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

The Thirteenth Regular Report
Contents
Bangladesh

1

Bhutan5

Cambodia

8

India

10

Indonesia

14

Malaysia

16

Maldives

20

Mst. Naheed Sultana
Hindu Deity Vishnu in Bangladesh

Karma Tenzin
Chubjakha Dzong Ruin Archaeology Project

Vitharong Chan
Recent Restoration Work: Sacred Bull Tower in Sambor Prei Kuk

Kunkumadevi Kishore
Role of Festivals in Shaping the Urban Spaces of the Temple Towns of Tamilnadu

Dewi Puspito Rini
Documenting Traditional House of Sundanese: Bumi Alit Kabuyutan

A Ghafar Bin Ahmad
Digital Documentation of Penang State Museum, Malaysia Using Three Dimensional Terrestrial Laser Scan

Shiura Jaufar
Test Excavations Carried Out at A. Dh Fenfushi and HA. Ihavandhoo for "Coral Stone Mosques ofMaldives towards World Heritage List" Project

Micronesia

22

Yvonne Neth
Pohnpei HPO Seeks to Train Community Members as Ground Surveyors and Kosrae HPO Incorporates
Incomplete Excavations as Museum Sites

Mongolia

23

Nepal

26

New Zealand30

Pakistan

37

Philippines

44

Sri Lanka

48

Tajikistan

55

Uzbekistan

57

Munkhtulga Rinchinkhorol
A Unique Memorial Complex from Ancient Turkic Period Discovered in Eastern Mongolia

Suresh Suras Shrestha
People's Involvement in Heritage Conservation in Nepal (Shantipur Temple Conservation ProjectSwayambhu Protected Monument Zone)

Matthew Schmidt
International Archaeology Day at the Otago Acclimatisation Society
1868-1885 Opoho Fish Ponds (NZAA Site no. I44/490)

Muhammad Aasim Dogar
Restoration/Conservation/Rehabilitation of North West Minaret of Jahangir Tomb

Louella Solmerano RevillaProtecting Our Cultural Heritage: A Herculean Task

D.A. Rasika Dissanayaka
Conservation of Tampita Vihara (Temple on Pillars), Dambadeniya

Farhod Razzoqov
Building Complexes at Ancient Agricultural Settlements of Sarazm in IV-III Millennium B.C.E.

Akmaljon Ulmasov
New Facts About Stone Bases of Column From Karabagtepa (North Bactria)

Bangladesh
Bangladesh

Hindu Deity Vishnu in Bangladesh
Mst. Naheed Sultana, Assistant Director and Archaeologist
Department of Archaeology, Ministry of Cultural Affairs, Government of the People’s Republic of Bangladesh
From the very ancient times, the subcontinent of India
is well known throughout the world for its economical
resources and cultural heritage. In the different stages ofhistory, many of big empires had come into existence
here in this part of the world. Many glorious, historic, andcommercial trade routes connected with this region of theworld established wide commercial and cultural relation
with many other civilizations of the world. Art andculture were widely spread along with the commercial
development in this region. Consequently, from a veryancient time, different religions had widely expanded inthis subcontinent in different times and different areas.
In the Sanatany (ancient) Hindu religion four gods whotouched the heart of human being at the first time, God
Vishnu was one of them. Although God Vishnu was
not worshipped with pomp and grandeur in the ancientperiod yet, we find him to be regarded by the thenHindu community in the early medieval period. We getsome information about God Vishnu in the treatise of‘Mahabharata’ where in Vishnu is the superior god of
the Hindu Vaishnab community.
“According to Adi Shankar, Vishnu is one of the fivemain figures of the lords of the universe.”1
According to‘Purana’, the colour of the body of Vishnu
resembles the colour of a deep blue cloud. He is aquadrilateral figure and he holds shankha (conch shell),chakra (wheel), gada (mace) and padma (lotus). The
figure of Vishnu has also been described as universal
sovereignty in ‘Vagabat Gita.’“Vishnu ordinarily has four hands in which he holds theconch-shell, a symbol of eternal time; the mace, a symbolof eternal law and the unfailing punishment, which is aconsequent on its breach; the lotus, a symbol of the everrenewing creation and its beauty and freshness.”2
The ten avataras (incarnations) of Vishnu have been
narrated in ‘Purana’. Nine of them have been in the pastand the tenth and the last is yet to come as the ‘Purana’says.
The total of the ten principal avatara (incarnations) iscalled ‘Dashabatar’. The account of this ‘dashabatara’ (tenincarnations) is available in ‘Garura Purana’ (1/86/10-11).
These ten avatara would be held in highest esteem inthe society for their power and influence. In the ‘Vaishnab’
philosophy, any supreme power descended from heaven
to earth for performing any particular noble work iscalled ‘abatara’. In Hindu religion, the word avatara isderived from ‘Sanskrit’ avatara which means any super
power voluntarily descended on earth for performing any
particular noble work. Only such great souls are regarded
as avatara for worship or adoration. These avataras are1

respected by all and they possess super natural power.
“It is also true that in the Mahavarata and in some ofthe ‘Purana’ a number of the Avatara is mentioned,
but an attempt at systematization is first met within the‘Vagabata Purana’ where there are three lists of avataraof twenty two, twenty three and sixteen respectively……
But it is Jaydeva, of the court of Lakhsman sena (Kingof Bengal, in the 12th century A.D.), who gives a list of
ten avatara……..This has since been the standard list ofavatara and has been widely accepted.3
The ten Avatara are –(1) Matsya avatara (the fish incarnation)(2) Coorma avatara (the tortoise incarnation)(3) Varaha avatara (the boar incarnation)(4) Narasimha avatara (the human lion incarnation)(5) Vamana avatara (the dwarf incarnation)(6)	P arasurama avatara (Rama with the battle-axe
incarnation)(7) Lord Rama avatara (the perfect man incarnation)(8)	B alarama avatara (Elder brother of Krishna
incarnation)(9)	B uddha avatara (Assimilation with Brahmanicalincarnations)(10)Kolki avatara (the mighty warrior incarnation)
The rulers had played an important and vital role in the
expansion and development of religious culture as well
as art and architecture in ancient Bengal. As an outcomeof that tradition, the lands were used for the expansion
and the development of religious culture in one hand andin the other enormous religious architectures grew up
throughout the country in the different ages in Bengal.4 In
the other provinces of the then India, religious influenceis found to have been predominant the Baishnab religion
in the Gupta age which was first evident from many
copper inscriptions found so far.
In the 2nd century A.D., Vishnu image has been detectedin Bengal for the first time. The Shushunia Mountainsituated on the 12 mile north-west of Bankura city inwest Bengal and in the cave of Shushunia mountain, theworship of Vishnu has been traced in an inscription ofKing Chandra Varman. A chakra (wheel) was inscribedon this cave, and it seems to be a Vishnu temple. King
Chandra Varman ruled over 4th Century A.D. in Bengal
and he was devoted to God Vishnu. At the same time,some temples were built in the north Bengal and even on
the top of the Mount Everest, and probably Vishnu image
was established in those temples.5
In the Vishnab religion, Krishna (another incarnationof Vishnu) lila (love with female companions) became
predominant all over in Bengal. Many stories weredepicted of Krishna lila in the outer wall of Paharpur

Some features of Vishnu image:
Vishnu image No. 1: The most ancient Vishnu image has
been found at Narahatta, Bogra district in Bangladesh
which had probably been depicted in the 2nd Century A.D.
This image is preserved at Varandra Research Museumin Rajshahi Division.6 The image is inscribed on the hardgranite sand stone and standing on a plain pedestal,
whose height is 65cm x32cm. His body and shoulder arevery strong. He has a big size of Karanda mukuta (crown)
in his head and a pair of ear ring in his ears. He holds
a big size gada (mace) and chakra (wheel) in his lower
right and lower left hand, padma (lotus) and shankha(conch-shell) in his lower right and upper left hands.
There is a belt in his waist, and he wares a Dhuti (lioncloth) at its lower part like a rope hanging between two
legs. A few ornaments, plain halo and the absence of two
female companions indicates that the image was depicted
in Kushana period and hence to the 2nd Century A.D.7
Vishnu image No. 2: The four handed Vishnu inscribedon buff colour sand stone. However, the right upper
hand and lower left hand are missing. He holds a conch
in his left hand and right lower hand holds a roundobject. Akirita Mukuta (crown) on his head and it issurrounded by a circular hallo. He is ornamented by anecklace, earrings and a waist belt. His ‘Dhuti’(loin cloth)
clings to his upper part and its lower part like a rope
hanging between his legs. His two female incarnations
Lakshmi and Sharasvati also absent in this image.
“From an iconographic point of view the image roughly
corresponds to an early Vishnu image from Taxila, which
is usually assigned to the forth century A.D. and late
Kushana period.”8
Vishnu image No. 3: All common features of Vishnu are

Image No. 1

depicted in this image. Only Gada Devi and Chakra
Purush depicted instead of two female companions
Lakshmi and Sharasvatti and this image is made bybronze frame. They are comparatively more decorated
from earlier two, and dotted ornamentation is includedin this image. These images are dated in early 8th century
A.D.

Bangladesh

Buddhist temple.5 Krishna lila was very popular in the
7th- Century in Bengal and the Vaishnab religion wasprevailing up to the 12th Century A.D. which is evident
from many Vishnu image found so far. It can be easily
estimated that Vaishnab religion had expanded in Bengal
from very ancient time.

Vishnu image No. 4: The Vishnu image has nicely been
depicted on bronze frame. In this frame, Vishnu stands
on a high lotus and his two female companions Lakshmi
and Sharasbati with flexibly stands in his both sides. It
is noted that Lakshmi and Sharasvati are daughter ofanother powerful Hindu deity Durga and Shiva. Hisbahana (vehicle) Garuda is depicted under the lotus
seat and the other common features are described as
before. It is 25.5cm high. This image is comparatively
more ornamented, and its skilled craftsmanshipprove that the cultural practice was developed in
Bengal from very ancient time and it seems thisVishnu image depicted in the early Pala period (8 thCentury). This image has been found at Mahasthangarh
in Bogra district, and now it is in the Victoria and AlbertMuseum, London.9
Vishnu image No. 5 Balarama: The Balarama incarnationof God Vishnu is inscribed in a fine sand stone, andit belongs to late Gupta style. Seven hooded snake
canopy is surrounded in his head. He bears a pestle andploughshare in his upper right and left hands and withlower right hand he holds a cup and the lower left handis shown on the waist. Kundala (earring), an armlet, a
chain and a nice crown are shown on the entire bodyof the god. He wears a rope like cloth and is tied with abeautiful girdle. Two female attendants are shown lower
part of the image. Now it is displayed in the Paharpur
World Heritage Site Museum, Naogoan district. Height ofthis image is 81cm and width is 43cm.
Vishna image No.6 Parshurama avatara: God Vishnu wasborn as Parshurama avatara (incarnation). The god is
inscribed on the black stone with very simple decoration.

Image No. 2

Image No. 3

2

Bangladesh

a beautiful belt. Now this image is preserved at Vangura
Thana in the district of Pabna.

The god stands on a double petaled lotus with trivanga
pose. He holds shankha, chakra, padma and parasu (axe)instead of gada in his four hands. The Garuda (vehicle)
in anjali pose is depicted at the bottom of the lotus
seat. There is no other ornamentation remaining on thepart of the black stone slab. Only the border of the stela
is decorated. This image is 83cm high and made in 9thCentury A.D.

Vishnu image No.8 Baraha avatara: (The boar incarnation):
This is one of the best specimens of the 10th century A.D.
The boar faced God Vishnu took the form of a boar tosave the Erath Goddess ‘Prithivi’ from the clutches ofdemon ‘Hirantaaksha’. During the great flood, the earth
was submersed under the water. After a long struggle
with the demon, at last of all, Baraha Vishnu rescued theearth.10 His right foot is firmly placed on the lotus seat,and his raised left foot is placed on a double petaled
lotus held by Nagini (serpent-virgin).The human headed
Naga (serpent) and Nagini are beautifully inscribed very
close to both legs of the deity. Except for his face, thedeity has a very strong body and he holds gada, shankha,
chakra and padma in his four hands. There is a beautiful
upturned lotus over the head of the god. Entire black

Vishnu image No.7: This Vishnu image is very simply
fabricated. This image is slightly broken and made withsand stone. He stands in Divanga pose but is a verystrong and attractive figure. The god stands on a simple
pedestal. He holds shankha and padma in his upper rightand left hand and Gada Devi and Chakra Purush in his
lower right and left hand. There is only an ornamented
crown in his head and a simple halo on the back side.
He wares a very fine and perfectly plain short Dhuti with

Image No. 3A

Image No. 6

3

Image No. 4

Image No. 7

Image No. 5

Image No. 8

stone slab is free from other decoration.11

Vishnu image No.10: Garuraha Vishnu: here Vishnu God
seated on his bahana Garura (vehicle). Vishnu’s two
foot keeps on the Garuda’s palm. The black stone slab
is beautifully ornamented with various kinds of animals,
flower, leaf and floral design. Moreover, inscribed anothertwo flying Gandharvas are coming with chain or necklace
for the god as gift.
Conclusion: A number of images of Vishnu are foundin Bangladesh. Vishnu is the strongest god of Hindu
religion. From very ancient time, he came in different

References:
1. The Sri Vishnava Brahmans, K. Rangachara, 1931, page-2
2. N.K. Vattashaly, Brahmanical sculptures in the Dhaka Museum.
3. R.C. Majumdar, History of Bengal, Vol-1, page-403.
4. A.K.M. Shamsul Alam, Sculptural Art of Bengal P 281.
5. R.C. Majumdar, Bangladsher Itihash, P-159.
6. A.K.M. Shamsul Alam, Sculptural Art of Bangladesh, P-48.
7. A.K.M. Shamsul Alam, Sculptural Art of Bangladesh, P-48.
8. A.K.M. Shamsul Alam, Sculptural Art of Bangladesh, P-50.
9. A.K.M. Shamsul Alam, Sculptural Art of Bangladesh, P-85.
10. R.S. Gupta, Iconography of the Hindus Buddhists and Jainas, p-29.
11. A.K.M. Shamsul Alam, Sculptural Art of Bangladesh, p- 166.

Image No. 10

Image No. 9

Vishnu image (10th-11th C.)

Bangladesh

Vishnu image No. 9: This is the best example of metal
caster’s art, which is the famous silver image of Vishnu.
It is highly decorated. In the 10th-12th century, it was the
crucial period of evolution of art and culture in Bengal.

forms and figures in different ages. In the basic trinityof Brahma, Vishnu and Shiva, the Hindu God Vishnu
is the preserver and protector of creation. Vishnu is theembodiment of mercy, goodness, and the self-existence,
and all-pervading power that preserves the universe andthe cosmic world.

Image No. 10A

Vishnu image (10th-11th C.)

4Bhutan
BhutanChubjakha Dzong Ruin Archaeology Project
Karma Tenzin, Architect
Division for Conservation of Heritage Sites under Department of Culture, Ministry of Home and Cultural Affairs
Introduction
The “Inventory and Documentation of Chubjakha
Dzong ruin” project was carried out as an educational
training program by the Division for Conservationof Heritage Sites (DCHS) under the Department ofCulture, Ministry of Home and Cultural Affairs, Royal
Government of Bhutan in cooperation with HELVETAS
Swiss-Intercooperation, Bhutan, Swiss LiechetensteinFoundation of Archaeological Research Abroad (SLSA),Switzerland, under the Phase II of Bhutan-Swiss
Archaeology Project. The project was led by Mr. Christian
Bader, Archaeologist, SLSA, and coordinated by Mr.
Karma Tenzin, Architect, DCHS and Mr. Sangay Kinga,
Asst. Architect, DCHS. Besides the aim to build humanresource capacity through the training program, the main
objective of the project was to document and map theentire fortress complex and to carry out research on thehistorical information of the site.
Chubjakha Dzong Ruin: Geographic location
The Chubjakha Dzong ruin under Hungrel gewog,
Paro Dzongkhag is situated some 500 meters above
Paro Rinphung Dzong. The Chubjakha Dzong ruin is
located on a ridge overlooking Paro valley and the site
approximately covers around 10 acres of land. According
to its nature of the layout of the dzong (fig. 1, fig. 2, fig. 3),
which was built on a strategic locations, it clearly explainsthat the dzong was built solely for the defense purpose
to protect from the invasion from enemies. The site isconnected by a feeder road and takes around 20 minutes’
drive above the Paro National Museum.
Exact Location (Site coordinates, Drukref 03)
E 194457.730
N 3034809.540
Altitude 2878 m a.s.lHistorical Background/ Oral History
According to the different accounts, both written and oral,
the Chubjakha was earlier known as Chewekha, whichmeans ‘the area with a vast open sky’, the name given
after the natural landscape of the area and was originallythe religious seat of Kunkhyen Longchen Rabjam (13081364), one of the well-known Buddhist Masters in
14th Century. Later in the 15th century, Drung-Drung
Rinpoche Gyalchok took over this seat. It is said that the
temple was destroyed by fire and later was expanded andconverted to dzong by the descendents of Drung drung
Rinpohce as the country was going under several wars.
In Bhutan, the existing Dzongs (fortress) were mostly
built by Zhabdrung during his era (17 th Century) or
were built later. The pre-Zhabdrung Dzongs are mostly
in ruins and Chubjakha Dzong ruin is one of the preZhadrung Dzong.
The overall fortress complex is surrounded by two

5

defense ditches, outer and inner ditches (fig. 4). The
fortress complex consists of five storied main central
tower structure (Utse) (fig. 5), surrounded by structuresattached around the central tower in the north, eastand south direction, and had served mainly as defense
room since outer walls of this structure has several small
triangular opening slits (arrow slits) (fig. 6) for shooting
as well as for ventilation. The western façade (front,
entrance side) of the Utse are collapsed, probably due
to the earthquake in 2011, whereas the eastern, northernand southern walls are still standing till the roof level.
There are six watch towers surrounding the Utse (fig. 7),
the northeast and the southeast watch towers are later
expanded by adding towers each thus making it six. The
watch towers probably must have served the purposeto keep an eye on the enemies and attacks in all four
directions. Currently huge trees and vegetation has grown
on top of the watch towers and are all covered withdebris from the collapsed wall and vegetation.
The fortress complex is connected by a well-protected,
gently sloping downwards passage in westerly direction(Fig. 8) to a sequence of four structures. The passage has
defense stone walls on either side with arrow slits. The
three structures in between the fortress complex and thelower most towers, Chu-dzong (Cistern tower, fig. 9), arealso watch towers overlooking the Paro valley.
There are several open area/terraces (baileys) around thefortress complex probably used as agricultural field or as
an open space for the activities held.
The main entrance to the fortress complex is fromthe south west corner near the watch tower, a small
excavation (fig. 11) was carried out in order to confirm
the entrance as it was quite unclear in the beginning withfallen debris and vegetation grown over it.
The whole fortress complex is mostly a stone masonry
construction, with some inner parts built of rammed
earth. The quality of both the stone masonry and rammed
earth construction (fig. 10) are exceptionally excellent.
Many large wooden lintels of doors and windows arestill intact, which can be used for scientific research fordating. The overall state of the ruin is in good condition.

Glossary
Chubjakha = Name of the present site
Dzong = Fortress
Hungrel =Name of a block
Gewog= block
Paro= Name of place
Dzongkhag = Districts
Zhabdrung Ngawang Namgyel= Buddhist saint andhistorical figure who unified Bhutan in 17th Century.
Utse= main central tower

BhutanConclusion
The Chubjakha dzong ruin which dates back to 14 th
century, one of the few fortress ruin remains of a preZhabdrung dzong, located on a ridge overlooking theParo valley, is not just historically important site but alsoa very potential archaeological site for historical researchand study on pre-Zhabdrung dzong architecture. The
study of the ruin shows that the layout of the fortresscomplex is more or less similar to the dzongs built during
Zhabdrung’s time.
The overall state of the ruin is fairly in a good condition,
however, some parts of the outer walls has collapsed,
probably due to earthquake of 2011 and some part of
the walls of the structure are on the verge of collapsing.
The vegetations have grown dense and are affecting
the masonry walls, thus there is urgent need protection
and conservation of the site. Realizing the need and its
urgency the plan of the Ministry of Home and Cultural
Affairs is to protect from further damage, consolidate thestructure and carry out scientific research of the site.

Bibliography
1. A Chubjakha Dzong- Forgotten Edifice (Provisional
draft) by Dr. Yonten Dargye, National Library andArchives, Thimphu

Fig. 1 Layout plan of the Chubjakha Dzong ruin

Fig. 2 Blown up Layout plan of the Chubjakha Dzong ruin

Fig. 3 Blown up Layout plan of the Chubjakha Dzong ruin

6

BhutanFig. 4 Inner ditch

Fig. 5 View of Central tower (Utse)

Fig. 6 Arrow slits

Fig. 7 View of Northeast watch tower

Fig. 8 Tunnel passage

Fig. 11 Excavated area at main entrance

7

Fig. 9 Cistern tower

Fig. 10 Inner rammed earth walls

Fig. 12 Eastern Façade of the dzong

Cambodia
Vitharong Chan, Vice-Chief of Antiquities Management Office
Department of Antiquities, General Department of Cultural Heritage, Ministry of Culture and Fine Arts
1. Introduction
My last report mentioned about the Inscription
Documentation of Sambor Prei Kuk. This report I would
like to describe a recent Sacred Bull Mandapa restoration
work. The Sacred Bull Mandapa known as ‘S2’ininventory list (from here I will be referring to the Sacred
Bull Mandapa). This S2 is composed of a brick tower
structure called prasat, where a sandstone Mandapa wasplaced inside. This tower located and aligned with themedian axis of the central tower of Prasat Yeai Poan, theSouthern Group of Sambor Prei Kuk. Prasat Yeai Poan isa major Shivaite complex in the early of Chenla Dynasty(early 7th century). The inscription mentions about the‘Silver Sacred Bull Nadin’in reign of King Isanavarman
I (613-635 CE), and it is also parallel to a type of layout
plan of Shivaite temple that the Sacred Bull Nadin
Mandapa was placed opposite with the central shrinethat had the Shiva figure inside.
2. Previous Restoration Work
The cement mortar and concrete work remained on the
structure of brick tower shows that there was a previous
restoration work of the Angkor Conservation Office
before 1970s. During the unrest period, S2 is one ofstructure interrupted by the looted activity.
In 1995, the Department of Cultural Heritage (Reformed
to General Department of Cultural Heritage) of Ministryof Culture and Fine Arts (MCFA) had an emergency
mission to fill its 2.4 metres depth of the looted pit. In
2004, the Sambor Prei Kuk Conservation Project (SCP)
conducted an excavation survey and clearance work in
the S2 chamber. In a rainy season of August 2006 (Fig 1& 2), this S2 was collapsed by the rainstorm, half of bricktower was collapsed and the sandstone Mandapa was
broken down. Immediate action was taken by the MCFAin setting up a restoration plan in 2007. They supported
the remaining brick tower and restored the sandstone
Mandapa.
3. Current Restoration Work
Recently a team, Department of Safeguarding and
Restoration of Monuments, from the MCFA has conducted
the conservation project for the S2 again. This mission isstarted from July to October 2013 in the aim: 1. Clearance
and excavation, 2. Restoration of elements and 3.
Improving the supported materials.
3.1 Clearance and Excavation
Interior clearance: As already mention, the clearance workwithin the S2 chamber were implemented by SCP in 2004.
The rainstorm in 2006 caused the building to collapse
and the space of the interior partly covered by thecollapsed brick fragments. Again the interior clearance isconducting this activity.
Excavation: It is a part of the study investigation with the
excavation survey on the west door of the chamber in 0.7

Cambodia

Recent Restoration Work: Sacred Bull Tower in Sambor Prei Kuk

metres depth (Fig 3). Students from the high school of
the community also participated in this excavation (Fig 4).
During this excavation found some artefacts related to thearchitectural elements and some ceramic fragments (Fig 5).
3.2 Restoration of Elements
Besides the ages of the building structure, the waterleakage between the brick elements is another reason
caused the collapse of the building last time. To avoid
from the above reasons the project have decided, after
the monitoring process (Fig 6), the steps below:- Application of injection filling to delaminated surfaces
and joints: the delaminated surfaces and joints ofelements, brick and sandstone; they are probably best
to re-fill areas with adhesive materials, as necessary (Fig
7 & 8). They will be applied with improved epoxy resin
mortar which after the experiences from the SCP. The
joints in bonded or cracked areas have been treated andconsolidated with improved mortar. For the large broken
elements, stainless-steel screw bolts are used to join them.
- Application of new materials: Even though trying tokeep the authenticity of monument, the project also uses
new bricks to apply on artificial brick materials. The
new are supposedly the ‘proper’ material to protect theoriginal surface from the rain water leakage (Fig 9 & 10).
3.3. Improving the Supported Materials
To improve the temporary steel supported and covered
structure with the proper strong material, the project
decides to make a new structure while waiting for the
future of conservation (Fig 11 & 12).
Acknowledgements
This report and conservation project would not have beenpossible without the cooperation of Mr Hin Sophorn, Vice
Chief of Department of Culture and Fine Arts in KampongThom.

Fig 1 & 2. S2 Tower before and after collapse on July and August 2006 (Photo:
Chan Vitharong/SCP)

8

Cambodia
Fig 3. Excavation trench, west
entrance of the tower (Photo:
Chan Vitharong)

Fig 6. Structure survey(Photo: Hin Sophorn)

Fig 4. During excavation survey, with the participation of thestudents (Photo: Hin Sophorn)

Fig 5. Ceramic artefacts found from the excavation (Photo: Hin
Sophorn)

Fig 7 & 8. Western door sill, found from the excavation and after consolidation (Photo: Hin Sophorn & Chan Vitharong)

Fig 9. New brick materials have replaced to support the structure (Photo: Hin
Sophorn)

Fig 10. Consolidated bricks and new brick materials (Photo: Chan Vitharong)

Fig 11 & 12. Before (in 2008) and after improve the temporary covered roof structure (Photo: Chan Vitharong)

9IndiaIndia

Role of Festivals in Shaping the Urban Spaces of the Temple Towns of Tamilnadu
Kunkuma Devi Kishore, Architect & Conservation Consultant
Good Earth Office, Hyderabad, India
Introduction
The article presented here is largely based on an
extensive research carried out by the author in the temple
town of Srirangam in Tamilnadu and referencing several
scholarly articles on the subject. The rituals and festivals
have played an important role in shaping the social andspatial disposition of a growing temple centric urban
centre in India. The spaces generated by them are an
important constituent of the cultural heritage components
of a temple town and their conservation is essential topreserve the identity of these towns. A systematic listingof them, analyzing the reasons behind their evolution
and a study of their past and present usages contributes
largely in characterising the cultural significances of suchreligious centres through a better understanding of its
urban morphology. The process of urbanisation prevalent
between the 10th and the 18th centuries AD in Tamilnadu
may have played a key role in the origin of some of themost important festivals and the inception of a panoramaof ritual spaces, which got incorporated into the final
scheme of the shaping of a religious urban centre.
Types of Festivals
The festivals of the temples are conducted throughout
a deeply symbolic year that follows the Tamil calendar,
the year being divided according to the Solstices andEquinoxes.
The festivals are classified into:
1) Parvotsavas –Festivals that last for short duration andare celebrated within the temple complex.
2) Ekadinotsavas –Single day festivals when the utsava
murti(s) (an idol of the presiding/sub shrine deity
taken out in procession and worshipped during
festivals) that may or may not leave the temple
complex.
3) Masotsavas –Monthly festivals that are celebrated formore than a day and it is a practice that all functions
and processions of the masotsavas happen in theevenings. The utsava murti (s) may or may not leave
the temple complex.
4) B rahmotsavas –Annual festivals varying in number fromone (or more) to more than five or six, in temple towns
like Kanchipuram and Kumbakonam, where more than
two or three presiding deities were established by rulers
during various period. They last for ten to eleven days.
They are characterized by the famous chariot processions
around a pradakshina patha (circumambulatory path)
towards the end of all celebrations.
Most of the structures were conceived and evolved fortheir usage during festivals, or roped into being essential
part of one or the other festival, in addition to the original
purposes they served, thus sanctifying them and ensuringthat they enmesh themselves into the urban morphology.

Manifestation of Festivals on the Urban Spaces
The study of urban spaces under the context of discussion
can be classified under two headings, within the purview
of the temple town and its hinterlands in the historiccontext (rural setting) which have transformed intodeveloped zones (urban setting) in today’s context. These
spaces have been woven together by certain principles toform a holistic urban mesh, which contribute to the formof a historic ‘Temple Town’ today.
1) Macro level (the core town and its setting)2) Micro level (the core town)
The ritual spaces generated by the festivals can bebroadly studied under the following categories:
FESTIVALS and RITUALSGENERATE
ACCOMODATETHEMSELVES IN OLD

GENERATE
PRINCIPLESDICTATING

THE SPATIALDISPOSITION, SCALEAND SIZE OF THE
EVOLVED URBANSPACE COMPONENTS/
OTHER COMPONENTSCOMPONENTS OF
URBAN SPACESREQUIRED TO UNDERSTAND
THE EVOLUTION SIGNIFICANCEAND CONSERVATION OF THE
TOWN

SYMBOLS,ICONS,LANDMARKS
STATIC AND
DYNAMIC ACTIVITY
GIVING RISE TONODES, LINEAR &CIRCUMAMBULATORCONTRIBUTES TO THE
STUDY OF URBAN MORPHOLOGY

Circumambulatory pathways• Within the temple complex-	W i t h i n t h e t e m p l e c o m p l e x , t h e c l o c k w i s ecircumambulation of the pradakshina-patha(circumambulatory pathway) by the worshippers is an
important ritual. During festivals, the utsava murti andthe common mass circumambulate the main shrine.
• Outside the walls of the temple complex-	In many cases, the circumambulatory path defined theextents of the city. The chariot procession would takeplace at the outermost enclosure that surrounded thecity to facilitate all the inhabitants (including the lower
castes) in the precincts of the town and sometimes,
even the hinterland to get a glimpse of the supremepresiding deity.
-	The presiding/subsidiary deity is taken out inprocession either on a platform or in a vahana (thevehicle carrier that differs from one God to anotheras per the Hindu mythology) on all the ceremonial
occasions. The deity is received at the doorsteps by thepeople who offer their prayers; an act that brings thespiritual master closest to the people.
-	In order to accommodate the large ceremonial chariot
and the hundreds of people accompanying it, theprocessional route is made as wide as 15–20 metres(the dimensions varied as per the size of the town). It
continued to act as the most important and the only
concentric pathway for the domestic circulation in theplanned temple towns.

10IndiaChariot moving around the circumambulatory pathway with devotees thronging around during the temple festivals

The axial streets and ceremonial axes leading to the temple gateways thronged by commercial developments on either side catering to the native inhabitants aswell as the pilgrims

The chariot stand housed along the concentric streets, with the adjoining
pillared pavilion used to mount and dismount the deity during processions aswell as store all the relevant accessories

Pillared pavilions are a common feature amidst orchards either granted by
the temple as an endowment or belonging to the temple itself

The River Ghats have pillared pavilions constructed along their Ghats to support traditional rituals like offering prayers to ancestors and tonsure etc which requirea holy dip after the performance of rituals. These are also used during festivals hosted on dry river beds

11

circumambulatory path is wide enough, they are stored
along the outer enclosure wall of the temple complex.
The vahanas are always stored either in the pillaredpavilions within the temple complex or in the temple
treasury closer to the inner sanctum for greater security

Axial streets as ceremonial axes
The East–West ceremonial axis acts as an importantceremonial path in most of the temple towns, wheretraditionally the main deity faces the East or West and isaccessed from the river or tank. The sacred feelings of apilgrim who moves along the primary axes towards themain shrine is especially enriched during festivals, by
the setting around, in processions that mark the end ofalmost all festive days, twice a day during the festivals,
one in the morning and the other in the evening

River Ghats
Most of the temple towns have come up along theimportant rivers of Tamilnadu, where the three kingdoms
of Cholas, Pandyas & Pallavas ruled for centuries
together. Festivals are celebrated along the river ghats
either thanking her for good irrigation facilities over theyear or pacifying her in times of flood. Separate pillaredpavilions, along with bathing ghats were provided along
these banks, sometimes to perform death rituals on thebanks of these rivers. These pavilions are mostly along
the ceremonial axis and link the temple with the riverduring festivals.

Pillared pavilions
The pillared pavilions are the products of a wide varietyof festivals celebrated traditionally. They serve various
purposes during festivals. Festivals meant congregation& congregation required large, airy and covered spaces.
Columns spanned large spaces and soon these became an
essential component of every temple town. They variedin sizes and are dispersed within the town, hinterlandand distributed orderly within the temple complex. They
contributed largely to the expanding size of the temple.
These can be broadly classified according to theirfunction as:• Large pavilions used as congregation and performance
spaces during festivals.
• Small pillared pavilions used by the utsava murti as a
resting space during processions.
• A s a space where the utsava murti honours theendowment donators and landowners, symbolicallyinspecting His lands. The pilgrims accessing the shrinefrom the ceremonial axis use the same pavilions as a
resting space at regular intervals.
Storage spaces for ceremonial chariots and vahanas
The ceremonial chariots are stored right in front of
the pillared pavilion used for alighting the utsava
murti. It is usually at the intersection of the axial street
and the concentric street. In some cases where theIndia-	The turning radius at the corners of the circulation
path also drew special attention in the traditional town
planning principles, generated by the festivals.
-	According to the Agamic (texts, the domestic structures
around the processional pathway should not be higher
in scale than the ceremonial chariot itself –the conceptof the humble human in the resort of the infinite Lord
is stressed here.
• All the houses built around the circumambulatory pathin most of the temple towns were historically nevermore than two floors.
• All the houses had a transition space called the tinnai,a semi open veranda space which is a common featurein all the traditional houses that facilitates view of therituals/festivals on the street and accept the honours ofthe deities in return to the services done. These spaces
also house the pilgrims who required a space to sleep
over the night when they came from distant villages toattend the festivals.
• Various sacred sites throughout the landscape in thesurrounding countryside.
-	The sacred sites throughout the landscape vary fromsmall structures enshrining the local deities to bathing
spots at nearby rivers & ponds.

Sub shrines
The tutelary shrines or the village Gods lost theirprominence when the bhakti movement (Hindu religious
movement in which the main spiritual practice wasloving devotion among the Shaivite and Vaishnava saints)
initiated the construction of Vishnu and Shiva temples
of monumental scale, undertaken by the kings and thenobles. However, in order to legitimize his rule among
the lower class village subjects, myths were promoted
linking these Gods to the Kali and Mariamman cult.
This God is often vaguely identified with Durga. Theseshrines were linked to the processional festivals of thetemple, so as not make the lesser subjects of the land feel
neglected by the king (symbolically through the divine
Lord of the land). When the towns began to assume anordered urban form, the tutelary shrines were ropedin, and mostly fell in the line of a ceremonial axis or
circumambulatory path.

Dry river beds
During summers, the riverbeds are dry and can beeasily crossed over. They are either used as a cross overmedium for the utsava murti visiting many sub-shrines in
the hinterland or used as an important interactive space
for the presiding deities of different temples in the area
on various occasions. The Riverbed becomes an importantelement of the urban morphology, and it is usually linked
to the main temple through the ceremonial axis in manycases. Many pavilions have been erected along the river

The dry river bed where temporary stages are constructed to celebrate
festivals, flanked by pillared pavilions and Ghats on its embankments as
ritual spaces

12Indiaghats to accommodate the rituals accompanied during
such festivals. Fairs are a common feature on the river
beds where vendors from neighbouring areas try to sell
their goods, just as they would do on the concentricand axial streets of the temple town on any other day.
The already existing river is charged with a scaredmeaning and new urban spaces had evolved due to theintroduction of new festivals.
Tanks and channels
The sacred tanks are primarily located within the temple
complex. They are also located at some distance from thecore temple, usually linked geographically by a strong
axis, and integrated ritually into the urban configurationby the ‘Float Festivals’. These tanks were dug ascommunity tanks and the responsibility of their protection
and cleanliness lay with the community and the temple.
The Kings used the central pillared pavilions in summer
as pleasure pavilions for cool breeze. By charging thesespaces with a sacred meaning through introductionof festivals, the community is held responsible formaintaining the tank and its surroundings clean.
Open spaces
Apart from the water bodies, streets, orchards & coconut
groves also serve as platforms for celebration of festivals.
In most of the important temple towns, within the historiccore, large open spaces exclusively used for recreation
purposes were a very rare phenomenon. The ancillary
spaces were used for such purposes. This was anotherfactor that led to the evolution of the tinnai space infront of every household –a perfect interface between
the street activities & the private core. Many of these
festivals gave rise to the concept of fairs, where people
from the nearby hinterland would sell their merchandise
and interact with traders to get their annual contracts forvarious commodities. The shops of the fairs occupied
the broad concentric processional pathways or the axial
streets immediately in the vicinity of the main entrance
to the shrine that would attract the maximum crowd.
Villages offered greater open spaces to host huge annual
fairs. The open spaces are used for musical concerts andfolk performances during festivals. Temporary structuresusing wooden poles and thatches were used to makestages where dramas were performed that would attracthuge crowds from the hinterlands. It was an occasion
for the people to know more about the mythologies
that would related them to their temple in a haptic
sense. The coconut groves and orchards are inspectedby the Lord annually and the utsava murti visits them in
his vahana, honours them for their service and accepts
their fresh endowments if any. These groves were notphysically roped into the urban realm but were linked ina more symbolic sense indicating that every space hadsignificance in the land of the Lord. However they act
as a perfect setting to such centres, a backdrop against
which the town would thrive.
Conclusion
Festivals and rituals are one of the most significant factorsthat have played a very important role in influencing
the urban morphology of historic temple towns. The
nature of influence starts from the design of an individual
space (closed or open), and spreads in a very systematicmanner to the overall structure of the city. Theseritual spaces and their integration into an urban form
following a basic order, and rhythm, are the invaluable
products of time, which have sustained themselves for
centuries and acted as tools for controlling the building
process. Though they were introduced by the kings forthe legitimization of their rule as a primary intention,
they were woven beautifully into the cultural milieu
of the people –a factor that has led to their sustenancetill today albeit with variations. In order to understandthe underlying principles of traditional town planning,
it is essential to comprehend the role of festivals as animportant determinant of the temple centred settlements.
The variations in the practice of these festivals may bevery little, however what has changed is the tangible
expression of these –the urban forms and their linkages,
which in turn have affected the spiritual experiences soessential for a sacred space, so as to render that divine
contentment to a devotee who visits any temple precinct.
The understanding of the whole phenomenon is essential
to signify any temple town of heritage value so as tointegrate them with all development processes.

One of the most sacred open spaces in a temple town is the temple tank that acts as an important community space both during the annual float festivals as wellas others days in a year. When the tank gets dry its used by the community as congregational space similar to dry river beds.

13

Indonesia
Dewi Puspito Rini, Archaeologist
Heritage Conservation Office of Banten, Ministry of Education and Culture, Indonesia
One of the material cultures that are fairly and widely
present in the society is the result of architectural
creations. The title that has been given to this architectureis “typical architecture” of the region. Typical architectureof the region refers to specific characters of buildings
located in a region. The character was embodied in theform of the building. Based on the shape, it embodies the
specificity meaning on the region. Precisely because of
its special characteristics it becomes a marker of regionalarchitecture. In other words, just at a glance people will
easily and relatively quickly realize it was in a particulararea. Building elements that can be used as a specificmarker in a local architecture include roof, gates, fences,pillars, and so on. In addition to aspects of form, amarker of architectural elements that are typical of thearea can also be the building material, color composition,
decorations or its layout.
Typical architecture of an area has special character orcharacteristics that distinguish it from other architecturein the other area. Typical architecture of the region canbe interpreted as a physical reflection of the cultureof the inhabitant in many aspects, such as behavior,activity, comfort, appearance, environment, and social
life patterns. In addition to demonstrating ideological
function, the typical architecture of the region expresses
a marker (sign) and the life of inhabitants, which reflects
the identity of themselves. Therefore, it is natural that the
typical architecture serves as a regional icon.
In December 2012, a team from Heritage Conservation
Office of Serang was documenting Sundanese traditional
house, Bumi Alit Kabuyutan Lebak wangi-Batukarut,
which is one of the typical architecture of the region inIndonesia. As we know, documentation is one of thespearheads of the preservation activities. Sundanesetraditional houses, Bumi Alit Kabuyutan LebakwangiBatukarut, are located in Kampung Kabuyutan,
Lebakwangi village, Arjasari district, Bandung regency,
West Java Province, Indonesia. The coordinates are
107°36'10.3" East Longitude 07°02'46.6" South Latitudewith a height of 710 m above sea level.
Based on the information from the manager of thecustom house, the traditional village was founded in the
16th century A.D. by a figure from the Kingdom Galuh,
one of the historical kingdoms in Indonesia. After many
years, the traditional house, Bumi Alit Kabuyutan, has
still been standing well, and the replacement of thebuilding materials has often been done since most of thematerials are made of natural materials that can not lastlong. However, management of indigenous Lebak WangiBatukarut retains authenticity and the techniques in its
style.

Indonesia

Documenting Traditional House of Sundanese: Bumi Alit Kabuyutan

To enter the traditional house environment, one must
pass through a gate made of coconut pole with a saddleshaped roof. Roof made of bamboo were halved, andeach fitted with a superimposed manner. At the gatepillars are carved with floral motifs and a cleaver.
After passing through the gate, there is a path to thecustom house, the construction made of a stone structure± 110 cm wide. On the right and left there is a path linedwith bamboo fence next to the gate before entering thecustom house. Similar to the previous gate, this gate isalso made from palm tree trunks and given a saddleshaped roof.
The Sundanese custom house, Bumi Alit Kabuyutan
Lebakwangi–Batukarut, faces north and has a lengthof 615 cm and a width of 500 cm. Like most traditionalbuildings in West Java, Indonesia, this building has aroof architecture known as julang ngapak roof. Roof
construction of the building is in the form of wooden
horses, while the rafters are from bamboo. The roof coverof this custom house consists of two layers of different
materials, those are reeds and fibers. The section called
ngapak roof is made of talahap, the bamboo parts aremounted by way of mutually superimposed.
The wall cover of the traditional buildings is made of
woven bamboo and has an invisible wall around thewindow. Ventilation holes on this custom house arelocated on the roof of the kitchen, a gap that can belifted so that the air circulates from inside or outside thebuilding through the gap.
Entrance to the custom house is a sliding door madeof woven bamboo. The core part of this building is themain room that also functions as a guest room, which iscommonly referred to the core of the earth. In addition
to the main room, there is a bedroom which is currently
used for storing heirloom. Other space is goah forstoring food. In this room there is a barrel to store rice.
Goah coincides with bedroom in the south and hawu
or kitchen. The kitchen is located on the north side,coincides with goah. In the kitchen there is a cooking
stove and an oil lamp.
This custom home building floor is made of poundedbamboos, which are sequentially mounted bahas, andthen dolos, and at the very bottom mounted dagel. To
sustain the overall construction of the building, there
are mounted poles made of bamboo, which stand on
pedestals of jackfruit wood. In order to prevent termites
and other insect actions, the entire building, including thebottom of the pedestals mounted on the bottom layer, ismade of concrete sand.

14

Indonesia
15

In addition to custom house, in an environment thathas a land of 112 tumbak wide or about 6250 m2, there
is a building called Bale Panglawungan, which is abuilding without walls and serves as a meeting place
for ceremonies and other traditional events. This Bale
Panglawungan is now a new building with the main
construction of wood and the joglo -roof-shaped. Joglo isa roof structure that is common in Central Java. The oldBale Panglawungan no longer exists. According to the
manager of the custom house, the original shape of Bale
Panglawungan was a house on stilts, with a height of 1 m,
where the structure was made of bamboo and the roof
was covered with fibers.

In the yard around the house, there are some rareindigenous plants where Indonesian specialties are stillpreserved, such as plants cariu, kimuni, gringsing,kiendang, and kiteja. Thus, the managers of Bumi Alit
Kabuyutan custom is not only preserve the traditional
houses and their environment, but also the customs andtraditions that have been going on for hundreds of years.

The traditional house of Bumi Alit Kabuyutan(Documentation: BPCB Serang)

Path to the custom house(Documentation: BPCB Serang)

The roof cover consists of two layers.
(Documentation: BPCB Serang)

Detail of the bamboo construction on the roof (thetalahap)(Documentation: BPCB Serang)

Construction of the wall
(Documentation: BPCB Serang)

Sliding door
(Documentation: BPCB Serang)

Hawu or kitchen(Documentation: BPCB Serang)

The black side is the bottom of the building(Documentation: BPCB Serang)

Detail of pillars on the bottom(Documentation: BPCB Serang)

Stair to entrance the house(Documentation: BPCB Serang)

The new Bale Panglawungan(Documentation: BPCB Serang)

Malaysia
Malaysia

Digital Documentation of Penang State Museum, Malaysia, Using Three Dimensional Terrestrial
Laser Scan
Professor Dr. A Ghafar Bin Ahmad, Professor
School of Housing, Building and Planning Universiti Sains Malaysia
Introduction
Located at the UNESCO’s World Heritage Site of George
Town, the Penang State Museum was built in two phases;
Phase 1 in 1896 and Phase 2 in 1906 when more funds
were available. This two-storey Neo-classical building
houses an exceptional collection of the early paintingsof Penang Island completed by Captain Robert Smith;and showcases the cultural heritage of various ethnic
groups who migrated to Penang during the late 18th
Century. Over the decades, the building was occupied
by various institutions including the Penang Free School(1896 to 1927); the Hutchings School (1928 to 1960); andthe Penang State Museum (1962 to present). During theWorld War II, the right wing of the building which islocated closest to the St. George’s Church was bombedby the Allied, and the damaged section was neverreconstructed until today. Due to its historical, culturaland architectural significance, the building was listed as a
Heritage building by the Federal Government under the
National Heritage Act 2005.
In early 2013, the Penang State Government allocatedsome funds to restore and repair the museum’s porch,iron-grille masonry fence; and its surrounding landscape.
The works were carried out in a period of three months
from September until December 2013. Prior to therestoration and repair works, a dilapidation survey, anarchaeological survey and measured drawings werecarried out by the local consultants. In June-July 2013, themeasured drawings of the entire building were produced
digitally by a local firm, Geodelta System Sdn. Bhd.
within a period of one month using a three dimensional(3D) terrestrial laser scan which incorporated a digital
multimedia virtual tour of the building. The scope of the
3D terrestrial laser scan for the Penang State Museum
included a 3D point cloud raw data collecting, point
cloud data processing, 3D as-built modelling, measured
drawing, animation and documentation.
Measured Drawing in Building Conservation
In building conservation, measured drawings or as-built
scaled drawings are important documents not only to theclient but also to the team involved in the conservation
and repair works including quantity surveyor, architect,engineer, archeologist, conservator and building
contractor. At times, the task of measured drawings arecarried out conventionally using a measuring tape, scaled
ruler or distance meter. Building sketches are sometimes
drawn to illustrate the architectural and construction
details. However, the level of accuracy of conventional
measured drawings is somewhat questionable, especiallywhen the building information collected is insufficient,incomplete or has measurement flaws. As time is a criticalfactor in building conservation, measured drawings ideallyshall be produced in the shortest time possible withhighly reliable, accurate and sufficient building details.

Thus, the use of a 3D terrestrial laser scan in heritagebuilding documentations, particularly in the case of
the Penang State Museum, offers several advantages
in conservation works including swift turn around andhigh level of data accuracy; comprehensiveness of datacollection, accessibility and retrieval; and maximum
coverage of building area. The adoption of a 3D
terrestrial laser scan for the Penang State Museum has
set a new benchmark in the digital documentation ofheritage buildings in Penang. The added features of a
3D terrestrial laser scan allow for the system to perform
object or building measurement remotely and contactless,and to present the object or building information in
point cloud form; such information is beneficial inboth dilapidation and archaeological surveys prior toconservation and repair works.
3D Terrestrial Laser Scan
The 3D terrestrial laser scan is a ground based techniquethat captures the position and dimension of objects
or buildings in a 3D format. It collects data in point
cloud form through millions of laser pulses or distancemeasurements using a stationed laser scanner and adigital single-lens reflex camera. The output in each 3D
point cloud is stitched by target coordinates collectedby a total station, the overlapping of 3D coordinate
points. Accuracy of the merging process is enhanced
by increasing the number of targets. The data is thentransferred to a high-resolution computer where it isconverted into accurate 3D models. The high quantityand precision of the measured points generate a more
realistic 3D illustration of objects or heritage buildings.
The equipment used for the 3D terrestrial laser scan at
the Penang State Museum includes Leica ScanStation C10that features extremely fast scan rates up to 50,000 points
per second; and Nikon D80 single-lens reflex camera
equipped with fish-eye lens for panoramic photographythat captures 360-degrees images on site. The former also
includes surveyor-friendly and total station-like onboard
graphic control that enables the user to view target scans
in 3D.
Panoramic Photography
Panoramic photography is a technique of wide format
photography using ultra-wide lenses or by stitching
together several photos using software such as Photoshop
or AutoStitch to capture images with elongated fieldsof view. With a sophisticated camera that rotates,
panoramic images of aspect ratios 4:1 or sometimes
10:1 are captured at angles of 360 degrees. Panoramic
photography technique was used to document the
Penang State Museum as it captured everything at site.
This feature is important as it permits the user to explore
photo-realistic of 360-degrees scenes, allowing for aninteractive experience similar to those of the actual site.

16

Malaysia

Panoramic images of the building were documented andprocessed for the digital multimedia virtual tour.
Methodology
The 3D terrestrial laser scan at the Penang State
Museum was carried out in five stages which are Site
Reconnaissance, Point Cloud Registration, Texture
Mapping, 3D Modelling and 2D Drawing; and Animation
and Documentation.
Site Reconnaissance
Site reconnaissance was conducted at Penang State
Museum prior to 3D terrestrial laser scan. This stage isimportant to determine the placement of laser scanner,target placement, inter-visibility for 3D laser scanner andcamera, lighting condition for panoramic photography,
accessibility and connections between rooms and floors;
and to foresee possible danger or hazard at site. Strategic
scanning locations were pre-selected to ensure minimum
onsite obstructions that could affect site scanningschedule and outcome. Any inaccessible areas around thebuilding were analysed and resolved prior to the scan.
Point Cloud Registration
Based on the site reconnaissance, a total of 142 internaland external locations were identified at the Penang
State Museum for the 3D terrestrial laser scan. Eachlocation was given target placements with a special
coding system and symbol which were used as target
survey. Over 300 target placements were placed aroundthe building including walls, columns, plasters, parapets,
cornices, staircases, arches and along corridors. Eachtarget placement was scanned using laser scanner andalso photographed in panoramic images. Additional
lightings were required to increase visibility in dark areasof the building interior. All captured data in 100% point
clouds were imported using the Cyclone software that
automatically registered the point clouds and produced
a merged scan file. This process offers the most accurate
and efficient way to define all target placements thatwould be useful in the subsequent merging process withthe survey data.
Texture Mapping
Texture mapping is a technique to add detail, surface
texture or color to a computer-generated graphic or
3D model. In the case of the Penang State Museum,
all panoramic images captured onsite were processed
to form a cubic image that featured six different view
angles of front, back, left, right, up and down. The colour
information generated from these panoramic images wasapplied to the point clouds to produce a true colour point
option. Moreover, the collected false colour point clouds
can be displayed in grayscale or by default, in scannercolour. In texture mapping process, special attention wasgiven to building elements and details such as roof top,walls, columns, floors, beams, cornices, arches, keystones,
balustrades, parapet, windows and fences.
3D Modelling and 2D Drawing
At this stage, the false colour of grayscale, ranging frompure white to pure black, produced by the scanner;and the true colour from the panoramic images were17

digitally combined to create a 3D model of the Penang
State Museum, or also known as an as-built model. Usinga special algorithm built by Leica Cyclone suite, the 3Dmodelling was created via point clouds collected foreach object surface and other built information. Detailsof the model, no smaller than 6mm, are the actual detailsof the building. The 3D model can be best viewed
using Cyclone Viewer software. Based on the point
clouds and a 3D model, a set of 2D measured drawings
were then produced using the AutoCad software. The
measured drawings consisted of site plan, location plan,
floor plans, elevations, sections and architectural details.
These drawings were fast-produced, accurate and easily
available for both dilapidation and archaeological surveys.
Animation and Documentation
Using the Leica Geosystems Technology Truview
software, a virtual tour platform was created for the
Penang State Museum. The software allows for an
intuitive viewing as a virtual tour is easy to measure,markup and hyperlink to other architectural links. It isalso useful in displaying the point cloud via the offlineor online version of Internet Explorer. The building canbe animated for a walk-in virtual tour that features realpanoramic images of ground and first floors as well as
the building surroundings. For the purpose of digital
documentation, virtual tour pages were developed toinclude panoramic images, locations of viewing points
on the floor plan, and written description of the historicaland architectural background of the building.
Final Deliverables
Using the 3D terrestrial laser scan, the final deliverables
for the Penang State Museum include a set of measured
drawings, panoramic photographs, 3D point clouds, 3Dmodel of virtual tour, animation and final report. All
digital documentation of the building were saved in a
portable external hard drive for reference and archival
purposes. Measured drawings were printed out and madeavailable for the public. The Penang State Museum staff
were trained by the local consultant on how to manage
the filing data system, generate point cloud data; andview 3D modelling using virtual tour software.
Conclusions
The adoption of the 3D terrestrial laser scan at the Penang
State Museum faced only minimum challenges at site.
Some roof areas that could not establish a line of sightwere observed from the nearby Hutchings Secondary
School. Such observations were made during the school
operating hours. Additional lightings were required toincrease visibility in dark areas of the building, mainly
within the pitched roof structures. Despite these minor
challenges, the 3D terrestrial laser scan has succeeded in
producing fast and accurate measured drawings whichwere useful for onsite surveys such as dilapidation andarchaeological surveys; and conservation and repair
works. It has saved time and financial resources indocumenting important heritage data. The utilisation of
a 3D terrestrial laser scan for the Penang State Museum
has set in a new benchmark in the documentation ofheritage buildings in the UNESCO’s World Heritage Siteof George Town; and also Heritage buildings listed underthe National Heritage Act 2005.

Built in two phases (1896 and 1906), the Penang State
Museum was previously occupied by the Penang Free
School (1896 to 1927) and the Hutchings School (1928
to 1960).

Geodelta System Sdn. Bhd. (2013), Final Report on
Documentation of Penang State Museum Using Terrestrial
Laser Scanning Method (unpublished).

With a special coding system and symbol,
external and internal target placements were
scanned using stationed 3D terrestrial laser
scanner.

Panoramic photography technique was used to document the building as it
captured everything at site.

Malaysia

Acknowledgements
Thank you to the Penang State Government particularly
the Penang State Economic Planning Unit, Penang Public
Works Department and Penang State Museum; Arkitek
Urbanisma Sdn. Bhd., Geodelta Systems Sdn. Bhd.; andUSM LRGS Local Knowledge Project 3 Team (LRGS/
TD/2012/USM-UKM/KT/03) for making this project andarticle possible.

References
Arkitek Urbanisma Sdn. Bhd., (2013), Laporan Kajian
Dilapidasi Bangunan Muzium Negeri Pulau Pinang,
Lebuh Farquhar, Pulau Pinang (unpublished).

3D terrestrial laser scanner is placed inside
the building to collect data in point cloud form
through millions of laser pulses or distancemeasurements.

Panoramic image of the building interior permits the user to explore photorealistic of 360-degrees scenes, allowing for an interactive experience similar
to those of the actual site.

Internal view of the building in 3D point cloud

Aerial view of the building in the 3D point cloudTop view of the building in 2D point cloud

Colour information generated from panoramic images was applied to the 3D point
clouds to produce a true colour point option.

18

Malaysia
3D model of the building showing its external facades and surroundings

A virtual tour page was developed toinclude panoramic images, locations ofviewing points on the floor plan, and written
description of the building background.

The front elevation of the building in true colour of point
cloud

The front elevation of the building showing the architectural elements anddetails

The east elevation of the building showing the front porch and its main
entrance

19

A virtual tour platform was created using Leica Geosystems
Technology Truview software that allows for an intuitive viewing.

Based on the point clouds and a 3D model, a set of
2D measured drawings including this ground floor plan
were produced using AutoCAD software.

The sectional elevation of the building showing the internal floor beam,staircases, columns, ceiling and roof structures

The roof plan of the building showing its main pitched roofMaldives
Maldives

Test Excavations Carried Out at A. Dh Fenfushi and HA. Ihavandhoo for “Coral Stone Mosques ofMaldives towards World Heritage List” Project
Shiura Jaufar, Archaeologist
Department of Heritage, Republic of Maldives
Upon the acceptance of the UNESCO World Heritage
Convention in 1986, the government of Maldives has
been carrying out enormous number of works tonominate a Maldivian site to the UNESCO World Heritage
List. Today, due to some countless number of works,
Maldives is about to accomplish this task. We are now
on the verge to submit a series of Coral Stone Mosquesto the World Heritage Centre. This report, thus, will lookat the test excavations (one of the many components)
carried out for this project. Test excavations for each of
the five mosques have been carried out and this reportwill look at two of the excavations carried out in A. Dh
Fenfushi and HA. Ihavandhoo Ancient Mosque.
The first excavation was carried out at A. Dh Fenfushi
Ancient mosque. The excavation was carried out withthe help of our international expert, Mr. Munish Pandit/
Conservation Architect from India. Upon inspection of
the mosque area, it was decided to excavate the northeast corner of the mosque. An “L” shaped trench wasmade and excavated. Note that the trench was maderight after the last visible row of coral stone blocks of theplinth of the mosque. Excavation work took two days
while photography, drawing and reburying of the trench
took another two days. The trench was further divided
in to two quarters one at the Eastern side and one at theNorthern side. Excavations were carried out separately
at the two quarters, eastern quarter being the first. At theeastern quarter, we found three layers of damaged coralstone blocks placed right below the mosque’s plinth (thefoundation stones of the mosque). Further excavations
revealed a round/ oval shaped coral stone block (30cm inheight) few centimeters away from the coral stone layer.
This block had a rectangular cut (1-2 inches deep) madeon the top center measuring 5 by 4 inches. Upon further
investigation of the cut, we found marks and patterns ofwooden pillars inside the cut. Therefore it was suggested
that this was a posthole and that at one time wooden

pillars may have been placed around the mosque to holdthe roof structure of the mosque. Other round coral stone
blocks were also discovered right next to the posthole.
To confirm the posthole theory, we dug the opposite
corner (south west) of the mosque. Unfortunately wewere unable to find any postholes there. However, wefound a coral stone block similar to the blocks used in
the front wall of the mosque (cut, carved and designed)buried under the foundation stones in the center of theback side (north) of the mosque. We also found large
quantities of red oxide and few shells from this trench.
The excavation of the Northern quarter also had threelayers of coral stone blocks as the foundation stones
and we found few shells and live roots within the soil.
Nothing significant was found within this quarter. Due
to limited time and resources, we decided to call it an
end to the test excavations at this site when we reached
the third layer of the coral stones. An important note
to consider at this site is that the locals have recently
constructed a boundary wall very close to the mosquecomplex. Therefore, the absence of a posthole in thesouth west corner of the mosque might be that it wasremoved while the locals were working on the boundary
wall. The whole concept of the mosque having pillars at
each corner as support for roof structure during earlier
times remains questioned and need further testing.
The initial work at HA. Ihavandhoo Ancient Mosque had
to be carried out slightly differently as the main mosque
was surrounded by ceramic tiles. Therefore removal oftiles had to be done first. Upon inspection of the mosquearea, it was decided to excavate the north east cornerof the mosque. An “L” shaped trench was made andexcavated. Note that the trench was made right after
the last visible row of coral stone blocks of the plinthof the mosque. Excavation work took three days while
photography, drawing and reburying of the trench took

Modern Boundary Wall

Posthole

Mosque Plinth

A. Dh Fenfushi Ancient Mosque: View of the Trench from the top

A. Dh Fenfushi Ancient Mosque: View of the Trench from the top

20

Maldives

another two days. The trench was further divided in
to two quarters one at the Eastern side and one at theNorthern side. Excavations were carried out separately
at the two quarters, eastern quarter being the first. At
the eastern quarter, three layers of blocks were visible
while the fourth layer consisted of dark colored wet sand.
The first layer was the sandstone layer which was very
disturbed. Many coral stone fragments were also at thislayer. Cement fragments were also present in this layer,probably left during the work of placing tiles. The second
and third layer were also made of coral stone but showeda change in the soil from coarse rubble sand to fine, dark
sand. The soil had a rather wet texture which followed to
the fourth and final excavated layer. Artifacts were also
found from this layer. Many shells were also found fromthis layer.
Excavations at the northern quarter revealed a muchworked on coral stone wall that stretched from either
ends of the trench. Due to the limitations of the
excavation, we were unable to find out the thickness

HA. Ihavandhoo Ancient Mosque: View of the Trench from the topof the wall. Upon interviewing the elders of the island,a possible assumption was made for the wall being alater addition to the mosque. According to the locals,
the mosque used to have a boundary wall. Therefore, it
could be that this is the ancient boundary wall. We knowthat the wall is placed right next to the foundation stones
at the backside of the mosque, however, we do not know
yet how far/close it has been placed at the other threesides. Locals say it was placed a bit further at the othersides. The site was measured, photographed and drawn
accordingly.
According to the locals, the surrounding area of themosque building used to be part of the cemetery andduring the work of placing ceramic tiles, they foundhuman bones. They suggested that the bones foundwere from a family buried there. So there might be thepossibility of discovering bones if dug further.
A mound located in the north west corner of the mosquearea was assumed earlier to be a bathing tank. However,upon many observations and interviews with local elders,
no one mentioned such a remain to have been seen
there. Most of the accounts direct to a well being there.
The interviews suggested that there used to be four wellsin the mosque area, one at the front, two at the south
west side and one at the north west side. One well isstill visible at the south west side. Some stones havebeen piled up and visible at the north west side as well.
They include parts of tombstones as well. Artifacts foundinclude ceramics, pottery, and clay tiles for roofing, shells
and bird/fish bones.
In conclusion, this mosque also had a similar foundation
with coral stone blocks projecting outwards from theoriginal plinth of the mosque. Apart from the foundation,a worked on wall of coral stone and lime plaster was
found next to the foundation and it goes along thebackside of the mosque wall. We think that this might
be the ancient boundary wall of the mosque but further
excavations are necessary to confirm this.

Artefacts found at HA. Ihavandhoo Ancient Mosque21

Micronesia
Yvonne Neth, Vice-Director / Anthropology Project Manager
Island Research and Education Initiative (IREI), Federated States of Micronesia
Pohnpei State Historic Preservation Office
As the current preservation efforts toward tangible
cultural heritage sites continue, the Pohnpei State HistoricPreservation Office (PHPO) is expanding their inventory
to stretch the entire main island of Pohnpei. The objective
is not only to create a more comprehensive inventory but
also to increase community involvement in the process.
Pohnpei has five main municipalities and PHPO will be
training at minimum five community representatives to
conduct ground surveys. These representatives will be on
a one year contract basis, taught in the documentationof site dimensions on hardcopy maps and the logging of
the sites with GPS points (later to be added to the PHPO
digital map of Pohnpei). Upon the successful completionof the contract, PHPO aims to extend their efforts to theouter islands of Pohnpei. All sites will be inventoried
and the designated board will be tasked to review theirnominations into the Pohnpei cultural heritage site
registry.

Micronesia

Pohnpei HPO Seeks to Train Community Members as Ground Surveyors and Kosrae HPOIncorporates Incomplete Excavations as Museum Sites

Kosrae State Historic Preservation Office
Kosrae State Historic Preservation Office (KSHPO) staff
and archaeologist Adam Thompson have conductedsurveys and found evidence to signify the shift of the
Tofol valley from saltwater lagoon to a freshwater swamp.
Interestingly, their findings happened to be at a location
where two separate groups of structures were found,both erected at two different time periods.
KHPO staff has located sites within proximity to
the Kosrae museum, and after survey and proper
documentation, they have excavated the site
incompletely. This was done on purpose. The incomplete
excavation of the sites exposes stone alignments within
the center of platforms. Visitors to the Kosrae museum
will tour these sites as part of an outdoor exhibit, using
the opportunity to introduce archaeological survey to thegeneral public. Absent of tertiary Archaeology courses
in the FSM, this effort to expose students and the local
community to archaeology is a commendable one.

It is the general assumption that the efforts of PHPO isin response to the general duties of the nature of theiroffice, though it is this author’s belief that these contracts
will lead to an increase in the ownership of such sites by
the local communities in their practical applications at
cultural preservation.
In regards to my entry in the 12th International
Correspondent Report on the utilization of X-ray
Fluorescence (XRF) on the stones of Nan Madol, theUniversity of Otago, NZ, field team comprising of Dr.
McCoy and his students are on their way to concluding
their analysis. The second item regarding the updated andGPS verified map of Nan Madol will be available early2014 and made available for public viewing.

22

Mongolia
Mongolia

A Unique Memorial Complex from Ancient Turkic Period
Discovered In Eastern Mongolia
Rinchinkhorol Munkhtulga, Researcher
Mongolian Academy of Sciences, Institute of Archaeology
In September 2011, Dr. Ts. Bolorbat who is a researcherof the Institute of Archaeology, Mongolian Academy of
Sciences discovered some runic inscriptions in stone
steles of an Ancient Turkic memorial complex including
many stone slab remains with rosette ornaments,
participating in a team fulfilled an archaeological survey
in the territory of Tuvshinshiree soum, Sukhbaatar aimag(BOLORBAT & MUNKHTULGA, 2013).
The memorial complex is situated in a little plateau
named Dongoin Shiree, which extends from the northwest to the south-east, and about 50 km to the north fromthe center of Tuvshinshiree soum (Fig. 1).
During 5-10 June 2013, a team of the Institute ofArchaeology led by Dr. B.Tsogtbaatar did the preliminary
epigraphic research at the site, taking rubbings andphotographs (MUNKHTULGA & ŌSAWA, 2013a).
In 12-18 June, 2013, the author and Takashi Osawa, who
is a professor of Osaka University, Japan, determinedthat there were 2832 characters and 646 words in 20
lines in the two steles, reading the inscriptions firstly(MUNKHTULGA & ŌSAWA, 2013a).
When we observed the texts again in 8-18 August, it wasalso clear that the third stele had been inscribed andthe three steles had 3857 characters, 1193 words and 86
tamgas. We copied runic texts into computer and madetransliteration, transcription, and translation from Ancient
Turkic into modern Mongolian, notes on some words,
description of the tamgas and conclusion. (MUNKHTULGA& ŌSAWA, 2013b) The inscriptions are written in Ancient
Turkic language. Such expressions as “:ebim e:” (“Oh,my house!”), “:begim e:” (“Oh, my lord!”) and “:yerime:” (“Oh, my country!”) had been engraved repeatedlyon the surfaces of the steles in memory of the deceased
person. The above praying words in the epitaph look likeornaments to pattern the giant steles (Fig. 9). The tamgas
have been depicted before the writing of the inscription
and might have been engraved by people who came toparticipate in offering ceremony (Fig. 6, 9).
From 21 September to 11 October, 2013, a national
expedition ruled by professor, Dr. D.Tseveendorj who isdirector of the Institute of Archaeology, MAS carried out
an excavation at the site (BOLORBAT & MUNKHTULGA,
2013) (Fig. 3, 5, 10). Some specialists of the Institute of
Astronomy and Geophysics participated in this expedition
and made geophysical graphics, which after were used
for our excavation (Fig. 2).
30 more parts of steles and slabs were uncovered anddocumented by this excavation work (Fig. 4, 5, 7, 8). It
is possible that almost all the newly-found steles haveinscriptions or tamgas (Fig. 6, 9).

23

An important discovery of the excavation is an inscriptionof Khitan small script written in 2 lines with black ink on
one of the newly-found steles. Only such the logograms
have been recognized preliminarily as ‘is’ or numeral‘nine’, ‘û’ and ‘ku’ due to its preservation (KANE, 2009.
27, 29).
There have still not been found such the Ancient Turkic
complex as contained so many huge inscribed steles not
only in the territory of Mongolia, but also in Eurasian
Steppes (BAYAR, 2003. 156; VOITOV, 1996. 8). Also,
there was never discovered an Ancient Turkic aristocraticcomplex with steles in Eastern Mongolia (BAYAR, 2001.
110; VOITOV, 1996. 12). It is the first appearance that
the Khitan small inscription revealed from Ancient Turkic
memorial complex.
It is possible to suggest that the monument of Dongoin
Shiree was established around 735-745 AD in memoryof a nobleman (noblemen) who was (were) ranked after
khagan and dwelled in eastern steppe zone of the Second
Turkic Khaghanate, based on the linguistic characteristicsof the texts, shapes of the tamgas, representation of theslabs of enclosure and basic structure of the complex (Fig.
4, 6).
Both of the engraving runic inscription on old monumentwith tamgas and writing Khitanese sentence in Turkic
one indicate that a ritual to write on an ancient stele wasso important in political activities of the conquerors inMedieval Inner Asia.
In 924, Khitan emperor Abaoji carried out a large
expedition against the local Tsu-pu tribes and arrived in
Ordu-Balyq, the Old Uighur city in Orkhon valley. “Heordered that the old stone tablet of Bilgä Khagan beerased and reinscribed in Ch’itan, Turkic, and Chinese
to commemorate his meritorious deeds” (WITTFOGEL& FÊNG CHIA-SHENG, 1949. 576; PERLEE, 1959. 69).
Although the stone tablet was not found by the recent
archaeological researches (HÜTTEL & ERDENEBAT,2009. 20, 62), mid XIIIth century Persian historian Juvaini
mentioned that outside the ruins of the palace of OrduBalyq, opposite to the gate, there lay stones engravedwith inscriptions, which he had seen. During the reignof Ögödei Khagan (1229-1241 AD), those “stones wereraised up, and a well was discovered, and in the well agreat stone tablet with an inscription engraved was upon
it. The order was given that everyone should present
himself in order to decipher the writing; but no one wasable to read it. Then people were brought from Khitai
who are called … it was their writing that was engravedon the stone” (JUVAINI, 1958. 54-55). Thus the newmasters of the Mongolian Steppe often tried to show
the local people that they could succeed the mandate ofheavenly power.

References
BAYAR, 2001 - Moğolistan’daki eski türk anıtlarınınincelenmesi ve gelecekteki amaçlar. // Türk Dili Araştırmaları
Yıllığı. Belleten 2000. Yayın No: 786. Ankara, 2001, 60-63:
Д.Баяр. Монголын Дундад Зууны археологийн судалгаа. II
боть. УБ., 2013, 110-113
BAYAR, 2003 - Д.Баяр. Эртний ихсийн онгон шүтээн –Хөшөө Цайдам. // Манай Монгол. УБ, 2003, 76-79: Д.Баяр.
Монголын Дундад Зууны археологийн судалгаа. II боть.
УБ., 2013, 156-160
BOLORBAT & MUNKHTULGA, 2013 - Ц.Болорбат,Р.Мөнхтулга. Донгойн Ширээн гэрэлт хөшөө бүхий
дурсгалыг илрүүлэн судалсан нь. // “Зууны мэдээ” сонин.
№ 273 (4588). 2013 оны 11-р сарын 14, Пүрэв, 6HÜTTEL & ERDENEBAT, 2009 - H.-G.Hüttel, U.Erdenebat.
Karabalgasun und Karakorum – Zwei spätnomadische
Stadtsiedlungen im Orchon-Tal. Ulaanbaatar
JUVAINI, 1958 - ‘Ala-ad-Din ‘Ata-Malik Juvaini. The

History of the World-Conqueror. Translated by J.A.Boyle.
Vol. 1. Cambridge
KANE, 2009 - The Kitan Language and Script. // Handbookof Oriental Studies. Section eight. Central Asia. Volume 19.
Leiden-Boston
MUNKHTULGA & ŌSAWA, 2013a - Р.Мөнхтулга,Т.Оосава. Донгойн Ширээн дурсгалын гэрэлт хөшөөний
бичээсийг анхны удаа уншсан тухай урьдчилсан тайлан.
УБ., 2013 (The preliminary report on first reading of theinscriptions of monument in Dongoin Shiree)
MUNKHTULGA & ŌSAWA, 2013b - Р.Мөнхтулга,Т.Оосава. Донгойн Ширээн дурсгалын гэрэлт хөшөөний
бичээсийг анхны удаа уншсан нь. // Studia Archaeologica.
Tom. XXXIII. УБ., 2013 (The first reading of the inscriptionsof monument in Dongoin Shiree)
PERLEE, 1959 - Х.Пэрлээ. Хятан нар, тэдний
монголчуудтай холбогдсон нь. // Studia Historica. Tom. I,
fasc. 1. УБ., 1959: Д.Пэрлээ. Бүтээлийн чуулган. I боть.
УБ., 2012, 5-101
VOITOV, 1996 - В.Е.Войтов. Древнетюркский пантеон имодель мироздания в культово-поминальных памятниках
Монголии VI-VIII вв. М.
WITTFOGEL & FÊNG CHIA-SHENG, 1949 - K.A.Wittfogel,Fêng Chia-shêng. History of Chinese society Liao (907-1125).
// Transactions of the American Philosophical Society. New
Series - Volume 36. 1946. Philadelphia

Mongolia

It should be said that the monument of Dongoin Shiree
can be an evidence to socio-political, ethnic and cultural
studies on the Tölis tribes or the eastern army-politicalwing of the Turkic Empire of the second quarter of the
VIIIth century AD, and the inhabitants of the northwestern region of the Khitan (Liao) dynasty (925-1125
AD).

Fig. 1. Location of the site of Dongoin ShireeFig 2. Geophysical research at the site of Dongoin Shiree

Fig. 3. Excavation at the site of Dongoin Shiree24Mongolia
Fig. 4. Excavation trenches at the site

Fig. 5. Measuring process

Fig. 6. Tamgas on a stone stele

Fig. 7. Preparing for rubbing of a stele

Fig. 8. Taking rubbing of a stele

Fig. 9. Rubbing of a stele with inscription and tamgas

Fig. 10. Some members of the national expedition worked at the site of Dongoin Shiree25

NepalNepal

People's Involvement in Heritage Conservation in Nepal(Shantipur Temple Conservation Project - Swayambhu Protected Monument Zone)
Suresh Suras Shrestha, Under-Secretary (CAO) Head
Heritage/Monument Conservation Section, Department of Archaeology, Nepal
Introduction
The Swayambhu Stupa is one of the most importantand oldest monument of Kathmandu valleys, whichis still worshipped by many people not only from thecountry but from the many countries of the world. It’s
the tranquility between the Buddhist and Hindus andthe symbol for the world peace. There is no inscription
and any other evidence about the exact date of its
construction, but some of the inscription says that someparts of the stupa was reconstructed in the medieval
period (13 th–16 th Century AD) and there were many
conservation work done in the medieval period as wellas in the Rana period (18th–19th Century AD).
The Shantipur Temple is also the most significant
Buddhist temple not only for the Buddhist but for all
religious people in the world. According to Swayambhu
Purana (a holy text), Shantipur was established by
Shantikaracharya, when he established seven Puras
in Swayambhu Stupa area and he took samadhi inthe same temple–Shantipur. The pura constructed by
Shantikaracharya was latterly named and known as
Shantipur; so it is believed that the Swayambhu Stupa andShantipur Temple was constructed in the same period
as per the Swayambhu Purana. However, there is not
any evidence on the exact date of construction of thistemple as well, but it was very popular in the medieval
period as a popular Buddhist education and meditation
center as well, so it is said that the temple must havebeen constructed before or during the Lichchhavi period(4th–9th Century AD). But there is no full documentation
about the construction and conservation/renovation
work of it, except a few documents only with incomplete
information.
The temple is directly linked with the Vajrayana sect of
Buddhism; the different documents say that Vajrayana
was flourished in Nepal during 9 th–10 th Century AD,
so it is imagined that Shankaracharya constructed thistemple around 10th–11th Century AD. After that the temple
was renovated numerable times. The architecture of
the temple and different iconographic characteristics
of images in and around the temple also indicatethat the temple should be established during the premedieval period (11 th–12 th Century AD); however thecurrent architecture of the temple is after the renovation
work, during destruction by the great earthquake in1934 AD in Nepal, when numerable monuments weredemolished and destroyed. So, the present building(before the currently on going conservation work), at
first glance, does not seem to be either a tantric shrine
or a temple in terms of its architecture, which is hybridarchitecture came out during the renovation after the
afore-mentioned great earthquake. The main façade of
the temple indicates that the temple might be Shikhara
style in origin, which is similar to the Pratapapura andAnantapura, constructed latterly by King Pratap Malladuring his reigning time, which are also very close to the
Swayambhu Mahachaitya.
It is already mentioned that the temple was not renovatedin a proper way of conservation during the postearthquake renovation time, for it was just covered by
the roof. It was not the matter at the time that whateverarchitecture of the temple might be, and the matter only
might be the protection of the remaining structure of thetemples in largely all over Nepal just after the earthquake.
It was the question from everyone that Shantipur did
not seem a temple architecturally, especially in Nepalesecontext. However, the present architecture itself has spentnearly a century; and it was in the situation to be urgently
done something physically to preserve this precious
heritage. So, this conservation work has been going on.
Shantipur Temple Conservation Project
The Federation of Swayambhu Management andConservation (FSMC) prepared a conservation notes andsubmitted an application for granting urgent permission
for Shantipur Conservation Project to the Departmentof Archaeology (DoA) in May 2013. According to theapplication submitted to DoA, it was stated that theexpenses for doing all would be funded by FSMC,
and requested to DoA for the technical support forarchaeological conservation work to the project.
After the detail study and several discussions with the
FSMC, Department of Archaeology had decided and had
given permission to FSMC. It was stated that however
the FSMC is funding for the whole project, project work
must be under the supervision and guidance of DoA oneach conservation work except the financial part and
FSMC will be responsible for reporting and everythingcorresponding to the government agencies.
In the beginning, the objective of the project was toprovide adequate maintenance and change the roofmaterial, such as using copper sheets instead of zinc
sheets, which was in the worst condition.
Secondly, its objective was to conserve the wooden
structures which were used for roof; i.e. beams, rafters,
eave boards etc. When the roof was opened almost all of
the wooden elements were completely rotten and it was
supposed to be collapsed the whole roof very soon. So, it
was decided to be changed with new wooden elements,
but if the wood should be used if there are reusable
elements.
In such a way, the FSMC, a dedicated institution forsafeguarding Swayambhu was contributed themselves toconserve the holy temple of Swayambhu and initiatedthe local people as well as all of the related government
agencies for funding and doing such a larger project
regarding to heritage conservation in Swayambhu.

26

NepalPeople’s Involvement
Department of Archaeology, the sole authority of theGovernment of Nepal, in relation to cultural heritage
conservation and management, was directly involvedin this project that it had issued a permission letter forthe conservation of Shantipur temple and deputed an
official representative (the writer) for the entire project.
In the first meeting with FSMC, a Steering Committee
was formulated as per the request by the representativefrom DoA, which included related government and nongovernment agencies as well as the local institutions
and people; which consisted the Representatives from
FSMC, Department of Archaeology (DoA), Kathmandu
Metropolitan City (KMC), District Administrative Office(DAO), Guthi Corporation, Central Headquarter office,
15 Ward Office of KMC, Swayambhu, Swayambhu Police
Office, Buddhacharya Pariwar and Locals.
There were 11 members in the Steering Committee that
had been monitoring all the project work; however,the DoA was responsible for the technical conservation
work. The temple had been protected by the religious
community since the time memorable, so there wereseveral prohibitions for doing conservation activities
as well. Only the Dixits (the graduates in their own
tantric religion–Vajrayana Buddhism) could enter into
the temple, which was the difficult part for the project,however; the youths from the community who were
Dixit, had been doing all the works inside temple. They
also were much happy about being involved directly tothe conservation works of their own heritage. Anothersub-committee of the locals and the Dixit youths had also
formulated to support in day-to-day regular conservation
work as well as in documentation, which was also guided
by the representative from DoA.
The Shantipur temple conservation project started its
work from the end of July 2013 and the one third of theconservation work of roof had been completed within thefirst week of October 2013. During the conservation ofroof, observation was seriously taken for the possibilitiesof other archaeological conservation work in the temple.
All the walls (wall breadth 42 inches lime-surkhi mortar
in brick) are now in an intact condition with theirstrength. The locals and communities are very happy
with conserving the temple that they are directly involved
in day-to-day work, learning the heritage conservation
process and documentation process as well.
Conclusion
People’s or the community’s involvement in heritage
conservation and/or management is rare in Nepal and in
the world as well. The reason on this regard is a matterof economic benefit and lack of knowledge on heritage
conservation. The high educated communities also ignore
preserving their heritage because they focus and get
involved into the economically benefitted activities than in
the activities of heritage conservation. But enhancing theknowledge on heritage, the communities learnt lessons
that heritage is only the major source for earning in theirlife in Swayambhu, however it is an indirect benefit
rather than their occupational activities. So, they are verymuch interested in preserving the precious heritages inand around Swayambhu Protected Monument Zone. The
community was very much actively involved during the27

Swayambhu Stupa Renovation Project (2008–2010) and in
the same way, they have been very actively involved inthis project in different ways; which is very admirable andmuch interested for the government agencies for heritage
conservation and management.
In this project, the locals who are Dixit, fully involvedin doing everything for the conservation of Shantipur
Temple. There is no way without their involvement as
it is completely prohibited to enter into the temple foranyone except the Dixit as per their tradition. Similarly,
non-Dixit locals are also actively involved in this projecton different working activities of conservation; all theworkers except major carpenters and artisans are fromthe local communities, mostly volunteering for conserving
their precious heritage.
This would be an exemplary project on people’s
involvement in heritage conservation for the othercommunities in the country as well in the universe.
However, the conservation work is not for once but iscontinuous activities, which should be known and ownedby the local communities and feel themselves as theirpride on it. Then, it would be continued and preserved
for the next generation.
After the completion of the project, the temple would bein a good shape for a traditional architecture; however a
bit different due to its present architecture, and no one
would question again that Shantipur Temple does notseem as a temple by architecturally.
Bibliography
1.	Bajracharya, D.B. (1993). Lichchhavikalka Abhilekh,
CNAS, T.U., Kirtipur, Kathmandu, Nepal.
2.	Bajracharya, Y.P. (2009). Swayambhu: Sanchhipta
Parichaya. Federation of Swayambhu Management
and Conservation, Kathmandu, Nepal.
3.	DoA, Ancient Nepal, No. 110-112, DoA, Kathmandu.
1989.
4.	Komine, Yukio (2007). Insect Damage in Wooden
Buildings (Ecology, Damage, and Control), Japan
Institute of Insect Damage to Cultural Properties,
Japan.
5.	Sanday, John. Traditional crafts and modern
conservation methods in Nepal
6.	Shakya, Hem Raj (NS 1098). Sri Swayambhu Vikash
Mandal, Swayambhu, Kathmandu, Nepal.
7.	Shakya, Min Bahadur (2004), Sri Swayambhu
Mahachaitya (Translated in English), Swayambhu
Vikash Mandal, Swayambhu, Kathmandu, Nepal.
8.	Shrestha, Sobha (2002). Sampada Samrakshan,
Samlagna Sanstha ra Dekhieka Samasyaharu (InNepali), In Ancient Nepal, No. 149 March, Journal of
Department of Archaeology, Kathmandu, Nepal.
9.	Shrestha, Suresh Suras (2010). Wooden Architecture
and Conservation: A Case Study of Swayambhu Stupa
Conservation, In Research, Analysis and Preservationof Archaeological Sites and Remains, CHPC OfficeACCU Nara, Japan.

Nepal

1. Before conservation of the roof

2. During the conservation

3. One part of the roof after taking off zinc sheets

4.Thickness of wall

5. Covering to protect from rainwater: during conservation work

6. Rotten one of teh beams

7. Preparing rafters for new roof

8. Using tradintional techniques: reuse of older wood28

Nepal
9. Wooden planking for copper sheet roof

10. Using water proof material : just above the wooden planking

11. Copper sheets: final roof (above water proof material)

12. One side complete roof work

13. Nago head, eve board and jhallar (decoratives)_after completing roof conservation work: one side

14. A partial completed roof conservation work29

15. Two sides partially (one third) complete roof conservation work

New Zealand
Dr Matthew Schmidt, Regional Archaeologist Otago/Southland
New Zealand Historic Places Trust
Introduction
My previous International Correspondent report on the
1868-1885 Opoho Fish Ponds described the discovery
and initial investigations of this site. It also described
how the ponds were to become part of a mountain biketrail and provide a recreational/heritage experience forriders and walkers. This report provides an update on
further heritage management work at the ponds whichwere undertaken as part of International Archaeology
Day on 19 October 2013. International Archaeology Day
is an initiative by the Archaeological Institute of America
which aims to bring archaeology to the public so as topromote and educate people on the work undertaken
by archaeologists and cultural heritage professionals.
In addition to the ponds being part of a mountain biketrail, they will now become part of the 150th Anniversarycelebrations of Fish & Game Otago (the successor to the
Otago Acclimatisation Society), in 2014.

hatchery and was a noted tourist destination for visitors
to Dunedin in the late 19th and early 20th centuries.

Background to the New Zealand Acclimatisation Societies
In the late 1860s, various Acclimatisation Societies around
New Zealand began to experiment with the introductionof various European and American faunal species so as toprovide terrestrial food resources for the growing colonial
population. The introduction of fresh water sport fish was
one of the key aims of these societies so as European/
Pakeha inland populations had a reliable source of fresh
fish. Hence in 1867, the Government introduced the Troutand Salmon Protection Act 1867 which made provision
for “the preservation and propagation of Salmon andTrout in this Colony”.

International Archaeology Day – 19 October 2013
International Archaeology Day provided an opportunity
for further investigation and management of the ponds
and the chance for volunteers from Fish & Game Otago,
Mountain Biking Otago, the University of Otago, andsome young budding archaeologists, to do hands-on
archaeology.

The Otago Acclimatisation Society Fish Ponds at Opoho
Creek, Dunedin, were therefore built as a result of theColonial Government’s aim of populating the fresh water
environments of the Otago region with sport fish. These
ponds, built in 1868, are believed to be the origin of thefirst successful release of Brown Trout (Salmo fario) in
New Zealand. This event, alongside the later successful
release of other sports fish, has resulted in trout fishing in
New Zealand becoming a major contributor to the tourism
industry today, with the Mataura River in Southland being
considered the best river in the world for brown trout
fishing.
Brief History & Re-discovery of the Fish Ponds of the Opoho
Fish Ponds
The Fish Ponds at Opoho were built in 1868 for the
purpose of establishing a viable fresh water sport fisheryin Otago. From these ponds brown trout (Salmo fario)
and other species of foreign fresh water fish were hatchedand grown for release not only in Otago, but in otherlocations around the South Island. The ponds were so
successful that between 1868 and 1885, local newspapers
the Otago Daily Times and Otago Witness followed thedevelopment and successes of the hatching process andfish rearing at the ponds through publication of Otago
Acclimatisation Society articles and meeting minutes.
In 1885, the hatchery was deemed too small and a new
hatchery was built further up the Opoho Creek gully.
This larger hatchery continued the success of the first

New ZealandInternational Archaeology Day at the Otago Acclimatisation Society 1868-1885 Opoho Fish Ponds(NZAA Site No. I44/490).

The Fish Ponds were brought to the attention of the
New Zealand Historic Places Trust (NZHPT) in January
2011 by Mountain Biking Otago track builders working
on a community recreation bike track located in native
bush next to Opoho Creek in Dunedin (Figures 1, 2 &3). This fortuitous re-discovery meant that this significant
heritage site for the history of the introduction of fresh
water game fish in New Zealand could be examined andinvestigated and decisions made on its preservation andfuture management. Since 2011, vegetation in and aroundthe ponds has been cleared and the Lower Pond has had
some of the fill removed on two occasions to ensure thestructure did not deteriorate further (see the previous
report which describes the archaeology of the ponds andtheir history in detail).

A total of 15 volunteers met at the site and all were
supplied with buckets, trowels, half-shovels, loppers,
secateurs, shovels and spades to clear vegetation andremove fill from the ponds (Figures 4 to 6). Much of theequipment was supplied by archaeologist Phil Latham,Archaeology Laboratory Manager for the Anthropology
Department at the University of Otago, who also
volunteered his time on the day.
The first task for the volunteers was to clear vegetation
around the two ponds using secateurs and loppers(Figure 7 & 8). Volunteers were shown how to clear
the vegetation without damaging the stone work ie. notto pull the vegetation from the stonework but to cut itflush to the stone surface, and where to step to ensure
the fabric of the site was not damaged during the work
(Figures 9 to 12). Fallen trees and trees and shrubs
growing in an around the ponds were cut by Hamish
Seaton of Mountain Biking Otago, a skilled chainsaw user
(Figures 13). These were then removed from the site anddeposited away from the wider area of the site.
The volunteers removed an extensive amount ofvegetation exposing a significant amount of archaeology
in the process. The outlines of the Upper & Lower Ponds
could now be clearly seen, the dimensions of the small
hut ruins above the Lower Pond could be ascertained,
and a set of stone steps leading down to the creek near
the Lower Pond were revealed (Figures 14 to 17).
The next task involved removing fill from the ponds,
exposing and cleaning stonework and determining thenature and extent of the access terraces around theponds. Volunteers were shown how to excavate fill from30

New Zealandthe ponds in an even and regular manner so as any
artefacts or features revealed could be recorded according
to their depth; how to follow a line of stonework using
a trowel, half-shovel and brush to expose the extent andform of the feature; and how to clean moss and dirt frompitched stonework so as not to affect the mud ‘mortar’joins between the stonework.
Excavations of the Lower Pond exposed all the pitchedstonework of the structure down to the base of the pond
(Figures 18 to 25). Excavation of the smaller Upper Pond
was not completed but successfully uncovered the shapeand the depth. In contrast to the larger Lower Pond, theUpper Pond also appeared to have stonework aroundthe walls, in its base and along the upper lip, but thestones around the walls and in the base were large andnot systematically laid (Figures 26 to 29). Only where
the water exited the pond in a small flumed water race
(fluming was found in the top soil in the exiting waterrace feature) on its way to the Lower Pond was thestonework placed in a planned manner. It is possible thatthe wall and base stones were placed randomly in thepond to provide shelter or hiding places for the young
fish, the pond itself being made of dirt and gravel. A test
pit dug in the centre of the pond showed that the pond
did not have a stone base. Further excavation of theUpper Pond is required to complete its management which
will confirm how stones were used in its construction.
The extent of the access terraces leading around theedges of the ponds was also uncovered. Although aprevious investigation of the terraces around the ponds
showed that these access terraces were probably pebbled,
this fragile layer was not excavated from beneath the thinlayer of topsoil. Exposing the pebbling would possibly

have created a management issue from visitor foot traffic.
All artefacts encountered were found in the fill which
had built up in the ponds over the last 128 years. These
consisted of 20th century bottle glass in the upper ca.
30cm with nineteenth century bottle glass, pieces ofgalvanised iron for fluming and Welsh purple roofing
slate found below this depth to a maximum of ca. 90cm
deep in the Lower Pond.
The size of the small hut as well as how it wasconstructed using river cobbles and a mud mortar wasdetermined through careful excavation (Figures 30 to 32).
The excavation did not suggest a purpose for the hutat the top of the Lower Pond, however, water certainly
flowed through the middle of the building from the waterrace leading from the Upper Pond. A small stone alcoveon the north side of the structure which appeared to be
the remnants of a chimney for a fire place did not appear
to have been built for this purpose. It’s function is as yet
unknown. Finally, a set of four stone steps were foundca. 5m from the bottom left side of the Lower Pond
leading to the creek (Figure 33). These would have beenused to gain easy access to fresh flowing water.
Conclusions
The use of volunteers as part of International Archaeology
Day to further investigate and manage the Opoho
Fish Ponds, and to provide a hands-on experience ofarchaeology, was very successful. As the archaeologyof the ponds was simple in terms of its fabric andconstruction, it was a good choice to introduce volunteers
with little or no experience in archaeology to participate
in a cultural heritage project. The work undertaken
exposed more of the layout of the pond complex

Figure 1. Location of the Otago Acclimatisation Society 1868 - 1885 Opoho Fish Ponds in Dunedin.

31

Figure 1. Location of the Otago Acclimatisation Society 1868 - 1885 Opoho Fish Ponds in
Dunedin.

References
Arthur, W. 1881. History of Fish Culture in New Zealand.
Transactions and Proceedings of the Royal Society of
New Zealand Volume 14, Pages 196 to 201.
Arthur, W. 1878. On the Brown Trout introduced into
Otago. Transactions and Proceedings of the Royal Societyof New Zealand, Volume 11, Pages 271 – 290.
NIWA Atlas of NZ Freshwater Fishes 2010. http://www.
niwa.co.nz/our-science/freshwater/tools/fishatlas
Acknowledgements
I would like to thank Hamish Seaton and the volunteersof Mountain Bike Otago, Niall Watson and the volunteers
from Fish & Game Otago, Phil Latham of the Universityof Otago Anthropology Department and juniorarchaeologists Rebecca, Jakob, Louis and Erica.

New Zealandthan could have been achieved by a small team ofarchaeologists, as used in the previous two investigations.
As the full extent of the site is now known, better
informed decisions can be made on where to place thefencing to protect the site and the interpretation panel,and how the public will access the ponds.

‘Upper’ Pond

Figure 2. Location of the Otago Acclimatisation Society 1868 - 1885 Opoho Fish Ponds in native
LocationofDunedin
the Otago
Society 1868 - 1885 Opoho
bush,Figure
next to2.Opoho
Creek,(see Acclimatisation
Figure 3).

Fish Ponds in native bush, next to Opoho Creek, Dunedin (see Figure 3)

Figure 3. Top: Arthur’s 1880 sketch map of the ponds. Bottom: Close view of the Lower Pond
and the ‘Upper’ Pond further exposed during International Archaeology Day 18 October 2013
(Arthur 1881:208-209).
Figure3. Top: Arthur’s 1880 sketch map of the ponds. Bottom: Close view of

the Lower Pond and the ‘Upper’ Pond further exposed during International
Archaeology Day 18 October 2013 (Arthur 1881:208-209)
Page 7 of 10

Page 6 of 10

Figure 4. Volunteers from Fish and Game, Otago and archaeologist Phil
Latham from the University of Otago (back right) (Photo: NZHPT)

Figure 5. Mountain Biking Otago volunteers and Niall Watson from Fish andGame (right) (Photo: NZHPT)32

New ZealandFigure 6. Junior archaeologists volunteering their time. From left: Jakob,
Erica, Rebecca and Louis. (Photo: NZHPT)

Figure 7. The large Lower Pond before vegetation clearance and excavation(pictured: Niall Watson, Fish and Game Otago). (Photo: NZHPT)

Figure 8. The smaller Upper Pond before vegetation clearance and excavation(Photo: NZHPT)

Figure 9. Clearing vegetation from the Lower Pond (Photo: NZHPT)

Figure 10. Clearing vegetation from the Lower Pond (Photo: NZHPT)

Figure 12. Clearing vegetation from the remains of the small stone hut at the
top of the Lower Pond (Photo: NZHPT)

33

Figure 11. Clearing vegetation from the path on the south side of the Lower
Pond (Photo: NZHPT)New ZealandFigure 13. Hamish Seaton of Mountain Biking Otago cutting up a large tree
which has fallen through the middle of the Upper Pond (Photo: NZHPT)

Figure 14. The Lower Pond after vegetation clearance and at the start of
excavation (Photo: NZHPT)

Figure 15. The Upper Pond after vegetation clearance. The sun shines on the pond with the level terrace
running around the outside. The stone outlet is visible in the foreground (Photo: NZHPT)

Figure 16. The Lower Pond hut after vegetation clearance by archaeologist
Phil Latham (Photo: NZHPT)

Figure 17. The stone steps after vegetation clearance (Photo: NZHPT)

Figure 18. Excavation of the Lower Pond (Photo: NZHPT)

Figure 19. Excavation of the Lower Pond (Photo: NZHPT)

Figure 20. Excavation of the Lower Pond (Photo: NZHPT)

34

New Zealand
35

Figure 21. Excavation of the Lower Pond (Photo: NZHPT)

Figure 22. Excavation of the Lower Pond (Photo: NZHPT)

Figure 23. Completion of the excavation of the Lower Pond showing thestonework and access terrace (Photo: NZHPT)

Figure 24. The Lower Pond viewed from the stone hut ruin above the pond
(Photo: NZHPT)

Figure 25. The Lower Pond on completion of excavation (Photo: NZHPT)

Figure 26. Excavation of the Upper Pond with 19th century Welsh roofing
slate found in the fill (Photo: NZHPT)

Figure 27. Excavation of the Upper Pond (Photo: NZHPT)

Figure 28. The Uower Pond after excavation. This pond requires more excavation
work to complete its investigation and management (Photo: NZHPT)New ZealandFigure 29. The stonework of the Upper Pond showing its limit around its top
edges and at its exit (Photo: NZHPT)

Figure 31. The stone hut ruin after excavation with the alcove on the right, outlineof the remains of the walls and Lower Pond in the background (Photo: NZHPT)

Figure 30. The stone huts ruins during excavation (Photo: NZHPT)

Figure 32. Another view of the hut ruins showing the stone alcove in the
background and the remains of the walls (Photo: NZHPT)

Figure 33. Stone steps leading down to Opoho Creek located near thesouthern eastern edge of the Lower Pond (Photo: NZHPT)36

Pakistan
Pakistan

Restoration/Conservation/Rehabilitation Of North West Minaret Of Jahangir Tomb
Muhammad Aasim Dogar, Field Officer
Antiquities Trade Control Branch, Directorate General of Archaeology, Government of the Punjab
1. Location
The Jahangir tomb is situated on the right bank of River
Ravi at Shahdara on the north-western out skirts of
Lahore (31o-34' N & 74o-2' E), Punjab.
2. History
Emperor Jahangir the forth king of the Mughal dynasty
in subcontinent was born in 1569 A.D. After the death of
his father Akber the great Jahangir ascended the throne
in 1605 A.D. at the ripe age of thirty six years. After reignof 22 years, he died on 28th October, 1627 A.D. at Rajauriin Kashmir on his way back to Lahore. According to hislast wish, he was buried at Lahore in a significant royal
Garden known as “Dilkusha” owned by his favourite wife
Noor Jehan.

The marble cenotaph with the delicate and colourfulpietra dura work engraved with the ninety-nine attributesof God, Emperor’s name and the date of his death
all in superb calligraphy, is also a fine example ofworkmanship in marble.
As recorded by Shahjahan’s historian, Muhammad Salih
Kamboh, in his work Amal-e-Salih there was anothercenotaph occupying the centre of the raised platform on
the spacious roof of the tomb. Structural evidence showsthat, this platform was originally decorated with marble
cenotaph and marble railing all around.

3. Jahangir’s Tomb
The Mausoleum over his grave was erected by his eldest
son and successor Shahjahan (1627-58 A.D.). It took ten
years (1627-1637 A.D.) to complete at the cost of Rupees
ten lacks. The Mausoleum as it stands is surrounded by aluxuriant garden 1600x1600 ft. covering an area of about
58.77 acres. The entire area is further laid on the patternof “Chahar Bagh” and is divided into sixteen sub-square
grassy lawns by means of walkways and water channels
in the middle. At each intersection there is an octagonalraised water tank provided with a marble fountain in thecentre with cascades on either end. Plenty of ornamental
shady trees were grown in the Garden. The mausoleum
and the garden are enclosed by a high perimeter wallwith an imposing gateway, which links the Akbari Saraion the western side and baradaries on the remaining
three sides.

5. Present condition
Most of the original decorative features of Jahangir’s
mausoleum and other monuments at Shahdara have beenplundered during the period of political anarchy that
followed in the wake of the decline of the Mughal rule,especially when Punjab came under the domination of
the Sikhs. Precious stones used in the decorative motifs
were removed from the Mughal buildings by the Sikhs toembellish the Golden Temple at Amristar. This treatment
was meted out to most of the Mughal buildings in Lahore
and Jahangir’s mausoleum was no exception to this large
scale vandalism by the Sikhs. The tomb of Jahangir was
also used as a residence of one of the French officer of
Sikh Army. Sultan Mahmood Khan, the brother of Dost
Muhammad Khan the ruler of Afghanistan, whose army
made fire places in the halls of the mausoleum, also
contributed to its decay and deterioration.

4. Architecture
The tomb, a single storey structure, is square in planwith 267 feet sides and built in red sand stone richly
inlayed with white marble decorative motifs. It stands in
an immense garden of 58.77 acres, divided into sixteen
sub quarters by means of walkways and water channels.
The principal effect in the embellishment of the tomb is
obtained through applied colour decorations in the formof richly decorated fresco paintings and mosaic tiles in
addition to the delicate pietra dura and marble intarsia ofvarious colours. The idea of white marble motifs incisedin red sand stone such as ewer, fruit dish and rosewater sprinkler appears to have been taken from Persian
miniature paintings.

Further, colossal damages were done to this complex
of monuments at Shahdara due to the adverse affects
of weather changes, temperature variations, periodical
floods, earthquakes, direct impact of rains, strong winds
and other natural hazards, all had contributed to its
present condition, what we see today.

While the low height of the building appears to be anarchitectural shortcoming, the four handsome cornerminarets crowned with white marble cupolas and rising
up in five stages to a height of nearly 100 feet above
ground, not only make good this drawback but also
add to its magnificence and grace. These minarets aredecorated with variegated marble in zigzag pattern and37

are the fore-runners of the refined and octagonal minaretsof the imperial Mughal style.

7.	Measures for preservation and restoration
There is a general awakening among community ofnations that historical monuments, cultural relics, workof art and archaeological mounds belonging to particularcountry are the legacy of the entire humanity and mustbe guarded and preserved for the future generations.
Each country has a moral duty and national obligation forthe proper preservation of her cultural properties with aview to prolong their life and make them meaningful forthe understanding of their functional aspects and artisticfeatures.
Achieving this objective a Master Plan has been prepared
for the preservation and restoration of decayed land
missing components of the monuments along with
washed out walkways of Jahangir’s Tomb and Asif Khan’s
Tomb may be restored on its original layout and design
8. Objectives
The primary objectives of the Project is to preserve andrestore the original components of the mausoleum i.e.
Sang-e-Badal flooring platform, Red Sand Stone Façade,Perimeter Wall, Asif Khan’s Tomb. Akbari Sarai, Walkways
and Lawns etc.
The Mausoleum of Emperor Jahangir:
The tomb of Emperor Jahangir was constructed byEmperor Shah Jahan in the Bagh-e-Dil Khusha belonging
to Noor Jahan Queen of Jahangir. It was the wish ofEmperor Jahangir that, i) I must be buried in Bagh-e-Dil
Khusha at Shahdara, Lahore. ii) my grave must be open
to the sky.
The construction of the Tomb was commenced in
1627 A.D. and was completed in 1637 at a cost of Rs.
10,00000/- (Ten Lac) by the order of Shah Jahan, thesuccessor and the son of Jahangir. In the history of the
Mughal Architecture, it is 2nd important monument after
the Taj Mahal at Agra.

There is no doubt that the construction of the Taj Mahal
was initiated by the Shah Jahan from the Tomb ofEmperor Jahangir. The layout of the garden is designedon the Persian idea of Chahar Bagh or four gardens.
The Parapet ring along the boundary wall 1675 allaround having a built in reservoir to be filled up through
Persian wheels working for the day and night at about
twelve numbers of well existing in side & out side of theboundary wall.

Pakistan

6. Causes of decaya) Natural causes having a prolonged actioni.	Physical causes: Age, water, humidity, temperature,
and wind.
ii. Chemical and electros
Chemical causes: Water and atmosphere.
iii.	Botanical causes: The growth of autonomous 		plants in the immediate vicinity of the monument:iv.	Biological and microbiological causes wood worms,
fungi, white ants & termites.
b) Natural causes having an occasional action
	Floods, water pours inundation and other disorderlywater flow, fire and earthquakes.
c)	C a u s e s d e p e n d i n g u p o n h u m a n b e h a v i o r s ,additions and alteration in the original structure,
bad conservation in an unplanned way, andencroachments near around the monument.
	The decayed and washed out walkways of Jahangir’s
Tomb and Asif Khan’s Tomb may be restored on its
original layout and design.

Water from the reservoir is serving for the playing offountains existing in the located Tank of each square of
the garden. The filled up tanks supply the water to thechannels & then lawns, through water cascade provided
on all four sides of the main water tanks with thefountains in the center.
The unprecedented floods of 1843 A.D. played havocwith the enclosure wall of the monument along with themain structure of the tomb. A number of cracks weredeveloped in the Arched Verandah & Four Corridorsof the Mausoleum due to earthquake which also haddamaged the top cupolas of the Badshahi Mosque, theShish Mahal of the Lahore Fort and Chauburji Garden
N.W. Minaret of the gateway. Even various floods in thesecond half of the 20th century i.e. 1955 & 1988 etc. also
contributed in the devastation of this monument and thegarden as well.
Tilting of the North West Minaret::
It was 1970 when news in daily news papers flashed outthat the North West Minaret of Jahangir’s tomb Shahdara
is tilting towards outside.
The Department of Archaeology there & then approached
the WAPDA authorities and a tilto meter was fixed on the
Top Story of the minaret. The instrument remained there
for a considerable period to observe any sign of tilting
through this device. During this period no sign of tilting
was observed.
It is odd that the base of the minaret had shown
continuous development in its cracks and developed infissures, bulged out considerably. Keeping in view the
precarious condition of the minaret which was supposed
to be the worst, it was decided to take up in hand thework of restoration of this minaret. But due to precarious
condition of this minaret, the program was cancelled for
one reason or the other. No doubt that the precarious
condition of the bulged out base of this minaret had
required a very careful treatment while taking in hand
the restoration work. However, a bold step was taken
in 1907-08 after adopting all the precautionary measures
towards its proper support as per requirement of the site.
After a thorough study of the minaret being 100 feethigh from ground level, it was decided that the workof restoration of this minaret may be taken in hand
immediately before any untoward incident could takeplace. Since then, the restoration work of this minaret wascommenced and it is a great satisfaction that the entire
minaret had been completed in all respect by restoring all
its original and new stone pieces fixed at its proper sides

38

Pakistanaccording to the original layout and design.

with old and new stone pieces

First of all, the documentation of the entire structure(i.e. dilapidated condition of the base of this North West
Minaret of the Mausoleum of Emperor Jahangir Shahdara)
was done.
To ensure the stability of the upper structure properand well designed scaffolding was raised to support the
projected brackets and eaves of the upper stories of thisMinaret accordingly.

Item No. 6
Preparation and fixing in position the Red Sand Stone
Dassa with petal design as per original layout and design
with old and new stone pieces

The Detail of the works done at site is as below:
1	Documentation of the resultant portion of the NorthWest Minaret before during and after completion of
the restoration work.
2	Raising of tubular Scaffolding to support upper storiesof the Minaret by giving proper support underneaththe projected brackets and eve.
3	D ismantling of all bulged out portion of theoctagon base one by one as per need andrequirement.
4	Restoration of all original and new stone components
at its original place duly fixed with the cooper dowel
and clamps along with the stone dowel etc.
5	D ate card on the resultant newly restored stone
pieces have been affected accordingly.
6	P roviding and laying PCC 1:2:4 as adhesive tocreate a bond between the core of the minaret andall old and new stone pieces fixed at their proper
place.
The following works have been done according to theset principals of the conservation.
Item No. 1
Preparation and fixing in position the Red Sand Stone
Mudakhil 19” wide with inlay of White Marble motifs infloral design as per original layout and design with oldand new stone pieces
Item No. 2
Preparation and fixing in position the Red Sand Stone
Double Ghalta with inlay of White Marble motifs in floral
and geometrical pattern design as per original layout anddesign with old and new stone pieces
Item No. 3
Preparation and fixing in position the Red Sand Stone
Sehra 6” wide with inlay of White, Yellow and Black
Marble motifs in floral design as per original layout anddesign with old and new stone pieces
Item No. 4
Preparation and fixing in position the Red Sand Stone
Gul-e-Nau with inlay of White Marble motifs in floral
design as per original layout and design with old andnew stone pieces
Item No. 5
Preparation and fixing in position the Red Sand Stone
Dillah Facing with inlay of White Marble motifs in floral
and geometrical design as per original layout and design

39

Item No. 7
Preparation and fixing in position the Red Sand Stone
Mini Dillah with inlay of White Marble motifs in floral andgeometrical design as per original layout and design with
old and new stone pieces
Item No. 8
Preparation and fixing in position the Red Sand Stone
Nasik Garvi 8½” x 8” as per original layout and design
with old and new stone pieces
Item No. 9
Preparation and fixing in position the Red Sand Stone
Nasik Corner/Nook Shaft 11”x44” as per original layout
and design with old and new stone pieces
Item No. 10
Preparation and fixing in position the Red Sand Stone
Single Ghalta at base in floral design as per original
layout and design with old and new stone pieces
Item No. 11
Preparation and fixing in position the Red Sand Stone
Single Base Plate Under Base Ghalta to provide horizontal
level to erect the base properly on the same
Item No. 12
Provision for Rubbering, Grinding and Polishing of theentire surface of the base of this North West Minaret
Complete in all respect, along with dismantling andremoval of the tubular scaffolding raised for the
restoration purpose.

Before Conservation

Pakistan40

During Conservation Pictures

Pakistan41

After Conservation Pictures

Pakistan42

Pakistan43

Philippines
Louella Solmerano Revilla, Administrative Assisstant
San Agustin Museum, Manila
Whenever I set foot on a World Heritage or any
significant cultural site, the experience has the usual
overwhelming impact on me. I was still pondering on the
recent unique tour experience I had had at the Puerto
Princesa Subterranean River National Park, a protectednatural resource in Palawan, Philippines, when terrible
news came out the very next day I returned to Manila.
A 7.2 magnitude earthquake hit the Visayan Region on
October 15, 2013 leaving people grieving over lives lost,
homeless, devastated, and important cultural properties inruins. I was aghast to see pictures of damaged centuriesold churches aired on television and posted on social
media sites. The churches, watchtowers, bell towers,
and government buildings were not spared in Bohol andCebu. Included among the damages is the bell tower ofan old Augustinian Church, the Basilica del Santo Niño
de Cebu, the area where the revered Sto. Niño of Cebu
is housed. How can such magnificent structures thatwithstood the test of time be literally reduced to dust andrubbles in one instance? These were not just ordinary
buildings, but most were places of worships that existed
when Catholicism was introduced in the country andembraced by the Filipinos. The churches were uniquely
built by Filipinos and foreign workers. These are places
where people gather, where little children are taught
in Cathechisms, where families come together to pray,where communities are built. It is part and parcel of ourculture, our way of life.
The country’s cultural agencies, namely the National
Commission for Culture and the Arts (NCCA), theNational Museum, the National Historical Commissionof the Philippines, spearheaded, in a special emergency
meeting, a plan for the rapid assessment of the destroyed
heritage structures declared as “National Cultural
Treasures”, “Important Cultural Properties” (ICPs), and“National Historical Landmarks” (NHLs), including
the undeclared heritage structures with historical andcultural value. The plans were made in the presence ofrepresentatives of the National Archives, the Diocese of
Tagbilaran, ICOMOS representatives, Local Government
units, and Department of Public Works and Highways,
National Disaster Risk Reduction, and Management
Council, the Armed Forces of the Philippines, and somevolunteers.
Tacloban and its nearby areas, the sites which bore thewrath of the recent super Typhoon Yolanda (Haiyan) lastNovember 8, 2013, suffered already a history of storms
with inevitable casualties and destruction. History repeats
itself. The Philippines experienced one tragedy after
another, something unimaginable to happen in a yearthat caught global attention. The effect of super Typhoon
Yolanda based on the latest detailed report as of the 13thof December 2013 by the Philippines’ National Disaster
Risk Reduction and Management Council (NDRRMC),

Philippines

Protecting our Cultural Heritage: A Herculean Task

around 6,009 individuals were reported dead, 27,022
injured, and 1,779 are still missing. Many houses weredamaged and families were displaced. A specific historic
18th century church of the Immaculate Conception in
Guiuan, Samar province, was affected like most structuresin the town of Eastern Samar. A National Cultural
Treasure, again, laid in ruins after the earthquake in
Bohol and Cebu.
I recall now what Dr. Javier Galván Guijo, a Spanish
Architect whose expertise is on Fil-Hispanic Architecture,what he mentioned about a paper he wrote years backwhen he was assigned in the Philippines, about why
mother nature is not only to be blamed. He was a
consultant then in the 1990s in an International funded
project to produce master plans of Baguio and Dagupan.
He said that one of the main goals of the masterplan was to identify the hazardous zones regarding
earthquakes, typhoons, flooding, and landslides. There
was a zoning showing areas where construction should
be avoided. Since nothing out of the plan he equipped
was implemented before many lives perished during atyphoon Feria that hit Baguio in 2001.
In this note, one may come to think about the heritage
churches and sites in Cebu, Bohol, Tacloban, or Guiuan.
Were there previous preventive measures or emergency
preparedness plans laid out for these declared “National
Cultural Treasures”, “Important Cultural Properties” (ICPs),and “National Historical Landmarks” (NHLs)? Could wehave lessened the impact of natural calamities on thesecultural properties if previous assessments were madeand the stability of each structure prioritized? These arejust some of the questions which some of us would havein mind. I wanted to hear personally from those whoare involved in the recovery program and so I asked if
we are prepared to face another calamity. In general,a master plan with a much detailed report and survey
will be produced for future reference for each of thecultural sites. There will be a rehabilitation program of
the affected areas. Expected output ranges from broad
spectrum considering the extreme climate change. From
here, you will come to realize the value of documentation
which the Augustinians, other religious congregations,and historians, and simple art enthusiasts have done
through the years.
What happened already serve as an eye opener for
all of us. There is a big responsibility that all of us ascustodians of our cultural heritage must recognize andfulfill. I do believe in the hope, faith, and perseveranceof the Filipino people. It may have been a disheartening
sight when you see your countrymen suffering. I can saythat it is also heartwarming to witness the overflowing
relief support we get from all parts of the world. We all
have seen this global affirmation.

44

BEFORE PHOTO

EFFECTS OF THE OCTOBER 2013

EARTHQUAKE TO THE CULTURAL PROPERTIES

Philippines

Baclayon Church
Declarations: NHL (1994) / NCT (2010)1a) Parish was founded in 1717. Main church structure was erected in
1727 and the portico-façade in 1875. Its bell tower serves as a watch
tower. (Photo by Dr. Javier Galván Guijo)1b) October 2013. Extensive damage. The Portico-façade was completely
destroyed. The bell tower collapsed, with half the base standing un-facedwith coral stone facing; exposing the lime and mortar section of the wall.
(Photo courtesy of NHCP)

1a) Baclayon Church, Bohol

1b) Aftermath photo2b) Aftermath photo2a) Loboc Church, Bohol

Loboc Church (Iglesia Católica San Pedro Apostol)
Declarations: NHL(1998) / NCT(2001)
2a) The church complex is composed of plazas, a convento, and abelltower. Parish was founded in 1697. Church structure was erected in
1734, while the façade between 1863-866. (Photo by Dr. Javier Galván
Guijo)
2b) Large-scale damage. The recent Recollect-built façade and the Jesuitbuilt in the 18th century completely collapsed, with the old bell tower aspart of the Jesuit-built façade, remain standing.
(Photo courtesy of NHCP)
2c) A rare scenic photo of Loboc Church by the river before theearthquake (Photo by Dr. Javier Galván Guijo)2c) Before the earthquake
Loay Church, Bohol (Iglesia Católica del Santísima Trinidad)
Declarations: NHL (2003)/NCT (2013)3a) The church before the earthquake. Parish was founded in
1799 and church structure erected in 1822. (3b) Loay watch
tower before the earthquake (Photo by Dr. Javier Galván Guijo)3c)Extensive damage on the portico, exposing the original
façade; ruptures at the both sides of the transept.
(3a & 3c photos courtesy of NHCP)

3a) Loay Church, Bohol3b)Laoy watch tower 3c) Aftermath photo

Dauis Church, Bohol (Iglesia Católica del Nuestra Señora de la Asuncion
Complex)
Declarations: NHL (2009) / NCT 20114a) Parish was founded in 1697 while the structure erected in 1863,
developed in 1884, and consecrated in 1923.
4b) Extensive damage after the earthquake(4a & 4b photos courtesy of NHCP)

4a) Dauis Church, Bohol4b) Aftermath photo
Maribojoc, Bohol (Punta Cruz Watch Tower)
Declarations: NHL (2009) / NCT (2012)5a) Before photo / 5b) Moderate to serious damage. No specificinspection yet due to inaccessibility(5a & 5b photos courtesy of NHCP)

5a) Punta Cruz Watch Tower, Maribojoc, Bohol

455b) Aftermath photo

Philippines6a) Maribojoc Church, Bohol

6b) Aftermath photo

Maribojoc Church, Bohol (Iglesia Católica del Sta. Cruz)
Declarations: NCT (2010) / NHL (2010)6a) The church was founded in 1697, the structure erected in 1852.
6b) In total ruin. Condition: buried.
(6a & 6b photos courtesy of NHCP)

8a) Panglao Watchtower, Bohol

8b) Aftermath photo7b) Aftermath photo

Loon Church, Bohol
Declarations: NCT (2010) / NHL (2010)7a) The Parish was founded in 1753, the church structure erected in
1855, and inaugurated 1864.
7b) In total ruin. Condition: buried.
(7a & 7b photos courtesy of NHCP)

9a) Cortes Church, Boho9b) Aftermath photo

Iglesia Catolica del Sto. Niño, Cortes, Bohol
Declaration: NCT (2013)9a) Structure was erected in 1892
9b)Extensive damage(9a & 9b photos courtesy of NHCP)

Watchtower. Panglao, Bohol
Declarations: NCT (2011)8a) Before Photo8b) Moderate to serious damage(8a & 8b photos courtesy of NHCP)

10a) Balilihan Belltower, Bohol

7a) Loon Church, Bohol

10b) Aftermath photo

Balilihan Belltower, Bohol
Declaration: NCT (2011)10a) Recognized also as Watchtower10b) In total ruin. The Belltower was completely destroyed.
(10a & 10b photos courtesy of NHCP)

11a) Albuquerque Church, Bohol11b) Aftermath photo

Iglesia Catolica de Sta. Monica, Albuquerque, Bohol
Declarations: ICP (2013)11a) The Parish was founded in 1869 and the structure erected in 188511b) Damages on the façade and interior of the convent(11a & 11b photos courtesy of NHCP)

Iglesia Católica del San Agustin Complex, Panglao, Bohol
Declaration: ICP (2011)12a) Photo before the earthquake12b) Minimal damage(12a & 12b photos courtesy of NHCP)

12a) Iglesia Catolica del San Agustin Complex,
Panglao. Bohol12b) Aftermath photo46

Philippines

Dimiao Church, Bohol
Declaration: NCT (2011)13a) The church was erected in 1800 and finished in
1815(Photo by Dr. Javier Galván Guijo)13b) Peeled portion of the right belfry13c) Damaged rear pedimenrt(Photo by Archt. Daryl de Leon of NHCP)

13a) Dimiao Church, Bohol13b) Aftermath
photo13c) Aftermath photo

Bohol Capitol, Tagbilaran City, Bohol
14a) Structure was erected in 191114b) Damaged portion of the Capitol’s Façade(14a& 14b photos by Archt Benjamim Concepcion Empleo)14a) Bohol Provincial Capitol (Government
Important Cultural Property

14b) Afterrmath photo

EFFECT OF THE SUPER TYPHOON YOLANDA
La Purisima Concepción Church, Eastern Samar
ICT15a) 18th Century Jesuit Church
This photo was taken after the Super Typhoon Yolanda showing theremnants of the façade of the church. (Photo by Ross Cuña)

15a) La Purisima Concepción Church, Eastern Samar

ACKNOWLEDGEMENTS:
The author would like to thank the following for making
this paper possible:
The National Commission for Culture and the Arts (NCCA),
the National Museum (NM), the National Historical
Commission of the Philippines(NHCP), Hon. Felipe deLeon-Chairman of NCCA, Mr. Jeremy Barns-Director of
National Museum, Mr. Angel Bautista-Director of National
Museum, Hon. Maria Serena Diokno-NHCP Chairman,
Dr. Javier Galvan-Guijo-Chief of Staff to the Director

47

General of Instituto Cervantes in Madrid-Spain, Arch. Raj
Busmente of NCCA, Chief Architect of NHCP Wilkie B.
Delumen, Archt. Benjamin Concepcion Empleo of NHCP,
Chief Science Research Specialist of NHCP Eng. Larry C.
Cruz, Archt. Daryl de Leon of NHCP, San Agustin Church
and Museum, the National Disaster Risk Reduction andManagement Council (NDRRMC), Ma. Arch. Joycelyn B.
Mananghaya through NCCA, Ma. Antonio Kalayaan de
Mesa Cornista, and to all the Cultural Agencies’ Heritage
Task Force.

Sri Lanka
D.A. Rasika Dissanayaka, Assistant Director (Promotions)
Department of Archaeology, Sri Lanka
Introduction
This proposal outlined the present situation of important
heritage building in North Central Province in Sri Lanka
and preventive measures followed for conservation on abrief examination.
The Tampita Vihara or Temple on Pillars is image houses
that are constructed on stone pillars. By the medieval
era, this kind of smaller image houses were constructedusing wattle and daub or clay walls. The inner chamber
rests on large cross sectional timber beams placing acrossstone pillars to avoid the harm done by insects andwater/damp as the civilization shifted to wet zone. The
main raw material used here was wood.

Sri Lanka

Conservation of Tampita Vihara (Temple on Pillars), Dambadeniya

were used horizontally over these to help and bear theweight. The pillar head helped to lengthen the eave.
The strength and the impressive appearance were
given prominence in the old buildings. Mee (Madhuca
longifolia), Na (Mesua ferrea), Gammalu (Pterocarpus
marsapium) , and Palu (Manickara hexandra) were thewood used.
Hundreds of Tampita Vihara existed in North Western,
Sabaragamuwa and Central Provinces. Most of thesecultural properties have been neglected or abandoned
due to various reasons. Archaeological authorities areunable to interfere in their renovations due to insufficientfinancial allocations.

Some kind of Tampita Vihara
Wooden Technology
The ancient technology of wood was in a peak position.
The most basic and important wooden component in an
ancient building was the wooden pillar. The rafters werecarved at ends (gonas) and a stick identified as “Iddha”
was used to avoid displacement. The joint which wasused to extend the wall plate was called lengthening
joint.
During early times of Sri Lanka, buildings wereconstructed with clay and wattle. Wood was eminent inconstructing buildings in Sri Lanka by the 7th-8th century
A.D., and later, wooden constructions were transformed
in to stone constructions. Even after this, wood was used
for the roof in most buildings. The left over wooden
structures and remnants belong to the medieval era.
The pillar head is the most significant wooden part inbuildings of the medieval age. Huge wooden arches

The conservation strategy of this type of timber buildings
are drastically differentiated from a normal situation asthese buildings contained vulnerable materials except
stones. When making the management plan for theseprojects, special attention about this aspect should be
drawn.
Most of the timber heritage buildings in this type were
deteriorated and destroyed in following ways.
i. Negligenceii.	Poor maintenance due to financial problem ofoccupants or caretakers
iii. Looting
iv. Termite Attacks
When preparing a Conservation plan, lots of constraints
have been faced i.e.
i. Lack of funds

48

Sri Lanka

ii. Lack of skilled manpoweriii. Finding quality timber components
iv. High cost of building materials-Timber
There are hundreds of timber heritage buildings ofabandon situation. Wooden buildings in ancient period,
temples and forts etc. are rich in its architectural, cultural,
spiritual land other values are among them.
Conservation and restoration strategy is needed to
be strengthened for the protection of heritage andcontribution to sustainable development in these areas toassisting the state authorities.
The main goal of protection strategy includes;
i. Condition Assessment
ii. Comprehensive documentationiii. Conservation proposals
iv. Costing for Conservationv.	Financial allocations (from government, sponsors,
NGO’s etc.)
vi.	Restoration plan followed by proper maintenanceprogram
The conservation, restoration and maintenance proposal
suggests a method to protect Dambadeniya Tampita
Vihara from further deterioration. It is also supposed tosave important historic building type in the heart of theNorth Western Province.
Background information
Dambadeniya
Dambadeniya is located in North Western province of Sri
Lanka and about 65 km away from Capital City, Colombo.
The Dambadeniya Tampita Vihara is situated 250m awayfrom the town.
History
Dambadeniya is one of the Sri Lanka’s ancient capitals in
the mid-13th century. The King Vijayabahu the III (12201236 AD) established the Kingdom of Dambadeniya. The
temple had been built by king Vijayabahu the III and theKing Parakramabahu II (1236-1271) had kept the Sacred
Tooth Relic here.
Four kings ruled from here. They were,
1. Vijayabahu III (1220AD-1236AD)

49

2. Parakramabahu II (1236AD-1270AD)
3. Vijayabahu IV (1270-1272AD)
4. Bhuvanekabahu I (1272AD-1283AD)
The first king to choose Dambadeniya as his capital
was Vijayabahu III. He was able to bring about theunity among the Sangha (Monk) that had fled in various
directions due to the hostile activities of the invader
Kalinga Magha and succeeded in holding a Buddhist
convention in 1226 to bring about peace among theBuddhist clergy.
King Parakramabahu II was the king who inherited
the throne after King Vijayabahu. He was considereda genius, who was a great poet and a prolific writer.
Among the books he wrote are Kausilumina (Poetry),
which is considered a great piece of literature. Unifying
the three kingdoms that existed within Sri Lanka at thatpoint of time is regarded as greatest achievement.
King Bosath Vijayabahu, as the eldest son of King
Parakramabahu the second was crowned in 1270. He waswell known for his modest behavior and for his religious
activities. He was killed in the second year of his reign by
a minister called Miththa. After the demise of his elder
brother Vijayabahu, Bhuvanekabahu I, as the next in line
to the throne, shifted the capital to Yapahuwa for reasonsof security. He followed his father's footsteps as a writerand continued with the religious activities started by his
brother Vijayabahu IV.
Excavations have uncovered remains of the temple of the
Relic of the tooth of the Buddha and the Royal Palace,ponds and garden layouts, moats, and city walls. The
two storey temple of the Tooth Relic has Buddha images,
and is identified as the Vijayasundaramaya. It has someinteresting wall paintings dating from the 18th century,
when it was restored.
Analysis of present condition
This Tampita Vihara building is one of the mostsignificant historical monuments in this area and depicting
a most important and aesthetic and architectural features.
Its most prominent feature is that, it is mounted on
monolithic pillars with top Pekada.
This Viharaya (Image House) that stood on raised
platforms of smooth stone and stone pillars wasconstructed this way in order to prevent termites or otherinsects from entering it and damaging it.

Such Viharaya (Image House) enshrines Buddha statues
and are places of worship. The walls and ceilings areadorned with murals and the roof is thatched with flattiles on timber frame work. There is a drumming hallvery close to the Tam-pita Vihara which are joining withroof.

Floor, wooden upper floor
There are various types of finishing materials using
floors. i.e. rendering cement in verandah and upper floor,
ceramic tiling in inner shrine area of ground floor andterracotta tiles on drumming hall. The ceramic tiles inground floor are damaged due to detachment from floor.
The upper floor which was made of wood is covered
with smooth cement mortar layer in a latter period.

Sri Lanka

These archaic monuments are preserved by the
Department of Archaeology. The superstructure of thebuilding is composed of clay walls in ground floor andwattle and daub in upper floor is square in shape.

Openings
Two doors in ground and upper floor are in satisfactory
condition.

Foundations
The foundation consists of well finished stone work withmortar. Even though excavation has not been conducted,
the foundations below the ground level are not identified.
But it is in satisfactory condition.

Roof
Both roof of drumming hall and Tampita Vihara arealmost good in condition except some decayed rafters.
Once removing the roof for conservation purpose,
reepers, tiles and some rafters will have to be replaced.

Walls
The clay and wattle and daub have been used toconstruct walls. Every wall has been plastered using lime
mortar and murals on it. Normally the thickness of walls
and plaster has considerably high.

Values of the Dambadeniya Tampita Vihara

The condition of structural stability of most of walls is in
bad situation due to the deterioration of timber frame on
ground floor ceiling level.

Historic value
This building was included in main administration centreof 13th century A.D. in Sri Lanka. The King Vijayabahu

Although this building had been abandoned for past
decades it has many values. They can be summarized asfollows.

50

Sri Lanka

III (1220AD-1236AD) and the King Parakramabahu II(1236AD-1270AD) played vital roles of Sri Lanka’s history.
Therefore it is a historical testimony for future world.

of the individual elements of this building. Main damage
in this monument is structural instability due to the decayof timber frame on ground floor wall.

Architectural value
This building represents the Sri Lanka’s most importantbuilding tradition named Tampita Vihara. Carved
wooden components, Decorative murals, timber roof
frame and statues are its characteristics.

However, following damages can be inspected.

Economic value
The temple is situated in a high land value area of theDambadeniya town close to the Dambadeniya ancient
kingdom (Maliga Gala). It will be a good income
generating attraction if a proper tourism plan has
implemented.
Material value
All the walls of this building have been made out of
mud/clay and wattle and daub which are in original state.
In Sri Lanka, wattle and daub technology is used widelyin ancient period.
Artistic value
Although the two buildings are vary in the construction
method and solid void ratio, the artistic impression is highas the architectural composition is excellent. Inner areaof Shrine room in ground floor has been laid ceramictiles in colonial era. Inner and outer walls and ceilingcontained decorative and colorful murals.
Religious and Symbolic value
It has a religious and symbolic value as for a certain
period of time, the sacred tooth relic of Lord Buddha
had been housed. This monument is still worshiped bydevotees.
Damage Typologies and Assessment
Knowledge in various types of damages will be helpful tounderstanding of the condition and damage assessment

51

i. Decay of timber frame on Ground Floor walls	3 Nos. of timber frames were placed on clay walls
in ground floor. The upper floor wattle and daubwalls are rested on this set of beams. It is visible that
this set of beams, which contained murals in innersurfaces are totally decayed in most of the places.
Surrounding crust of timber is remained and inner
portion of timber deteriorated.
ii. Defects in painting	Fissures, cracks and discoloration are existed inpainting layers. Termite and insect attack occurred.
iii. Water leaking from valley gutter	The Aluminum sheet valley gutter was placed on
reepers in between two roof of drumming hall andlower roof of Tampita Vihara. Rain water will not
drain well because of the insufficient sloping angle.
iv. Improper Electrical Installation	Electrical Installation is not in a safe manner.
v. Floor in Inner Chamber, Ground Floor	6”x6” ceramic tiles were laid on floor in innerchamber as later intervention. Because of heavy
pilgrim density the tiles have been damaged andbulged.
vi. Haphazard constructions
	Within this premises it is seen that the constructionof various new building structures has been takenplace which are very close to this monument. The
environmental value of this building has been
disappeared due to this situation. A multi storeyIn the other side many advertisement signage fromvarious sponsors appearing within the premises havedamaged the environmental existence and visual impact.
Condition assessment of building elements
Material /finishes /observations

Building
elements

Assessment

Floor

Tampita Vihara

Proper
Smoothconditionfinished stonesNointervention

Stair ways

Stone

Rearrangementof stairway

Drumming Hall

ProperTerracotta tiles
conditionlaid on floor

No Intervention

Plinth(Drumming
Hall)

Cementrendering

No major
intervention.
Only small
repair works

Displacements

CracksRemoveTampita Vihara 6”x6” Ceramic
existing
Displacement
ceramic tiles
tiles with some
(Ground/ bulging
Floor)
printed tiles
and replacing
suitable tiles

Walls

No major
intervention.
Only small
repair works

Plinth (Tampita
CementVihara(Ground
rendering
Floor)

CracksCementTampita Vihara
rendering on(Upper Floor)
Timber floor

To reduce
Weight of thisthe weightcement plasteron timberwill effect theframe, it isload bearing
recommended
capacity of
to remove
upper floor
cement plasterlevel timberand fixed
beams
timber planks

Plinth (Tampita Cement
Vihara (Upper rendering on
Floor)
Timber floor

To reduce
Weight of thisthe weightcement plasteron timberwill effect theframe, it isload bearing
recommended
capacity of
to remove
upper floor
cement plasterlevel timberand fixed
beams
timber planks

3’-9” height,
12” thick walls
around the
Detached
Drumming Hall
drumming hall cement layer
with top thickcement layer

Rectifying small
cracks andwhite washing.
Removing the
top cement
layer and fix
timber plank.

Clay walls /Wall paintings
on inner andouter surfaces
Discolour
Tampita Vihara / Anotherfinishes(Ground Floor) layer of wall
painting underthe existing
painting inouter surface

Filling cracks
and plastering
if necessary andwhite washing/ Removing
the laterintervention /Conservation ofwall paintings

Wattle anddaub walls /Tampita Vihara
Wall paintings(Upper Floor)
on inner andouter surfaces

Filling cracks
and plastering
if necessary
and white
washing /Conservation ofwall paintings

Discolour
finishes

Cleaning thestone columns
using brushTampita Vihara Pekada on(Ground Floor) stone columns

Cleaning thestone columns
using brush

TimberTampita Vihara
columns in(Ground Floor)
outer row

Cracks filledwith suitablefilling material.
Removing thepaint layer.
Applyingcolourlesswood
preservatives.

Cracks

Proposed
Intervention

Cleaning thetimber columns
and railingand applying
colourlesswood
preservatives.

Timbercolumns in
Tampita Vihara
outer row
(Upper Floor)
with railings in
between them

Removing
Rough finished
Uneven mortar existing cementstones andDrumming Hall
jointsgrooves andcement mortar
reapply proper
jointsway
Foundation

Pekada onstone columns

Columns Drumming Hall

Sri Lankabuilding is being constructed for the use of pilgrims.
Now the basement has been completed and is being
concreting for upper floor levels.

Replacingtimber beams/ or filling
3 Timber
Decayedcavities with
Timberframes on clay
timber beams suitable
Frame onTampita Vihara walls. Paintings/ Seriously
strengthening
ground(Ground Floor) are existed ondamagedmaterials.
floor
inner side oftimber parts
Consultation of
walls
beams
professionals
for further
intervention.
Timber frames
on wattle andTimberdaub walls.
Frame onTampita Vihara
Paintings are
Upper(Upper Floor)
existed on
floor
inner side of
walls
beams

Ceiling

Roof

Stair
Case

Timber planks- underside of Spaces
Tampita Vihara
upper floor /between(Ground Floor)
Paintings
planksFilling cavities
as suitablemanner

Timber planks Spaces
Tampita Vihara- Paintings
between(Upper Floor)
planksFilling cavities
as suitablemanner

Timber rafters
are carved
DecayedDrumming Hall and Kandyan
Rafterstiles on timber
frame work

Replacing
decayed timberparts

Tampita Vihara Kandyan tiles(Verandahon timberroof)frame work

No intervention

Kandyan tiles
Tampita Vihara
on timber(Main roof)
frame work

No intervention

Tampita Vihara Timber
Timber Doors

Doors

Tampita Vihara

ValleyGutterAluminum
Between roof
sheet placedof Drummingon reepers inHall andbetween two
Tampita Vihara
roofsElectrical
Installation

Already
installed

Stair
Case

Tampita Vihara Timber

Doors

Tampita Vihara Timber DoorsGood

ValleyGutterElectrical
Installation

Decayedtimber beams
Replacing // Seriously
Filling cavities
damagedtimber parts

cracksNo intervention

Good

No intervention

Fixing Zn/Al
Rain water not
sheet on timberdrain wellplank bed

irregular

Introduce
properelectrical
Installation
systemcracksNo intervention

No intervention

Aluminum
Between roof
sheet placedof Drummingon reepers inHall andbetween two
Tampita Vihara
roofs
Already
installed

Fixing Zn/Al
Rain water not
sheet on timberdrain wellplank bed

irregular

Introduce
properelectrical
Installation
system52

Interventions on the building and premises during the time

Sri Lankai.	Cement floor has been introduced on upper floor
timber planks.
ii.	Ceramic tiles have been laid on inner chamber.
iii.	In later period the stair case has been shifted tooutside verandah from inner chamber.
Proposals of the Conservation and Maintenance Plan
The conservation procedure includes further resistantof the deterioration of this heritage building and givelife to several years. Therefore proper conservation
program should be carefully designed and introduced.
As the first intervention, beam set on ground floor walls
to be strengthened. Therefore emergency shoring andprops should be introduced to strengthen the walls tillconservation finishes. The cracks and fissures should besealed with cement mortar.
Conservation Process
Foundation
Although there are no structural failures visible, the joints
should be filled with cement mortar.
Walls
Filling cracks and re plastering of damage portions
followed by white washing is recommended.
Floor
Damaged floor tiles are to be replaced with suitableceramic tiles for heavy usage. In any ways, cement
concrete is to be used as a base.
Timber floor
Wooden floor has to be exposed in upper floor.
Although new timber layer have to introduced forprotection of existing planks.
Roof
Roof structure is seen to be well in condition. But
following the conservation procedure for timber frameset, roof should have to be removed for reducing theweight. Therefore new timbers will be used when reerecting. Fixing Zn/Al sheet valley gutter on timberplank bed in correct sloping angle is recommended.
Timber Frame set
It is a great risk for replacing a 3 Nos. of timber frame set
placed on ground floor walls. If there is any possibility
to strengthen the decayed beams by filling cavities, it will
deduct the 50% of conservation process.
In this process it is recommended to consult the
professionals for further instructions in Engineering,timber and mural painting conservation fields.
Chemical Conservation for paintings and murals and anti
termite solution
Chemical treatment and stabilization of paintings isrecommended. Anti termite solution has to be applied.

53

Maintenance program
Maintenance work will help to the long life to thehistorical building. The proper maintenance program will
be designed for preventive conservation. It is proposedthat a suitable maintenance staff will be employedin certain occurrence with guidance by the qualified
conservation/civil/building engineering personnel.
The regular inspections have observing all the criticalpoints of this monument. The table below shows theprocedures and occurrence in order to maintain theheritage building in proper manner.
Task
Inspection of the monument
Examination of floor
Examination of Walls
Examination of Roof and structural timbercomponents
Examination of termites and insect attacks
Maintenance of surfaces (painting etc)

Occurrence
Every month
Every two month
Every two months
Every 6 months
Every month
Every months

Conclusion and Recommendation
Finding financial resource is the major difficulty toproceed with the conservation process as the Departmentof Archaeology is unable to finance to this project. In
this situation there is a need to find a prospective donor
to develop this project.
This proposal helps to conserve and maintain heritagebuildings as well as improving its life in years to come.
This is not only about the life style of the community inthe area to be enhanced due to the sustainable tourism
development. The proposal also assists to teach thevalues of the site and its cultural integrity.
Finally the budget is slightly high, according to the highly
responsible situation of this monument and finding ofsuitable materials. Anyhow if it will be able to overcome
the issues, the vast benefits will be gained to the peopleof Dambadeniya and also the Sri Lankan architecturalconservation process.
Referencesi.	The Department of Archaeology, 1999, Sri Lankave
Tampita Vihara Sampradaya (Sinhala) (Tampita
Vihara Tradition in Sri Lanka)ii.	Nimal de Silva, D.P. Chandrasekara, 2009, Heritage
Buildings of Sri Lankaiii.	Bernard Feilden, 2008, Conservation of Historic
Buildings
iv.	Ven. DegammedaSumanajothi, 1958, Dambadeni
Yugaya (Sinhala) (Dambadeniya Era)v.	http://en.wikipedia.org/wiki/Kingdom_of_
Dambadeniya(This Tampita Vihara was conserved by the Department ofArchaeology in 2013 with the financial support of a donor.)Sri Lanka

54

Tajikistan
Tajikistan

Building Complexes at Ancient Agricultural Settlements of Sarazm in IV-III Millennium B.C.E.
Farhod Razzoqov, Researcher
Institute of History, Archaeology and Ethnography, Academy of Sciences of the Republic of Tajikistan
Keywords: Archaeology of Central Asia, Chalcolithic andearly Bronze Age, the unique ancient agricultural centre,
cultural contacts between Southern Turkmenistan, Iran,Baluchistan and India, building complexes, architecture,
stratigraphy, a monumental complex, local tradition of
fellowship, UNESCO
Project Summary
The project addresses to a research of the developmentof the building industry and the evolution of building
complexes in Sarazm settlements, ancient cultures to thesecond half of IV-III millennium B.C. E., which developedin favourable natural and geographical conditions of thevalley of Zarafshan.
Given a detailed description of all building structures
known in the settlement Sarazm, based on a comparisonof data ceramic assemblages and results of radiocarbon
analysis , the ratio of building complexes from all
excavations over the horizon -Sarazm I, II, III and IV.
On the basis of comparison with synchronous monuments
Southern Turkmenistan, Iran, Baluchistan identified ascommon to these monuments and characteristic features
only for Sarazma construction.
I. Description of projectI.1. Scientific problem addressed by the project: Thisis the process of forming and development of building
business in ancient agricultural settlements, Sarazm.
I.2. Relevance of the project: Study of the Neolithic
building complexes -paleometal Central Asia is a key
to understanding the processes of development andconstruction business architecture of the rudiments of theancient inhabitants of this extensive region (Zarafshan
Valley).
I.3. Project Goals and Objectives: The main objectiveof the project is the allocation factors and stages ofdevelopment of building business at Sarazm settlementsin the Eneolithic and Bronze Ages, based on the analysisof features.

specific characteristics of construction affairs of Sarazm
which were compared with synchronous monuments ofCentral Asia and the Middle East.
Ⅱ. Contents of the project
Each building complex contains detailed characteristics ofthe structure and its main features: stratigraphic plans andprovisions of circuit layout, shape and size of individualrooms, retaining walls and structures, systems of passages
to the internal components. In a special section of thepaper based on the analysis of ceramics, radiocarbon
dates and stratigraphy data and building horizons ofsites were investigated in the framework of the relative
populations of periodization. Also, considerations forthe construction technology were followings: aims andmethods used for building materials (loess, stone, wood,mineral paints), methods of construction of buildings(application pakhsa, raw system and masonry walls) andtheir design features (fund, floors, pilasters, buttresses,etc.), as well as a system of passages and interior details(niches, windows, hearths, colouring and painting thewalls). As a result, categories and types of premises andproduction facilities of Sarazm were defined. Based on
the size, design features, layout and structure of theinterior parts were highlighted in three main groups ofconstruction in the complexes, within which there wereseveral types and various plan of the buildings, as well as
considered functional differences of these complexes.
A comparative analysis of structures under consideredmonument with buildings synchronous settlements
Southern Turkmenistan, South of Afghanistan and Iranare identified as common to these as local features of
construction and building industry specific only forSarazm. The study showed that in the development ofbuilding business, Sarazma outlines two or even threestages, due to advances in construction technology,interaction population of Sarazm with different groupsof the population from Central Asia and the Middle East,also natural conditions, and probably social factors.
Ⅲ. Expected results of the project
Included that the first comprehensive analysis of theconstruction business Eneolithic and Bronze conducted

I.4. Characteristics of objects/materials, which is madeon the basis of the project: The subject of the study isthe building complexes which were researched in the 12
excavations in Sarazm for the last 35 years.
I.5. Proposed approaches and methods of working with
objects/materials: Methodology is based on an integrated
approach to the study of material culture. Working witharchives, stratigraphic and typological methods allowed
to explore the features of the building industry andthe stages of its development in Sarazm. Comparativehistorical method was used to determine the general and55

1. Map of Sarazm

Ⅲ.1. Current state of research on this issue in the worldof science, innovation formulation of the problem in the
project, comparison of expected results with the world level
Study of building complexes in Neolithic-paleometal
Central Asia is a key to understanding the processesof development and construction business architectureof the rudiments of the ancient inhabitants of this vast
region.
Before the discovery of the settlement Sarazm in thearchaeological science dominated the opinion that in IVIII millennium B.C.E. in the upper valley of Zarafshan
only lived tribes of hunters and anglers sazagans
neolitical culture. However, archaeological discoveries ofthe last quarter century and the beginning of this century
show that already in the second half of the second of IV
millennium B.C.E., in Aeneolithic, there appeared ancient
agriculture-centre, the development of which continued
into the Bronze Age.

Significant contribution to the study of the developmentof construction in area of paleometal of Central Asia wasmade by Russian archaeologists as V. M Masson, I. N.
Chlopin, V. I. Sarianidi, Y. E. Berezkin, N. F. Solovyov,
and L. B. Kircho investigating monuments in Southern
Turkmenistan which is synchronous with Sarazm.
However, special work on systematization and analysis
of singularities and construction of the building industry
settlement Sarazm is absent. New materials, obtained inrecent years in the excavation of the settlement show theuniqueness of his building culture. Comparison available
Sarazama materials monuments south of Central Asiaand the Middle East can not only identify the steps ofthe development of construction industry as the ancient
production, but also it raises the question about the origin
in Sarazm in some architectural forms.

Tajikistanon the basis of archaeological materials was derived fromyears (1977-2011 gg.) excavation of large agricultural
settlements Sarazm, which since 2002 has been involved
and the author. The results can be used in writing thegeneralized papers on archaeology and early history ofCentral Asia, as well as lecture courses on the historyof ancient societies. In addition, the results of the study
should be used for conservation and restoration work at
the settlement of Sarazm.

Ⅳ. International significance of the project
Being the only archaeological monument in Tajikistan on
the list of World Cultural Heritage, UNESCO, the researchof Sarazm has a global importance. Study and solutionof the problem seen in the formation of the construction
business on this kid of monument makes us close tounderstanding the origins of historical-cultural heritage ofthe peoples of Central Asia.

2. Developed materials from archive, excavation V

4. Reconstruction the building from excavation IX

3. Type of building

5. Reconstruction the building from excavation XI

56

Uzbekistan
Uzbekistan

New Facts about Stone Bases Karabagtepa (North Bactria)
Akmal Ulmasov, Researcher
Fine Arts Institute, Academy of Sciences of Uzbekistan
Introduction
Stone bases, an integral part of the column system,
play an important role in the architecture of ancient
Bactria. Even though they are one of the major structuralelements, they were mainly used for wooden and rarely
for stone columns. Bases were used more often in theconstruction of aivans (terrace) in widely migrating areas,
as well as used for pilasters and anta1.
On the archeological excavations carried out in thesouth of Uzbekistan, numerous stone bases of different
types and species were found, which were dominantly
in a torus-shape and attic. Most of them have beenstudied and published. But recent surveys show that
there are unknown types and species in museum andschool collections located near the monuments, and thearchitectural details that have not yet been studied byresearchers. In addition, the archaeological excavations
carried out in the past few decades in that area havegiven new materials. The purpose of this report is toanalyze and reveal new features and previously unknown
bases.
In 2006, at one of the hills of the famous ancientmonument Khalchayan–Karabagtepa at archaeological
expedition was conducted by the Fine Arts Institute,and Academy of Sciences of Uzbekistan. They foundseveral stone bases of different profiles. Karabagtepa (inUzbek–“qora” means black, “bog’”–garden and “tepa” ishill) was a citadel of an antique city in Khalchayan. Thissettlement was located in South Uzbekistan. Occurrenceof early settlements in this place is dated in 1 millennium
B.C.; a big city formation occurred in 4th–3rd centuries B.C.
and the development in the period of Greek-Bactrian
kingdom, which were in Saka-You-ches and Kushanstime (Fig. 1).
Description of bases
Of these, four stone bases are in Attic profile and almostin the same size (height: 50-60 cm, plinth: 90 x 90 x 15-20
cm, diameter of the upper surface: 65 cm). They are wellpreserved, and three of them were probably in situ. Thiswas explained by the location of bases in parallel to thewall and the same distance from it. The remaining one
base was smaller in size (height: 33 cm, diameter of theupper surface: 55 cm) and moved from its place. At thisbase, plinth is absent. Next to these databases revealed
two more bases in the Attic Profile, which were twotimes smaller. Apparently, they were brought from theneighboring areas (Fig. 2).
On the north and east sides around the bases, there is anencircling smooth plasterboard wall (preserved height:
1,00 m, width: 1,30 m) It lies with adobes sized 50 x 25 x
10 cm. There is an entrance in the middle of the east wall
0.80 m in width. Proper positioning of bases from eachother by walls allowed us to assume that they had served

57

as a support base columned hall or aivan built here oncemonumental building. The failure to preserve the colonies
indicates that they were made of wood (Fig. 3).
There have previously been recorded as a stone base.
New and unknown findings have increased not only intheir number, but also they have enriched the speciesof this feature. In this sense, they are of interest. If
researchers classify these bases in appearance, most ofthem correspond to the profile of the attic, one torusshape, and the rest in a form of the previous two types.
Attic shape stone base of column
Attic base consists of a square plinth and is resting on it
for two split shaft scotia.2 The upper shaft is equippedwith two (sometimes three) sticks that contribute to asmooth transition to column. At the center of the top (and
often lower) bed has a square or circular connector for
securing the base to the column (Fig. 4). Attic base profile
was previously known not only from the excavations
at Khalchayan, but also from other studied monumentsof ancient Bactria. On the whole attic bases, thecharacteristics of Hellenistic architecture were the main
structural component of Ionic, Corinthian and Composite
order. On the territory of Bactria, they were common in
the beginning of the 4th century B.C. Despite the similarityof appearance, their sizes and proportions are different.
G. Pugachenkova analyzing this circumstance compares
them with the Greco-Roman classical samples. According
to her, "if, in the Vitruvius, the height of the base isplaced twice in the bottom diameter of the rod string, in
our case, there is no definite pattern: the ratio between
the height and diameter of the base of the upper base isin the range of 1:1 to 4:7."3 And, in V. Voronina, "Central
Asian bases differ from classical samples its arbitrary
proportions of molding elements. Tore (swell) of profile
sometimes almost the same height or upper significantly
reduced. Scotia can be very narrow in comparison withthe tore, which is sometimes more than twice superior
in height, approximately equal to them or, conversely,
overly-developed high."4 Certainly, the issues related tothe proportions of the stone bases themselves or otherstructural parts order system are not yet fully understoodand are a separate topic.
Torus-shape stone base of column
Among the new finds of stone bases of Karabagtepa
single base was found near the excavation for field work.
It represents the torus type (dimensions: overall height: 34 cm, plinth: 50 x 50 x 10 cm, diameter of the uppersurface–33 cm). Usually this type is defined in appearance
one (sometimes two or three rows of step) square plinth
and on it rests the large torus with shelves on top. At the
top of the bed has a round (or square) socket (Fig. 5).
Torus shape base found in different years at Khalchayan
identical in form, but they are different in size. But they
are proportional, that is, the total height in relation

For the manufacture of these bases as previous findings
served as the origin of the local limestone, which isquarried near Baysun mountain range. As for the artof making stone bases and other structural parts ordersystem, as long as there is no information in the written
sources. But at the present time in the literature theassumption, based on concentric tracks on the surface ofthe base shows that they were formed by the rotation ofa certain machine.

Literatures
1. Turgunov B. Returning to Kalchayan // Traditions ofancient and medieval urban culture of Central Asia. Tashkent, 2010, - p. 131-132.
2. P
 ugachenkova G. Fragments of Hellenisticarchitecture of the Right Bank Tokharistan // TACE,
II- vol., Tashkent, 1945, - p. 65-81.
3. V oronina V. The construction and artistic images inarchitecture of the Middle East. - Moscow, 1977, p.
63.
4. Pugachenkova G. Khalchayan. The problem of theartistic culture of the Northern Bactria. - Tashkent,
1966, p. 285.
5. Drujinina A., Khudzhageldiyev T., Inagaki H. The
results of the archaeological excavations at TakhtiSangin in 2008 // Bulletin of MIHO MUSEUM. Vol.
11, 2011, p.13- 43.

Uzbekistan

database, its diameter and the torus skirting changed. If
the samples of torus-shape bases of Old Termez differ
from crumpled torus and smaller than the size of a plinth,with Khalchayan bases torus to the total height of massive
and proportionate. Such databases and parts were foundin Khalchayan palace, as well as its surroundings.
Torus-shape base back to the architectural traditionsof the East and were widely used in the architecture ofancient Bactria. Samples of such bases have been foundon monuments such as the Old Termez, Airtam, HatinRabat, Dilberjin, Saksanahur, Ai-Khanum and Takhtisangin. In the latter has also recently been found sucha base. However, a significant difference Takhti-sanginbase plinth is three jagged and more massive torus.
Dimensions of bases in the article devoted to the resultsof the excavations are not shown5.

1

 n anta (Latin, from ante, 'before' or 'in front of') is an architectural termA
describing the posts or pillars on either side of a doorway or entrance.
Scotia — concave molding with a lower edge projecting beyond the top and soused at the base of columns as a transition between two torus moldings withdifferent diameters.
3 
Pugachenkova G.A. Fragments of Hellenistic architecture of the Right Bank ofTokharistan / / TACE, II-vol., Tashkent, 1945, p. 65-81.
4 
Voronina V.I. The construction and an artistic image in architecture of the Middle
East. - Moscow, 1977, p. 63.
5 Druzhinina A., Khudzhageldiyev T., Inagaki H. The results of the archaeologicalexcavations at Takhti-Sangin in 2008 // Bulletin of MIHO MUSEUM. Vol. 11, 2011,p.13-43.
2Conclusion
Another feature of Khalchayan’s architectural structures isthe applications of Eastern elements (planning structure,
torus-shape base, merlons-parapet and etc.) together withthe traditions of mutual Greco-Roman architecture (attic
bases, tiles, terracotta antefixes and etc.).
Discovering many and different architectural elements
in one settlement, such as attic and torus-shape stonebases, antefixes and so on, indicates that there in thebuildings, different order system was widely used under
the influence of Hellenistic architecture. New findings
widened types of architectural details in architectureof North Bactria. Absolutely, these new artifacts ofstone bases from Khalchayan served for a study andthe development of the order system in architecture of
Bactria.

58

Uzbekistan

KIZIL-ORDA

r. S

K

A

Z

Puljay

ird

A

ar

K

ya

H

S

Kuyuk-kalaAkjagiz
Hayvan-kalaTok-kala

T
A

Kukayaz

NUKUS

Ayaz-kala

DJAMBULN

Bukuntau
CHIMKENT

Tuprak-kala
Djanbas-kala

TASHXOVUZ

Koykirilgan-kalaVaengan-kala
Kyat

Obirahmat

URGANCHt

BinketKhazarasp
Daut-kalaKHIVATASHKENT Kulbulak

U

R

Chust
Pop

Ayakagetma

IS

Kaliyatepa
DJIZAK

NAVAI

KarnabBUKHARATANAFRASIAB

PANJIKENTAMANKUTANCHARDJOU

Kurgantepa
Turtkultepa

Kuktepa

SAMARQAND

Paykent

SHAKHRISABZYERKURGAN

KARSHI

r. A

DUSHANBE
MACHAYmu

TESHIK-TASH

BAYSUNdarya

KIRGIZSTAN

KI

N

OSH

KHODJENT

Eski Havas

Sarmishsay
Rabati-Malik

ST
AN

E

Dalvarzin

FERGHANA

Shakhrukhiya

JIM

GULISTANKHALCHAYAN

tA
D

K

NAMANGAN

Eylatan
Akhsikent ANDIJAN
Mingtepa
Kuva

Kanka

DALVARZINTEPAZARAUTSAYBALALIKTEPAZARTEPA

KAMPIRTEPA

KULYAB

KURGANTEPASAPALITEPATERMEZOLD TERMEZAYRTAM

Maslahattepa

AFGHANISTANA F G A N I S T A N

N
Koy-kirilgantepa
Tuganaktepa

K-I
Hirman

X-II

K-II

KHANAKATEPA
X-III

Sichqon-tepa

Roa
d

Sem
etery
Mill (grinder)

Shait-tepa

0

50 100200

300 m

Settlement of Khalchayan. Schema of location hills.

1. Topographic map of ancient city in North Bactria – Khalchayan

2. View of excavation site in Karabagtepa and location of stone bases

3. Plan and section of hall or terrace, where find stone bases

4. Attic profile stone base of column

5. Torus-shape profile stone base of column

59

Published by
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757 Horen-cho, Nara 630-8113 Japan
Tel : +81-742-20-5001
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URL: http://www.nara.accu.or.jp© Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2014