compared with history
records, and what’s more, the ability of Longmen valley
mouth on resisting flood has been reduced comparedwith the past. In 2003, 2004 and 2005, the river
overﬂowed the roads inside cave areas. In addition, the30 years period of the Yi River is coming soon, so wemust make good preparation for Longmen Grottoes inorder to reduce the damage on artefacts and people tominimum degree.
4.3. Relationship among soil water, rainfall and leaking water
The apparatus of soil water content analysis is buried into
the surface soil coverage layer on the half mountainsideof the Xishan Mountain with depth of 0.5 meters. In June
and July of heavy rainfall, it is obvious that the soil watercontent is much higher than that in January and Februarywith little rainfall. In one rainfall process, the soil watercontent increases distinctly during the rainfall, and thendecreases after rain stops to a certain value and become
stable, and then changes again in the next rainfall. On along and heavy rainfall of 16 July 2003, the water content
reached the maximum of 0.3788 m3/m3, almost close tosaturation. Through every observation of water content
after each rainfall, one 2-hour 20 mm rainfall can makethe water content increase from 0.04 m3/m3 (dry) to 0.2
m3/m3 within one hour. With the ending of rainfall, soil
loses water by vaporization and seepage, and the watercontent gradually decreases. The water content will
recover to below 0.1 m3/m3 in 2 to 7 days according todifferent rainfall quantity, and the total recovery to dry
status will take 10 to 15 days.
The earth layer on the Xishan Mountain is composed ofshiver mineral clay with high to medium permeable soil
with good percolation ability. The mountain is coveredby a number of soils meanwhile a lot of plants welldevelope root system, which benefits the storage andpercolation of precipitation. Therefore, the water content
inside soil seeps down along the slopes and cracks,
while some water enters into the caves. The resource ofthe percolating water is full and long in seepage pass,
and it's the major resource of temporary and long-term
percolation inside caves, which causes severe problems
in the caves.
The change of the soil water content is in accordancewith the change of cave percolation to some degree, andit reﬂects that the cave leaking water has been affected by
the water quantity of the mountain accumulation horizon.
The slow release of storage water inside the accumulation
horizon causes medium and long-term leaking water
inside some caves. Therefore, the medium and longterm percolation symptom has the characteristics of long
duration and small water evaporation.
5. Conclusion and suggestions
The Longmen Grottoes has established an advanced
monitoring system on cave leaking water with relatively
complete monitoring categories and monitoring methods
such as 24-hour digital shooting and collection on leaking
water, which has some innovation concepts. Since its
establishment, it has collected large amount of monitoring
data, made good monitoring results, and provided
important reference for the following treatment on caveleaking water.
In the future, monitoring functions and scopes need to befurther improved in particular in the following aspects:
1. The complexity of leaking water mechanism should befully recognized in the Longmen Grottoes. To avoid
any destruction of artefects by leaking water is theobjective of cave deterioration treatment work and it isalso a long-term and difﬁcult task for conservators
2. Because the monitoring programs are currently carriedout on the Xishan Mountain and three experimentcaves, in the future, some other observation station
should be added on the existing base, such as theDongshan Cave and some major caves.
3. Importance should be attached to the analysis andresearch on cave leaking water. A continued analysis
and monitoring should be made aiming at different
cave types (drip, seepage), different percolation time(preliminary, medium and ending time) and comparedwith composition of rainfall and spring water, toanalyze and research on the effects of leaking wateron stone relics.
4. For future cave percolation treatment works, allcollected data and information should be fully madeuse of and for analysis and research, to comprehend thecharacteristics of leaking water, and to make different
treatment plans according to different zones andpercolation characteristics, to ensure the best results ofleaking water treatment.

IndiaIndia

Conservation and Restoration Work at Chanderi: A Medieval City
Vasant Kumar Swarnkar, Deputy Superintending Archaeologist
Archaeological Survey of India
Chanderi (Lat. 24º 40' N; Long. 78º10’E) is one ofthe oldest surviving towns of the Madhya Pradesh.
It is situated at a distance of 60 km from the district
headquarter Ashoknagar and 40 km from Lalitpur, thenearest railway station in Uttar Pradesh. Besides historicalmonuments such as Kushak Mahal, Badal Mahal Gate,
Malwa Gate, Shahjadi ka Rauja, Jama Mosque, Madrasa,
Battisi Baoli, Delhi Darwaja, Jageshwari Temple,
Khandargiri, Chaubisi Mandir, Kalyan Rai Temple,
Kirtisagar, Budhi Chanderi, Samadhi of Baiju Bawra,
and Singhpur Mahal etc., Chanderi is also known for its
weaving of artistically embroidered silk sarees. Chanderi
also has a grand historical background with extremely
healthy climate located in the picturesque and fertile
valley of the ancient Betwa river. It is surrounded on all
sides by the Vindhyan range with dense forests and isexcessively rich in lakes, tanks and baolies which provide
an extremely fascinating environment.
In a number of booklets, documents and popular writeups, the glory of Chanderi has been depicted as amagnificent place with plenty of wealth and property.
It is believed that Shishupal was the king of Chanderi
during the Mahabharata Period. There are references
about Chanderi in Puranas as well. At a distance of about
18 km, Budhi Chanderi, another historical city, still havearchaeological remains of Jaina Temples, Palaces, Hindu
Temples and architectural fragments dating back to the10th to 12th centuries A.D.
Among the early Persian writers, Minhaj-us-Siraj was thefirst to mention Chanderi as a prominent town during
the 13th century A.D. The famous Moorish traveler, Ibn
Battuta visited Chanderi around 1342 A.D. and noticed
it as a big city with thronged markets and palaces. Thiscity enjoyed the status of an important provincial capital
under the sultans of Delhi. Further, it has been gloriﬁed
during the reign of Malwa sulltans.
It was possibly one of the largest towns in central India
during the late 14th to 15th centuries. Even in the late
16th century when Chanderi started declining, it was
furnished with 384 bazars, 360 large caravansaries,
1,200 mosques and 14,000 stone houses besides
the monumental palaces and gateways of historicalimportance. However the town seems to function alittle more than a local Bundela Rajput centre. They
have constructed some buildings and especially hunting
palaces in and around Chanderi as their rest houses.
The hill-fort of Chanderi stands overlooking the town.
According to a Sanskrit inscription, the nucleus of the fort
was built by Pratihara king Kirttipala in the 11th century
and was named Kirtti-durga after its builder. At present,
there are no old buildings of importance on the fort
except the ruins of a palace (Naukhanda or Hawa Mahal)of Bundela period and a mosque beside the fortiﬁcation
wall, bastions and gateways.
Badal Mahal Gate is quite an imposing and interesting
structure against the background of the hill-fort though
there is no Mahal or palace with which it may have beenconnected. Such isolated gateways are not uncommon
and were probably erected to commemorate certain
important events. This gateway is a double arched
entrance with circular and tapering bastions at sides andthe height of the structure is about 50 feet.
There are innumerable baolies or step-wells at Chanderi,of which the Battisi Baoli is the largest and best
preserved. It is so called as it sinks by 32 ﬂights of steps
arranged in four stages or stories with eight staircases in
each. According to a Persian inscription on it, the well
was built in the reign of Sultan Ghiyas Shah of Malwa in
A.H. 890 (A.D. 1485).
Bada Madarsa is a square tomb, having an arcade of ﬁve
arches supported on stone pillars on each side and a
6.1-meter-wide verandah girding on all sides. There are
no struts or any other ornamental features on the exterior.
The cenotaph is square with 9.96 m on a side. Except
for the entrance, it is closed on all sides with stone jali.
Arches are built with the help of voussiors and are truly
radiating. They have a very assertive ogee. The dome has
fallen down.
Jama Masjid has a spacious (31.42 m x 24.38 m) open
court with sanctuary on its west and arched cloisters(dalans) on its north and south, while the one on theeastern side has been destroyed. The sanctuary, whichmeasures 37.49 m x 11.73 m has three aisles deep witha corridor running from north-south. The nave and thesquare hall are roofed by elongated massive domes,
having padmakosa, kalasa and amalaka ﬁnial. The quibla
wall has been ornamentally divided into a series ofbeautiful mihrabs with prominent ogee curves. The skilfuluse of the building techniques and the reﬁned taste forexquisite ornamental effect in the structural masses showthat the building could not have been built later than A.D.
1450.
Koshak-Mahal is the most important palace at Chanderi.
It is a square building with 35.36 m on a side. It is likea Roman cross in plan. The Koshak Mahal is a complex
of four palaces of equal dimensions with three stories
standing at equal distance from one another on the sidesof passages which connect them as much as it separate
them. It allows each adjunct to stand independently
and draw its ventilation and light freely on all the foursides and interconnected through the overhead covered
corridors. The superstructure was destroyed.

8

IndiaThe ASI has undertaken the work of conservation ofmonumental remains scattered in a large area. Badal
Mahal gateway complex area was taken up first. The
accumulated debris was cleared and scientiﬁc clearance
work started to ﬁnd out the original working level. During
the work a beautiful baoli (water body) was discovered,
which is cleared and conserved in a presentable mannerand now it is filled with fresh water. The surroundingarea was aesthetically landscaped. The lime plaster
which was applied in the later period over the wallsof Jama Masjid was manually removed and chemicaltreatment was done to bring the original appearance ofthe structure. In the fort complex, number of works were
undertaken at different monuments. To trace the original
pathway or its alignment, trial trenching has been doneat different locations. The structures of Navkhanda Palace
was made water-resistant and pointing of masonry inlime surkhi mortar was done to strengthen the structure,and missing chhajja stones were also provided ﬁtting withexisting stones. Wherever required the portions of thestructure were restored as per the available evidences.

resetting of the wall. The original combination of mortar
was adopted during the construction as mentioned in thecontemporary texts. Scientiﬁc analysis was also done toverify the components of the original mortar used. The
portion of a fortification wall between Khalji mosquesand Baradari has been completed recently. Besides this,the lintel, beams and pillars of other structures have been
provided support, joined with stainless steal rods using
epoxy resin to provide sufﬁcient strength to the structure.
Wherever required these stones were replaced withmatching stones for the survival of the structure.
The architectural remains, sculptures and antiquities
found during the conservation and scientific clearance
were displayed in the site museum. The city was
proposed for the nomination onto the World Heritage
List.
References:(1) Garde M.G., A Guide to Chanderi, Gwalior 1928.
(2) Sinha A.M. (ed.), Guna District Gazetteer,Bhopal 1994.
(3) Brown Percy, Indian Architecture, Islamic Period, 1964.

Due to different factors in a long span of time, thefortiﬁcation wall was damaged and bulged out at someplaces. These portions of walls were taken out andreset properly. The process adopted for this work was
traditional i.e. each stone was marked before it was
taken out with the number to ﬁx its place in the originalcourse of the structure so that each and every stone
should be placed again in its original position while

9(4) Nath R., The Art of Chanderi, 1979.
(5) Day U. N., Medieval Malwa, Delhi 1955.
(6) Grover Satish, Islamic Architecture in India, New Delhi, 1996.
(7) Jain K.C, Malwa through the Ages, Delhi, 1972.
(8) Cunningham A, Archaeological Survey of India, Reports of a Tour in
the Central Provinces in 1

-

or 1

-

, vol-- Varanasi, 1-

Koshak Mahal before conservation

Koshak Mahal during conservation work

The arch of Koshak Mahal before conservation

The arch of Koshak Mahal during conservation work.

IndiaThe rear view of Jama Masjid before conservation

Jama Masjid after conservation

Jama Masji (inside) before conservation

Jama Masjid after removal of lime plasterA part of an arch in Jama Masjid is left half done (covered with lime plaster) for reference.

Navkhanda Mahal before restoration

Navkhanda Mahal after restoration1

IndiaNavkhanda Mahal (inside) before conservation

Navkhanda Mahal after conservation

Shahzadi ka Roza before conservation

Shahzadi ka Roza after conservation

Badal Mahal Gate before conservation

Badal Mahal Gate after environmental development

Badal Mahal Gate and Fort in background11

IndiaFallen fortiﬁcation walls of the Fort

Fortiﬁcation walls after restoration

Fallen structures inside Chanderi Fort

Chanderi Fort after restoration

Navkhanda Mahal in damaged condition

Navkhanda Mahal after conservation and restoration

Preparation of mortar using ancient technique

12IndiaIndia

Conservation of Brick Structures at Ahichhatra: Ethical and Historical Perspective
Bhuvan Vikrama, Assistant Archaeologist
Archaeological Survey of India
Introduction
The urge to ‘save something for future’ has been there
and its existence is responsible for the emergence andcarving out the discipline of Archaeology. Conservation,
preservation and restoration, primarily, are terms given to
the same urge to protect and save something or objects
for the future, they differ mainly in the methodology
and ethics. In the crudest form conservation may mean
survival repairs, preservation may stand for maintaining
status quo and restoration may denote recreating the pastin the present with evidence at hand. The debate about
what being right and which is wrong may go on in the
future too but there is no denying the fact that if we haveto protect our past for the future generation which sure
will be much more distant than the present generationfrom the past with more missing links in between theworld will have to adopt a combined approach to better
represent all the phases of past.
Time takes turn, materials change, evolve and get reﬁned,
and technology also is improved with every passing day.
There are many archaeological sites which preserve thesigns of such attempts at conservation and preservation.
Such sites present a good study of gradual improvements
not only in the conservation methodology but also in
the human approach towards such projects. Ahichhatra(Ramnagar, Subdivision Aonla, District Barreilley, Uttar
Prasdesh, India) is one such site where large scale
excavation was carried out between 1940-44 and alarge city was exposed. Some important structures wereallowed to remain exposed while many of the small androutine structures were reburied for preservation.
Ahichhatra: History and values attached
Ahichhatra, as a settlement, began in the prehistoric
period about 2500 BC when the Ochre Coloured Pottery(Redware??) using people ﬁrst arrived here. They evolvedin time and space into Painted Grey Ware pottery using
people and in course of time graduated to NorthernBlack Polished Ware. By 600 BC or slightly before, the
NBP Ware using people had developed a large settlement
which qualified to the status of a fortified city. Public
structures had begun which lasted for centuries before
getting replaced by newer constructions or modified
or transformed into something else with every dynasticchange at the city. Thus the city that began in 600 BC
continued with changing times till 11th century AD.
The structures discussed in this paper were constructedin the 4th century AD on the ruins of earlier public
structures and survived till the beginning of the 13th
century AD when a vicious movement in the earth
shook it down. For almost seven centuries, since then,the city lay forgotten, buried under its own debris. The
city was brought to light during a large-scale excavation
project taken up during 1940-44. The excavation revealed
two large pyramidal structures unique in the style ofconstruction.

13

Structures
The two large pyramidal structures designated as
Temple-1 (Fig.1) and Temple-2 (Fig.2) consist of only
terraced plinth with no trace of temple spire. Temple-1
rises to a height of 18 m and Temple-2 to about 14 mfrom the general ground level. Taking the thickness(1.70 m) of the walls and area of the sanctum, a modest
estimate would take the spire to approximate height of 20– 30 m (hundred feet by Cunningham’s estimate). These
temples were built during the reign of Gupta dynasty ofNorth India in the 5th century AD using baked brick oflarge size set in mud mortar. Similarly built structures arefound at Sravasti, Nalanda, etc., however, as Buddhist
stupas.
Conservation challenges
Decay is a continuous natural process which can only beslowed down and cannot be stopped. Foremost agency
of decay is nature and the rate of decay depends upon
the nature of interaction between nature and structures.
In other words, in different natural settings causes of
decay are different and so is the case with different
building materials used in the construction which react
differently to the causes of decay. In order to investigate
the causes of decay a brief knowledge of the natural
setting is essential.
Natural conditions at the site
The GroundThe under-surface over which structures stand iscomposed of alternating bands of clay, silt andcalcareous formations. Ground is ﬁrm and provides stablefoundations. The silty top soil in summer acts as sandblast on the buildings in the hot summers when thestrong breeze and winds carry them.
Water
Water table is quite high at 4 to 5 m in summer which
results in high moisture travelling to the top. Wind andsun induce evaporation and leaves a layer of salt crust.
Rainfall
The average annual rainfall is approximately 1,040 mm(40.9 inches), most of which is during the monsoons inJuly and August.
Wind
Site being abandoned and in open wilderness with very
few trees, it is quite breezy and is prone to high velocity
winds from March to May-June.
Temperature
Bareilly region has a humid subtropical climate with highvariation between summer and winter temperatures.
Summers are long, from early April to October, with themonsoon season in between. Winter starts in Octoberand peaks in January and is notorious for its heavy fog.
Extreme temperatures range from 4 °C to 44 °C. The
annual mean temperature is 25 °C (77 °F), monthly mean

temperatures range from 14 °C to 33 °C (58 °F to 92 °F).

Specification of structures at site
Building Material
Baked bricks as building blocks and mud as binding
material are all that the ancient architects used toconstruct the most gigantic building of the time.
Construction Method
Common houses are simple structures with no specificconstruction method involved; however, the larger
structures show box foundation type structures forproviding desirable height to the structure. Land being
devoid of prominent land mass architects raised the plinth
by constructing a grid of thick walls leaving a series ofchambers which were filled with earth excavated fromhabitation area and paving them to make a platform (Fig.
3) and raising in similar manner the inner walls to nextlevel and repeating the same process for creating terraces.
Causes of decay
The construction method, building material and thenatural setting together dictate the causes of decay. Aslong as there exists the compatibility of the three, decay
is very slow, but once the compatibility is lost it becomes
fast. It appears that the collapse of the superstructure
had covered the terraced plinth though damaging it with
the impact. Lapse of time with no human activity around
had given enough time to nature to round off the thingsand mitigate whatever evidences remained. All materials
had reached a state of total compatibility with nature,
and as soon as the excavation exposed the structure inits damaged condition and with lot of moisture the crack
became wider with drying and the mortar dried and lost
all its cohesiveness. (Fig. 4 & 5)
Now since the structure is standing naked without any
outer covering it is not only exposed to eyes but also to
the elements of nature. Ground water along with soluble
salts travelling to the surface only to be evaporated causes
efflorescence at the surface. Local whirlwinds carrying
dust particulate matter blast the efflorescence which
gradually crumbles and leaves an ever-increasing scar on
the wall surface. This process affects the structures at thelower portions to a height up to which ground water issucked by the capillary activity.
The rain water that manages to get absorbed in the earthfilled boxes, makes the earth swell exerting pressure
on the walls and ﬁnds its way out through the exteriorwall loosening the binding mortar with and resulting in
efﬂorescence in the upper reaches. Temperature variation
widens the cracks in the brick. A load of the structure
also acts adversary in the weaker zones where cracks
become deep and ﬂakes come off.
Cyclic growth of brushy vegetation also increases thedanger to the structure.
The earliest eorts at conservation
The ﬁrst conservation was carried out immediately after
the excavation, when some of the walls were found

India

Vegetation
Site is almost devoid of large trees but rainfall and fertile
soil give rise to thick vegetative growth during monsoon
which dry-out by winter.

bulging, cracked and tilting. Method used, perhaps, was
opening up the walls and resetting them after grinding
the bricks to give them proper edges and ﬁnished looks,
as the size at some portions are slender than the usual.
The top of mud filled chambers were not capped andas a result rain water again seeped down and openedup weaker sections which were later filled in using
cement-sand mortar. It was surely an example of badconservation.
Identification of problem specific to the site
All the above variables – natural setting as well asof building material and construction style – wereconsidered and problem appeared to be relating to
mainly water both from rain and from ground which
damaged the lower margins and upper areas of thestructures. Though the building material and construction
method were at fault but they cannot be changed. Strong
breeze that gushes along the ground was identified as
the second most potent factor of decay in tandem withground water. Use of cement which sealed the vents forwater seepage was also one of the causes of faster decay.
Remedial conservation: Some experiments
Once the ailments were diagnosed it was time for writingprescription and implementing it. Steps decided were –- Clear the debris from top in order to reduce the sheer
weight.
- Open the wall down to the point they have loose/
open joints.
- Provide proper slop to the top surfaces of mud-ﬁlled
chambers- Lime based mortar to be used with ﬁne brick-crush(surkhi) with very little cement to reset the walls- Pack the top surface of the mud-ﬁlled chambers withlime mixed with earth and small portion of ﬁne brickcrush.
- Low height thick brushes to be planted around thestructures at a distance of 3-4 metres
Lime mortar was decided instead of original mud mortar
as binding material as it is stronger than the mud and at
the same time provides easy movement of air and water(Fig. 6 & 7). Since the ground water cannot be stopped
from rising up into the structure, a layer of thin plaster ofclay mixed with lime was experimented over the walls at
lower levels to allow evaporation of moisture from thesurface of plaster instead of brick and thereby protecting
them. The problem with this experiment is that it is
not a permanent solution as the layer is to be repeatedannually.
Last Word
Conservation of brick structures is certainly a big
concern and a challenging job. In this task a team of civilengineers and archaeologist has to contribute equally.
The structure has been conserved in this way and it is still
to be seen at what time gap the process will be required
to be repeated. Time will tell.
Acknowledgement
Author is indebted to the supervising conservator
engineers who deftly accomplished the task andprovided some of the inputs; and is also grateful to theArchaeological Survey of India for the B/W photographs,
rest of the photographs are author’s own.

14

India15

India16

IndiaFig. 6 - Stages of Conservation - 2010

Fig. 717

Indonesia
Mohammad Nasir Ridwan Muslim, Section Head
Directorate of Archaeological Heritage, Ministry of Education and Culture
The threat of cold lava disaster
Mount Merapi that erupted in the late 2010 is still aserious threat. In the earlier article published in The
Seventh Regular Report, I reported the impact of theeruption of volcanic ash which covered the temple of
Borobudur. According to the data from the Center for
Volcanology and Geological Hazard Mitigation, Mount
Merapi volcanic material had reached 150 million meters
cubic before the eruption in the late 2010. The amountof volcanic material is expected to accumulate in the last
100 years. From the total amount of volcanic material,
volcanic materials in a form of cold lava is still very
little, and estimated to be less than 40%. At the time thisarticle was written, the glide of cold lava continued andis expected to increase along with the coming of therainy season in Indonesia with its peak in early 2012
(Source : Indonesian Meteorological, Climatological andGeophysical Agency).
The impact of cold lava flow from the eruption of
Mount Merapi does not only cause human casualties andproperty damage, but also cause damage and threats tocultural heritage. One of the cultural heritage affected bya serious threat is Lumbung Sengi Temple.
Lumbung Sengi Temple is situated in Tlatar, Krogowanan
village, subdistrict of Sawangan, Magelang regency,
Central Java Province. Geographically, the temple islocated 7°31'41.822" south latitude and 110°20'57.562"
east longitude. The temple is located on the edge of Apu
river which is a branch of the Pabelan river. The Pabelanriver is located in the peak of Merapi within a radius ofless than 20 km. Thus, it is highly prone to a cold lava

Indonesia

Safeguarding of Cultural Heritages from Volcano Cold Lava Flood: Relocation of
Lumbung Sengi Temple, Magelang Regency, Central Java Province, Indonesia

flow. Based on technical studies conducted in Central
Java Heritage Office in February 2011, Lumbung Sengi
temple is in dangerous and hazardous condition becauseof the serious threat of avalanche, therefore emergency
rescue needs to be done.
Safeguarding of Lumbung Sengi Temple
Lumbung Sengi Temple is one of the important cultural
heritage located in disaster-prone area, therefore theconservation efforts should also consider the preservationof the temple, security of the sites and weather factor.
The implementation is conducted in three stages.
1. Short Term
The objective of Phase I is to transfer the temple to asafe place. The location was chosen by considering thepotential expansion of the lava flow in Apu river, theaccessibility, and the security of the temple stones. The
new location of the temple is at a distance of ± 315 fromthe original location. The transfer is only temporary for
5 (five) years, considering that the flowing of volcanic
material from Mount Merapi is still 2 years away. In orderto quickly, properly and correctly relocate the temple, thetransfer should refer to the principles of authenticity: theshape, materials, workmanship technologies and layout.
Some of the activities undertaken to transfer the temple
include:• Preparation
Preparation of transferring includes procuring equipment
and working materials, land clearing, land equalization,and preparation of the temple foundation. Because theoriginal location of the temple is near the river bank, with

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
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



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




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
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Figure 1. The Location of Lumbung Sengi Temple and Mount Merapi (source Google earth)18

Indonesia

the displacement is manually conducted using the toolsof wooden boards.
• Measurement
To reconstruct the temple to its original location, we needexiting map data and the detailed size of the building.
Measurement includes mapping of 250,000 m 2 area,
making three polygon points and detailed measuring of
the temple.
• Drawing
The detailed measurements of the temple include a
blueprint, cuts, details of the temple, soil stratigraphy, andgrid map of the temple. Delineation is also performed
during dismantling work with layer by layer. For eachlayer of dismantling, the horizontal arrangement of rocks
and outside stones are drawn with a scale of 1:20 tofacilitate the registration and the re-arrangement of thestone.
• Dismantling
Before the dismantlement, temple stones were marked tofacilitate reassemblage. Disassembled parts are the roof
covering as many as 3 layers, body parts of 16 layers, andthe foundation parts as much as 3 layers. In dismantling
the 10th stone layer at the center of the temple, there aresinks (box) measuring 1.2 m x 1.2 m with a depth of 1.2
m. The total volume of dismantled stone was 500 m3 ofrock. The inner sides of the stone are composed of crude
carvings (holes) and between square-well stone andstone ﬁller there are soil ﬁller and stone ﬁller structuresnear the wall arranged consistently. The transfer has been
completed within three months (September-November),by a total of 30 workers.
• Technical Archaeological Research
Excavation was conducted to find out the original
foundation, the subgrade condition, and archaeologicalevidences. From excavations, we found round stone
structure (boulder) as much as 8 layers with a diameter of
9 cm. From the depth of 255 cm, bones of deer teeth andfemur were also found• Stone Arrangement in temporal relocation
The dismantled stones were grouped according to theirparts (a roof, a body and a base). Then the stones ofthis temple will be fully restructured at a predetermined
location. Thus, building pads need to be prepared forland equalization and base enforcement. Rearrangementof the stones of the temple is planned to complete in
mid-December 2011.
• Conservation
Before the temple stones are rearranged, the stones of
the temple will be cleaned and mechanically repaired.
Repairing process is based on the research conductedprior to and during dismantling. This activity is also
carried out contour soil sampling of the eastern cliffs of
the temple facing Apu river. Furthermore, analysis ofstone samples, stone ﬁller and soil ﬁller is conducted andinformation of sand content, hardness, water content,
porosity and compressive strength is gathered.

19

2. Medium Term
The medium-term target is to improve the basic
infrastructure and to control erosion of Apu river banks
around the site of the temple. As a result of cold lava
flood in 2010, physical infrastructure of the Tatlar dam
collapsed, the Apu Check dam in the upstream section
was covered by the material of volcanic lava, the temple
on a cliff was destroyed, and the Apu river was eroded.
Improvements of infrastructure and environment areplanned after the volcanic material released (2013).
The infrastructure repairing process will take two years
for completion. Improvement works are carried out incooperation with the stakeholders (Ministry of Public
Works, Ministry of Forestry and the local government).
3. Long Term
The long-term target is to replace the temple to its
original location, where the basic stabilization and riverbanks are secured. In addition, the necessary arrangementof Lumbung Sengi Temple will be conducted.
The series of rescue activities of the temple areaccompanied by complete documentation both visual(photos, videos, pictures) and literal. Rescue activities
are conducted in an integrated manner by Central Java
Archaeological Heritage Office (BP3 Central Java),
Archaeological Ofﬁce of Yogyakarta, the experts from the
University of Gajah Mada in Yogyakarta, the Governmentof Magelang Regency and the local community.
ClosingGlobal climate change has affected Indonesia during theshift on the rainy season. Rainfall in this year started in
October 2011 and is expected to reach its peak (extreme)in early 2012. Meanwhile, the amount of volcanic
material is still a lot. So, disaster preparedness is needed
to face the cold lava ﬂood. Rescuing process was doneby temporarily moving the temple building to a safe
location to avoid the danger of damage. Displacement of
the temple was referred to the rules of cultural heritage
preservation and restoration of standard operatingprocedures of cultural heritage. In addition, preparedness
has been done by the Government, among others bycreating early warning systems and disseminating threatof cold lava volcano.
Source of the Photographs : Central Java Archaeological
Heritage   ce

Indonesia

Figure 2. Map of Lumbung Sengi Temple

Figure 3. Bridge / Check Dam interrupted by a streamof cold lava and Mount Merapi in the backgroundFigure 4. Apu River conditions after the coldlava ﬂood

Figure 5. Apu River viewed from the Lumbung
Sengi Temple

Figure 6. Conditions of the temple before
dismantling

Figure 7. Mapping activities prior to removal of
the temple

Figure 8. Marking activities / stones registration
before dismantling

Figure 9. Manufacturing stone sliding boards
made of wooden

Figure 10. Dismantling activities by using board Figure 11. Temporary square-well located at thecenter of the building
sliders; stones are tied to prevent damage.

Figure 12. The temporary shelter at therelocation site

Figure 13. Examination of excavations prior tolifting up the ﬁndings from 255 cm depth

Figure 14. The molar teeth of deer beneath thetemple2Malaysia
Malaysia

Restoration of the Teh Bunga House, George Town, Penang, Malaysia
A Ghafar Bin Ahmad, Deputy Commissioner of Heritage
Department of National Heritage, Ministry of Information, Communications and Culture
Introduction
Built in 1893 the Teh Bunga House is an outstanding
building that embodies the spirit, fabric, character andlifestyle of the early communities of George Town,
Penang, Malaysia. The building is aptly named as Teh
Bunga (or chrysanthemum tea) as its yellowish-colour
tone resembles that of a brewing tea. Located on Hutton
Lane, the building is commonly referred to as Rumah
Jalan Hatin (or house of Hutton Lane) by the Malay
community of Penang. During its heyday in the mid-19th
century this building was home to many generations of
the Jawi Peranakan of Penang Malay community, whowere pioneering merchants engaged in spice trading
during the early days of Penang. The Jawi Peranakan
refers to the local-born descendants of mixed IndianMuslim and Malay ancestry, well-known for their wealthand elitist social status. Due to its immense architecturaland cultural values, the Teh Bunga House was declared
as a Heritage building on the 6th of March 2010 under
the National Heritage Act 2005.
Architectural SignificanceThe design of the Teh Bunga House reflects a timelessSino-Malay influence combining the Malay Limas roof
style with unique Chinese elements (fanlights and glazed
wall tiles) which is typical of the Sino-Malay architectureof the period. This exclusive building has classicalcolumns, marble and terracotta ﬂoor tiles, clay roof tiles,
and timber doors and windows with intricate design. The
moon and star motif on the front façade symbolises thereligion of Islam of the original owner.
The two-storey building consists of the main building, aconnecting section, kitchen block and a garage. The mainbuilding comprises a porch, living room, four bedrooms,
family area and an upper balcony. While the kitchenblock has a kitchen work area, worker quarter, shower,
toilet, food storage area and open area. The garage
located next to the main building has a living quarter,
two horse stables and parking for horse carriages. A
dilapidation survey conducted on the building, prior to
restoration works, diagnosed serious problems affecting
the building exterior and interior which require major
restoration works including repair of the roof tiles, wall
plaster, timber structures and elements, and ﬂoor tiles.
Restoration Works
The Department of National Heritage, Ministry ofInformation, Communications and Culture, Malaysia
commenced the restoration works of the Teh Bunga
House on the 23rd of December 2008 and work was
successfully completed 8 months later on the 22nd of
August 2009. The restoration works involved restoring
the building back to its original design, form and façade,taking into account its historical and architectural
significance. The restoration works involved a total

21

cost of RM 1,583,500 (USD 504,708) received from theFederal Government through the Department of National
Heritage.
V-shaped Roof Tiles
The restoration on the V-shaped roof tiles (also known
as the Indian tiles) was carried out using appropriate
and proven conservation methods and techniques.
The V-shaped tiles were dismantled and stacked away
carefully to avoid fracture and damage. The useable
tiles were cleaned with soft-bristled brushes, before they
were treated and coated with a water repellent acrylic
layer to prevent moss and fungus growth, and rain water
seepage. The treated V-shaped tiles were ﬁxed onto theroof trusses in reverse overlapping rows. The original
roof tiles of the main building were salvaged for use on
the kitchen roof, while the new roof tiles for the mainbuilding were obtained from a local source. Replacement
tiles of similar design and material were used in this workin parallel with the conservation principles of minimum
intervention and authenticity.
Wall Plaster
Damaged plaster on the affected walls were documented

A dilapidation survey conducted on the Teh Bunga House, prior to restoration
works, diagnosed serious problems aﬀecting the building exterior and interior

The design of the Teh Bunga House reﬂects a timeless Sino-Malay inﬂuence combining the
Malay Limas roof style with unique Chinese characters such as fanlights and glazed wall tiles.

Timber Structures and Elements
The timber structures and elements of the building
including fanlights, windows, doors and ﬂoors were badly
damaged and need to be restored. The shape, size andspecies of the original timber were documented before
they were treated to prevent termite infestation. The
damaged timber was replaced with new timber of similar
design and size to retain the original building design andauthenticity. All new timber structures and elements wereof the same hardwood species which is Chengal. All new
timber structures and elements were tagged and labelledaccordingly using metal plates for identification andfuture references.
Terracotta Tiles
Terracotta tiles on the ﬂoors were inspected to determine
the nature and extent of damage. Floor tiles which arestill in good condition were documented and retained.
While the damaged floor tiles were replaced with new
terracotta tiles of similar type, material and size as theoriginal. All terracotta tiles were treated with damp-proof
course to protect the ﬂoors from dampness and damages.

Conclusions
After all restoration works were completed, on the 6thof March 2010 the building was ofﬁcially opened by the
Minister of Information, Communications and Culture,
Malaysia. A brass plaque was then placed by the Ministerat the front wall to commemorate the completion of therestoration project. The Teh Bunga House now functions
as the Gallery of Penang Malay Heritage and is open
daily for visitors. Artifacts and special items related to
the Penang Malay community are on display here to
showcase the unique heritage of the Jawi Peranakan
community. The section at the back of the building isturned into the Department of National Heritage branchofﬁce (Penang Ofﬁce).

Malaysia

and marked for remedial treatment. Samples of lime
plaster were extracted from the affected walls todetermine the composition of the original materials
used. The new wall plaster was matched as closely as
possible to the original composition in order to retain theauthenticity of the building.

The restoration of the Teh Bunga House highlights
another successful heritage endeavor undertaken by
the Department of National Heritage. Once again, goodcommunications and collaborations among all parties
involved in the restoration works are the key factors
in ensuring a fruitful reward. All stakeholders involvedin the project including the federal, state and local
authorities; and other professionals had played their roles
effectively so that all works were completed satisfactorily.
As the guardian of national treasures, the Department of
National Heritage will continue to support all efforts inconserving heritage properties for the future generationsof Malaysia.

The Teh Bunga House before and after restoration

The original roof tiles of the main building were salvaged for use on the kitchen roof, while the new roof tiles for the main building were obtained
from a local source.

22

Malaysia
Damaged terracotta ﬂoor tiles at upper ﬂoor were replaced with the new ones of similar type, material and size as the original.

Timber ﬂoorboards at upper ﬂoor were carefully removed, inspected and replaced with new timber of similar size and species to retain the building
authenticity.

View of the building interior at upper ﬂoor after restoration.

View of the main building and its garage (left) after restoration. The front section of the garage was converted into toilets for the visitors.

23

NepalNepal

Conservation and Management of Lumbini, Birthplace of Lord Buddha; World
Heritage Property, Lumbini, Nepal
Suresh Suras Shrestha, Archaeological Ofﬁcer
Department of Archaeology, Ministry of Federal Affairs, Constituent Assembly, Parliamentary Affairs and Culture
Lumbini, the Birthplace of Lord Buddha, is about 300 km
southwest from Kathmandu, the capital city of Nepal.
Many Buddhist literatures mention that Lumbini wasa beautiful recreational garden and it was known as
Lumbini Vatika, Lumbini Upavana, Lumbini Chittalata
vana etc. in ancient times. It indicates that Lumbini wasa garden or forest, where Lord Buddha was born and
the Ashokan Pillar Inscription, Marker Stone are theevidences for proving it.
Lumbini was hidden for a long time in the history and it
was only rediscovered in 1896. Then many excavations,
restoration and conservation works have been going on.
On the same way, Government of Nepal and UNESCO
has signed on the agreement for the preservation of
Lumbini and launched a three year project named as“Strengthening Conservation and Management of Lumbini,the Birthplace of the Lord Buddha, World Heritage
Property” The project launched in July 2010, ﬁnancially
supported by Japan Funds-in-Trust and Government ofJapan through UNESCO World Heritage Centre.
The three-year project was led by Professor Yukio
Nishimura of Tokyo University, Japan. The project wasestablished in 2010 to address a number of outstanding
issues and challenges facing Lumbini, which consist ofdeterioration of the Marker Stone, Ashokan Pillar andruins contained within the new Maya Devi Temple tothe inadequately understood and mapped associatedarchaeological remains both within the property and in
the adjacent buffer zone.
There is a need to identify the presence or absence ofarchaeological deposits invisible below the surface, sothat appropriate placing of pilgrim facilities may be madewithout damaging valuable archaeological resources.
There is also a pressing need to prepare a plan for thearea immediately outside the levee of the Sacred Garden

Augering in the Village Mound, January
2011

in order to ensure that other developments within themaster plan are implemented in compatibility to theWorld Heritage Property.
The ‘Strengthening the Conservation and Management ofLumbini, the Birthplace of Lord Buddha’ Project has ﬁve
integral components:
1. The urgent conservation of the Ashokan Pillar, Marker
Stone and Nativity Sculpture;
2. Identifying, evaluating and interpreting the physicalarchaeological signature of Lumbini;
3. Review the present state of the Sacred Garden in
respect to the master plan formulated by Kenzo Tange;
4. Establish an integrated management process with aview to preserve Lumbini’s Outstanding Universal
Value in the long term;
5. Improve the knowledge and skills of conservation
personnel and archaeological staff of the Lumbini
Development Trust and the Department ofArchaeology, Government of Nepal.
For the ﬁrst season of ﬁeld work in Lumbini in January
2011, a team of archaeologists from the Departmentof Archaeology, Government of Nepal, and Lumbini
Development Trust have begun work with a group ofinternational archaeologists on a UNESCO mission to theWorld Heritage site of Lumbini, Nepal - the birthplaceof Lord Buddha. The team was directed by Professor
Robin Coningham, Pro-Vice-Chancellor and Professorof Archaeology at Durham University in the UK and Mr
Kosh Prasad Acharya, former Director-General of the
Department of Archaeology, Nepal and co-ordinated by
UNESCO. The team was focusing on the evaluation andinterpretation of three main areas of the World Heritage
Property of Lumbini: The Maya Devi Temple, the Sacred
Garden and the Village Mound.

GPS mapping in Lumbini, January 2011

Conducting geophysics survey in Sacred Gardenarea, Lumbini, January 201124

NepalIn the Temple, the archaeologists temporarily removed
the modern protective fills of the earliest brick-built
Temple and clean the original surfaces in order totake scientific samples for dating the monument andinvestigating its character and sequence of development.
The team also mapped the other monuments surrounding
the Temple and conducted non-intrusive geophysicalsurvey to investigate the presence of additionalmonuments not visible on the surface. The team excavateand surveyed the Village Mound to the southwest of
the Maya Devi Temple, allowing for the character andsequence of development of South Asia’s earliest named
village, Lumbini game as named on the Ashokan Pillar, tobe explored.
After the completion of the first year of archaeologicalinvestigations the outcomes will be:
1. the identiﬁcation and evaluation of the different levels

EDM mapping in Lumbini Sacred Garden area, January 2011and phases of the Maya Devi Temple;
2. the reconstruction of the early natural and culturallayers of the Sacred Garden and the early natural andcultural layers of the Lumbini game3. the mapping of sub-surface archaeological deposits in
the Sacred Area as part of an integrated GIS databaseto ensure their long-term management and protection.
In the mean time, a team of architects from Tokyo
University, led by Professor Yukio Nishimura also started
its first season field work in Lumbini on reviewing themaster plan prepared by Professor Kenzo Tange.
In February 2011, the Chemical Conservation Team,
led by Dr. Costantino Meucci conducted a two-weekconservation training to make familiar and produce
trained manpower within the national personnel
from Lumbini Development Trust and Department ofArchaeology, Nepal. Six national staff were trained sothat they can be involved in further conservation of
Nativity Sculpture, Marker Stone and Ashoka Pillar.
After the training session, the team was involved inconservation activities. Effort for the establishment ofintegrated management plan is also going on smoothly incoordination with Mr. Kai Weise, Consultant of UNESCO
Kathmandu Ofﬁce.
In this way, the three-year project has launched andits work has been going on continuously for thestrengthening the conservation and management ofLumbini, the birth place of Lord Buddha World Heritage
Property in Lumbini Nepal. This is the second year of
the project, and all of the activities for the year were also
sanctioned by second meeting of International Scientiﬁc
Steering Committee (ISSC) in July 2011.

Excavation in Lumbini Village Mound, Lumbini, January 2011

Section drawing of excavated (1992-96) trenches inside Maya Devi
Temple, January 201125

Extracting samples for scientiﬁc test for OSL dating, January 2011

New Zealand
Matthew Schmidt, Regional Archaeologist, Otago/Southland
The New Zealand Historic Places Trust
Introduction
New Zealand’s European/Pakeha colonial history is shortwhen compared to other European colonial countries.
New Zealand/Aotearoa was ﬁrst discovered and colonised
by Polynesians in ca. 1300AD who then developed theirown unique culture known as the Maori culture. Although
Dutch explorer Abel Tasman brieﬂy visited New Zealandin 1642, he did not make landfall and so European/
Pakeha colonisation did not occur until after Captain
James Cook made contact with Maori in 1769. Substantial
colonisation then only commenced in the early 1800s.
The European/Pakeha colonial built heritage period for
New Zealand therefore only dates from this time withthe oldest surviving building being the wooden Kerikeri
Mission House (Kemp House) in Northland built in 182122 and the oldest stone building being the neighbouring
Stone House built 1832-36. The archaeologicalinvestigation of New Zealand’s built heritage from the19th century through buildings archaeology is hence
important in understanding this period of New Zealand’s/
Aotearoa’s history.
Port Chalmers near Dunedin was a major New Zealandport for domestic and international trade during thelast half of the 19th century community (Figure 1).
Government and public buildings were therefore
constructed during this period to support the port
activities and local. New Zealand in the 19th century
was geographically and thus culturally isolated fromthe rest of the world with knowledge of foreigncultures, other than European, only coming throughthe usual communication channels of the day such as
by newspapers, magazines, mail, trade and throughcontact with foreign people who visited the country forbusiness and entertainment purposes, such as Chineseand Japanese circuses. The dominance of the European/
Pakeha population meant that the public celebration ofan unfamiliar culture, particularly Asian, was a novelty.
Some New Zealander’s were familiar with Chinese culture
through communications between European/Pakeha andChinese on the Otago/Southland goldfields, and somewere familiar with the Japanese culture, such as throughgoodwill visits to New Zealand by Japanese naval ships
which commenced in 1882 (these visits often including
fireworks displays and the opening of the ships to the
public (Figure 2)), but the majority of New Zealander’sviewed Asian cultures as mysterious. Therefore to have asubstantial Asian themed mural painted and mounted on
the walls of a major Port town community hall during thelate 19th century was an event of some note.
This report describes how a Japanese themed mural datingfrom 1892 was discovered during the archaeologicalinvestigation of a late 19th century community building,
known as the Garrison Hall, prior to demolition in Port
Chalmers near Dunedin. The steps taken to the preserve
this unique and nationally important cultural artefact/

New ZealandWorlds Apart - Celebration of Japanese Culture in a New Zealand Port Town in
1892: Preservation of a Japanese Themed Mural

artwork for future public display is also brieﬂy explained
as is the importance of such a find for New Zealand’scolonial history.
The Archaeological Authority Process and Buildings
Archaeology in New Zealand
The New Zealand Historic Places Trust (“NZHPT”) is
New Zealand’s lead heritage advisor and is entrusted
to protect and manage archaeological sites underthe Historic Places Act (1993). One of its roles is toadminister the Archaeological Authority process where
the NZHPT can grant an Archaeological Authority for
an archaeological site to be damaged, modified or
destroyed. An archaeological site is defined under theHistoric Places Act (1993) as a location of human activity
which pre-dates 1900AD and which can be investigatedthrough archaeological methods. Pre-1900 buildings areincluded as archaeological sites and because of this thedemolition of such buildings can be managed through theArchaeological Authority process. This ensures importantand historically signiﬁcant buildings can be investigated ina controlled manner before, during and after demolition
so information about their history can be revealed andrecorded. Considering the short period of European/
Pakeha history in New Zealand, buildings archaeology
is crucial to understanding New Zealand’s early colonial
built heritage.
The demolition of the Garrison Hall was managed underthe Archaeological Authority process and it is because ofthis that the 1892 Japanese themed mural was discovered.
The Building of the Garrison Hall
The Garrison Hall was built in 1887 for use by militaryand naval volunteers. Williams (2011a:5 & 6) notes:“Volunteering began in Port Chalmers with theestablishment of the Port Chalmers Naval Brigade in1864. Captain Thomson was commanding lieutenant,with Captains Bain and Goldie as petty officers andJ.B. Robertson as drill instructor. Initially drills were
held in a store, and later in the Royal Assembly
Rooms. Membership quickly grew to 130, and theofficers received commissions from Sir George Greyon 25 August 1865 (Church 1994: 31). In October ofthe same year the Port Chalmers Rifle Corps formed
after a meeting at the George Hotel. The Rifle Corps
was short lived and mostly absorbed by the Navals,
for marksmanship was an important feature of theirprogramme (Church 1994: 31).
In 1870 an artillery unit known as ‘L’ Battery wasestablished. Two 32lb Armstrong Guns were mounted atBattery Point overlooking the Port Chalmers wharf area.
The Garrison Hall was built in 1887 as a ‘drill shed’
to cater for both volunteer companies. The two units

26

New Zealandamalgamated under Captain W.J. Waters’ command on
23 July 1894, and renamed the Port Chalmers Naval
Artillery Volunteers.”
Volunteers were essential for the defence of New Zealand
due to its very small permanent population and thevolunteers were seen as crucial by the Government of
the 1880s because of the ‘Russian Scare’ where it was
believed that the possible expansion of Russian Empire at
this time may include easy targets such as New Zealand.
The drill hall when built had a gabled roof, measured
20.4 m long by 15 m wide and had side walls measuring
4.2 m high. At the time, the hall was the largest covered
open space for public use in Port Chalmers and wastherefore in demand for public events from the outset ofits construction. Its opening was welcomed by a carnivaland during its 124 year life historic records show that it
was a major community asset with it not only being used
for military/naval volunteer purposes, but also for many
public meetings, protests, carnivals, bazaars, sports events
etc. right up until its demolition (Williams 2009; 2011a:8 10).
Discovery of the Japanese Themed Mural
In 2010, the Dunedin City Council applied to the NZHPT
for an Archaeological Authority to demolish the Garrison
Hall as the building had become unsafe and was too
costly to repair. The NZHPT granted an Archaeological
Authority for the demolition with conditions requiring
the building to be systematically investigated anddeconstructed by hand before demolition so as to retrieve
information about the building not gleamed from historic
records (Archaeological Authority 2010/112). In Figures
3 to 6 are shown views of the exterior and the interiorof the hall prior to the intrusive buildings archaeology
investigation.
The initial archaeological and built heritage assessment of
the building did not indicate that a mural may be present
behind the interior wall linings. The walls of the building
were believed to be most likely of standard 19th century
construction for a wooden building of this type, age anduse i.e. interior timber wall linings, timber framing andexterior weather board cladding. It was known that theinterior of the building was originally not lined whenconstructed in 1887 and that linings were added after

Figure 1. Location of the Port Chalmers near Dunedin27

1894 (Williams 2011b:5).
When the buildings archaeology specialists, Guy Williams
and Associates, began to systematically remove theinterior wall linings on the north wall of the building toinvestigate the construction technique, timber species
used etc., they discovered behind the ﬁrst lining timbers
removed a small area of what appeared to be painted
linen tacked to the timber framing. As further linings were
removed, the extent of the painted linen revealed itself,
resulting in the north wall of the building being mostly
covered in a mural depicting a rural and sea landscape(Figures 7, 8-11). Investigation of the south wall
uncovered further sections of a rural and sea landscapemural, though substantially less of the once full extent of
the artwork on this side of the hall was preserved (Figures
7, 12-15). Once all linings were removed from all four
walls of the hall, it was clear that on the north and south
walls of the hall remains of a mural of an Asian inspired
landscape was preserved, the landscape being most likelyof Japanese origin. The mural was found to have been
painted on long sheets of cotton linen measuring 1.8m
wide and 3.6m long which had been tacked directly onto
the interior wall framing of the hall. Tempera type water
based paints had been used to paint the mural probably
sourced from dry powder prior to mixing with water(Williams 2011c:2-4).
The Murals  rigins and its Recovery
Research on the mural in historic records by the buildings
archaeologists succeeded in uncovering an Otago Daily
Times newspaper article from 1892 which identiﬁed what
Asian country landscape was being depicted, when themural was painted and why. This historic record alsomeant that the missing pieces of the mural could be
identiﬁed. The newspaper article noted:“TH JAPA’ S VILLA” AT PORT CHALM RS. The Port
Chalmers ” arrison Band have opened a varied ande–cellent entertainment in the ” arrison Hall, which has
been ﬁtted up to represent a Japanese village. ” reat credit
is due to one and all of the pro ectors, whose success was
manifest on Saturday evening when the carnival was
opened in the presence of fully
people. The interior of
the hall the largest building in Port Chalmers had beenvery tastefully decorated by Messrs D. A. De Maus and
D. Marr, while the entire sides and ends of the building

Figure 2. Two small children visting the Japanese naval ship the Iwate in 1916. Goodwill visits of Japanese naval vessels to New Zealand from1882 to the 1930s were regular and were a public event. (source: history from Tessa Copland. 'Japanese', Te Ara - the Encyclopedia of New
Zealand, updated 1-Sep-11, URL: www.teara.govt.nz/en/japanese/1/3/1; image from Alexander Turnbull Library, Reference: C-27791-1/2).

On the right hand side of the hall is an e–cellent
representation of the great sacred mountain usioma, surrounded by a range of smaller hills. A verylarge unk stands prominently forward in the middle
distance of this part of the scenery, while to add to therealistic part of the interior a Japanese house has beenshown with its blue and white tiled walls and red tiled
roof. The gallery has been artistically fitted up under
the direction of Mr D. Marr, and a really comfortablelounging-place is to be found there, from which persons
desirous of escaping from the crowd in the lower hall
can comfortably overlook all that is going on, andpartake of light refreshments, which are dispensed
at moderate rates by the Misses . ignall, Smith,
Rutherford, ullarton, ranklyn, M. elly, and Pickard.
All kinds of pretty and useful articles are e–posed forsale on si– large tables in the hall. ach of these tables
is sheltered by a huge Japanese umbrella, and the fair
vendors seemed to do an e–ceedingly good trade. The
ladies who preside over and assist at these stalls are theMisses Moir, Tulloch, L. Osborne, A. Clark, H. elly, .
Smith, C. Smith, Cashman, A. Bell, ” oudy, Crawford,
Donald, letcher, eoman, . letcher, Hare, Buchan,and . Clarke.

At p.m. the aikorai Band, under its conductor, Mr
Stratton, assembled in Custom House s£uare, and headed
a torchlight procession through the principal streets of thetown, in which Captain Leech, took a prominent part,the band playing a choice collection of popular music.
On reaching the hall the procession entered and took up
a position, while the gay dresses of the lady stallholders
and of a host of little people, who have been trained to go
through some £uaint Japanese dances by Mr Marr, madethe place a bla e of colour.

New Zealandare covered with artistically painted scenery of the mostinteresting parts of Japan, from the pencils of Mr D. O.
Robertson long a resident in that part of the ast assisted
by Mr D. letcher and a staff of assistants. Indeed, it isdoubtful if anything of the kind has been presented to a
’ ew ealand audience before. On the left wall of the halla scene on the Island of insu is depicted, with a bridgecrossing a small stream leading to a Sintu temple, which iserected on the summit of a cliff, at the foot of which nestles
a snug little watering place the ad acent islands standboldly out, while several trading unks are e–cellently
depicted, one of them hauled up on the beach for repairs.
On this side of the building a Japanese house with its
interior is also shown. At the upper end of the hall an old
feudal castle, standing boldly on the brow of an island,has been designed by Mr Robertson from memory, and it
re ects very great credit on his artistic taste. In the centreof the hall there is a pagoda from which the ladies takepart in the entertainment make their e–its and entrances
attached to this is a very prettily-designed garden scene,with mountains in the background and an arm of the sea
intervening.

It had been arranged that Mr J. Mills, M. H. R.,
should formally declare the carnival open, but,owing to the pressure of events in ellington, he wasprevented from doing so. He, however, telegraphed tohis orship the Mayor Mr . ” . Allen , e–plainingt h e c a u s e o f h i s a b s e n c e , a n d r e £u e s t i n g t h a t
gentleman to act for him, at the same time forwardinga c h e £u e f o r 2 2 s i n a i d o f t h e b a n d f u n d s .
The MA OR e–pressed his pleasure at seeing so numerous
an audience present, and complimented the committee ofmanagement of the completeness of their arrangements.
It spoke well for the band, his orship said, that they
had succeeded in reducing the debt incurred for theirinstruments, some
, down to between
and,and he trusted the result of the carnival would be such as
would enable them to entirely free themselves from debt.
Music, as they all knew, was an important factor in theworld s concerns, and the Port Chalmers ” arrison Band
were deserving of the very greatest credit for their efforts
in catering for the public amusement. He had very great
pleasure in welcoming the numerous assemblage to thecarnival, and formally declaring it open. Cheers .
Mr D. A. De Maus, the musical director, thanked hisorship for his presence and patronage, and after
the aikorai Band had played a selection of music,
the musical burletta, “A Broken Piece of China,” wasproduced. In the burletta, the opening chorus, “ e areladies of Japan,” was e–cellently rendered. The music is
sparkling and the words very catching. Miss . ignall,
who took the part of Myama, Prince Satsama s daughter,
did remarkably well throughout, and her solo, “My loveis vain,” was an e–cellent piece of vocalisation. The
other young ladies also ac£uitted themselves remarkably
well and Mr De Maus may safely congratulate
himself on the success of his little musical sketch.

Figure 3. The facade of the Garrison Hall in an undated photograph (left) and prior to demolition in 2011 (right). The stucco render to the facade
was applied in the late 1950 s (source: Guy Williams & Assoc's).

28

New ZealandDuring the evening the stallholders did a brisk business,and it is e–pected that a very profitable week will be
the result of the band s venture.” Otago Daily Times,
October 1 - 2: .
The description of the mural from the Otago Daily
Times describes it as being “from the pencils of Mr D.
O. Robertson”. David Ogilvie Robertson was a wellknown painter in Port Chalmers at the time and he lived
in Japan for two years from 1871 to 1873, returning to
New Zealand at the age of 25 after his father died. He
travelled to Japan again at some time prior to the mural
being painted to visit his father’s grave in the foreigner’s
cemetery in Yokohama. While there he sketched various
Japanese scenes (Figures 16 to 17) (Williams 2011a:13 to
16). It is clear that the mural was based on Robertson’s
sketches but unclear whether he actually took part in thecreation of the mural, though being a resident of Port
Chalmers and considering the skill of execution, it is quitepossible he had some direct involvement.
Prior to removal of the mural, a number of heritage, artconservator and art history specialists advised on how
the mural should be recovered and how much of theartefact should be retrieved. A decision was made that
all of the surviving pieces of the mural were important torecover as, even though some sections appeared poorly
preserved, only after close analysis of the artefact intotality in a conservation laboratory could preservation
decisions be made based on better knowledge ofthe mural’s condition. This approach also meant thatdecisions on the future of the mural would not be madein haste as the hall was required to be demolished assoon as possible.
In Figures 18 to 21 can be seen some of the process of
the recovery of the mural by Guy Williams & Assoc’s,
Murray Robertson and Art Conservators Jenny Sherman(Dunedin City Council Art Gallery) and Marion Mertens.
Close views of the mural were photographed at highresolution by professional photographer Gerard O’Brien
before the artefact/artwork was carefully taken down.
Each linen panel of the mural was gently cleaned by asoft dry brush and vacuum on the back during removal
and then the painted side was cleaned using this method
once it was laid out face up on a Tyvek cloth sheet after
recovery so as to remove obvious contaminants only. The
painted side of the panel was then covered by a Tyvek
cloth sheet and rolled onto a 300mm diameter cardboard
tube, which had been pre-wrapped in Tyvek. The panels
were then un-rolled in a warehouse and let to dry forthree weeks under controlled atmospheric conditions, re-rolled, and then treated with Methyl Bromide treatment
prior to storage at the Settlers Museum in Dunedin(Williams 2011c:1-4b).
The Future of the Mural
The Japanese themed mural originally covered all
four walls of the Garrison Hall in 1892 but today only
incomplete sections of the original remain. However,the preserved sections together with the detailed historicaccount of its creation makes this cultural artefact highly
significant to New Zealand archaeology and history as
it illustrates how two different cultures a world apartduring the 19th century were brought together by a small
European community group in a manner best understoodby the people of that time. The discovery and recoveryof the mural also illustrates the importance of buildings
archaeology in New Zealand even though the European/
Pakeha built heritage period is short.
The mural is now in storage in a controlled environment
at the Settlers Museum in Dunedin. The challenge for the
future is to source funds for the conservation work on themural and to prepare it for presentation to the public 119
years after its creation.
References
New Zealand Historic Places Trust Archaeological Authority 2010/112.
Williams, Guy & Associates. 2009. ” ARRISO’ HALL, 2A ” eorge Street,
Port Chalmers. Archaeological Assessment. September 2009. Report for theDunedin City Council.
Williams, Guy & Associates. 2011a. ” ARRISO’ HALL, 2A ” eorge Street,
Port Chalmers. Assessment of Cultural Heritage Values of the ” arrison Hall
Mural. JULY 2011. Report for the Dunedin City Council.
Williams, Guy & Associates. 2011b. TH ” ARRISO’ HALL BUILDI’ ” . Draft
Final Report for the Dunedin City Council.
Williams, Guy & Associates. 2011c. Mural Recovery. Draft report for theDunedin City Council.

Acknowledgements
I would like to thank Guy Williams, the Dunedin City
Council and Gerard O’Brien for providing the researchand photographs for this article.

Figure 4. Exterior photographs of the hall (south, north and west/back walls) showing its weather board construction and alterations over time, such as pressedsteal cladding replacing the weatherboards on the south side of the building and the lean-to added on to the west (back) wall (source: Guy Williams & Assoc s).

29

New ZealandFigure 5. Interior views of the hall looking west (left photo with the north wall on the right) and looking east towards the entrance (source: Guy
Williams & Assoc s).

Figure 6. The north wall (left) and south wall (right) before removal of the linings (source: Guy Williams & Assoc s).

Figure 7. The Japanese themed mural in-situ as revealed behind the 20 m long north (top photograph) and south (bottom photograph) walls of the
Garrison Hall during archaeological investigation of the structure prior to demolition (photographs: Gerard O'Brien).

3

New ZealandFigure 11. Close view of a series of linen panels on the north wall sectionof the mural showing a Japanese house (photograph: Gerard O'Brien).
Figure 8. Close view of a series of linen panels on the north wall
section of the mural showing a junk in the water in front of rolling hills
and mount Fusi Yoma'. Presumably the newspaper article of 1892
meant Mt. Fuji rather than Fusi Yoma'. (photograph: Gerard O'Brien).

Figure 9. Closer view of the junk and hills seen in the lower left cornerof Figure 8.

Figure 12. Close view of a series of linen panels on the south wall sectionof the mural depicting a bridge crossing a small stream leading to a Sintu
temple' on the Island of Kinsu'[Kyushu?] (photograph: Gerard O'Brien).

Figure 10. High resolution picture of the junk seen in Figure 9(photograph: Gerard O'Brien).

31

Figure 13. Close view of a series of linen panels on the south wall section of
the mural showing a bay by the Island of Kinsu'[Kyushu?] with small Japanesehouses on the shore (left of photograph) (photograph: Gerard O'Brien).

New ZealandFigure 14. Closer view of Japanese houses on the shore of the bay
seen in the lower left side of Figure 13. (photograph: Gerard O'Brien).

Figure 18. Recovery of the mural. Scaﬀolding enabled careful removal and cleaning of the back of the mural during recovery. On theright of the photograph can be seen the conservators working on panels of the mural on the ﬂoor (source: Guy Williams & Assoc's).

Figure 15. High resolution picture of one of the Japanese houses seenin Figure 14 (photograph: Gerard O'Brien).

Figure 19. Cleaning dust and grime from the back of the mural during
recovery (source: Guy Williams & Assoc's).

Figure 16. Hut in the Country Japan , 1876. David O. Robertson. From Rough sketches and photographs ofoil paintings by D. O. Robertson held at Hocken Library, Dunedin. (Research source: Guy Williams & Assoc's).

Figure 20. The work area during recovery (source: Guy Williams &Assoc's)

Figure 17. Sakura Japanese Hotel Yokohama. ca. 1876? David O. Robertson. From "Rough sketches and photographsof oil paintings by D. O. Robertson held at Hocken Library. (Research source: Guy Williams & Assoc's).

Figure 21. Rolling of a panel of the mural in Tyvek cloth after initial cleaning
in preparation for transport and treatment (source: Guy Williams & Assoc's)

32

Philippines
Philippines
33

Heritage Structures in Two Manila Cemeteries
Grace Barretto-Tesoro, Associate Professor
University of the Philippines
Introduction
In 2008, as part of my Archaeology 241: Mortuary
Analysis in Archaeology (at the University of thePhilippines) we visited various cemeteries around Manila
and in neighbouring provinces. The main objective wasto understand attitudes towards death through material
representations in cemeteries. One outcome of the visits
was the discovery of old mausoleums, cemetery chapels,
old tombstones and graveyards. Although most of these
are now in dilapidated condition, we feel that these oldbuildings, memorials, and structures are significant toPhilippine history. In this short report, I will describe thestructures found in some Philippine cemeteries and argue
why they should be treated as cultural properties. I willdraw from M.H. Unakul’s (2010) talk how to determine
the heritage values of structures and identify the risks
to these cultural properties. I shall end by calling forthe protection of key heritage buildings in Philippine
historical cemeteries.

Assessing the heritage value of key areas in the Manila North
Cemetery and La Loma Catholic Cemetery
According to Unakul (2010), there are several ways
to assess the heritage value of a site or monument.
These values include aesthetic, artistic, architectural,
anthropological, historic, economic, scientiﬁc, and social/
spiritual. Similarly, the Philippine Presidential Decree 374,
deﬁnes cultural properties as ‘old buildings, monuments,
shrines, documents, and objects which may be classiﬁed
as antiques, relics, or artefacts, landmarks, anthropologicaland historical sites, and specimens of natural history
which are of cultural, historical, anthropological, or
scientiﬁc value and signiﬁcance to the nation’. By applying
the criteria adopted by Unakul and the Philippines, I
will discuss why key areas in the Manila North Cemeteryand the La Loma Catholic Cemetery should be treated ascultural properties and heritage areas. I have grouped
these key areas into group plots, politicians’ tombstones,
mausoleums, and religious structure.

Cemeteries in the Philippines
Prior to European contact in the 1500s, ancient Filipinos
bury their dead in many ways. Intact bodies or bones
were placed in jars, wooden cofﬁns, or wrapped in matsor blankets, then the receptacles deposited in caves,buried under houses or within the settlement, or evenplaced in trees (Barretto 2000, 2002). Burial locations areoften determined by the nature of death (Barretto 2000).
Spanish occupation of the Philippines have resulted inreorganising the indigenous settlement following the Lawsof the Indies, issued by King Philip II in 1573, including
the disposal of the dead (Dakudao 1998). The centre of
Spanish-established towns was the church, which served
as the new burial location. Elites were placed inside thechurch and non-elites were buried in the churchyard(Dakudao 1998). By 1789, a Royal ordinance was issuedordering the creation of cemeteries primarily because
churches could not accommodate the increase in death
due to cholera epidemics of the 18th century (Dakudao
1998). A separate document dated 1689 indicated thata detached cemetery in Bohol was already establishedbecause of similar reasons (Dakudao 1998). During
the Spanish Period, churchyards and cemeteries werereserved for Christians; people of other faiths were buried
in separate plots. Under the American rule from 1898,
public cemeteries accommodated burials of individuals
regardless of ethnic or religious affiliations (Dakudao
1998). In addition, the creation of public cemeteries wasin response to issues of health and sanitation that wasdue to victims of battles between Americans and Filipinos
and those who died of epidemics. In this paper, I shallfocus on two Manila cemeteries. The ﬁrst one is the La
Loma Catholic Cemetery created in 1884 and the Manila
North Cemetery established in 1904.

Established in 1884, the La Loma Catholic Cemeteryonly allowed burials to Christians; victims of epidemics
and subversives were not permitted during the Spanish
regime. La Loma Catholic Cemetery continues to function
as a cemetery until today. Parts of the cemetery arelocated in Manila and in present-day Caloocan. The
Manila North Cemetery was the first cemetery createdunder the American Rule. Built in 1904, the public
cemetery was open to all.
The group plots
Several group plots can be found in the Manila North
Cemetery including the Tomb of the Boy Scouts, Jewish
Cemetery, Firemen, Thomasites, and the Mousoleo de losVeteranos de la Revolucion. More than the architecture
itself which fulﬁls the aesthetic, artistic, and architectural
measures, these group plots have historic values andsignificant to the Philippines. I would like to discuss
the Tomb of the Boy Scouts, Jewish Cemetery, and the
Mousoleo de los Veteranos de la Revolucion. The storiesof the people interred in these burial plots do not end atdeath. The designs on the tombstones and mausoleums
are in themselves full of information on the dynamics ofrepresenting the dead.
Designed with the symbol of the Scout’s Honour, theTomb of the Boy Scouts have been considered a shrine
and visited by boy scouts on the death anniversary (Figure1). The Boy Scouts were victims of an airplane crash
in July 1963. Due to their tragic end, intensified by theyoung ages of the boys, the accident gripped the nation.
Although, not all bodies were recovered, each Boy Scout
was represented by a niche (Tantuico and Choa 2011).
Some of the identified bodies were buried in the boys’
hometowns which were likewise visited on the date of
the crash.

The Jewish Cemetery exposes aspects of Philippine
history that are generally unknown to the public (Figure3). Jewish presence had been recorded in the Philippines
in the 1500s and in the late 1800s (Lim 2011). Jews
have continued to arrive in the Philippines before andafter World War I. In 1919, a Synagogue was built in
Taft, Manila. The years leading to World War II saw theincrease of Jews in the country. In 1924, they boughta burial plot in the Manila North Cemetery which was
extended in 1940. The plot can accommodate 300 burials
and as of October 2011, seven are still unoccupied (Lim2011). I have included this group plot in this paper
because this little known fact can contribute to the historyof Jewish diaspora in the world.
Politicians tombstones
Since the Manila North Cemetery was the first public
cemetery in the American Colonial Period and also
the premier cemetery in the early 1900s, many of theelite families including Filipino politicians were buried
here (Barretto-Tesoro and Reyes 2008). Some American
administrators were also interred here. Senators, national
artists, members of the government administration,
past Philippine presidents, and mayors comprise the

Figure 1: Tomb of the Boy Scouts

Figure 2: The Mousoleo de losVeteranos de la Revolucion

politicians’ group. The mausoleums exhibit mosaic, artdeco, and art nouveau styles. Some former presidents’
cofﬁns were encased in granite. An alternative Philippine
history can be told by visiting these graves, by analysing
the designs of the burial structures, and by re-examining
stories regarding the bodies after death whether they had
been moved, transferred or even absent. These stories
that do not appear in books make the study of cemeteries
worthwhile.

Philippines

The Mousoleo de los Veteranos de la Revolucion housed
the bodies of the veterans of the Spanish revolution
and the Philippine-American War (Figure 2). Ragragio(2011) gives a full account of the mausoleum’s history
including its motifs, and argues its historical signiﬁcance.
It was recognised as an important historical site by thenNational Historical Institute (now the National Historical
Commission of the Philippines) in 1993. There were 28
revolutionaries interred in the mausoleum; five bodies
were later exhumed and transferred elsewhere. Ragragio(2011) further narrates the circumstances of the occupants’status as a revolutionary. Many of the revolutionaries
here are not familiar to a non-historian. The Mousoleo
impels its viewers to ask who were these revolutionaries
and attempts to augment historical knowledge. The
Spanish revolution and the Philippine-American War
were deﬁning events in the Philippine’s history. In 2004,
Administrative Order 99 mandated commemoration
activities every 12 June, the Philippine Independence Day(Ragragio 2011).

” rand mausoleums
According to Manolo Noche (personal communication,
20 November 2010), world architecture is present in the
Manila North Cemetery. A variety of architectural designs
are found in the cemetery and they are often a reﬂectionof the architectural style of the period. The styles include
the use of marble, pebble-washed outs, crazy-cut ﬁnishes,
flag mosaics, art deco, synthetic adobe finishes, art
nouveau, granite ﬁnishes, precast concrete, glass cut-outs,
gothic, concrete finishes, Greek, Roman, and Egyptian
elements (Figures 4a-5e). Scholars of architecture should
consider visiting the Manila North Cemetery to observe
eclectic structural and design elements.
Capilla in the La Loma Catholic Cemetery
During our visit in the La Loma Catholic Cemetery, apartfrom the outstanding architectural styles found in theolder mausoleums, the capilla or chapel was the mostinteresting structure (Figures 6a-6d). From the present
main entrance, the capilla is located in the southeast
section of the cemetery. Further south is the Chinese
Cemetery. The capilla was foremost a funerary chapel
from 1884 to 1962 (Hilotin 2011). It also served as a fort
during the Philippine-American War from 1899 to 1902;
a cursillo retreat house from the 1970s to the 1990s; andat present is abandoned and padlocked (Hilotin 2100).
It is currently referred to as the ‘Lumang Simbahan’(Old Church). On top of the arched entrance, the year
‘1884’ and the Latin text “Beati mortui qui in domino
moriuntur” (Blessed are the dead who die in the graceof Lord) are inscribed. South from the chapel’s entrance
are remains of the original posts of the iron gate to thecemetery. The chapel is empty except for some beds
found at the back. Its impressive architecture and façade
is a surprise to visitors of the La Loma Catholic Cemetery.
The chapel has been the subject of bloggers andFigure 3: The sign on the entrance to the Jewish Cemetery34

Philippines

photographers (i.e. Hilotin 2011) which I think has beena symbol of the emerging interest in heritage by nonheritage workers. Now the La Loma Catholic Cemeteryis not just a cemetery. Its signiﬁcance and meaning havebeen transformed. Visitors and heritage enthusiasts now
appreciate the historical significance of the La Loma
Catholic Cemetery that is represented by the capilla.
The major risk to these heritage areas is the general lackof awareness of the values of these structures that leads tothe neglect and vandalism of some of these mausoleums.
Generally, Filipinos will not think that heritage structures
can be found in cemeteries. In recent years, local
architects, anthropologists, and archaeologists (BarrettoTesoro, in press) are now realising the academic potentialof historical cemeteries. Perhaps through such studies

people will have a different perspective when it comes tocemeteries.
Conclusion
In this short report, I have assessed the heritage valueof some key areas in two Manila cemeteries. These key
areas are signiﬁcant to Philippine history because of theirunique nature. These mausoleums, graves, and chapel
provide another perspective in examining history. People
do not only visit the dead but to admire the grandiosearchitectural styles of the structures in cemeteries. And
these architectural styles ought to be understood in thecontext of the milieu when they were built and in thecase of the capilla how they were utilised. I highlighted
historical cemeteries as not just places for the deadbut also valuable sources of data in various disciplines

Figure 4a: Flag mosaic style

Figure 4b: Bas-reliefs style

Figure 5a

Figure 5b

Figure 5c

Figure 5d
Figure 5a-5e: Examples of grand mausoleums (Photos by Archie Tesoro)

35

Figure 5eReferences
Barretto, G. 2000. A Survey of Literature on Indigenous Burial Practices andtheir Archaeological Implications. asarinlan 15:95-122.
Barretto, G. 2002. Evaluating status in Philippine prehistory through grave
goods. Unpublished Master’s thesis, University of the Philippines.

, Otherwise known as the “Cultural Properties Preservation andProtection Act”.
Ragragio, A. M. M. 2011. “Ang Mamatay ng Dahil Sa Iyo: Patriots' graves
at Manila cemeteries and neighboring provinces.” Paper presented at
the Himlayan, Pantyon, ampo Santo, Sementeryo: A Collo£uium on
Philippine Cemeteries, Claro M. Recto Hall, aculty Centre, University of thePhilippines, Diliman, 1 ebruary 2 11.
Tantuico, K. and O. Choa. 2011. “Death, grief, and memorial: a review of
the Boy Scouts tragedy of 1963.” Paper presented at the Himlayan, Pantyon,
ampo Santo, Sementeryo: A Collo£uium on Philippine Cemeteries, Claro
M. Recto Hall, aculty Centre, University of the Philippines, Diliman, 1ebruary 2 11.

Barretto-Tesoro, G. and J.T.Reyes. 2008. “Fame and Fortune in two
Philippine Cemeteries: Tombstones as Extensions of Identity.” Paper
presented at the 12th International Conference of URAS AA, Leiden,’ etherlands, August 2.

Then and Now: La Loma Church. Accessed 29 October 2011. From https://www.facebook.com/media/set/?set a.102319897766.89873.101164622766&t
ype 1

Barretto-Tesoro, G. in press. Himlayan, Pantyon,
Sementeryo: –ploring Philippine Cemeteries.

Unakul, M. H. 2010. “Heritage at Risk.” Lecture presented during theTraining Course on Cultural Protection in the Asia/Pacific Region 2 1 ,’ ara, Japan. October 2 1 .

ampo Santo,

Hilotin, G. 2011. Campo Santo de La Loma and its “Lumang Simbahan”.
Accessed on 29 November 2011. From http://www.lakwatsero.com/spots/
campo-santo-de-la-loma-and-its-lumang-simbahan/
Dakudao, M. E. 1998. The Development of Cemeteries in Manila Before
1941. Philippine uarterly of Culture and Society 20:133-150.
Lim, E. M. S. 2011. “Yerida in Life, Aliyah in Death.” Paper presented at
the Himlayan, Pantyon, ampo Santo, Sementeryo: A Collo£uium on
Philippine Cemeteries, Claro M. Recto Hall, aculty Centre, University of thePhilippines, Diliman, 1 ebruary 2 11.
Presidential Decree

Philippines

including heritage studies. The challenge is to protect andrestore these structures that more people can appreciatethem for their aesthetic, artistic, architectural, andhistorical values.

Acknowledgements
University of the Philippines-Ofﬁce of the Vice-President
for Academic Affairs for granting funds to the Project
entitled ‘Exploring Philippine Cemeteries: Alive andDynamic Spaces’. The author greatly beneﬁtted from theon-site lecture of Manolo Noche on architecture of theManila North Cemetery on 20 November 2010 sponsoredby the Heritage Conservation Society.

: Amending certain sections of Republic Act ’ o.

Figure 6a: The La Loma Catholic Cemetery capilla as of 2009 (Photo by Archie
Tesoro)Figure 6b: The La Loma Catholic Cemetery capilla as of theearly 1900s (source: https://www.facebook.com/media/set/?set=a.102319897766.89873.101164622766&type=1)

Figure 6c: The original iron gate attached to stone posts of the La Loma Catholic
Cemetery with the capilla in the background (source: https://www.facebook.

Figure 6d: Remains of one of the old stone posts of the iron gate to
the La Loma Catholic Cemetery as of 2009 (Photo by Archie Tesoro)

com/media/set/?set=a.102319897766.89873.101164622766&type=1)

36

SamoaSamoa

Archaeological Site Found at the Tanoa Tusitala
Mainifo Viliamu, Senior Museum Ofﬁcer
Ministry of Education, Sports and Culture
An archaeological excavation was taken place atTanoa Tusitala Hotel under the guidance of a resident
archaeologist Tautala Asaua-Pesa. She is the ﬁrst Samoan
archaeological lecturer and also the previous participantof the ACCU Nara 2008 training course. There, she andeight students from the National University of Samoa(NUS) were researching the recent man-made structure.
Early interpretations of this structure had varied froma bunker during German times, an ice cellar and a
septic tank. Nothing had found to support any of thesesuggestions.
The initial stop order on construction activities at thesite was issued by the Planning and Urban Management
Agency (PUMA), who holds legislative authority to cease
any construction when sites of heritage value have been
discovered. The owners of Tanoa Tusitala Hotel and Lee
Collet and the Tanoa project manager, were supportiveof this action and expressed willingness to preserve thestructure by incorporating it into their building site, thus
providing the opportunity for further archaeologicalresearch.
Salvage work commenced at the beginning of NUS

mid-semester break. Students from the 100 and 200
level Archaeology courses were happy to give up their
mid-semester break in order to participate in this rareopportunity. Students were introduced to excavation
methods which involved setting up test units in order toﬁnd out if there was any other human activity around thestructure and the site.
A total of 7 test pits were dug which required the students
to excavate carefully and sift through the soil that wasremoved from these pits to see if any artifacts might befound. Artifacts such as pieces of ceramic bottles made inGermany in the late 1800’s, broken glass, one intact winebottle, animal bones, metal objects, a German Mark (1900)
and a British pence were recovered.
Another interesting find was an oxidized copper pipewith wood still attached to it along with two wooden
panels also lined with oxidized copper found in an
upright position directly above the copper pipe. This
was located 50 cm from the brick feature.
The students learned that archaeological digs required a
lot of patience due to the importance placed on being
meticulous and careful in recording and documentingﬁnds. They endured long hours in the sun, rain showersthat slowed down the work, and also the challenge ofremoving water from their test pits.
However, this did not dampen their efforts or enthusiasm
in being a part of a unique opportunity to uncoveraspects of their history. Ms Asaua- Pesa was heartened byher students’ enthusiasm.

37Lapita archaeology conferences
The Lapita Arcaheology Conference was hosted by the
National University of Samoa through the Centre for
Samoan Studies. Over 70 professional archaeologists
and biological anthropologists from all over the world
attended the conference to present their researches on
the theme “Documenting the Past 50,000 Years to thePresents”. This conference was jointly hosted by the
National University of Otago in New Zealand. It was avery successful conference and the participants shared
many new discoveries and techniques.

Samoa

Lapita exhibition
A special exhibition on the archaeology of Samoa washeld at the Museum of Samoa, Malifa. This was part of
the International Lapita Pacific Archaeology Conference
which was held at the National University of Samoa (NUS).
It was officially opened by Prime Minister, Tuilaepa
Sailele Malielegaoi attended by cabinet ministers,
members of the diplomatic corps, the participants of
the Lapita Archaeology Conference and members of
the community. It was a very successful night whichshowcased the talents of the NUS archeology students
and the new exhibition space devoted to archaeology.
The exhibition was jointly organized by Associate
Professor, Helene Marttinson-Wallin, of Gotland
University in Sweden, and a resident archaeologist,
Tautala Asaua-Pesa with her archeology students from the
National University of Samoa. ACEO for Culture Divisionof the Ministry of the Education, So’onaalofa Sina Malietoa
warmly welcomed those who attended.
This was the ﬁrst time that the Museum of Samoa hosted
such an event during an international conference. All the
top archaeologists from all over the world viewing thestudents work were so exciting. The exhibition documents
the last 3,000 years of human occupation in Samoa. It also
provided information on the ﬁndings archaeologists haveuncovered, which outlined the various developments andchanges seen in the archaeological history for Samoa.
Another highlight of the exhibition included the ﬁndings
from the recent excavations at the Tanoa Tusitala Hotel in
Sogi.

38

Sri Lanka
Sri Lanka

Conservation of Malvana Fort
Sujeeva Kaushalyani Peiris Deraniyagala, Conservation Supervisor
Central Cultural Fund
Located along the river Kelani, Malvana Fort is a key
stronghold of the Sinhalese which was captured anddeveloped by Portuguese and the Dutch in the 17th
century. Although the credit of making this stockade intoa major fortiﬁcation goes to Portuguese, it had been an
administrative outpost of ancient Sri Lankan kings during
the Kandyan and Kotte periods [16th to 19th centuries].
Since the island is dotted with many historic monuments
and ruins dating back to 2,500 years, the signiﬁcance ofstructures like Malvana was overlooked for many years.
Malvana is the first inland fort along river Kelani after
the Colombo Harbour. It is located 20 kilometers eastof Colombo and until its recent restorations, lay hidden
among the sleepy home gardens. The authorities knew its
existence and poor condition but they could not execute
any conservation work because the land belonged toa private owner whose father bought it from a Muslim.
Although Malvana should be declared as a protectedmonument, the authorities have not been able to secure
the land or protect the ancient structure which sufferedunder negligence and lack of maintenance. Further it
was heavily affected during the 2007 ﬂoods. During thisdisaster, the fort lost its north walls and northwest bastion
and the whole structure became vulnerable to further
erosion.

readily extended the ﬁnancial assistance, without which
the heavy restoration work of this nature would not be
possible. The Central Cultural Fund supported the effort
by providing expertise in the form of supervising ofﬁcers
and skilled labour.The whole exercise was carried out
with the blessing of the Department of Archaeology,
which is the legal authority of historic structures within
the island.
History
A Portuguese ﬂeet commanded by Lourenço de Almeida
was blown into Colombo by adverse winds in A.D.
1505. They were received by Sinhalese king and soon
perceived the strategic positioning of the island, which
will be valuable for monopolizing the East as a trading
and ruling power. They were eyeing the spice, elephantand pearl trade of the natives and sensed the importanceof grabbing the stockades along river Kelani managed
by the native rulers and chieftains in order to get themonopoly of the trade. They succeeded in deceiving thenatives and get hold of these stockades one by one. Their
scheme further justified since Kelani was the only riverthat provided direct access to the Colombo port and up
to several miles inland it facilitated the goods transport
by large barges. There are four other forts apart fromMalvana and all these were located near cinnamon grownlands enabling easy access via River Kelani.

The Sri Lanka National Trust in its research studies
identiﬁed the importance of documenting and restoring
this important fort, which played a decisive role in theisland’s history. As a first step the Sri Lanka National
Trust mediated with the Department of Archaeology to
get it declared as a protected monument. They have also
opened a dialogue with the present owner and weresuccessful in convincing him the importance of protecting
this historic structure ensuring its survival for the sakeof future generations. Reluctant at first he finally gave
permission to carryout documentation and restoration
work. The Prince Klaus Foundation of the Netherlands
Conjectural view

Contour survey map

39

3D proﬁle of the fort before conservation

For the Dutch Malvana Fort provided strategic maneuver
to rule the coastal region for they also became anannoyance to the natives after a while. During the period
the Dutch also made improvements, especially to theramparts and further strengthened them. The British was
not interested in these inland forts but used them time
to time as strategic location to place armies to attack the
Kandyan Kingdom.

existing site was created and matched with the available
literary records. Conjectural conservation proposals
were prepared using the data before carrying out any
intervention. The conjectural plan was set out on site
and trial pits were executed to determine evidences ofpossible ancient structures that may found along the
rampart. During the exercise the vestiges found further
strengthened the accuracy of the conjecture and theshape of the Fort.

Sri Lanka

Through development of the grabbed stockades into
imposing forts the Portuguese gradually established andbecame the rulers of the coastal plains by the late 16th
century. After that they became very aggressive to thenatives, until they are disliked and ﬁnally expelled fromthe island with the assistance of the Dutch. Square inshape it was a tranqueira [wooden fort] in 1590’s andthen developed into a major fort during A.D.1626 – 1630
period. Bastions were faced towards northwest, northeast,
southwest and southeast directions. The ramparts ofthe fort were built using laterite blocks and earthen
embankments. Housed within these walls the Portuguese
had gone into several ﬁerce battles against the natives.

It was decided to carry out the restoration using rubble
and laterite blocks to match the existing undisturbed
original walls that revealed during the excavations. Since
there was a difficulty in finding laterite blocks similar
to the original’s size and shape, some of the areas were
strengthened with rubble lining wall with its face ﬁnishingusing laterite blocks to get the appearance.

Conservation
Under the restoration programme, the site was surveyedusing the modern equipment and present contour
proﬁle was identiﬁed. Using the data, a 3D model of the

The bastions at southeast and southwest were completely
restored along with the southern rampart. But thebastions at northeast and northwest were washed awayby the small stream running alongside and this condition
has been aggravated during inundations. This seasonal
phenomenon was causing considerable damage to thewalls until 2007 floods; there occurred a severe drastic
damage which caused the northwestern bastion tocollapse.

Unrestored western section of the wall

Gabion wall, constructed to prevent erosion

National Trust oﬃcials, inspecting the work

Original wall, unearthed during excavation

4Sri Lanka

Initially the plan was to restore the embankment along
the canal on northwest and northeast bastions, but it was
not possible due to ﬁnancial constraints and restrictions.
But the National Trust managed to erect a part of agabion wall to arrest further erosion at the canal bend
at which water directly hit on the bastion wall. The Sri
Lanka National Trust hopes to make a further request to
Prince Klaus Foundation to extend their assistance to full
restoration of the embankment.
Objectives of this restoration are to present a complete
picture of the historic monument and to arrest its
gradual degradation, and to introduce a continuous
maintenance programme involving the owner of thepremises. And it will help the owner to work out asustainable maintenance programme while residingin the site through attracting potential sightseers andprovide facilities under the guidance of the Departmentof Archaeology. Sri Lanka National Trust, Prince Klaus
Foundation with assistance of the Central CulturalFund made a timely interference and if not this historic
structure would be vanished forever and with it a part ofhistory of the island will also be lost.
Reference:
Marco Ramerini, Chronology of Portuguese Colonial
Settlements in Sri Lanka Ceylon 1
1
Maps, Plans and Photographs: Architect Jayatissa Herath
Associates, Architectural and Conservation Consultant

Parts of the original wall

Restored southeast bastion

41

Preserved parts of the ancient wall

The southeast bastion during restoration

The southern wall during restoration

Thailand
Thailand

Determination of the Reconstruction Model for Restoration from Existing Condition of Historic
Building and Architectural Order: The Case Study of the Tripitaka Hall, Wat Mai-Thong-Sen
Pongthorn Hiengkaew, Conservation Architect
Ofﬁce of Archaeology, Fine Arts Department, Ministry of Culture
Introduction
A hypothetical reconstruction model of a historic building
is necessary for restoration, particularly in the site withmuch change or serious deterioration. The reconstruction
model is used to determine the finished model andis a guiding principle in restoration. However, is ahypothetical reconstruction model correct?
The hypothesis on reconstruction model of a historicbuilding may be inaccurate, leading to an erroneous
restoration. Thus, basic evidence to support the
hypothesis is necessary, which is obtained by studying
the existing conditions of the building. In addition,architectural order and tradition are essential to analyse
the information. In this report, the restoration of the
Tripitaka hall, Wat Mai-thong-sen is given as an example
how the ﬁnal decision of the reconstruction model was
made.

From the preliminary survey, it was revealed that theexisting model of the building was completely true tothe early traditional Thai architecture and according to
the Thai architecture order. In addition, the ruin of brickstructures, such as a wall extending a short distance fromthe lower part of building into the north with a little
remaining stucco, was found on the top part of it. This
raised a question “Can the existing condition of building
from the survey accurately inform us about the originalmodel of the building?

The Tripitaka hall is one of historic buildings in Wat Maithong-sen, Dusit, Bangkok. It was built in 1822 in thereign of King Rama II. The building was registered as anational historic monument in 1996. The nation raised afund to restore the building in 2009. The restoration wasunder Fine Art Department, Ministry of Culture.
Architectural significance
The Tripitaka hall, Wat Mai-thong-sen is the traditional
Thai architecture in the early Bangkok period (1782-1868),
which was built to keep the Tripitaka, the Buddhism
scripture. The building is small with splendid and delicate
decorations, having good Thai architecture proportions.
Its size is 7.20×5.80 meters. The wall is plastered withtraditional lime. The building is composed of corridors
with roofs around three sides. The lotus shaped capital ofoctagon poles is decorated with gilt stucco and coloured
glass mosaic. The outside of doors and windows aredecorated with gilt lacquer painting in the Thai style, but
the insides are painted in Chinese manner. The portico
is decorated with gilt stucco and coloured glass mosaic.
Inside the building is gilt in Thai style patterns on the
red wall. The roof is made of teak and the roof tiles
are glazed. The gable is decorated with gilt stucco andcoloured glass mosaic. The inside and outside of ceilings
are made of teak painted in red and decorated with gilt
patterns.
Preliminary survey of the building before restoration
The Tripitaka hall in Wat Mai-thong-sen had beenabandoned for a long time after it was a residence ofmonks. The building was in a badly-damaged condition.
The corridor and the roof in the west disappeared, andthose in the south were almost ruined. The roof tiles werebroken so the wooden frame structure of the roof was
exposed. The ruined roof was a cause of severe damageof the inside painting.

Figure 1: Exterior existing condition of The Tripitaka hall in the
preliminary survey: (a) the north, (b) the south

Figure 2: Interior existing condition of the Tripitaka hall in the
preliminary survey.

Figure 3: The Tripitaka hall of Wat Raja-nudda, an example ofarchitectural order and tradition of the Tripitaka hall.

42

Thailand

Restoration processes
The restoration project started in 2009 and its aim was toreconstruct the Tripitaka hall of Wat Mai-thong-sen to thestate of complete functioning.
The first process of restoration began with a question,“What is the original model of this Tripitaka hall?”
Therefore, efforts to find the answer on the exact
original model started. At this stage, excavation aroundthe building and intensive survey of the structure,architecture, and decoration of the building were done inorder to investigate deteriorations and evidences, to trace
the former restorations, to explore the style, building
techniques and used materials. From the excavation, aremaining building base extending from the Tripitaka hallin the north as well as in the south was found. Laying
bricks of the remaining building base and the evidence ofthe existing building demonstrated no restoration of thebuilding for 187 years and indicated that the remainder ofthe building base and the existing building were built at
the same time. Thus, the fundamental hypothesis of thisremainder was not correct because it was assumed to bea part of the Buddhist shrine wall and, then, ended at the
Tripitaka hall. Furthermore, the excavation in the west
found the brick patio, the gutter and the base structureof the disappeared corridor. Therefore, the hypotheticalmodel of the building, according to the preliminary
survey, was not completely correct.
Next, how do we interpret what we found during
excavation? And what is the complete picture of thebuilding? At this stage, the comparative study of buildingsin the same period was conducted. The componentsof architecture and decoration were studied. Fromthe excavation, the remaining structure, a brick wall
extending a short distance from the lower wall of buildingin the north, was the base of the platform. However, fromthe study of the Tripitaka hall style in Thai architectureorder, such a platform was not found. It was believed that
construction of the platform aimed to connect the spaceof the corridors of the Tripitaka hall and the groundaround the building in harmony. In addition, the platform
improved the height proportion of the building.
From the data analysis, an architectural reconstruction
model was proposed to summarise a frame of restoration.
The conclusion was to reconstruct the Tripitaka hall of
Wat-Mai-thong-sen to the complete state for function.
For the remaining of the platform extending from thebuilding, there were some risks to restore since thereconstruction model of it may not be accurate. Hence,
it was proposed that the remainder should be restored

Figure 5: Plan of reconstruction model of Tripitaka hall after ﬁnishing
the preliminary survey. The ruin of brick structure was assumed to bea part of the Buddhist shrine wall and, then, ended at the Tripitaka
hall, showed in the red dash.

Figure 4: The ruin of brick structure like a wall extending a shortdistance from the lower part of the building in the north.

43

Figure 6: The perspective drawing of reconstruction model of the
Tripitaka hall after ﬁnishing the preliminary survey.

For the restoration of the Tripitaka hall, the corridors
in the west and the south were reconstructed. The
technique and materials used in the reconstruction of thecorridor structure were different from the previous. The
reason was the severe damage of the remaining basestructure and settlement prevention of the reconstructedstructure. However, the original remaining structure wasconserved. For the restoration of the wooden structures of
the roof and the ceiling, the decayed wooden members
were replaced according to its size, its position and its
decoration. The technique and style of the restoration
was as same as the former. For the roof tiles, they wereordered to make according to the previous style. For thedecoration, the deteriorated parts were renovated withthe materials true to the original style. The decorating
materials were ﬁtted in the same positions as they were.
The renovation was done with the traditional techniqueused in the past.

Thailandaccording to its condition to support the strength of its
structure. For the landscape, it should be also repairedin harmony with the historic site. Unfortunately, therestoration of the remainder and the improvement of
the historic site landscape were cancelled because of
no enough budgets. Finally, the ruin of the extended
platform was covered with sand in order to protect
further damage and stay for restoration in the future.

Figure 7: From the excavation, a remaining building base extending
from the Tripitaka hall.

Figure 8: The remaining base structure of disappeared corridor, thebrick patio and the gutter after ﬁnishing the excavation in the west.
Figure 9: The existing plan of the Tripitaka hall after ﬁnishing the excavation.
The remaining building base extending from the Tripitaka hall in the north aswell as in the south (red) and the brick patio and the gutter (orange).

Figure10: The examples of platform from the comparative study in architectural components, (a) the Vihara of Wat Na-phra-meru in Ayutthaya and (b)the Bud-dhai-sawan thron hall at national museum in Bangkok

44Thailand
Figure 11: The complete picture of the Tripitaka hall with platform, reconstruction
model after ﬁnishing the excavation and comparative study in architectural components.

Figure12: Drawing of the west corridor reconstruction structure.

Figure13: The new structure, I-shape steel, in the west corridor reconstruction. The original remaining
structure was protected by the textile to conserve it in the existing state before starting reconstruction.

Figure14: The door and window decoration and gilt lacquer painting
in restoration

Figure15: The documentary drawing of the roof structure.

45

revise our hypothesis to obtain the proper reconstruction
model. This is a way to reduce risk of making mistakes in
restoration in order to maintain the values of the historicbuilding.

ThailandSummary
The question about the accuracy of a hypotheticalarchitectural model of the Tripitaka hall of Wat-Maithong-sen is one example in several questions arisingduring the restoration process. The questions lead us to

Figure16: The Tripitaka hall after ﬁnishing the restoration, (a) the ruin of the extended platform was covered with sand in order to protect damage
and stay for restoration in the future. (b) View from the south.

Figure17: The Tripitaka hall after ﬁnishing the restoration, (a) interior view, (b) decoration detailof gilt painting.

Figure18: The decoration of lotus shape capital
after ﬁnishing the restoration.

46

Uzbekistan
Uzbekistan

Semantics of Ancient Architectural Forms and Art Images (as exempliﬁed byarchitectural monuments of Southern Uzbekistan)
Akmaljon Ulmasov, Researcher
Fine Arts Scientiﬁc Research Institute, Academy of Arts of Uzbekistan
In ancient times, the territory of southern Uzbekistan
was part of Bactria – a historical and cultural region thatmade a substantial contribution to the development of
global civilization. This is evidenced by not only written
sources, but also numerous culture artifacts discovered
here during archeological excavations. Over the two
bygone millennia, these monuments have reached us in
the form of ruins or the remains of foundations and lower
parts of the walls, which, nevertheless, make it possible
to determine the building’s layout. Due to the durabilityof construction materials (lime, processed clay, etc.) andnatural "preservation" under cultural and soil layers, somestructural and decorative elements of individual buildings
remained in a rather good condition. These ﬁnds became
valuable materials for researchers, offering an importantsource of knowledge for the restoration of ancient
structures.
Despite the fact that Bactrian building décor of
antiquity has been researched in a number of studies,some important aspects of it still remain unexplored.
These include the identification of structural andartistic purposes of the décor, as well as disclosureof its philosophical essence and religious-ideologicalinterpretation, that is, its semantics. Issues relating to theinterpretation of images in some architectural elements
were covered in a fundamental monograph of L. I.
Rempel [8] and academic works of G. A. Pugachenkova[6, 7]. A monograph by H. S. Karomatov [1], containing a
lot of information on architectural décor and its motifs, isalso worth mentioning.
This article considers some architectural forms and tries
to interpret the art imagery thereof by dividing theminto several functional groups. It is known that sinceancient times wooden pillars are commonly used inoriental architecture to support the ceilings of verandas(ayvan) and large rooms. Bactrian masters have left no
information on the semantics of wooden pillars, while theGreeks said this: «They associated wood (wooden pillars)with a living organism: the trunk was compared to bones,
the new layer to meat, the crust to skin, and water toblood, and believed that all these elements were present
in all types of timber» [10].
Stone bases for the wooden pillars were made, using
special stands, of local limestone and were of two types:
attical and toroidal. When viewed from above, thesebases consist of two geometrical shapes: a square withan inscribed circle. Naturally, it is hard to say whether
ancient masters used these shapes to render any religiousor philosophical ideas. However, these two traditional
geometrical shapes occur not only in architecture, butalso in pictorial and applied art and always have somekind of semantics.
Square is one of the four basic symbols, the symbol of

47

earth opposite the sky; it also symbolizes the Universe
and expanse. This shape expresses the idea of antidynamism and stillness. In astrology the square denotes
earth, matter and limitation.
Circle is also believed to be one of the basic symbols,
which represents movement, sky, inﬁnity, actuality, time,
protection and other notions. This expanding point(center) has a general symbolism. Circle is associatedwith ﬁre, heroes and the worshiping of gods.
Triangle is a geometrical element that has become partof an arch and volutes. Besides Bactrian architecturalelements, it was employed on decorative friezes inIndia, Greece, and Rome. Pointing upwards, it denotes
mountain, fire and creative masculine energy; pointing
downwards, it symbolizes mountains, water streaming
down the mountains, fertility and feminine element.
An isosceles triangle represents deity, harmony andproportion [3].
The capital is another structural and decorative elementof a column that constitutes the architectural order. The
capital usually served to evenly distribute the beam
weight on the columns. Wooden capitals that existed inancient times were replaced by stone during Classicalantiquity era. In Bactrian architecture also, some types ofIonic and Corinthian stone capitals have been identiﬁed.
On the sides of Ionic capitals there are downward
volutes, which also have symbolical value, besides
esthetic one. Common people identiﬁed them with thehorns of a ram and believed that they can protect themfrom evil spirits. In some places this tradition still lives on.
Volutes, being spirals, also represent evolution, expansion
and development as well as temporal and eternal
continuity. They express evolving energy and motion
originating from a center and directed into infinity. A
scroll is associated with the moon, fertility, continuationof life, evolution, etc. [3]Corinthian capitals also have volutes, but their prevailingfeature is the beauty of a décor in the form of acanthus
leaves. Acanthus (Lat. Ⱥcanthus, Greek a-kamptos,
meaning imperturbable; “akanta” – a thorn) is a
Mediterranean brankursine plant. Acanthus spinosus(thorny) has leaves with small thorns. This motif wasvery common in the ancient art. As a decorative element,
it was used in capitals, eaves, friezes and other elementsof a building. However, unlike the Greeks, the Romans
employed the motifs of a branching field buttercup(Ranunculus acris). Roman architects used this motif in acapital decor of Corinthian order. As these capitals wererichly decorated, they were also used in the Renaissancearchitecture as well as later on, with the arrival of the
Baroque style. Exquisite dynamics and plasticity ofacanthus ensured its longevity in art.

Lotus motifs, too, occasionally appear in the capitalsdécor. Lotus has been known to the Eastern peoples forlong time, and its semantics is interpreted differently.
The Egyptians, in particular, regard the lotus leaf as asymbol of benevolence, light and love [5]. Lotus canalso be a solar symbol. It has a very special import in
Buddhism where it is quite common and stands for the
divine manifestation and relatedness of Buddha. Lotus
leaves adorn ceramics, and lotus ﬂowers can be found inmurals. Buddhist stupa, platforms, monument pedestals,
thrones and other architectural elements are decorated
with the images of lotus leaves and flowers. According
to archeologist Sh. R. Pidaev, twelve lotus leaves on a
Termez capital meant to represent the state of nirvana
and as such are worth a reference. All this brings anotherexample of influence produced by the concepts of
Buddhist religion upon all spheres of art in the KushanianBactria. However, one cannot say that such capitals wereused only in Buddhist cult structures; they can be foundin secular buildings, too [4].
The images are quite vivid in the capitals’ décor, anddepending on shape, content and décor speciﬁcities, they
can be divided into anthropomorphic and zoomorphic.
Anthropomorphic images used in the architecture of
Northern Bactria can seldom be found on the capitalsof Ionic and Corinthian orders. Examples include theimage of two men and two women on stone capitals
from Shahrinav , and the image of a female body on aplaster capital in Corinthian style found in Merv . These,
however, tend to be found more frequently on composite
capitals, eaves and friezes of different pilasters.
Academic literature interprets human images on Ayrtam
friezes as musicians and gift-bearers. Due to the factthat friezes were used in Buddhist structures, they areassociated with Buddhist theme, and the images areassociated with Buddhist mythology. According to theopinion of S. F. Oldenburg, which he shared with M. E.
Masson, the composition shows “Ganga Mahashabd”amusicians and may represent three of ﬁve great sounds[2]. As suggested by G. A. Pugachenkova, they are thefive musicians of “Pancha-Mahashabda”, i.e. the divine
harmony of sounds of five skies; the other charactersadorn Buddha’s path with garlands and sprinkle it withincenses [2, p.144]. H. S. Karomatov sees a connectionof women with garlands on the Ayrtam frieze and in the
Halchayan palace interior with public rituals dedicated to
Dionysus and Mina, showing a festivity involving singers,
musicians and masked people [1, pp. 360-361].

Zoomorphic images appear on monumental stone
capitals, including Corinthian and composite ones,
where a lion (or a tiger) is considered to be the mostpopular image. This image is also common in the art
and architecture of ancient Middle East and India, andits genesis and semantics are thoroughly covered inacademic literatures. For instance, according to L. Rempel,
the meaning of the lion image has dual interpretation:
the ﬁrst is related to cosmogony and is interpreted as the
symbol of the sun or its attributes; the second meaning
has to do with animal kingdom and denotes the king ofanimals. Lion is metaphorically known as the king of
all animals [8, p. 19]. Sh. R. Pidaev holds that the lion
or tiger image on the Termez friezes refers to Buddha
Shakyamuni in Buddhist art. Some ﬁnds suggest that theimage was common in Bactria during the last Kushan
epoch, and, besides stone architectural elements, also
appeared on a small sculpture forms, etc. The image
shown on these items looks more like a lion than a tiger.
Here it manifests itself as "protector". At each stage inhistory the predator’s image changes depending on therequirements of time.

Uzbekistan

In the Middle Ages acanthus leaves were presented
as "thistle" and "crown of thorns" meant to express
the torment of Jesus. Therefore, the motif contains the
symbols of life, motion, growth and sin as well as asense of ailment and sympathy for the near and dear
human being. This content of acanthus is also reﬂected
and in medieval book miniatures. One may thus argue
that acanthus denoted eternal life and immortal spirit.
Texts also mention that acanthus was a classical GreekRoman symbol of triumph. Some suggest that acanthus
developed from a shift of ancient Egyptian and Assyrian
palmettes [3].

Griffins The image of a grifﬁn is traditional in the ancientart of the East, especially in Assyria, Babylon andAchaemenid Iran. In ancient Bactria two kinds of grifﬁn
images were common: the lion-griffin (a winged lion),and a bird-grifﬁn (a beast of prey with bird’s head andwings): here the animal represents the earth symbol, andthe bird is the symbol of sky. In different times different
nations considered griffins to be either a symbol of
benevolence, or evil. According to A. Pugachenkova, thegrifﬁn image was used as a charm against evil spirits andwitchcraft [6]. If Mesopotamia and India knew the winged
lion, the art of Iran, Central Asia and Scythian Siberia
pictured griffin with horns. Unlike the typical winged
lions, it had spiraling horns, widening towards the tips.
As already noted, a griffin is considered to represent
double nature and be the symbol of good or evil forces.
In one instance, a grifﬁn serves the man by protecting his
cattle, and on another occasion it drives away malicious
sorcerers. For nomads, a fighting griffin probably
represented the idea of struggle between good and evil.
This cosmogonical idea developed in totemic notions, yetstood above these notions … [8, p. 45].
Such winged lions or sometimes horned lions-griffins
are polymorphic mythical creatures known since
the Achemenid epoch. Column and pilaster capitals
sometimes terminated with the image of griffin-lions.
They are believed to have gone through a very longevolutionary path, and scholars link their appearancein Bactria with mythological art and myths created by
the imagination of ancient Asian people and believed topossess protective value [7, p.180].
The Central Asian griffins were closely associated withmonumental architectural décor, where occasionally, in 6KDKULQDY OLWHUDOO\ ³QHZ FLW\´   LV RQH RI WKH DQFLHQW%DFWULDQFLWLHV SUHVHQWO\LQ7DMLNLVWDQ 
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148

Uzbekistan

the Shahrinav capital, for example, one can ﬁnd stylized
griffins. Hellenism introduced freedom of portraying
nature’s emotional qualities to the Ancient East. According
to L. I. Rempel, «During the Kushan epoch griffins andlions "returned" to the art of Central Asia. However, acareful look at the Termez capitals shows that their grifﬁn
has lost its former imperial stance and turned into a wild
beast» [8, p. 45]. H. Karamatov, building on I. Pyankov'sargument, wrote: «… the Greeks and the Persians wereintroduced to the griffin image in Bactria, and their
historians borrowed the image from Bactrian legends».
Ctesias in his Indica dating to the late 5th and early 4th
century BC wrote stories about Bactrian grifﬁns. The opus
says, in particular: «The people of Bactria ﬁnd gold in themountains, where grifﬁns live. These birds have four legs
and talons resembling lion’s claws, and a big body likethat of a wolf. They have wings, but don't fly… Theirfeathers are red on the chest and black on the body, thewings are white, the beak is like an eagle’s, and their eyes
burn. This makes it difﬁcult to look for gold, as Bactrians
gather gold dropped by grifﬁns… Grifﬁns yield only toelephant and lion… At night-time, hiding from grifﬁns,
people go to find gold ». In his opinion, the ancientsaying that «grifﬁns cannot counter an elephant» became
part of popular religious belief and art. But «…lateron, griffin became a good beast and entered Buddhist
legends as a creature helping people» [1, pp.118-121].
In ancient times the bull, the horse, the camel, thewild sheep, the goat, the boar and other animals were
cosmogonical symbols. The bull was considered one of theancient motifs in the animal theme. While ancient people
pictured the bull in rock paintings as a totem animal, lateron it came to represent the source of fertility and masculine
element. The bull appeared in a composite capital and on
the vessels of the Kushan period. It should be noted thatthe bull image, having passed through totemic, mythicaland historical stages, turned into Gavomard and Gopatshah
as early as in the ancient times [1, p. 22].
 ild shee and goat As noted by researchers, during theHellenistic epoch, wild sheep and goat became deity’s
attribute and part of a worshiping cult involving secretreligious practices. At that time they represented cosmic
powers [1, p. 29].
Birds The eagle and other birds, besides their naturalqualities, represent different ideas, symbols andmetaphors. A bird is an image for a conscious being anda symbol (a sign) of nature. It personifies deep humanexperiences and spiritual world. The eagle is the kingof birds. Its image was central to art of the Ancient Eastand Scythian Siberia as a symbol of cosmos or dynasty.
During Antiquity, birds of prey in Central Asia symbolized
the victors of powerful heavenly creatures, embodied
strength and agility, and, keeping their aggressive stance,
expressed either sorcery, or cosmogony. In cosmogony
the eagle is one of ancient symbols of sun. At the timesof heroic epic tales and cattle-breeding, the eagle posed
as a symbol of strength and power [1, p. 32].
There is very little information about images thatappear on antefixes in Northern Bactrian architecture(Khalchayan, Dalvarzintepa). Some sources treat acanthus

49

and palmette on anteﬁxes as the Tree of Life [1, p. 231].
The fragments of many antefixes found on the hillsof Khalchayan, besides acanthus and palmette motifs,
also bear other vegetable ornaments [11]. The only
anthropomorphous image on the anteﬁx from Zindantepa
expresses the same meaning as that in antefixes from
Asia Minor and Etruria. That is, they are interpreted as
symbols protecting a sacred place from evil spirits, forthey were often used in cult buildings. For example, in
Etruscan shrines, anteﬁxes functioned as apotropaic items
to protect against and ward off evil spirits [9].
 erlons of embattlement parapet, a common architecturalfeature of ancient Middle East, had only functional value.
Later on, in the Middle Ages this motif could be found on
terracotta ossuaries where merlons were pictured alongwith columns and arches and together represented thelook of a particular building. Fire worshippers believedthat ossuaries, which resembled an architectural structure,provided shelter for the deceased in the next world.
Naturally, imagery types in architectural décor on large
territories evolved and developed throughout many
centuries. The aforementioned examples prove thatimages in architectural décor were used not only as
structural or decorative elements of the buildings, butalso had certain ideological and philosophic signiﬁcance.
Many of them became ﬁrmly entrenched in the nations’lifestyle. One can still see sheep horns or a horseshoe
on doors and gates of some houses as evidence ofadherence of Central Asian people to ancient religious
and philosophical beliefs. In conclusion, it should be
noted that the study of architectural décor not only
helps to shed some light on the history of architectureand historical and cultural developments on the given
territory, but also broadens the knowledge on lifestyle,perceptions and aspirations of our ancient ancestors.
References Ʉ ɚɪɨɦɚɬɨɜ Ԟ ɋ Ɇɨɡɢɣ ɷɴɬɢԕɨɞɥɚɪ ɬɚɪɢɯɢ  ±Ɍɨɲɤɟɧɬɛ Ɇ ɚɫɨɧ Ɇ ȿ ɇɚɯɨɞɤɚ ɮɪɚɝɦɟɧɬɚ ɫɤɭɥɶɩɬɭɪɧɨɝɨ
ɤɚɪɧɢɡɚɩɟɪɜɵɯɜɟɤɨɜɧɷɌɚɲɤɟɧɬ ɇɨɜɵɣɷɧɰɢɤɥɨɩɟɞɢɱɟɫɤɢɣɫɥɨɜɚɪɶɢɡɨɛɪɚɡɢɬɟɥɶɧɨɝɨ
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ɝɨɪɨɞɢɳɚɋɬɚɪɨɝɨɌɟɪɦɟɡɚɌɚɲɤɟɧɬɪɢɫɫ
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Uzbekistan

Figure 5. A kharmika capital with a lotus
décor, Karatepa. (1st ‒ 2nd century AD)

Figure 9. Griﬃn, Old Termez. (1st ‒ 2nd
century AD)

Figure 1. Base of a Khalchayan column.
(2nd‒ 1st century BC)

Figure 2. A capital in the shape of a lion'shead. Old Termez. (3rd - 2nd century BC)

Figure 6. Eaves fragment. Entablature,
Old Termez. (2nd ‒ 3rd century AD)

Figure 3. Stylized Corinthian capital, Ayrtam.
(1st ‒ 2nd century AD)

Figure 7. Acanthus (fragment of a capital),
Kampirtepa. (1st ‒ 2nd century AD)

Figure 4. A pilaster capital in the shape of abull's head, Karatepa. (1st ‒ 2nd century AD)

Figure 8. Volute (fragment of a capital).
Dalvarzintepa. (1st ‒ 2nd century AD)

Figure 10. Anthropomorphic antefixes,
Zindantepa. (1st ‒ 2nd century AD)

Figure 11. Antefix, Khalchayan. (1stcentury BC ‒ 1st century AD)

5Viet Nam
Viet Nam

New Excavation in Thang Long Royal Citadel
Nguyen Chi Cong, Staff
Center for Preservation of the Co Loa Historical Site and Hanoi Citadel
Institute of Archaeology has cooperated with Center
for Preservation of the Co Loa Historical Site and Hanoi
Ancient Citadel to excavate ﬁve holes with total area of
100 m2, in which four holes are around the dragon scoredterrace of Kinh Thien Temple and one hole is near Tay
Nam Hau Lau. Followings are results we have got fromthe investigation.
I. ARCHITECHTURE VESTIGE
1. Excavation at Hole H1
Hole H1’s area is 10 m 2 and 1 m in depth, close toWestern South edge of dragon scored terrace which is in
front of Kinh Thien Temple.
1.1. Architecture vestige of Nguyen dynasty.
- Architecture vestige
In Hole H1, only a small part of ﬂoor made of Bat Trang’s
brick remains in the eastern south angle. This layer
is right under the surface with 25 cm in depth, being
equivalent to the surface of two layers.
- Vestige of architecture consolidated foundation.
The consolidating layer appears at three layers with 60
cm in depth from the surface. This consolidating layer isbeaten by crushed bricks with 70 cm in width in order
to consolidate all dressed stones which are outside ofdragon scored terrace of Le dynasty.
- Dressed stone of dragon scored terrace.
At front and west of dragon scored terrace, we discovered
flagstones consolidating the terrace. This dressed stone

was put directly on the consolidating foundation layer
with above crushed brick.
1.2. Architecture vestige of Le dynasty.
1.2.1. Vestige of architecture consolidated foundation of
Le Trung Hung dynasty
This foundation vestige was found out at the east of
dragon scored terrace with 75 cm in depth from thecurrent surface. The foundation was reinforced closelywith crushed brick.
1.2.2. Architecture vestige of Le So dynasty
At the ﬁfth layer, 96 cm in depth, grey slag brick spreads
overall investigating area: 2 m in depth in southern northdirection, 2.6 m in length in western east direction; redslag brick is along western east direction, and horizontal
in southern north direction.
2. Excavation at Hole H2
Hole H2’s area is 10 m2 and its depth is 1 m at east edgeof dragon scored terrace in direction of Kinh Thien
Temple top-down.
2.1. Architecture vestige of Nguyen dynasty
2.1.1 Remains of a wall and architectural foundation.
Remains of a wall and architectural foundation were
found at the second layer of 22 cm in depth from thesurface. Whole brick floor was built with square Bat
Trang brick of 30/31-30/31 cm and 5 cm - 5.5 cm in2.1.2. Vestige of architecture foundation consolidating
dragon scored terrace.
The consolidating foundation of the dragon scoredterrace was detected at 60 cm in depth. The foundation
was reinforced with crushed bricks and tile. It was forced
in 70 cm in width.
2.2. . Vestige of wall s foundation consolidation.
The whole wall included 18 brick lines which were piled
each other while the top and foot of the wall were builtwith rectangular stone blocks. Under the foot of the wall,
the foundation was reinforced with crushed bricks andtile at fourth layer which was 0.89 m in depth from thesurface.
2.2. Architecture vestige of Le dynasty
2.1.2 Vestige of slag brick oor
The slag brick floor appeared at 5th layer of 95 cm
in depth from the current surface. Brick floor was innorthern east direction of the area and built with red andgrey slag bricks.
3. Excavation at Hole H3
The H3’s area is 20 m2 and its depth is 160 cm, dug at
front of dragon scored terrace behind Kinh Thien Temple.
.1. Architecture vestige of Le dynasty.1.1 Vestige of brick oor
Two vestiges of brick ﬂoor were discovered.
- The 1st brick ﬂoor appeared at the 5th layer, close to
the south wall. It was 1.94 m in length of west-east andwidth of 0.5 m in the southern north.
- The 2nd brick ﬂoor appeared at the 6th layer, close to
the western wall. It was 1 m in length and width of 0.82 m.
It still deepened into the wall.
.1.2. Vestige of architecture consolidating foundation
In the current excavation, three architectural consolidating
foundations were found out:
The 1st consolidating foundation: It was consolidatedwith crushed bricks and tile layers. It was 2.3 m ineastern west direction and 4 m in length in southern
north direction. Pier foundation was 2.3 m far from westof excavating site and 0.7 m south from the wall (landmark

was edge outside).
The 2nd consolidating foundation: It was similar to
the 1st foundation. It was 4.2 m in length in southern
north direction and 1.4m in width in western east;
and it remained at the unexcavated west wall area.
Consolidating foundation was 0.8 m far from south wallof excavating site.

Viet Namthickness. The floor was 5 m in length in north-south
direction and 2 m in width in east-west direction. It mustbe broken down in the later period, therefore it did notcover the total surface of the area.

The 3rd consolidating foundation: It appeared at theeast wall of the excavating site. It was 4.05 m in length
in southern north direction and 0.25 m in width inwestern east direction and the major part of consolidating
foundation remained at 3 m east of second consolidating
foundation. Hence, distance between centers of two
consolidating foundations was 520 cm (Assumed that the
3rd consolidating foundation was 203 cm in width)
.2. Architecture vestige of Tran dynasty.1.2 Vestige of brick oor
Two vestiges of brick floor, which were built with red
and grey bricks, appeared at 8th layer. We have notdetermined clearly structure of these two brick ﬂoors.
4. Excavation at Hole H4.1. Architecture vestige of Le dynasty
The site was wide to east-west direction and to northsouth direction. Its area was 20 m2 and 250 m in depth ateast of dragon house.
.1.1. Two vestiges of brick oors
Vestige of the brick ﬂoor at northern west corner. It was
discovered at the northern west corner in the 8th layer
on surface of architecture consolidating foundation and it
still remained at the north and west walls where were not
excavated.
Vestige of brick line at east wall. This could be vestige of
the wall foundation. It exposed only two grey slag bricks
which were built directly on the surface of architecture
consolidating foundation. Therefore, this brick vestige
and architecture consolidating foundation had the samearchitecture.
.1.2. Vestige of consolidating foundation.
H4 had two vestiges of consolidating foundation: onewas close to north wall and the other was in the center of
excavating site.
Vestige of the 1st consolidating foundation . The
foundation was discovered at the 8th layer close to the52Viet Namnorth wall. It was 3 m in length and 1.6 m in widthconsolidated with crushed bricks and tile remaining into
north wall of excavating site.
Vestige of the 2nd consolidating foundation. The
foundation was discovered at the 8th layer at thecenter of the site, extending in western east direction
across hole’s width, and widening 230 cm in southern
north, far from north wall of the excavating hole. It
was consolidated with crushed bricks and tiles closely,
creating adhesive powder layers among consolidating
layers. The consolidating layer was made in order, one
was made from clay, one was made form crushed bricks
and tiles.

5. Excavation at Hole H5Hole H5’s area is 40 m2 (10 m x 4 m), 5.2 m in depthclose to northern west area of Hau Lau.
.1. Architecture vestige of the rench age.
.1.1 Vestige of wall foundation
The wall foundation was built with red brick of 20 cm inlength, 20 cm in width and 5 cm in thickness jointed withmortar. It was built in the French age. The foundation
was along western east direction and 4.0 m in length and
0.4 m in width, which remained into east and west wallsof excavated area.

Pottery in the 13th-14th centuries

Pottery in the 15th century

Pottery in the 17th-18th centuries

Terra-cotta in the 13th-14th centuries

53II. RELIC
During the excavation, many varieties of archaeologicalrelics were unearthed such as architecture materials, terracotta, and pottery from the Ly-Tran age to the Nguyen
age.
III. C MMENTS
1. Characteristics of architecture vestiges through dynasties.
- Nguyen dynasty: including vestiges of brick ﬂoors, wall
foundations and consolidating foundations.
ric oor was discovered in two excavated areas: HoleH1 and H2, 20 cm from the surface. The brick ﬂoor was
built with Bat Trang square brick with a dimension of
30/31-30/31 cm, 5cm-5.5cm in thickness.
 all foundation was discovered at Hole H5. Two vestigesof the wall foundation were built with red bricks of 20
cm in length and 11 cm in width. The brick was arranged
very close to each other. The adhesive joint material
among bricks was clay and no mortar was used.
Consolidating foundation was discovered at Hole H1and H2. It was found at the 3rd layer, 60 cm far fromthe current surface. It was consolidated with crushed
bricks and tile which were pressed into one block.
Consolidating foundation in this period was dug throughslag brick ﬂoor of Le dynasty, and the top was big and it
became smaller down to bottom.

3. Value
During the investigation, excavated areas were sosmall that we could not determine the scale and formof architecture. However, all vestiges provided us withvaluable information of architecture in this area.

Viet Nam

. 2. Architecture vestige of Nguyen dynasty.2.1 Two vestiges of wall foundation:
The 1st wall foundation: discovered at west of the area,
1.96 m in length and 0.32 m in width, made from red
brick sized 20 cm by 11 cm with 4cm to 5cm thickness.
The wall foundation was 3.2 m far from the south wall.
The 2nd wall foundation: discovered at southern east
corner of the excavated area. It was 2.4 m in length and 0.3
m in width, and 1.1 m far from the north. This was also
made from red brick same as the first one. The bricks
were closely arranged and brick layers alternate with clay
slurry.

.1. Slag ric yard of Le dynasty
The slag brick yard of Le dynasty spread from Doan Mon
Kinh Thien Temple which was built with slag bricks.
Vestiges of this yard were detected in the same height,
same kinds of brick, and the same construction technique
at all three small investigating sites: Doan Mon, Khin
Thien Temple and ‘Cuc Tac Chien’ yard. This was ‘Dan
Tri’ vestige of Le dynasty from Le So to Le Trung Hung.
.2.  estige of  inh  ien Te le of Le So dynasty
Kinh Thien Temple of Le So dynasty is not intact anymore
because it has been repaired many times throughdifferent periods.
Under the floor of Kinh Thien Temple, we detectedarchitecture vestiges of Le So dynasty and threearchitecture consolidating foundations, 4.2 m in length(not completed) and 2.3 m in width. It was very large
architecture and belonged to Kinh Thien Temple of Le So
dynasty.
At the dragon scored terrace of Le So dynasty, we
detected that they were repaired through many periods.
We can temporarily conclude as follows:- In Le Trung Hung dynasty, it was repaired to lift up theterrace. It was kept intact till now.
- In Nguyen dynasty, the terrace was reinforced andrepaired twice: e 1st ti e: Kinh Thien Temple’s terrace was reinforced
with crushed brick and tile with addition of many stone
plates.
The 2nd ti e: A brick footing which was in front ofdragon scored terrace was built with Bat Trang squarebricks.

- Le dynasty:
Le So dynasty: detected vestiges of a yard and thearchitecture consolidating foundation.
Yard was detected at Hole H1 and H2 in the 5th layer, 95
cm far from the current surface. The brick ﬂoor was builtwith red and grey slag brick. The brick was not uniform.
Architecture consolidating foundation: A vestige ofarchitecture consolidating foundation was detected at
the 5th layer, 1.1 m far from the current surface. The
consolidating foundation was 4.2 m in length and 2.3 m
in width, reinforced with crushed bricks and tile in order.
The one was made form bricks and tile, and the otherwas made from clay. The consolidating foundation was intrapezium shape that the top was big and became smaller
down to the bottom.
2. Relic
Many kinds of relics were excavaated such as: architecturematerials, terra-cotta and pottery from Ly-Tran age to the20th century.

54

Special Report

Samoa

Samoa

The Exhibition of the Regional Assistance Mission to Solomon Islands (RAMSI)Mainifo Viliamu, Senior Museum Ofﬁcer
Ministry of Education, Sports and Culture
A photographic exhibition was set to showcase thehistory and achievements of one of the Paciﬁc’s biggest
success stories, the Regional Assistance Mission to
Solomon Islands (RAMSI), to which Samoa had been an
important contributor.
The exhibition, “RAMSI: A history in pictures” openedin the Museum on 26th of July 2011 as part of a tour of
the Pacific region. It covered the history and progressachieved by RAMSI in partnership with the Solomon
Islands – and the people, places and events that haveshaped this unique regional mission since it commenced
in Samoa’s Paciﬁc neighbour of Solomon Islands in 2003.
The free exhibition was on show at the Museum of
Samoa from 26th July, and featured a wide range ofspectacular images from across the Solomon Islands,
including many from the initial period of weapons being
surrendered, the arrest of key militants and the riots thatshook the Solomon Islands capital, Honiara, in 2006.

CEO Galumalemana Nuufou Petaia welcomed the guests.

The exhibition also charted the progress made in
Solomon Islands in areas including the strengthening of
the Royal Solomon Islands Police Force, the ﬁght against
corruption, and the rebuilding of the Solomon Islands
economy. The exhibition included separate presentations
on the 15 countries that made up RAMSI, including manyof the 100 Samoans who served with RAMSI since 2003.
Special Coordinator of RAMSI, Nicholas Coppel, said theexhibition was a tribute to the true Paciﬁc spirit displayedby the thousands of civilians, police and military
personnel from across the region who have supported
the Mission and its work in Solomon Islands over the past
eight years.
“RAMSI: A history in pictures” is a tribute to the thousandsof men and women from across the Pacific who has
served with RAMSI over the past eight years,” said Mr
Coppel. “Their work has helped to make Solomon Islands
future a great deal brighter.”

Mr Prime Minister oﬃcially opened the exhibition.

Mr Prime Minister with some of the Parliament Ministers, Nicholas Coppel Special Coordinator for Regional Mission to Solomon Island at the
opening of the RAMSI Exhibition

55

Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
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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) 2012