Bangladesh /Cambodia / Fiji

19

2017

The Nineteenth Regular Report

India / Malaysia / Mongolia

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

The Nineteenth Regular Report
Contents
Bangladesh

1Mst. Naheed Sultana
The Splendid Terracotta Art of Dinajpur Kantajiu Temple

Cambodia

6

Vitharong Chan
The Conservation of Preah Vihear of Wat Moha Leap

Fiji

12

Elia Nakoro
The Sacred and Cultural Maritime Sites of Fiji — An Inventory in the Making

India

17

Kunkuma Devi Kishore
Osmania University Women’s College (Former British Residency Complex), Hyderabad
Restoration of the Traditional Madras Terrace Roof System

Malaysia

23

A Ghafar Bin Ahmad
Reinstallation of Mural Mosaics at Dewan Bahasa dan Pustaka (DBP) Building, Kuala Lumpur, Malaysia

Mongolia

30

Munkhtulga Rinchinkhorol
Some Newly Found Cultural Heritage Sites in Mongolia

Nepal

37

Suresh Suras Shrestha
Post Earthquake Conservation, Reconstruction and Rehabilitation of Cultural Heritage in Nepal

New Zealand44

Matthew Schmidt
The Kyeburn Diggings: Restoration of Two 19th Century Gold Mining Sites

Sri Lanka

52

D.A. Rasika Dissanayaka
History of the Architectural Conservation Division of the Department of Archaeology in Sri Lanka

Uzbekistan
Akmal Ulmasov
New Discoveries at Dalvarzintepa in 2015-2016

59

Bangladesh
Bangladesh

The Splendid Terracotta Art of Dinajpur Kantajiu Temple
Mst. Naheed Sultana, Regional Director
Department of Archaeology, Ministry of Cultural Affairs, Government of the People’s Republic of Bangladesh
Introduction: The district of Dinajpur is situated in thenorthern part of Bangladesh and Kantajiu Temple islocated nearly 22 km north from Dinajpur District on thewest bank of Punarbhaba River, which is locally known as‘Dhapa’. Kantajiu Temple is a late medieval period Hindu

Map of Bangladesh.
Location of Dinajpur District (marked in red).

1

temple of Bangladesh. The famous Zaminder Maharaja(landlord) Prana Nath Roy of Dinajpur District started
construction of Kantajiu Temple in 1704 CE, and his son,Rama Nath Roy, completed it in 1752. Both of them werepowerful feudal lords of the Dinajpur region.

Map of Dinajpur District. Showing Kantajiu Temple and other monuments.
(Prepared by Abusaid Imam Tanvirul, Custodian, Rangpur Archaeological Museum).

Short history: From ancient times, this region was part of
the ancient state of Paundravardhana kingdom. Again,
Devakot, the capital of Lakhnauti was located 18 km southfrom Dinajpur district town. Consequently, since ancient
times, Dinajpur was a very rich and resourceful region ofancient Bengal. Basically, Kantajiu Temple was part of
Kantanagara fort city. The measurement of the fort city
was 15 square km and the city was surrounded by 4 mhigh mud walls and a 15 m wide ditch all around the citywall (Zakaria 2011) (Zakaria 1989). There were numerous
archaeological evidences of Muslim and Hindu architecturesinside the fort city of Kantanagara. Among these evidences
some structures still survive. The Hindu Zemindars built
royal palaces, temples and gates, and excavated large
ponds, and so on. The Department of Archaeology of
Bangladesh declared this temple as a Protected Monument
as per the Antiquity Act of 1968 (as amended 1976).

though the towers ratnas are now ruined. The plan,
execution and ornamentations of the temple are theessence of late medieval temple style. The temple is a mostexpressive and splendid monument, decorated from top tobottom with terracotta panels (Hoque and Hoque2005:181)”.

This temple occupies a prominent place in the realm of
splendid terracotta art. The three-storied temple is highly
ornamented on both the inner and outer surfaces, columns,
archways, cornices and roofs. The terracotta plaques arevery small and of various shapes and sizes. So muchbeautiful terracotta art dating from this period of ancient
Bengal cannot be found elsewhere. “The Kantajee temple
is Indo-Islamic type of pinnacled or nava ratna temple,

These open passages are constructed with the help of twocentred arches. The main prayer chamber of the temple issmall in size as well as obsessed. A Kantajiu image isplaced in this room. There are some small cells around themain prayer chamber. The temple is constructed in the
shape of Dol Mancha Temple. The 1st floor is smaller than
the ground floor and it actually has no rooms. Similarly,
the 2nd or top floor is smaller than the 1st. Among the nine

Architecture: This temple is square in shape and established
on a 1-metre-high stone platform from ground level. It is
known that the temple was 21.33 m high from the groundlevel. Every wing of the stone platform is 18.28 m long andconstructed in the same square shape of the temple, withevery wing being 15.54 m in length. There is a 2.43-metrewide varanda or corridor all around the temple. Everyvaranda or corridor has two large pillars and three pilasters.
In the gaps of every wall and pillar there are as many as
three large entranceways.

Bangladesh

Recent picture of Kantajiu Temple.

Pillars, pilaster and three arches of the temple.

A rare photograph of Kantajiu Navarathna(nine jewels) Temple. Photo taken before 1897.

The present condition of the temple.

2

Bangladesh

jewels, four jewels were established at each corner of the
top of the roofs of the ground floor and the 1st floor, with
only one jewel established on the 2nd floor. But these nine
jewels were badly damaged by the terrible earthquake of
1897. The temple was largely destroyed in this earthquake.
Terracotta Art: Renowned historian James Fergusson highly
praised this temple as a temple of the curvilinear style“One of the best examples of a temple in this style(Curvilinear) is that at Kantanagar ... it is a nine towered
temple of considerable dimensions, and of pleasingly

Pleasure trip taken by royalty by boat.

Picture of the daily life of ordinary people.

Representing travel of a king or prince.

Depicting a war expedition.

The most remarkable characteristic of this temple is its
terracotta art. The most important stories of the Ramayana,
Mahavarata and expeditions of Mughal solders have beenvery beautifully and serially decorated on the body of thetemple.

attention of visitors. The pictures depicted on the plaqueshave not been used elsewhere on the body of the temple.
From the very bottom of the temple up to the roof thepictures engraved are quite different in nature. “Decorating
the finer examples of these temples such as the navaratna temple at Kantanagar discribed above, every
available inch of wall surface both inside and out, including
the archways, vaults and columns of all three stories, isprofusely decorated with tiny figers and motifs(Ahmed1984:115)”.

Through the terracotta plaques together with thosementioned above, there are also social pictures ofBengalese of the 18th century. The lives of aristocrats are
depicted featuring pleasant journeys by boat andpalanquin, hunting and many ceremonies, attracting the3

picturesque design” (Zakaria 2007:126). James Fergusson
also mentioned the terracotta art:
“No stone is used in the building, and the whole surface iscovered with designs in terracotta partly conventional andthese are frequently repeated, as they may be without
offence to taste, but the bulk of them are figure-subjects,
which do not ever seem to be repeated, and form a perfect
repository of manners, customs and costumes of thepeople of Bengal at the eighteenth century (Hasan
1970:144) (Zakaria 2011:127).”

Bangladesh

Depicted here two parts of battle between Goddess Kali and Raktabija (left) andbattle between Goddess Chandi and Osura (right).

Depicted here two parts of battle field involving the Goddesses Kali and Chandi.

Depicting the daily life of ordinary people.

Depicting the political and social life of the Mughal era.

4

Bangladesh

The terracotta plaques are of very high excellence andeven though they were made before 1752 AD, they are stillfound to be intact and bright. Consequent to the numerous
earthquakes and natural calamities, the temple has been

severely damaged. But the terracotta plaques are found to
be in comparatively better condition, despite being madeof clay and mud.

Journey by boat of royal people.

Depicting of expedition of war.

Living temple: People of the Hindu community worshipevery day at this temple. A month-long Rashs mela (ritual
festival) is celebrated in the temple compound in the
Bengali month of Kartikya (in November). Thousands ofpeople from home and abroad join in this festival. Besides
this, Sri Keertana (Commendation of God) in Buddha
Purnima, and holy baths in full moon of the first month of
every Bengali year is celebrated in the temple area. Dol
Purnima or Dol Jatra is a major festival of the Hindu
community. This festival is dedicated to Radha and Sri
Krishna (worship of the Hindu goddess and god RadhaKrishna).

Bangladesh and the Vishnupur group of temples of West
Bengal in India. Finally, it can be said that the temple
architecture of the late medieval period rose to its pinnacleof glory in Bengal. Kantajiu Temple is the best example ofthe late medieval architectural style.

Conclusion: The architectural style and ornamentation ofancient Bengal occupies a special importance in history.
Stone was not available in Bengal; consequently, people
chose clay as the prime material for construction and dailyuse. From the very beginning people started to makehouses, utensils, gods and goddesses, temples, daily
necessities, and even toys with clay. “One of the remarkablefeatures of these medieval temples is their superb surface
decoration with endless panels of sculptured terracotta
plaques, depicting both figural and floral motifs” (Ahmed
1984:114). There are many examples of late medieval
temples such as Hatiqumrul Nava-rathna Temple of
Sirajganj, Boro Govinda Temple of Puthia, Rajshahi in

5

References:
1. 
Prof. M.M. Hoque and Dr. Seema Hoque, Kantajee
Temple An Outstanding Monument of Late Medieval
Bengal, Published by UNESCO Dhaka, House no.68,
Road 1, Banani Dhaka-1213 Bangladesh.
2. 
Abul Kalam Mohammad Zakaria, Bangladesher
Pratnashampod, Divya Prakash, 38/2 Banglabazar,
Dhaka. 2011.
3. 
Abul Kalam Mohammad Zakaria, Dinajpur Museum,1998.
4. Dr. Syed Mahmudul Hasan, Ancient Monuments of East
Pakisthan, Pakistan Academy,Abdul Gani Road,
Dhaka-2, 1971.
5. 
Dr. Nazimuddin Ahmed, Discover the Monuments of
Bangladesh, University press Limited, red Cross Building,
114-Matijhil C.A. Dhaka2, 1984.
6. U
 pdate Survey Report of Rangpur Division, 2017.
7. 
Photographs by Abul kalam Azad, Photographer and
Murad Hossain, Sub-assistant Engineer, Department ofArchaeology, Rajshahi Division.

Cambodia
Vitharong Chan, Director
Department of Site, Archaeology and Conservation, National Authority for Sambor Prei Kuk, Ministry of Culture and Fine Arts
In this report, I will introduce the new achievement of aconservation report on wooden Khmer heritage: Preah
Vihear of Wat Moha Leap, projected under the leadershipof the Department of Safeguarding and Preservation of
Monuments, Ministry of Culture and Fine Arts. This reportshows an innovative concept in traditional conservation
techniques and an understanding of community awarenessraising regarding the protection of modern traditional
cultural heritage.
Khmer Terminology used in the Report:
Wat: Buddhist temple-monastery; Literally ‘enclosure’ inPali, or vatta, it is the term used for Buddhist monasterycomplexes in Cambodia. Very often it is translated as‘pagoda’ due to the influence of French scholars.
Preah Vihear: Major building in a Khmer Buddhist templemonastery; Sacred form of vihear, it is derived from the
Sanskrit viha-ra; it is a major building in a Khmer Buddhist
monastery complex that is placed on consecrated groundmarked off with sima- boundary stones. In the preah vihear
there is the principal Buddha image called preah ang chi,which means ‘great sacred Buddha’. Before the postAngkor period, the word vihear (viha-ra) was equivalent to
the present-day wat.
Preah Vihear of Wat Moha Leap was constructed on theeast bank of Tonle Touch, which is the main branch of
Mekong River, 15 kilometers to the south of Kampong
Cham Provincial Town (coordinates: 11.870383°,
105.423875°) and 63.5 kilometers northeast of Phnom
Penh (Figs 1 & 2).
This Preah Vihear is a complete wooden preah vihear inCambodia, built between 1893 and 1908 CE. In the early
20th century CE, the constructed preah vihear was a
popular choice according to vernacular material available
in the country. Preah Vihear of Wat Moha Leap has the
Khmer traditional architectural characteristics of preahvihear chovea buon (four-finial). From the view of religion,
art and architecture, it was created with a sense of passion
with domestic resources according to the local people’s
own taste including geographical and material features.
There is no present-day knowledge of preah vihear chovea
buon dating from earlier than the 19th century CE due tothe wooden material used, the tropical climate andweakening of the structures as a result of insects and war.
From the 1920s the new invention of reinforced concrete
was introduced to Cambodia; it appeared as the new trend
enabling enlargement of scale, and soon most of the 18thand 19th century preah vihears were no longer standing, or
had lost their traditional design and instead began to takeon a modern appearance. Nowadays, this Preah Vihear is
known as “the masterpiece and oldest wooden structure in
Cambodia” (Fig 3).

Cambodia

The Conservation of Preah Vihear of Wat Moha Leap

1. Conservation
Since 2013, the main beam, upper wall, and ceiling above
the Great Buddha statue fallen down due to the poor
condition of the structure of the Preah Vihear, whichshowed the weakness of this building. This Vihear had notbeen maintained in years, and its structure and mural
paintings were heavily damaged in several main sections
as follows:•Roof structure: If we look at it from outside, we cansee the western part of the roof had reclined. Besides
the roof structure, the roof tiles were also heavily
damaged (Fig 4).
•
Finials and adorned roof: Cement decorations likeroof finials, decorative finials (chovea), pediments,and ending finial naga (neak cheng) were damaged inmany places, and decayed wooden beams support
the roof in a saddleback structure (Fig 5).
•Main Beams: Each beam is decorated with darklacquer and gold stenciling. In general, the surface of
lacquer and gold stenciled decoration had sufferedfrom scaling, removal and being covered by a thinlayer of dirt and salt. One of them fell in 2013 (Fig 6).
•Columns: In total, there are sixty columns which
support the entire structure. Each column is lacquered
with decorative patterns in stenciled gold. Typically,
the lacquer and stenciled gold on each column werescaled and decayed, and the columns were cracked or
broken at the top and bottom, with stains caused bymoisture and salt. Five columns were at high risk ofcollapse (Fig 7 & 8).
•Ceiling: There are five painted ceiling panels. One ofthese panels failed in 2013 and was heavily damaged.
Basically, the paint of each panel of the ceiling was
peeling off or cracking, and there were many stains
caused by moisture and salt.
•Mural on upper wall panel: In 2013, one of them fell
and was heavily damaged. The pigment was scaled ingeneral and dirty from bat and pigeon excrement (Fig9).
Example of column treatment
Careful study of the condition of the sixty columns which
decorate and support the building structure of the Preah
Vihear revealed that the majority of them were covered indust (Fig 10), and that lacquer and gold stenciled
decorations had been removed. There were also gaps on
the bottoms of the columns and traces of insect attacks on
the wood. It was also observed that certain portions were
missing from the painted parts.
•Cause of damage: Almost all columns were damagedby the elasticity of wooden material, the humidity ofthe tropical climate, insects, and human activities
including war. Almost all of the columns had lost thecenter part and bottom (See Fig 7 & 8).
•Treatment: Among the restored columns, those which

6Cambodia

were damaged underwent special protection treatment
in addition to the measures already carried out on the
coverings. This work was carried out as a demonstrationof the use of traditional techniques that need to bepreserved:
■
Emergency treatment of each column by preconsolidation of the degraded spots of the pictorial
layer with an adhesive which removed dust fromthe surface of the lacquer and gold stenciled
decorative motif;■
Cleaning spots with water and weak ethanolsolution, which started with a trial cleaning of thedecorative surface of the columns, including both
dry and wet cleaning (Figs 11 & 12);
■
Removal of salt from the surface of the lacquer;■Replacement of the middle broken vertical hole ofcolumns with new timber for strengthening thestructure, and filling the gaps with a mixture ofwood sawdust and natural resins (Fig 13);■
Fixing the scales or gaps on the surface with a
mixture of wood sawdust and natural resins oradhesive solution (Fig 14).
• Leveling the structure: Lifting up the reclining structure
including the columns to set it at the proper level (Fig15).
2 Training
Two types of theoretical and on-site practical training onconservation techniques were organized during the
project, along the following themes:•Training on traditional craftsmanship for young


craftsmen from the surrounding villages, resulting in
effective and massive participation. This aims to train
more craftsmen in the traditional techniques ofwooden construction and preventive conservation
techniques in order to ensure the maintenance of thebuildings of this Preah Vihear and their associatedlocalities (Figs 16, 17 & 18).
•Trainingonpreventive
conservation
anddocumentation of wooden structures for students of
the Royal University of Fine Arts (Figs 19 & 20).
3 Community contribution
Monks and the surrounding villagers are closely involvedin this project’s activities (Fig 21).
4 Documentations
Several architectural records were documented in detail.
Among those, two main types of documentation werepracticed during the project, along the following themes:•The drawing records of the gold stenciled decorative
motif and figures of each column were enriched by acollection of drawings (2D and 3D) and photographsof each of the components of the Preah Vihear (Fig22).
•The various stages of restoration were enriched by acollection of drawings and photographs (see Fig 13).
Remark: Most of photos and drawings in this report weremade during the conservation period by the team of the
project, Department of Safeguarding and Preservation of
Monuments, Ministry of Culture and Fine Arts

Fig 1. Location map

7

Cambodia

Fig 2. Layout of Wat Moha Leap from the satellite image

Fig 3. View of Preah Vihear from the south-east

Fig 4. View of Preah Virear from west and detail of the reclining roof

Fig 5. Broken adorned roof elements

Fig 6. The broken main beam

8

Cambodia
Fig 7. Column condition and detailFig 8. Condition of the bottom of columns

Fig 9. Condition of the upper wall mural paintings

Fig 10. Interior viewFig 11. Trial test for cleaningFig 12. Before and after cleaning

9

Fig 13. The conservation process for columns

Cambodia

Fig 14. The setting for lifting up the columns

Fig 15. Advice being given by the elder master builder in the village

Fig 16. A builder at work

Fig 17. Training for a young builder

Fig 18. University student recording a motif on a column

Fig 19. Checking the construction structure

Fig 20. Discussion and explanation of the conservation process for a monkand elderFig 21. 3D model of wooden structure of Preah Vihear

10Cambodia
Fig 22. West view: before and after restoration

Fig 23. South view of the roof: before and after restoration

Fig 24. South view after restoration

Fig 25. Southwest view of adored roof elements after restoration

Fig 26. Interior view of the Preah Vihear

11

Fiji
Fiji

The Sacred and Cultural Maritime Sites of Fiji — An Inventory in the Making
Elia Nakoro, Head
Archaeology Department, The Fiji Museum
ABSTRACTThe Fiji Museum Archaeology Department has, since2015, begun inventorying the different underwater andmaritime sites in Fiji. Ratification of the 2001 UNESCO
Convention on the Protection of the Underwater Cultural
Heritage and review of the legislation on the Preservationof Objects of Archaeological and Palaeontological Interest
Act (Chapter 264) has had little fruition due to limitations
in manpower and resources.
The Fiji Museum has, however, taken the first steps
towards realizing the amendment of the legislation by
developing and drafting an overarching policy for the
institution. The Fiji Museum continues to deliberate on
the draft policy encompassing all aspects of its services,which includes underwater and maritime cultural heritage
sites, to ensure that Fiji’s cultural heritage is protected.
This paper will elaborate on the different types ofunderwater/maritime cultural heritage sites in Fiji andthe inventory process of documenting and creating a
database, including challenges and opportunities. It will
highlight the importance of the database in assisting theFiji Museum in its work to raise awareness and provide
advice to the government and relevant authorities interms of the respect, preservation and protection of thesesubmerged historical treasures.
The paper will also highlight the various agencies with
common goals to protect underwater cultural sites anddiscuss the importance of inter-agency collaboration.
Keywords
Cultural heritage, maritime, preservation, and protection
INTRODUCTION
The Fiji Islands
The island nation of Fiji encompasses over 300 volcanicisland landmasses. About 100 of these are inhabited, richin biodiversity and cultural heritage.

Fig 1. Map of the Fiji Islands

Fiji is located in the tropics of the southern hemisphereand has a total land area of approximately 18,300km2 thatcovers the region positioned between latitude 12N-21°S
and longitude 176°E-178°W (Nakoro, 2014).
The Republic of the Fiji Islands is a multicultural nation
with a tapestry of cultural traditions of indigenous Fijians(iTaukei), Indians, Europeans, Chinese and other minority
cultures. While all the various cultures can be linked tothe underwater heritage of the nation through shipwrecks,
the iTaukei people are custodians to a special, sacred andmysterious connection to the land, which includes sacredunderwater or maritime sites.
In capturing the fascinating connection between thesacred maritime sites and its owners, the Archaeology
Department embarked on a digitization project in 2015
to document details pertaining to the sites and protection
under legislative powers1 entrusted to the Fiji Museum.
Utilizing the basic Microsoft Access tool, the department
developed its maritime sites database.
The Fiji Museum
The Fiji Museum is located at a historically significant
site—within an old fortified village that was called Suva.
During the expansion of the city, the inhabitants of theold settlement were relocated across the harbor. Today,
the area known as Thurston Gardens complements theFiji Museum in the background. Currently under thejurisdiction of the City Council, Thurston Gardens has
great potential for a facelift with plans in the pipeline
for this to eventuate before the end of 2017. Adjacent to
the Gardens is the historic and newly refurbished Albert
Park where the monoplane, the Southern Cross, piloted
by Sir Charles Kingsford Smith made a safe landing on
its first transpacific flight from Hawaii to Fiji enroute
to Australia in 1928. Similarly, the northwestern fringe
contains the remnants of World War II undergroundtunnels and the Allied forces military headquarters, which
now accommodate the residence of the British HighCommission and Fiji’s presidential palace and compound.
Since its establishment in 1904, the Fiji Museum has
been governed by two (2) pieces of legislation—theFiji Museum Act and the Preservation of Objects ofArchaeological and Palaeontological Interest (POAPI) Act,
enacted in 1940. The latter, which is administered by theArchaeology Department of the institution, is the legal
instrument covering the protection of cultural heritage
sites in Fiji. This legislation has a more generalized
definition of cultural heritage where underwater cultural
heritage sites such as shipwrecks, planes, sunken villages,
islands and the like are not specifically mentioned
but in the clause which reads ‘…or any objects ofarchaeological, anthropological, ethnological, prehistoricand historic significance....’, which covers any form

12

Fiji

British High Commissioner’s
Residence
WWII Underground
Tunnels
Fiji Museum
Presidential Palace
Albert Park
Thurston Gardens

Presidential Palace CompoundFig 2.Google Earth image of the location of the Fiji Museumof culturally significant site or object. As such, the Fiji
Museum and the Archaeology Department, with limited
manpower and resources, try to cover all aspects of Fijian
cultural heritage.
In early 2017, the institution underwent a change inleadership involving the designation of a new Director
and members of the Board of Trustees. The driving force
behind changes to the Museum’s priorities, the newleadership identified gaps in the legislation regarding
the safety of cultural heritage sites in Fiji as a target area
to be addressed. The Board endorsed the review of thelegislation and the Archaeology Department is currently
in the process of forming the relevant committees tospearhead this process. These committees will be tasked
with the development of policies to strengthen the roleof the department and its legislation. The Convention on
Underwater Cultural Heritage has also been highlighted
as an ideal approach in the near future.
The Archaeology Department
Cabinet endorsed the legislation that governs the workof the Archaeology Department in 1940, however thearchaeology unit of the Fiji Museum was not formallyestablished until more than five decades later in 1995.
Since its establishment, the Archaeology Department
has been involved in the identification, documentationand protection of terrestrial archaeological and cultural
heritage sites of the nation. This includes the protectionof ancestral village sites, sacred grounds, cemeteries,
caves, or any prehistoric or historically significant placefrom the impact of development.
Today, the archaeology unit at the Fiji Museum comprises
four staff members who look after the entire Fijian groupof islands. At present, the team focuses most of its effort
on terrestrial cultural heritage sites, meeting an influx ofcommunity requests to survey, record, document andprotect places of cultural heritage significance against theever-looming threat of development. Most of these issues
are related to a complicated land acquisition systemthat was developed in the early stages of Fiji’s colonialadministrative system.
The Archeology Department plays a crucial role in theimplementation of Archaeological Impact Assessments(AIA) in line with Environment Impact Assessments(EIA) for national development projects such as tourism
development, infrastructural development, agriculture,13

and other land use development.
In addition to this, the department is engaged innational projects for climate change mitigation andreducing carbon emissions through carbon trading
through the Reduce Emissions from Deforestation andForest Degradation and Foster Conservation (REDD+)
and Mangrove Ecosystem Conservation and Livelihood(MESCAL) projects. This includes the setting up of newforest reserves where a rapid survey is warranted. The
archaeology team’s role in these projects is to identify
cultural heritage sites within the earmarked forest
boundaries and to examine and record the ancient forest
system—in particular, evidence of the impacts of humanactivities on natural systems.
The Archaeology Department is mandated under thesame legislation to issue archaeological research permits
for local and international researchers and field schools.
During the course of the research, the officers of theArchaeology Department are required to be present
to provide advice to researchers, conduct the various
traditional protocols on their behalf and ensure thatproper procedures itemized in the research permits arecarried out.
This paper will explore and discuss the different typesof underwater cultural heritage sites in Fiji with focus on
traditional maritime sites. It will highlight the inventory
process of documentation and the creation of a databaseto assist in the preservation and protection of thesesubmerged historical treasures.
The paper will also feature the various institutions
or agencies with mutual goals to protect underwater
cultural sites and discuss the importance of stakeholder
collaboration.
MARITIME CULTURAL SITES DATABASEFiji is one of the more developed nations in the Pacificregion, making it particularly vulnerable to the destruction
and loss of significant cultural features related to thehistory and identity of its people. With limited resources
and manpower, the Archaeology Department is at theforefront of defending the nation’s cultural heritage fromsuch threats. At present the department manages six
databases, as listed below:
1. Terrestrial cultural heritage sites
2. Traditional maritime cultural heritage sites

Excavated archaeological research materials that are
kept in the department’s storage facility and oral history
recordings are managed using the Microsoft Accessplatform.
Terrestrial cultural sites, maritime heritage sites,
shipwrecks, and Lapita sites, on the other hand, aremaintained using the Geographic Information System(GIS) program ArcGIS. Since the information has spatial
attributes, the ArcGIS program is an appropriate tool forsuch systematic recording, information analysis, mapping,and data sharing within national authorities on thepreservation of cultural heritage sites.
After each survey, the archaeology team members markeach site visited using a Global Positioning System (GPS).
The GPS data is later transcribed for report compilation,and corresponds with the national register or database.
The database is rather a useful tool in decision-making,advising authorities dealing with national developmenton the existence of cultural heritage sites in earmarked
project areas.
Given that a small team looks after the various functionsof the archaeology unit for the whole country, managing
four separate databases on ArcGIS was a challenging
responsibility that fell solely to the Head of Department.
A combination of limited human resources, a lack of
capacity among team members and no centralized
system contributed to a constant backlog in updating thedatabase.
Ideally, the vast information base managed by theArcheology Department needed to be maintained ona single database as all databases shared common
coordinates from the various sites surveyed—the only
difference being in the key thematic areas.
In June (2017), the Fiji Museum successfully installeda file server for a centralized mechanism available toall the museum departments. This was a great boost
to the institution, as each department ceased to haveseparate databases with the same content to manage.
Soon after the installation of the server infrastructure, theArchaeology Department embarked on a weeklong staff
capacity building in the areas of field mapping with theuse of conventional survey methods, the use of GPS, GIS
and database management including Microsoft Access.
This enabled all team members to update the databasein a shared folder as and when needed, freeing up time
for departmental heads to carry out their supervisory
functions, greatly improving productivity.
Merging the four data sets was advantageous andcrucial to improving database management efficiency
while ensuring that all four themes—terrestrial sites,
maritime sites, shipwrecks and Lapita sites—are equally
represented in the Archaeology Department’s work.

LEGISLATION PERTAINING TO THE PROTECTION
OF UNDERWATER CULTURAL HERITAGE SITES IN
FIJI
Currently, the overarching legislation (POAPI Act) makes
only feeble reference to the safeguarding of underwateror maritime sites. However, it is encouraging that there
are agencies that share similar goals to protect Fiji’scultural heritage including underwater sites. In the past
year, these agencies have taken a stance on the activities
within Fiji’s Exclusive Economic Zone propelled by anationwide implementation of marine protected areas
towards the sustainable monitoring and use of marine
resources as food supply and transport. The global
concerns of mitigating climate change and the different
treaties and conventions that Fiji is a signatory to has
prompted these agencies to take action.

Fiji

3. Shipwrecks
4. Excavated archaeological research materials
5. Lapita sites
6. Oral history recordings

Below is a list of these agencies, which include
government, civil society organizations and regional
institutions now in the forefront of maintaining marine
protected areas.
Government Agencies
1. Maritime Safety Authority of Fiji (MSAF)
The MSAF is responsible for the registration,
regulations and safety of shipping services andshipping routes in Fiji. As a member state of theInternational Maritime Organization (IMO), theUnited Nations specialized agency with responsibility
for the safety and security of shipping and theprevention of marine pollution by ships, Fiji is trying
to secure international recognition for the protectionof two (2) significant sea areas recognized for
ecological, socio-economic, cultural and scientificreasons which may be vulnerable to damage byinternational maritime activities (www.imo.org, 16th
July 2017) under Particularly Sensitive Sea Area
(PSSA) special protection action by the IMO.
Fiji has several maritime ports of entry and two (2)of these have been identified as meeting the criteria
for PSSA. This further enhances the local regulationsin the protection of maritime cultural significant
areas. The two sites, the Beqa Passage and the Vuda
Passage, may have shipwrecks and other sensitive
cultural components necessary for submission tohave the passages protected. The Archaeology
Department is a new member of the taskforce for
the PSSA. On 14th July, 2017, the taskforce held its
second meeting since its establishment and many
stakeholders attended. The PSSA taskforce is in theearly stages of information gathering and reportsubmission.
2. The Department of Environment (DOE)
Mandated to protect the environment and regulate
development procedures in the country, the DOE,
under the Environment Management Act (EMA-2005)
is vital for the protection of coastal cultural sites. In
July 2017, the Fiji Museum was consulted to assist
in the protection of three (3) World War II lookouts
constructed out at sea threatened by a development

14

Fiji

application for the construction of a jetty.
3. T he Fijian Naval Unit under Republic of the Fiji
Military Forces
The Fiji Navy is responsible for maritime needs inborder control such as watching over Fiji’s exclusive
economic zone and organizing task and rescue
missions. Similar to any naval force, the Fiji Navyis equipped with a dive team that recently (2017)spearheaded a diving expedition to assess thediscovery of seven (7) chests in Fiji waters. The
chests were believed to contain explosives andarms. Unofficial information stated that these would
have been WWII materials-mine. The Fiji Museum
continues to work closely with the Fiji Police toconfirm the contents of the chests.
4. iTaukei Affairs Board (iTAB)
The i-Taukei Affairs Board is the government armthat looks after any matter concerning indigenous
Fijians or i-Taukeis. With a crucial mandate forsafeguarding Fiji’s indigenous culture and traditions,
it is vital that iTAB is aware of the significance of themaritime sites, as all the sacred sites are of iTaukei
origin. iTAB has access to legal expertise to be able
to assist with the protection of intangible cultural
heritage.
Non-Governmental Organizations
5. I nternational Union for Conservation of Nature(IUCN)The IUCN is heavily engaged in conservation
works in the Pacific and in Fiji, with a regional
office in Suva, Fiji. The organization has signed
a Memorandum of Agreement with the Fiji
Government to provide advice and review legal
frameworks, policies, legislation and conventions insafeguarding and protecting Fiji’s environment. In
2016, IUCN included the cultural heritage sites (anarea that is usually overlooked) in its list of marine
protected areas and consulted the Fiji Museum for
information and advice (H. Wendt and N. Yakub,
personal communication, July 12, 2017).
Regional Institutions
6. The Secretariat of the Pacific Community (SPC)
Similar to the role of the IUCN, SPC has the expertiseand equipment for underwater surveys. SPC also
has a unit that looks after the cultural affairs of the
Pacific region and is aware of the significance ofunderwater cultural heritage.
While these institutions and agencies have a sharedvision to promote the protection of Fiji’s underwater
cultural heritage sites, there is a need to inform thesestakeholders on the role and functions of the Fiji Museumin safeguarding UCH. The Archaeology Department needs
to lobby and promote the significance of UCH and theneed for collaboration between all stakeholders involved.
SACRED MARITIME SITESFiji is filled with many traditional or cultural sites andpractices which cannot be explained with scientificknowledge. Attempts by Mr. David Attenborough, a BBC

15

documentary reporter in the early ’60s were futile as hetried to explain some of the practices he came across
such as the fire walkers of Beqa, the turtle calling in
Koro, the fish in the lake on Vanua Balavu.
The map below shows some of the fascinating andrespected maritime sites that the Archaeology Department
has already captured in its database:
The Fiji Islands
Yasawa Group

Vanua Levu
Taveuni

Vuda Passage(PSSA)

MamanucaGroup

Viti Levu

Northern Lau
Group

1.Naigani Island
2.Ovalau Island
Lomaiviti Group
1.Verata Ucunivanua
4.Matacaucau site
Beqa Passage (PSSA)

KadavuSoutheast Lau
Group

3.Matuku Island

Fig 3. Map showing the names of places mentioned in the Sacred Maritime
Sites section.

1. The sacred fish of Naigani Island
On the eastern coast of mainland Viti Levu, theparamount chief of Verata, Rokomoutu, holds the
traditional title of the ‘Ratu.’ It was said that when thefirst Fijians left Lake Tanganyika in Africa for Fiji, thedaughter of Lutunasobasoba (the chieftain of the group)
asked to take with her some pet fish. In Fiji, these fish
(Sardinella fijiense) are known as Daniva, or sardines
that were left in Verata waters by the princess. Catching
the fish with a spear, the use of fine nets or fishing lines
were forbidden. Normally trevallies would swim after
the Daniva and push them close to land, and during thispursuit there would be the noise of a lot of splashing on
the beach. People would normally go to the beach andpick the Daniva.
One day when the fish were in Verata, Rokomoutu tried
to use his spear on them. He threw his spear and it
missed them and landed on the rocks. He slipped, hitting
his knee on the rock (today, the mark of his spear andhis knee on the rocks are still evident). Furious, he said
to the fish, “go down to Vatunawa (present-day Naigani)where I will not see or hear you, and when I want todrink boiled water, I will come down for you.”
The people of Naigani would catch the trevallies as theycame close to land with the sardines. Similar to the Norse
folklore of Thor and his goats, when consuming thetrevallies, the bones are not allowed to be broken. The
bones are then carefully placed back in the water where
the fish comes back to life. According to the peopleof Naigani, one can easily tell the difference between
a newly formed trevally from an old one, and this is a
traditional practice that is still carried out today.
2. The sacred passage between the island of Ovalau andNaiganiA few days later, Ratu Matanabalavu confronted
Rakavono and told him that he must leave the island as
Laginiwasa had done. Lacking his own drua, Rakavono
swam to Rukuruku on the northwestern coast of Ovalau
island (Nunn, 2001).
According to the oral narrative, the path that Rakavono
swam is a warm passage about 8 kilometers in distance.
Several fisherfolk from both Naigani and Ovalau haveswum the passage without any swimming aids, statingthat the warmth provided buoyancy and any cold water
encountered during the swim meant that the path
Rakavono swam was not being followed.
3. The sacred stone of Matuku
Matuku is an island located in the Lau group (southeastof Viti Levu). It was also the only island in the Laugroup that was not conquered by the Tongan army led
by the Tongan prince, Enele Ma’afu’out’itonga (aroundthe 1840s). On the eastern end of the island is a stonewhich is submerged during high tide. This reddish stoneis almost rectangular in form with dimensions of about
1 meter x 1.5 meters, and can be found amidst beachcobbles near Levukaidaku village. The stone displays
the traditional relationships between Levukaidaku andthe neighbouring village, Raviravi. According to the oral
accounts collected from both villages, giant tidal waves
occur instantaneously when a villager from Raviravi
walks past the stone.
Similarly, another reddish stone which is smaller insize and located about 20 meters west of the firstone, happens to cause giant tidal waves when it isdisrespected through speech or action.
The giant waves can only be calmed when a clan 2
member from Levukaidaku performs a ritual by covering
the red stones with leaves from a particular tree.
4. The sacred mosquito crevice, Matacaucau
Along the east coast of the main island, Viti Levu, there isa mysterious maritime site. This is a crevice at the foot ofa cliff at high water mark. The crevice is called ‘Qara ni
namu.’ Qara means opening and namu is mosquito. The
Qara ni namu has a mythical history behind it. It is said
that this was a gift by Rokomoutu who was the leader ofa migrating party from the hills of Nakauvadra. Whilesailing across towards Verata Ucunivanua, strong winds
tore his sails and he decided to seek shelter close to land
to mend his sails. As a gift for the people that helped him,

Rokomoutu presented a parcel containing mosquitoes,
which was supposed to be his present to the Turagana Ratu from Verata to awake him every morning. Thiswas instead gifted to the people of Matacaucau for theirassistance.

Fiji

One of the oral accounts collected from Naigani was that
there were two cousins named Laginiwasa and Rakavono .
One day, the cousins ate the young germinating coconut
palms, which is called ‘vara ’ in the iTaukei dialect. Thevara had been planted by Laginiwasa’s father Ratu (chief)
Matanabalavu. Hearing Ratu Matanabalavu coming,
Rakavono fled, but not before he was seen by Ratu
Matanabalavu. Encountering Laginiwasa and enraged at
his behavior, Ratu Matanabalavu banished him from theisland. Laginiwasa took his double hull canoe (drua) andfled to the island of Moturiki, which is south of Ovalau
Island (Nunn, 2001).

The villagers of Matacaucau relayed stories that anyone
who disturbed the Qara ni namu would suffer direconsequences in that mosquitoes would swarm thevillage resistant to repellents and sleeping nets. It wasalso relayed that during ceremonial festivities young men
would purposefully stir the Qara ni namu to keep thevisitors awake the whole night, specifically the women.
CONCLUSION
Pacific Islanders are deeply connected with theocean. The ocean as the source of life, the medium
for transportation between islands and sustaining
livelihoods—much of the Pacific’s history is related to theuse of the ocean, and some of it is now underwater.
Similarly, the Fiji Islands are littered with historical sites
related to the ocean. Given that human and financial
resources are lacking, the Fiji Museum will slowly
proceed and continue to document underwater cultural
heritage sites working in collaboration with government
agencies and NGOs in creating awareness on thesignificance and protection of UCH.
REFERENCES
1. Gatty R, 2009. Fijian-English Dictionary with notes on
Fijian culture and natural history. Publication under
the auspices of the Southeast Asia Program, Cornel
University, New York.
2. Government of Fiji, 1940. Chapter 264: Preservationof Objects of Archaeological and PalaeontologicalInterest in Laws of Fiji. Government Printery, Suva,
Fiji Islands, P 2
3.Nakoro E. 2014. The Fiji Museum’s Efforts Towards
the Preservation of Underwater Cultural Heritage
Sites in Fiji, Session 3, Underwater Cultural Heritage,
Museums, and Sustainable Development, theProceedings of 2014 Asia-Pacific Regional Conference
on Underwater Cultural Heritage, May 12-16,
Honolulu, Hawaii. Pp 99-112.
4. N akoro E. and Matararaba S. 2014. Archaeological
Assessment Report: Report prepared for the Vanua
of Waimaro Levulevu specifically for the villages ofVerata Ucunivanua and Matacaucau, Fiji Museum,Suva, Fiji.
5. R a m o l i A . a n d N u n n P . 2 0 0 1 . N a i g a n i I s l a n d
and its historical connections with Ovalau
and Moturiki Islands: convergences between
legend and fact, https://www.researchgate.net/
publication/247769057, accessed on 16th July, 2017.
6. BBC, 1960. The People of Paradise, video, episodes
1&2
1. 
Preservation of Objects of Paleontological Interest Act: (Laws of Fiji,
Chapter 264)
2. In a traditional iTaukei community, the hierarchical structure begins witha tribe (yavusa). The structure of a Fijian community is broken down intoclans (mataqali), followed by family units (tokatoka). In one village
community, there would be 1 or 2 tribes with numerous clans. Undereach clan are several family units.

16

IndiaIndia

Osmania University Women’S College (Former British Residency Complex), Hyderabad
Restoration of the Traditional Madras Terrace Roof System
Kunkuma Devi Kishore, Architect and Conservation Consultant
Good Earth Office, Hyderabad, India
Introduction
A detailed study and analysis of the Madras terrace roof
system of South India with some references to the British
Residency of Hyderabad was presented by me in the 11th
Annual International Correspondents Regular Report. The
conservation of the British Residency complex, under the
consultancy of Bangalore-based Heritage Matters was
jointly undertaken and sponsored by Osmania University;
the State Department of Archaeology, Telengana; and the
New York-based NGO, World Monuments Fund. The
conservation and restoration works were executed by
Mumbai-based Jeernodhar Conservators Pvt Ltd. This
article constitutes excerpts and photos taken from theConservation Report prepared for the State Archaeology
publication, in addition to the author’s observations.

Palladian rear view of the British Residency

The exposed Madras terrace roof after removal of the false ceiling tin sheetswith the deteriorated primary beam

The Madras terrace roof over the western oval room
collapsed in 2014. A temporary sheet shed was constructedon the terrace above this roof to protect it from rainfall but
the collapse was inevitable. The causes as detailed in theprevious report were: deterioration of the beam due totermite infestation, rotting of beam ends due to water
ingress from the terrace over decades, less bearing of thebeam on the masonry wall compared to its size and spancovered, and increased dead load from roof due to multiple
additional layers of waterproofing.

The upper-ground and first floor plans showing the primary beams in position and theroof area under collapse and reconstruction

17

A worm’s eye view of the oval room with the exposed
temporary sheet roof, after careful dismantling of the
Madras terrace roof components and primary beam
FFB2. The FFB1 beam remained intact.

consolidated and reused, would have two joints closer tothe centre of the beam, which was not an ideal solution
from the perspective of both strength and heavy loadtransfer. However the sound parts could be reused inother parts of the building where smaller sections may berequired. The beam FFB2 was in better condition with
about 3/4 of its longer length available for reuse. After
more accurate and detailed measurements as well as
numerous discussions, FFB2 was consolidated with otherwooden members to acquire the desired size and used toreplace the UGFB2 beam on the upper ground floor
ceiling. A new beam was procured to replace the FFB2
beam for the first floor (terrace level roof) ceiling.

India

The Reuse & Restoration of the beams and existing members
The original beam (FFB2) from the first floor ceilingcollapsed from the terrace, bringing down with it part of
the first floor roof, as well as the beam (UGFB2) from theupper ground floor ceiling. The existing condition of thehuge teakwood beams, measuring 0.45 x 0.35 x 8.6 m, wasthoroughly assessed by conservation architects, a team ofskilled carpenters and through Ultrasonic Pulse Velocity
testing (Non Destructive Technique) to identify deteriorated
sections of the beams, determine their homogeneity anddetect the presence of cracks, knots, voids, etc. Afterassessing the condition of all the beams, it was concluded
that the beam UGFB2 had broken into three parts and if

Wooden members of various sizes used to fix the beam FFB2 to replace UGB2Thin rusted ornamental sections of iron sheets that had
detached themselves from the wooden rafters of the ovalroom ceiling, above which rests the madras terrace roof

Consolidation and SS capping at both ends of the beam FFB1 in situ

The teak wood procured for the new FFB2 beam

Planing and processing the teak wood for the new FFB2 beam18

IndiaThe deteriorated sections of the beam FFB2 were cut away
and all the loose material of the beams, old MS nails andscrews were carefully removed and kept for reuse. The
size of the original beam that was now available for reuse
was 0.40 x 0.30 x 8.3 m. Six wooden members of various
sizes were required to fix the beam. These members were
cut using the old wood dismantled from the building,which were chiselled and given a smooth finish using awood planer. The beam was fixed together using four
different types of jointing techniques: mortise and tenon
joints, nuts and bolts, adhesive, and SS clamps.

New sections of wood with tenons were fixed into mortise grooves
made in the existing FFB2 beam

An optimal combination of all four was chosen to ensure
maximum strength and stability for the beam. Since thejoint between the old and new wood was a 1/4 section of
the beam, ensuring durability and strength was necessary
to prevent cracking or buckling. Mortise and tenon joints
were required to join different members to the main beam,
while nuts and bolts and SS clamps were necessary to holdall the separate wooden members together to prevent any
movement amongst them. The joint between the surfacesof the beam parts were reinforced through application ofa high strength translucent epoxy resin (Araldite) over theentire area of the surfaces being joined, including thegroves.

SS rods 500 mm long and 12 mm indiameter with nuts and bolts were used at
1 foot c/c distance, both vertically andhorizontally, to hold the parts together

Application of anti termite coating on the
new FFB2 and old FFB2

Lifting the new FFB2 beam over the terrace and placing itin position

SS clamps (6 in number), each with a width of 25.4 mm, were used to holdthe consolidated beam end together. They were coated with an anti-corrosive
paint.

19

A conceptual diagram illustrating the jointing details of the new members of
the beamCarefully dismantling the deteriorated lime concrete andlater additions on the roofof the brickwork. The deteriorated wooden joists in Madras
terrace were dismantled by removing each rafter carefully
while the beam (FFB1) was retained in situ. Thereafter, thetemporary GI sheet shelter on the terrace (which had been
erected four years earlier to protect the roof) was removed
before the beginning of conservation works.

India

Reconstruction of Madras Terrace Roof (refer to 11th Annual
Report for details of its traditional construction)
The collapse of FFB2 and UGFB2 supporting the Madras
terrace roof of the western oval room roof led to thecollapse of a large part of the roof. As a result, there was aneed to reconstruct the Madras terrace roof over thewestern oval room. After careful removal of the extant
roof, it was observed that the cross-section of the Madras
terrace roof was a variation from the typical section, in thatit had only one layer of brick masonry (compared to the
traditional two layers) over the wooden structuralmembers. The top of the roof was covered with a bitumen
layer (later addition) which was first removed. Below itwere three layers of chadurbilla (flat square clay tiles
measuring 10 cm x 10 cm x 1 cm), which were removed
carefully and salvaged for reuse. The layer of lime concretewaterproofing (kappi) (12.50 cm thick) below the tiles was
dismantled, followed by prudent dismantling and salvaging

The Madras terrace roof uses bricks of a different size fromthose used for regular construction works. As this size is
no longer commercially produced, the option of custommade bricks was explored. However, considering the hugelead time and quality issues that may arise with the custom
making of bricks, it was decided to procure class 1 wirecut bricks of a standard size (22 cm x 10.1 cm x 8.25 cm),
soak them in water and carefully cut them on site into
three parts to achieve the required size of 22 cm x3.25 cm
x 8.25 cm.

The new wooden rafters in position and ready to receive the thin section of bricks laid at angles

Once the old heavy beam FFB2 was consolidated andprepared on the ground, it was lifted by a crane over thewestern balcony and through the door and installed in its
exact position in the oval room while manually guiding itto the position of UGB2. The wall bearings were prepared
for installation by completely removing the parts of the oldbeam, and clearing the debris. The whole process required
a lot of manpower, patience and precision with controlled
movements. The new teakwood beam that was procured
to replace the old FFB2 was processed on site and installedwith adequate bearing on the wall after clearing the debris.
Both FFB1 and UGB1 were consolidated in situ by thecarpenter’s team. They were in fair condition so it was
decided to consolidate the minor cracks, remove the loosematerial and finish the rough edges to give them a final
processed appearance. These consolidated old beams
were provided with an SS capping at both the ends in thewall and at the centre. The beam ends were packed firmly
with brick masonry in lime mortar in a ratio of 1:3 (lime:sand). There were a total of 75 joists in the whole wooden
structural system of the first floor Madras terrace roof. New

teakwood joists (for replacement of the ones damaged in
the collapse) were prepared and installed in the existinggroves for joists (brush coated with an approved antitermite solution and marked with a seal bearing thenumber and the date of intervention), with one end in the
brick masonry, and the other end resting on the wooden
beam. The whole framework was allowed to stand for amonth (to allow for any expansion/contraction), after
which the top of the teakwood rafters were painted withBlack Japan (anti corrosive black bituminous paint) for
protecting the concealed areas of wood from damage.
Shuttering for laying the brick courses followed thestructural framework. The first course of brickwork waslaid on edge, at an angle of 45° to the joists. The second
course of the brickwork was laid flat, in a direction
perpendicular to the first course, and commenced
simultaneously as the laying of the first layer progressed.
After the laying of the brick courses were completed overa month and allowed to set completely, the lime concretingof the whole roof commenced.

20

IndiaStandard size bricks were finely machine cut into the required size and laid at a 45 degree angle to the joist. Finally, the gap between the teak wood joists on theceiling was plastered and painted.

New sections of wood with tenons were fixed into mortise grooves made in the existing FFB2 beam

Lime brick bat cobba (kappi) or lime concrete is a
traditional waterproofing technique, which is still pursued
in conservation practice to protect historic structures fromwater seepage. The thickness and layers of material varyfrom region to region depending upon the rainfall that theregion receives and local resources available. The existinglayer of kappi laid over the Madras terrace had an average
thickness of 12.7 cm (5”). This included three layers ofchadurbilla (terracotta clay tiles measuring 10 cm x 10 cm)
tiles in lime mortar, on top of the lime concrete. The
concrete waterproofing had deteriorated severely over theyears due to structural cracks, tile-delaminating, lack ofmaintenance, rainwater penetration, the addition ofincongruous materials like cement concrete layers andbitumen tar felt that had altered the drainage slopes etc
and eventually caused a lot of damage. Before laying the
new waterproofing layer, the existing old layer was
carefully dismantled using hammers and chisels. The
materials used for this process are fired hydraulic lime,
brick bats (prepared on site) and additives like surkhi(brick powder), jaggery, marble powder, saras (animal fat)
and water.
The raw materials required for achieving a concrete roof ofan average thickness of 17.8 cm (7”) are considerable interms of quantity, and it took a full day to be lifted and21

stored on the terrace. A grouting solution made of slaked
lime, water and additives was poured evenly on thecleaned and cured surface of the terrace floor and sufficientabsorption into all the surface cracks was ensured. Thiswas followed by mixing and laying a mixture of brick batsand hydraulic lime (kappi) prepared the previous day. The
casting of a lime concrete roof by this method majorly
involves repeatedly ramming the surface using woodenbats to ensure total compactness through the day. All thewater is allowed to evaporate through the night, and thesecond layer of kappi is added the next day such that thelevels are adjusted and the required slopes are achievedfor effective drainage of water. After compaction, the total
average thickness of the lime concrete is 17.8 cm (7”), withthe maximum thickness at the higher end being 2.8 cm(9”) and the minimum at the lower ends being 12.7 cm(5”). After another round of grouting to remove fine cracks,
the ramming process is repeated for over a week to ensure
total water tightening. The edges are sealed with gola(rounding off the corners and smoothing curves at thejunction of the horizontal terrace and vertical parapet toensure water does not accumulate and penetrate) and theentire roof is covered with wet gunny bags for thirty days
to prevent the development of any cracks. The terrace isalways worked in sections to ensure correct slopes areachieved for every defined patch of surface area.

IndiaBrick bat cobba and burnt lime (kappi ) before
mixing, laid to achieve the required slope

After the second layer of kappi was laid, it was levelled with a wooden or aluminium member and further
flattened by ramming

Ramming the terrace with wooden kurchi

The completed lime concrete roof over the Madras terrace roof, above theoval room

A sketch showing the direction in which the restored terrace slopes and its varying thickness

The edges of the terrace roof sealed with gola inlime concrete

22

Malaysia
Malaysia

Reinstallation of Mural Mosaics at Dewan Bahasa dan Pustaka (DBP) Building,
Kuala Lumpur, Malaysia
Professor Dr. A Ghafar Bin Ahmad, Professor
School of Housing, Building and Planning, Universiti Sains Malaysia
Introduction
Established on 22 June 1956, Dewan Bahasa dan Pustaka(DBP), or Institute of Language and Literature, is aprominent public body responsible for administering andmanaging the use and practice of the Malay language andliterature in Malaysia. The Malay language is recognised as
the national language based on Article 152 of theConstitution of Malaysia. The DBP headquarters, located at
Jalan Dewan Bahasa in Kuala Lumpur, consists of a highrise tower, an office block and a main hall known as Balai
Budaya Tun Syed Nasir. The office block and the main
hall were designed in 1961 by a local architect, Sharikat
Yoon Thim Lee, and construction was completed in 1962.
In 2009, the DBP office block and main hall were listed as
Heritage Buildings under the National Heritage Act 2005
(Act 645) in an effort to safeguard their immense historicaland cultural significance for posterity.
The front facade of the DBP main hall is renowned forshowcasing unique mosaic mural design as a creative
manifestation of the Malay language and Malaysian culture
after the country gained independence from the British in1957. Nonetheless, over a fifty-year period, the invaluablemosaic mural design was in a state of disrepair due to lackof building maintenance, dampness on walls, weakadhesive on aged and weathered mosaics, loose fibre
mesh, air pollution and traffic vibration. A dilapidation
survey was conducted to determine the condition of the
DBP mosaic wall, including common mural defects andtheir causes. Non-destructive methods involving moisture
meters and rubber hammers were used to detect dampness
and faulty mosaics on the exterior wall. The dilapidation
survey revealed that some of the mosaics were loose,detached, broken, missing or had fallen off. In February
2014, the Government of Malaysia through the Ministry of
Education allocated a budget of RM23,663,307(USD5,642,855) to restore the DBP office block and mainhall. Restoration works also included reinstallation of the
DBP mosaic mural design for an amount of RM1,490,122(USD355,341). The entire DBP project was completed in
December 2016.
Significance of Mosaic Mural
Decorating a building with mosaic murals is an uncommon
practice in Malaysian architecture. Only a few buildings
built in the 1960s in Kuala Lumpur were adorned withmurals of acrylic or ceramic mosaic tiles. Two notable
examples are the National Museum built in 1962, which
has two mosaic murals placed at the front façade, witheach mural measuring 35.2 m x 6.52 m; and the DBP
mosaic mural measuring 20.2 m x 10.8 m.
The DBP mural image was originally created in 1961 by
Ismail Mustam, a 17-year old high school student of theVictoria Institution, Kuala Lumpur, who won a designcompetition organised by the National Arts Council.

23

Ismail’s winning mural design, entitled “The Malayan Way
of Life and the National Language”, captured the essence
and spirit of multiculturalism in Malaysia by celebrating
ethnic and religious diversity in the various sectors ofagriculture, industry, education and technology. Ismail’s
captivating mural design was arranged in five sections,each depicting an impetus of the country’s development.
The middle section featured five men standing by an open
book decorated with a single leaf of Borassus (Palmyrapalm) known as daun lontar. These men represented a
Malay, Chinese, Indian, Sikh and Eurasian of a multiracial
Malaysian society bearing a message of unity. The top
section portrayed the diverse religions and beliefs aspracticed by Malaysians. The left section focused on thenation’s vibrant economic base of agriculture, commerce,mining and industry. The right section depicted timeless
local arts and culture of the Malay martial art silat,
traditional games such as spinning tops and art
performance. The bottom section displayed Malaysia’s
development in infrastructure, transportation, electronics,
energy and communications. In 1962, Ismail’s victorious
design was embodied as an artistic mosaic mural on the
DBP exterior wall.
Characteristics of Mural Mosaic
The DBP mural is unique because it was built on a curveshaped wall. The length of the mural is 20.2 m, and theheight varies between 9.6 m to 10.8 m. The mural contains
more than 1.48 million pieces of ceramic mosaics. The
original ceramic mosaics were mostly imported from Italy.
Each square mosaic has a glossy surface of 11 mm x 11mm and features a slightly concave-edged design. The
thickness of each mosaic is 3 mm. Based on relatedscientific studies and laboratory tests, the ceramic mosaics
were made of clay, quartz, feldspar, talc and wollastonite.
More than 60 different shades of colours were used in themaking of the DBP mural. Brown was the most commonlyused colour in the mural, followed by blue, beige andgrey.
Principles of Mural Mosaic Reinstallation
Since the DBP building was listed as a Heritage Building
under the National Heritage Act 2005 (Act 645), all work
methodstatements
andinterventions
includingdocumentation, repair, restoration, conservation andreinstallation of the mural mosaic were approved by thedesignated building conservator, consultant architect andthe Department of National Heritage (DNH) prior to thecommencement of works on site. Reinstallation of themural mosaic was based on the following principles:i. To retain the authenticity and integrity of the mural.
ii. To maintain the original image of the mural.
iii. To ensure that the colours for all new mosaics matchthe existing ones.
iv. To replace any missing or broken mosaics with theclosest possible material of the same size, shape,During the mural mosaic reinstallation process, theappointed contractor engaged a building conservator andseveral mural experts in order to ensure that all works
carried out were in accordance with the appropriate
principles outlined by the consultants and the DNH.
Regular technical and site meetings were held at the site tokeep track of the work in progress. Reinstallation of the
DBP mural involved six main stages as follows:Stage 1: Site Preparationi.	Identify a suitable location on site to build a sturdy
working platform.
ii. Provide access to a scissor lift to be stationed on theplatform for photography.
iii. Erect scaffolding on the platform for the entire muralreinstallation works.
iv. Create work areas and vertical access for the upper
levels of the mural surface.
v. Construct temporary roofing above the muralsurface.
vi. Cover the mural surface with plastic sheets to protect
it from direct sunlight and heavy rain.
Stage 2: Mosaic Mappingi. Establish a grid system to divide the mural surface
into small grids.
ii. Provide special codes for all grids for crossreferencing and rechecking.
iii. Document the entire mural surface using 3D
terrestrial laser scanning.
iv. Photograph the entire mural surface using highresolution quality photography.
v. Store all data in a computer database for futurerecords and reference.
Stage 3: Mural Inspection and Identification of Defects
i. Inspect the entire mural surface.
ii. Record areas of mosaic defects.
iii. Determine the causes of mosaic defects.
iv. Clean the mural surface from algae, dirt and dust
using soft brushes and low-pressure water jets.
v. Detect any areas of porosity on the mural surface
using rubber hammers.
vi. Remove and salvage loosened mosaics from external
walls.
vii. Collect all fallen mosaics scattered on the groundlevel.
viii.Conduct structural forensic testing on wall substrate.
ix. Analyse the characteristics and composition ofmosaics.
Stage 4: Treatment of Mural and Walli. Remove all mosaics from wall.
ii. Keep all mosaics in designated labelled boxes.
iii. Transport all mosaics to factory for treatment.
iv. Clean each mosaic using soft brushes and lowpressure water jets.

v. Inspect and dispose of any broken mosaics.
vi. Salvage and separate mosaics based on colour
shades.
vii. Code and store mosaics in labelled boxes.
viii.Keep wall substrate dry and avoid any dampness.
ix. Protect wall with plastic sheets.
x. Document the treatment process.

Malaysia

form and thickness.
v.	To apply proven methods and techniques forreinstallation of the mural.
vi.	To document and record the conditions of the mural
before, during and after reinstallation.

Stage 5: Reproduction of Mosaics
i. Verify the percentage of salvaged mosaics.
ii. Determine the design and reproduction of newmosaics based on the colours and characteristics ofthe existing mosaics such as composition, shape,
form, size, thickness and type of surface.
iii. New mosaics were custom-made and imported from
China.
iv. Match new mosaics with the captured mural image
based on the high resolution photographs.
v. Prepare 30 cm x 30 cm sieve plates for mosaic
matching.
vi. Place fibre mesh and waterproof glue over completed
sieve plates.
vii. Dry and polish mosaics on the sieve plates.
viii.Refer each sieve plate to the special grid-based
coding as stated in Stage 2.
ix. Transport new mosaics to site for reinstallation ofmural.
x. Document the reproduction of mosaics.
Stage 6: Reinstallation of Mural
i. Repair any cracks on wall substrate.
ii. Resurface wall substrate with the same material as
the existing ones.
iii. Apply a 30 cm x 30 cm waterproofing membranecoating of acrylic-based sealer Staydry SM100 onwall substrate and at the back of mosaics.
iv. Staydry SM100 provides extreme adhesion whenapplied to the wall substrate.
v. Apply water proofing membrane coating of acrylicbased emulsion Stayflex Super on wall before fixing
the mosaics onto wall.
vi. Stayflex Super is an elastomeric membrane withcrack-bridging capabilities.
vii. Mosaics are reinstalled based on the grid systemestablished earlier following the captured muralimage.
viii.Reinstallation of mosaics beginning from the bottom
left moving upwards and sideways.
ix. All gaps between mosaics including mortar to be
filled with Stayflex Super.
x. Apply water repellent onto the mural after
reinstallation of mosaics.
xi. Document the reinstallation of the mural.
Mosaic Mapping
Prior to the reinstallation of the DBP mural, a mosaic
mapping task was carried out to document and record theactual mural form, shape, location, colour range andmeasurements. This mapping process also captured theactual mural image based on the wall position. This
process was very important to retain and maintain thecomposition of the mural images, different shades ofcolours, and the location of each mosaic piece during the24Malaysia

reinstallation of mosaics. The documentation and recordingof the mural were carried out using high resolution
photography and 3D terrestrial laser scanning. Thesemethods were proven to be very successful in managing
and recording the mural profile efficiently, particularly thecolours, composition, patterns and position of each mosaic
on the curved wall.
High Resolution Photography
Before high resolution photography was carried out, the
DBP mural surface was divided into small grids. Each grid
was coded for easy reference and guidance during
reinstallation work. High resolution photography is atechnique using a full frame digital single-lens reflex(DSLR) camera equipped with a standard 50 mm lens.
Multiple images can be captured in a systematic pattern toproduce a close to non-distorted photographic effect.
Based on the designated grid system, a scissor lift wasused during the photography process. It is important tomaintain an appropriate distance between the camera andthe mural surface to allow sufficient overlapping of grids
during the mapping process. The photography process
required good natural lighting to maintain good photo
exposure. All photo grids were matched together to obtain
the actual mural image for mosaic location andreinstallation.
3D Terrestrial Laser Scanning
3D terrestrial laser scanning was used to record the precise
mosaic patterns and dimensions on the curved surface. It
is a ground-based technique that captures the specificposition and dimension of images, objects or buildings indigital format. It collected data in point cloud form throughmillions of laser pulses or distance measurements using astationary laser scanner and a digital single-lens reflex
camera. An accurate grid system could be establishedwhen mapping was processed using AutoCAD. Utilising
3D terrestrial laser scanning on the DBP mural surface
enhanced the ability to differentiate between the various
colour shades, which was often difficult with the humaneye. This technique was proven to be useful whendiscerning two or more patterns of semblance colours
located in close proximity. 3D terrestrial laser scanningalso helped to single out those mosaics which had faded
due to exposure to direct sunlight, dirt or dust over theyears. By using the properties of point cloud reflection ondifferent colours, the resulting multiple hues could help topoint out colours that closely resemble each other which
otherwise could not be recognised by photography or
regular colour differentiation techniques.
Conclusion
The reinstallation of mural mosaics at the Dewan Bahasa
dan Pustaka building in Kuala Lumpur provided a valuable
learning experience and challenges to all individuals andorganisations involved in the project. Since this mural
mosaic reinstallation project was the first of its kind in
Malaysia, it was very important to engage suitableconsultants and local experts to manage work
documentation and execution. Detailed researches, indepth discussions and technical meetings were carried out
at regular intervals to facilitate timely work progress. The

25

six stages of the mural reinstallation also required good
coordination and clear communication among all parties
including the building contractor, sub-contractors, building
conservator and material suppliers to ensure projectcompletion as scheduled. Unpredictable weather
conditions were also a critical factor in this reinstallation
project since the mural wall is located outdoors andtherefore directly exposed to intense UV light, lightningand heavy rainfalls. Hence, temporary roofing and plastic
sheets were fixed over the exterior wall surface to protect
the wall substrate and the newly laid mosaics from sunlight,
rainwater penetration and dampness. Another challenge
faced during this project was the outsourcing of the newmosaics from China, which involved a complex andmeticulous process of mosaic design, reproduction,
replication, delivery and technical coordination. Despite
encountering many challenges during its reinstallation, the
DBP mural is now successfully reinstated at its designatedlocation, to be safeguarded and treasured by future
generations. It is imperative that the DBP mosaic mural, as
an icon of Kuala Lumpur, continues to inspire and stimulate
the perpetuity of the Malay language, literature and culturalexpressions within a multicultural Malaysian society.
Acknowledgements
The author wishes to thank the Ministry of Education,
Malaysia, Dewan Bahasa dan Pustaka (DBP), Public Works
Department (JKR HQ and JKR WPKL), GDP Architects,
Cendekia Teknik Sdn. Bhd., PU Profile Sdn. Bhd., thecontractor’s building conservator Shahruddin Shabri,
Geodelta Systems Sdn. Bhd., Staydry Coatings Sdn. Bhd.,
and the School of Housing Building and Planning,
Universiti Sains Malaysia for making this project and article
possible.
References
A Ghafar Bin Ahmad, “Digital Documentation of Penang
State Museum, Malaysia, Using Three Dimensional
Terrestrial Laser Scan”, ACCU Nara International
Correspondent: The Thirteenth Regular Report, Cultural
Heritage Protection Cooperation Office, Asia-Pacific
Cultural Centre for UNESCO (ACCU), Nara, Japan, 2014, p.
16-19.
Dewan Bahasa dan Pustaka, (2006), Mural Dewan: Seni
Awam Sebagai Lambang Pembangunan Bangsa, Kuala
Lumpur: Dewan Bahasa dan Pustaka.
Explore Kuala Lumpur, Straits Settlement and More, http://
www.pinterest.com, assessed on 26 October 2017.
Laman Web Dewan, Bahasa dan Pustaka, http://www.
lamanweb.dbp.gov.my, assessed on 26 October 2017.
Latifah Arifin, “Cabaran Kerja Pembaikan Mural DBP”,
Berita Harian, Sastera BH2, 16 March 2015, p. 5.
Shahruddin Bin Shabri, (2017), Pemuliharaan Dewan
Bahasa dan Pustaka (Mural 1, 2 dan 3): Pembangunan
Semula Bahagian Lama Dewan Bahasa dan Pustaka,
Kuala Lumpur (unpublished).

Malaysia

An artist’s rendering of the old office block andmain hall of the DBP, with the front facadeshowcasing the unique mosaic mural design.

View of the DBP mural in the 1960s.
(Source: www. pinterest.com)

The DBP mural measures 20.2 m in length with varying heights of
9.6 m to 10.8 m.

The DBP mural is unique because it was built on a curve-shaped wall.

The DBP mural image was originally created in 1961 by 17-year-old Ismail
Mustam, whose winning mural design entitled “The Malayan Way of Life andthe National Language” captured the essence and spirit of multiculturalism
in Malaysia by celebrating ethnic and religious diversity in various sectors ofagriculture, industry, education and technology.

Mr. Ismail Mustam, age 71, the DBP mural image designer (second from theright) during a mural workshop conducted at the DBP on 11 March 2015.

The DBP mural contains more than 1.48 million pieces of ceramic mosaics,
with each mosaic measuring 11 mm x 11 mm with a thickness of 3 mm.

A dilapidation survey was conducted to determine the condition of the DBP
mosaic wall, as well as common mural defects and their causes.

26

Malaysia
The dilapidation survey revealed that some of the mosaics were loose,detached, broken, missing or had fallen off.

During site preparation, a suitable location was identified on site to build asturdy working platform to place the scissor lift and scaffolding.

Before reinstallation of the mural, scaffolding was erected on the platform
and temporary roofing was fixed on the roof for the entire period of the muralreinstallation works.

Before high resolution photography was carried out, the DBP mural surface
was divided into small grids.

A scissor lift was stationed on the platform for the highresolution photography process.

27

The 3D terrestrial laser scanning of the DBP mural was very efficient in managing
and recording the mural profile, particularly the colours, composition, patterns andpositions of each mosaic on the curved wall.

Malaysia

During the mosaic mapping stage, each grid was given a special
code to be stored in a computer database for cross referencing
and rechecking.

An important stage in the conservation works involved the removal of all
mosaics before treating the wall substrate.

All cracks on the wall substrate were repaired before resurfacing the wall
substrate with the same material as the existing one.

The mural surface was covered with plastic sheets to protect it from direct
sunlight and heavy rain.

Separation of salvaged mosaics based on different colours and shades.

The colour matching of mosaics required clear and sharp eyesight.

The reinstallation of mosaics began from the bottom left, moving upwards
and sideways.

The mosaics were reinstalled based on the grid system established from thecaptured mural image.

28

Malaysia
It was important to check the reinstalled mosaics which were positioned
according to the grid system.

Regular site inspections were jointly conducted by the Public Works
Department (JKR HQ and JKR WPKL), Department of National Heritage,
Dewan Bahasa dan Pustaka, consultant architect, consultant building
conservator and contractor team members to ensure that the project wascompleted on schedule.

View of the DBP mural after successful completion of the projectin December 2016.

29

Removal of the plastic sheets and dismantling of scaffolding after
reinstallation of the mural mosaics.

Final photography process after reinstallation of the mural mosaics wascompleted.

As an icon of Kuala Lumpur, the DBP mosaic mural continues to inspire andstimulate the perpetuity of the Malay language, literature and culturalexpressions within a multicultural Malaysian society.

Mongolia
Munkhtulga Rinchinkhorol, Researcher
Institute of History and Archaeology, Mongolian Academy of Sciences
The Ivdein Gol deer stone with Runic inscription. In summer
2015, expedition members of the Mongolian-American
Joint Project “North Mongolia” discovered a deer stonewhen they surveyed the basin of the Ivdein Gol River, oneof the tributaries of the river Shishged, in Renchinlhumbe
soum, Khuvsgul aimag. G.Burentugs, who is a member of
the above expedition and a specialist in immovable
heritages at the Center of Cultural Heritage of Mongolia,
recognized that an ancient inscription had been written on
the deer stone and he first defined it as an Ancient Turkic
Runic inscription. [Burentugs 2017: 113, 116, 119-120]
On October 5, 2016, he gave the author some photographsof this newly-found deer stone. Thus, the first reading of
the inscription, which was based only on photographs,
was published in June, 2017, although it was partial.
[Munkhtulga 2017]
On March 2, 2017, we went to the place where theinscription was found and carried out the first complex
epigraphic documentation. (Fig. 6)
The deer stone is located in front of the mountain Khosyn
Uzuur. The standing lower part of the deer stone measures
68x30x14 cm in size. (Fig. 1) The upper part, whichmeasures 111x32x15.5 cm, is located 99 cm to the east
from the lower part. (Figs. 2, 4 and 5) When we were
documenting the upper part, we newly revealed lines of
the inscription on its west side. (Fig. 3)
Undoubtedly, the Ivdein Gol deer stone with Runic
inscription is absolutely endangered. On August 26, 2017
Mr. Chinbat, who is an employee of the cultural center inthe local administration informed me that after our fieldresearch, some local people dug below the deer stone tofind something else.
The Uvur Khadan Khushuu petroglyph. On March 2, 2017,
when Mr. Chinbat guided us to the Ivdein Gol deer stone,
he showed us a petroglyph which was drawn with redochre on a cliff on the front shoulder of a hill called Uvur
Khadan Khushuu, the southern end of the Chantsan
Mountain. (Figs. 7 and 8) There are depicted two
quadrangular frames and a human figure on the coarse
surface of the cliff. (Fig. 9) The upper frame measures
24.5x23.5 cm. The strokes of the frame are 1-1.5 cm wide.
Its inner side is filled with many drop-like figures. A
standing man figure measuring 13.5x9.7 cm is 5.2 cm
below the upper frame, along its central axis. The second
frame is 6 cm to the left down from the man figure. It
measures 23.5x23 cm. Its strokes are 1 cm wide. There are
no dots inside this frame.
In technique and stylistic features, the Uvur Khadan
Khushuu petroglyph is dated to the Bronze Age.

Mongolia

Some Newly Found Cultural Heritage Sites in Mongolia

The Toonongiin Am petroglyph site. On July 7, 2017 wefound a petroglyph site in a place named Toonongiin Am
in Erdene soum, Govi-Altai aimag. (Fig. 10) The site issituated in front of a mountain at the southern edge of theMongolian Altai Range. The desert area of Zarmangiin
Govi begins to the south of the site.
At the site, there are many boulders which have beenengraved with a number of depictions such as humans,
camels, ibexes, wild asses, gazelles, foxes, etc. by ancientpeople. (Figs. 11-16) All the depictions, styles, and scenesof these petroglyphs strongly suggest that the entire site
can be dated back to the Late Bronze and Early Iron Ages.
[Batbold 2014: 109-110] Hunting scenes and game whichstill exist among the local fauna have been dominantly
portrayed at the Toonongiin Am site. (Figs. 11-15)
Toonongiin Am is the only complex petroglyph site in the
Zarmangiin Govi area. However, like many other recentlyfound cultural heritages, the site has not received any
protection from the state and even from the local
administration.
The Khulsana Am inscription and petroglyph. Also on July 7,
2017, after our field documentation at the Toonongiin Am
site, we worked at the site Khulsana Am where a Runic
inscription was found on July 5, 2015. Although it was
discovered two years ago, no epigraphic documentation
had been carried out there. [Munkhtulga 2015; Munkhtulga
2016; Mönhtulga / Ariyajav 2016]
The inscription is engraved on the southern side of analmost cubic boulder measuring 124x108 cm. (Fig. 17) Its
height is 76 cm. Five Runic characters are written in asingle line on the right-upper part of the front flat surface,which is 72 cm wide and 56 cm high. The line measuresapproximately 40.5 cm in length. Character ‘a’, the biggest
one, is 11.4 cm high and 9 cm wide.
At 11 cm below the line there is a typical Uighur periodtamga, which has not been identified by the former
research. (Fig. 17) The tamga is approximately 11x11 cm
in size. This tamga may be evidence that the inscription isrelated not to the Turkic or Early Uighur period but to thesecond half of the 8th to early 9th centuries.
While we were working at the site, we discovered apetroglyph which is located about 50 m to the west of theinscription. (Fig. 19) An ibex, two foxes and a baby fox are
depicted on the south west side of a brown-colored rockmeasuring 102x40x19 cm. The depiction of the biggest fox
is 11.8x4.2 cm.
The Khulsana Am monuments are endangered too. The
site is very close to the main road from Erdene soum to
Bayan Tooroi. (Fig. 18) Recently, someone has dug below

30

Mongolia

some boulders at this site including the inscription and aboulder near the petroglyph.
Ceramic kilns on the bank of the river Tarnyn Gol. In June
2001, when the author was a student at the National
University of Mongolia, he discovered some pieces ofceramic potteries in a gulley on the north bank of the west
tributary of the river Tarnyn Gol in Burd soum, Uvurkhangai
aimag. (Fig. 22) In 2006 and 2007, he introduced the gulley
to both Japanese and Mongolian researchers.
On July 15, 2017 he carried out a survey at the site, which
includes the above gulley, and gathered some fragmentsof ceramic potteries.
The north bank of the river in this area has directly become
an almost 20 m high terrace. (Figs. 20 and 24) On the slopeof the terrace, there are black spots like vertical lines thathave flowed down from the upper side of the terrace
through rain, snowmelt and sand. (Fig. 21) These compriseburnt earth and fired clay, undoubtedly traces of ancient
ceramic kilns. On and near the black spots, there havebeen spread many pieces of ceramic pottery (Figs. 22 and23) It can be said that on the basis of the spread of theblack spots and pottery fragments, there might have beenat least five kilns at the site on the terrace. (Fig. 20)
The collected fragments show that there were only a few(at least eight) types of ceramic potteries produced at thissite. (Figs. 29-31 and 37) The form, size, patterns and otherfeatures of potteries of each of the kilns of the site aresimilar to those of the others. (Figs. 32-36) This means that
although the kilns were separate, the potteries weregenerally of the same type. The kilns seem to have beenused not only for a certain purpose but also for only ashort time. The types of potteries, including a steamer andlarge potteries with special patterns, indicate that the
Tarnyn Gol kilns most probably belong to the Xiongnu
period, particularly to the 1st century BC. (Figs. 29, 34-36
and 38)
No remains of any kiln, which must be made of clay, were
found—only the above-mentioned black spots of burnt
soil. During the last 2,000 years, the kilns might have beeneroded by rain and snowmelt flowing down to the south,
to the river Tarnyn Gol. (Figs. 21, 23 and 24) Obviously,
the erosion at the site could also have been caused bylivestock. Small cattle of the local people often go throughthe terrace to the grazing field on the other side of theriver. (Fig. 39) By such erosion, the bottom of the river(but only the part that is below the kiln site, at the foot of
the terrace) has been fully covered with clay, which issurely from the kilns. (Figs. 24 and 25) There are also
fragments of pottery on the bottom of the river. (Fig. 25)
The part covered with clay is 1.8-6.7 m wide. Other partsof the river bottom are covered with stone. (Fig. 26)
I also found traces of two holes which is evidence thatsuggests the artisans of these kilns mined near the site andused the local clay for their ceramic production. The
slipper-shaped bigger hole is located to the south east of
the site, on the south bank of the river. (Fig. 27) It isoriented east-west and is 27.5x6.9 m in size. Its depth is31

roughly 90 cm. Another one is located 7.2 m to the northof the bigger hole. (Fig. 28) It is oval-shaped and oriented
south-east to north-west. It measures 4.5x2.7 m. The depth
is approximately 65 cm.
The Tarnyn Gol Xiongnu period kilns, which were used
for a certain purpose, might have served local Xiongnu
aristocrats. In size and style, most of the potteries from thissite are very similar to those of the potteries of the Xiongnu
archaeological sites, particularly a settlement on the bankof the Boroo Gol and an aristocratic cemetery of Noyon
Uul Mountain. Moreover, some scholars have suggested
that the artisans of the Boroo settlement specially madethe large stylistic ceramic potteries for the gigantic
aristocratic terrace tombs in Noyon Uul. [Tseveendorj /Batsaikhan 1994; Turbat et al. 2005: 17-18] Therefore, it
can also be hypothesized that along the river Tarnyn Gol,there must be a settlement of the artisans of the above
kilns, although the kilns might have been used for only ashort time.
Ceramic fragments from the Khuvsgul Lake shore. Between
July 29 and August 2, 2017, the author found fragments ofancient ceramic pottery from a terrace named Tsagaan
Guvee, the northernmost shore of Lake Khuvsgul in
Khankh soum, Khuvsgul aimag. (Fig. 41) In June, 2017, ahole for sauna water was dug in the south east corner ofthe yard of the tourist camp “Doloon Uul”, which issituated on the terrace. (Fig. 40) The mound, from which
the above fragments of potteries were revealed, was piled
with earth from that hole. (Fig. 42) The hole is rectangularand measures 200x160 cm in size. (Fig. 44) Its depth is 160
cm. The walls of the holes contain four main layers andthe pottery fragments were most likely in two upper
darkbrown layers, which are roughly 18 cm in depth.
There were found 70 fragments of two different potteries,
31 small pieces of burnt bones of small cattle, and wood
charcoal. (Figs. 43 and 45-50) The pottery fragments areancient artifacts ever found on the northern shore of Lake
Khuvsgul.
References
Batbold 2014 – Н.Батболд. Монголын говийн бүсийн
хадны зургийн судалгаа. Уб.
Burentugs 2017 – Г.Бүрэнтөгс. Умард Монголоос шинээр
олдсон, руни бичээстэй буган хөшөө. // Оюуны хэлхээ.
Vol. XVI, Fasc. 6. Уб.: 113-120
Mönhtulga / Ariyajav 2016 – R.Mönhtulga, B.Ariyajav.
Moğolistan’da bulunan yeni bir yazıt: Hulsana Am Yazıtı /A newly-found inscription from Mongolia: The Khulsana
Am Inscription. - Moğolistan’daki Türk Ayak İzleri / Turkic
Footprints in Mongolia. Ulaanbaatar: 85-87
Munkhtulga 2015 – Р.Мөнхтулга. Хулсана амны рунибичээс. “Монгол сурвалж бичгийн судлал” олон улсын
эрдэм шинжилгээний бага хурал. Улаанбаатар, 2015.08.21- “Монгол сурвалж бичгийн судлал” олон улсын эрдэм
шинжилгээний бага хурал. Илтгэлийн хураангуй. Уб.: 4546
Munkhtulga 2016 – R.Munkhtulga. A newly found Runic
inscription from Southwestern Mongolia. // ACCU Nara
International Correspondent. The Sixteenth Regular
Report. Vol. 16. Nara: 28-29
Munkhtulga 2017 – R.Munkhtulga. Ivdein Gol Deer StoneFig. 1: Lower part of the
Ivdein Gol deerstone, from thesouthFig. 2: Upper part ofthe deer stone,
front side

Fig. 3: Upper
part,right side

Fig. 4: Back side

Fig. 7: The Uvur Khadan Khushuu petroglyph site

Fig. 9: Images drawn with red ochre

Fig. 11: The boulder with petroglyph, from the south west

fasc. 5. Уб.: 76-107
Turbat et al. 2005 – Ц.Төрбат, Т.Батбаяр, Н.Пуса. Хүннүгийн
үеийн Бороогийн суурингийн серамологийн судалгаа. //Acta Historica. Tom. VI, fasc. 1. Уб.: 5-23

Fig. 5: Left

Mongolia

Runic Inscription. // Оюуны хэлхээ. Vol. XVI, Fasc. 6. Уб.:109-112Tseveendorj / Batsaikhan1994 – Д.Цэвээндорж, З.Батсайхан.
Хүннүгийн ваар сав. // Studia Archaeologica. Tom. XIV,

Fig. 6: Documenting the inscription

Fig. 8: Cliff on which the petroglyph was drawn

Fig. 10: The Toonongiin Am site and a boulder with petroglyphFig. 12: Top of the boulder, from the south east

32

Mongolia
33

Fig. 13: Top of the boulder, from above

Fig. 14: A boulder with petroglyphFig. 15: Images of ibex and gazelle

Fig. 16: A camel racing?

Fig. 17: The Khulsana Am inscription, from the south

Fig. 18: Documenting the inscription, from the east

Fig. 19: Petroglyph at the Khulsana Am site, from the west

Fig. 20: Ceramic kiln site on the bank of the Tarnyn Gol, from the southMongolia

Fig. 21: Traces of the kilns and the riverFig. 24: The river and the foot of
the terrace

Fig. 22. Gulley with pottery
pieces, from below

Fig. 25: Clay-covered river bottom

Fig. 27: Slipper-shaped bigger hole for clay mining, from the south east

Fig. 23: Terrace slope and theriver, from above

Fig. 26: Stone-covered riverbottomFig: 28: Smaller hole from the south east

Figs. 29-31: Rim fragments of potteries

34

Mongolia
Figs. 32-34: Upper wall fragments of potteries

Figs. 35 and 36: Lower wall fragments

Fig. 37: Fragments with bottoms

Fig. 38: Fragment of a steamer

Fig. 40: The terrace named Tsagaan Guvee, from the south

35

Fig. 39: Local small cattle at the site

Fig. 41: Lake Khuvsgul from the terrace

Mongolia

Fig. 42: The earthen mound from which pottery fragments were revealed,from the east

Fig. 44: Hole for sauna water, from the west

Fig. 43: Ceramic pottery fragments from the moundFigs. 45 and 46: Fragments of a pottery

Figs. 47 and 48: Fragments of a pottery

Fig. 49: Pieces of burnt bones of small cattle

Fig. 50: Wood charcoal

36

NepalNepal

Post Earthquake Conservation, Reconstruction and Rehabilitation of Cultural Heritage in Nepal
Dr. Suresh Suras SHRESTHA, HeadWorld Heritage Conservation Section, Department of Archaeology, Government of Nepal
1. Introduction
A disaster never comes with an alarm or an alert toanyone; a disaster is a natural calamity which may
be caused by an imbalance or sudden activity of theearth. There was a great earthquake of magnitude 7.6
on the Richter scale on 25th April 2015 in Nepal, which
affected not only physical structures or settlements andhuman beings, but also the cultural heritage of Nepal.
Beyond the human casualties and collapse of buildings,
around 753 monuments of Nepal were also affected,
among which 140 significant monuments were damaged
inside the Kathmandu Valley World Heritage Property;
which, however, was only 17% of the total number ofmonuments. Since the disaster, the relevant authorities
have been making every effort to implement post
earthquake conservation, reconstruction and rehabilitationof cultural heritage.

the site and collect information on cultural heritage
affected by the earthquake. The department carriedout the preliminary assessment and data collection as
well as the assessment through International Volunteer
Experts, National Experts and National Volunteer Experts.
Similarly, previous reports, old photographs, drawings
and sketches were utilized as a result of an appeal to the
public, due to lack of drawings and photographs of someof the collapsed and damaged monuments.

2. Response to the Earthquake and Emergency Rescue
The 2015 earthquake in Nepal was really dreadfuland different to others, with the aftershocks being felt
more than a year and half afterwards. However, theGovernment of Nepal, Department of Archaeology(DoA) worked to rescue all affected cultural heritage
in coordination with all other stakeholders, authorities,
experts and agencies, and that was the only way torespond in the emergency period. The maximum numberof artifacts and elements of affected cultural properties
were salvaged and documented in the initial phase andstored as far as possible in secure places.

Due to the lack of original detail drawings and designsof some of the monuments, however, all the monuments
must be renovated and reconstructed within an adequate
time interval. Therefore, the DoA prepared detail drawingsand designs depending on the detail assessment in thesix-year plan adopted by the government. Discussion
and interaction programs have been conducted internallyand externally involving the participation of all related
experts, including structural engineers, architects,
legal experts, archaeologists, conservators, earthquake
engineers, disaster risk management experts, local
communities, traditional craftsmen, masons, contractors,
NGOs/INGOs and many other stakeholders.

During this phase, several activities were carried out
at the sites for the temporary protection of damaged
monuments and also for their long term protection.
During this phase, the DoA formed and deployed anumber of Emergency Heritage Rescue Teams, consistingof an Archaeological Officer, Engineer/Architect andPhotographer in each team. The Rescue Teams focused
specially on the documentation of sites, arranging theevacuation and salvage of artifacts and storing them in asecure place.
In the meantime, the DoA started to have a series of
discussions and interactions with experts, contractors andrelated authorities as well as with the stakeholders as muchas possible, and also formed the Experts Committees,
which could act as an advisor to the government/
Department of Archaeology during further processes andactivities.
The activities for stabilization and temporary protectionof the monuments and sites were carried out as per therecommendations by the initial assessments and by theexpert teams as well.
From right after the earthquake, the DoA started to assess

37

In the same time, the DoA prepared the drawings andcost estimates for further planning to reconstruct orconserve the damaged monuments as per the adopted
six-year recovery master plan (RMP). Similarly, postearthquake conservation guidelines and a manual
were prepared and implemented for post earthquake
conservation, reconstruction and rehabilitation.

3. C urrent Status of Post-Earthquake Conservation,
Reconstruction and Rehabilitation of Cultural Heritage
The earthquake very badly damaged significant
monuments within the Kathmandu Valley World Heritage
Property and other heritage sites as well. Altogether, 753
monuments in Nepal were affected by the earthquake,of which 140 (17%) were within the Kathmandu Valley
World Heritage Property; but the monuments within
the World Heritage Property are much more significant.
When the Government of Nepal started to implement
the third phase of the recovery master plan—that is,the conservation, reconstruction and rehabilitation of
the damaged cultural heritage—several national andinternational institutions, individuals, governments,
intra-governmental institutions and non-governmentalorganizations came to provide support, either financial or
technical. The Government of Nepal started many of theconservation, reconstruction and rehabilitation activities,
funding them from its own budget, as well as receiving
support from other sources. First of all, the Governmentof Nepal signed an MoU with the Government of Sri
Lanka; then with the governments of China, Germany,and Switzerland in succession; they also received
financial and technical support from the Government ofSince the implementation of the conservation,
reconstruction and rehabilitation activities as per
the master plan, several interaction programs, photo
exhibitions and many other awareness programs havebeen carried out. The training program, i.e., training for
traditional carpentry, masonry, stonework, wood andstone carvings, has also been carried out for different
categories and levels of support in the reconstruction andrehabilitation process.
Among the 140 monuments within Kathmandu Valley
World Heritage Properties, 26 monuments have alreadycompletely recovered, either through conservation orreconstruction, thanks to the efforts of the Government of
Nepal and other supporters—individuals and institutions
both within Nepal and outside the country. These 26
completed monuments include Kileshwor temple in
Changunarayan Protected Monument Zone (PMZ);
Bouddha Stupa in Bouddha PMZ; Shiva temple, Kagewori
temple, Nagara Ghar and Sinha Sattal in Hanumandhoka
Durbar PMZ; City Entrance Gate, Narayan temple, Harihar
Naryan temple, Kedarnath temple, Shankar Narayan
temple, Shri Yantra Vatsala temple, Rameshwor temple
and Duimaju temple in Bhaktapur Durbar PMZ; Taleju
temple, East wing of Sundari Chowk, Yog Narendra
Malla Pillar Statue, Sinha Stone Pillar in front of Bhimsen
temple in Patan Durbar PMZ; Vasu Bandhu Chaitya,
Purano Swayambhu Chaitya, Tashi Gomang Stupa, Pati
close to Shantipur temple, Mayur Stone Pillar west of the
Swayambhu Mahachaitya, Manjushri Sattal, Bayupur, …
Dyo Chhen and the big bell in front of Anantapur. In thesame way, several projects have been running as multiple
year projects that take more than a year, which arealso going very smoothly. Some of them are: Pratappur
temple, Anantapur temple and Shantipur temple in
Swayambhu PMZ; Gaddi Baithak, Nautale Durbar,
Vamsha Gopal temple, Shiva temple, Gopinath temple,
Jagannath temple, Agam Chhen, Trailokya Mohan temple
and Dashavatar temple in Hanumandhoka Durbar PMZ;

Mani Mandap, Krishna mandir, Char Narayan temple
and Bhai Degah in Patan PMZ; Silu Mahadev temple,
Vatsala temple, Siddhi Laxmi temple, Tava Sattal, National
Art Museum building and Puzari math in Bhaktapur
PMZ; Changu Narayan temple, Amatya Sattal and Laxmi
Narayan temple in Changu Narayan PMZ; Panch Deval,
Pandra Shivalaya, Sattal, Viswa rupa temple, and Ram
mandir in Pashupati PMZ.

Nepal

Japan. Similarly, the Department of Archaeology, and
the Government of Nepal signed an MoU with UNESCO,
Kathmandu Valley Preservation Trust, Heritage andEnvironmental Foundation Nepal, Miyamoto Relief andmany others, through which several conservation andreconstruction projects have been carried out.

Beyond the abovementioned project works, theGovernment of Nepal/DoA and other stakeholders(institutional and individual) have been launchingother conservation and reconstruction projects in thisfiscal year, comprising both multiple year and one-year
projects. Therefore, the post-earthquake conservation,
reconstruction and rehabilitation activities are going verysmoothly; which seems to be a very positive indicatorthat the government can complete this work declarationby the government and recovery master plan.
4. Conclusion
A significant amount of cultural heritage was affected anddamaged by the 2015 earthquake in Nepal, especiallyin the Kathmandu Valley World Heritage Property. The
Government of Nepal has carefully and seriously taken
action to address the situation. With the government
budget allocated for post-earthquake conservation,
reconstruction and rehabilitation, it is possible to carryout the activities smoothly with the support of Nepalesesociety and the international community, including
individuals, institutions and governments as well.
Therefore, the post-earthquake rehabilitation activities
have been going very smoothly, and it seems that theGovernment of Nepal will be able to complete thisconservation, reconstruction and rehabilitation workwithin its targeted time frame. Most importantly, as it
was very difficult to find detailed documentation of someof the monuments which had either collapsed or werepartially damaged by the earthquake, the Departmentof Archaeology of the Government of Nepal has started
initial activities for adoption of the Cultural Heritage
Information Management System (CHIMS) with thesupport of the UNESCO Office in Kathmandu. It is one ofthe positive developments in the field of cultural heritagein Nepal.

1.1.3 Bansa Gopal, Hanumandhoka, Kathmandu— Current status: reconstruction38

Nepal
1.2.1. Degu Taleju, Hanumandhoka before earthquake

1.2.2 Degu Taleju after earthquake

1.2.3 Degu Taleju after conservation

1.3.3 Nagara Ghar after conservation (source: DoA)

1.4.3 Taleju Temple — ongoing conservation

39

1.5.3 Singh Sattal after conservation

Nepal2.1.1 City Entrance Gate, BKT before earthquake

2.1.3 City Entrance Gate, BKT after reconstruction

2.2.2 Narayan Temple, BKT after earthquake

2.1.2 City Entrance Gate, BKT after earthquake

2.2.1 Narayan Temple, BKT before earthquake (source: DoA)

2.2.3 Narayan Temple, BKT after reconstruction40

Nepal
2.3.3 Duimaju Temple, BKT after reconstruction

41

2.4.3 Hariharnarayan Temple, BKT after reconstruction

2.5.1 Kedarnath Temple, BKT before earthquake (source: DoA)

2.5.2 Kedarnath Temple, BKT after earthquake

2.5.3 Kedarnath Temple, BKT after conservation

2.6.3 Rameshwor Temple, BKT after conservation

Nepal

2.7.3 Shankar Narayan Temple, BKT after reconstruction

3.1.1 Kileshwor Temple, Changu before earthquake

3.1.3 Kileshwor Temple, Changu after conservation

2.8.3 Sriyantra Vatsala Temple, BKT after conservation

3.1.2 Kileshwor Temple, Changu after earthquake

4.1.3 Bouddha Stupa, Bouddha after renovation

42

Nepal
5.1.3. Vasubandhu Chaitya, Swayambhu after conservation

6.1.3 Yognarendra Stone Pillar Statue, Patan after
conservation

6.3.3 Sundari Chowk-East Wing, Patan after conservation

43

5.2.3 Tashi Gomang Stupa, Swayambhu after reconstruction

6.2.3 Talezu Temple, Patan after conservation

ACCU Note:
Numbers in the captions areauthor’s reference numbers.

New Zealand
Dr Matthew Schmidt, Regional Archaeologist Otago/Southland
Heritage New Zealand Pouhere Taonga
Introduction
In the mid to late 19th century the riches of the Otago
goldfields provided a massive income for the Governmentof New Zealand and a living for the thousands of migrates
who came to the New Zealand gold fields to make theirfortune (Figure 1). This aspect of Otago and New Zealand’s
history is significant as the goldfields were vital in theformation and establishment of the ‘colony’ of New
Zealand when Pakeha (Europeans) arrived in large
numbers from the 1840s onwards. Tangible evidence of
the Otago’s gold mining history use to be found almost
everywhere where gold was discovered particularly along
major rivers and feeder streams. However, much of thisheritage has been lost or damaged in the last 30 years due
to changes in land use such as from hydroelectric power
schemes, pastoralism and viticulture and more recently
population pressure as once isolated areas of Otago
become desirable for holiday retreats and tourism.
This article describes a project to preserve two goldfields
heritage sites damaged by past earthworks at a location
known as the Kyeburn Diggings (Figure 2). This large
goldfields landscape has been little affected by the various
factors noted above mostly due to its isolation. It contains
an array of gold mining sites and features where whole
gold mining systems and occupation areas can still be seen
set against a stunning landscape of mountains and highcountry farmland. All these sites are protected by law
under the Heritage New Zealand Pouhere Taonga Act
2014. In 2017, Heritage New Zealand worked withTranspower, a Government State Owned Enterprise
responsible for the countries National Power Grid, tomanage two gold mining sites at the Kyeburn Diggings(Figure 3). Some of Transpower’s power towers were built
in these sites decades ago causing damage and since thistime vegetation had encroached on the towers andtherefore the sites. Together, Heritage New Zealand andTranspower cleared the vegetation to reveal stone
structures built by gold miners in the 19th century andnever seen by the public for many years.
The Kyeburn Diggings in the 19th and early 20th centuries
Historic records such as seen through old newspapers,
government reports, photographs and surveyors maps,
provide some insight into the history of gold mining at
Kyeburn. Gold was recorded in 1861 on a branch of the
Kyeburn River by a Government surveyor when his visiteda miner named Leggatt, but his initial findings werereported as not good even though there were miners there(Daily Southern Cross, 1 November 1861, Vol. XVIL, Issue
1448, page 4). However, by 1862 there were hundreds ofEuropean miners in Kyeburn and by 1863 it is estimated2000 people were living there with local newspapers often
recounting the facilities available such as hotels, butcheries,
a bakery etc. As with many locations ‘rushed’ for gold inCentral Otago between 1861 and 1863, the easily panned

New Zealand

The Kyeburn Diggings: Restoration of Two 19th Century Gold Mining Sites.

gold was quickly exhausted and hundreds of miners
moved onto the next rush, many to the West Coast of theSouth Island. However, gold mining continued at Kyeburnup until the early 20th century and the community still
numbered in the hundreds when a new school was built
in 1889. The first Chinese miners came to New Zealand in1865 and by 1869 were mining at most goldfields in Otago.
Most were from the Canton region. Chinese miners arrived
at Kyeburn probably by ca. 1867, going on historicnewspaper reports, and profited not only from mining
new areas but by re-mining abandoned workings. They
were hard working and although were shunned by many
Europeans, they contributed to the local economy andcommunity such as by donating financially to local
hospitals, suppling fresh fruit and vegetables from theirgardens to the local market and in some towns celebrating
Chinese New Year alongside Europeans.
There is only one known extant photo of the Kyeburn
Diggings which is believed to have been taken around1877 by travelling photographer William Hart (Figure 4)(Source: ‘Danzies Pass, Kyeburn Diggings, Otago, NZ’,
William Hart, Museum of New Zealand Te Papa Tongarewa
Registration No. C.014912). The photograph was taken ona glass plate using the wet collodion process and so
produced a very detailed and clear picture that has pickedup numerous features in the landscape at some distance(features identified have been notarised by the author).
This photo beautifully shows the mining landscape at
Kyeburn against a Wintery mountainous backdrop and is,by chance, overlooking the two locations where site
restoration works were undertaken for this project (Figure4). The photo shows remnants of large and small scale
mining activities from different periods of mining at the
diggings. Water races (such as a large one running along
the mountainside on the left of the photo), reservoirs,sluice faces and mining tailings can be seen. Also, on theleft side of the photograph a butchery and most likely theedge of a shop and hotel built of timber and corrugatediron can be seen. This is where Danseys Pass Coach Inn islocated today built in the 19th century. The photo also
shows the location of houses and enclosures, many builtof sod turf, as well as the bridge across the true rightbranch of the Kyeburn.
Only one nineteenth century photograph of miners at
Kyeburn has been sourced at present and this is of Chinese
miners. This photo may date to around 1900 when
Reverend Don, a Presbyterian Minister, was visiting
Chinese around Otago with the aim of converting then to
Christianity (Figure 5) (source: Chinese gold miners andReverend Alexander Don at the Kyeburn diggings, Otago.
Ref: 1/2-019156-F. Alexander Turnbull Library, Wellington,
New Zealand. records/22883508). He was not very
successful in this endeavour irrespective of what the photo
imbues. Although it appears the Chinese are dressed in

44New Zealandtheir best clothes for the staged photo, the photo provides
a face to the Chinese who were mining at Kyeburn.
Chinese miners continued to mine at Kyeburn until at least
the 1920s.
Historic survey maps provide an indication of the mining,
occupation and business activities being undertaken at
Kyeburn and sometimes by whom. For example, in Figure
6 can be seen survey map SO 4799 dating from 1883. Thissurvey lists European miners and a Chinese mining
company with mining permits within the surveyed permit
areas. In Figure 7 is shown a close view of the surveyedmining permit areas. Here can be seen the dams, waterraces and old gold workings owned by the miners with the
Chinese mining company’s ‘Gee Wee’s race’ noted as wellas the European miners race called ‘Meikle’s race’. In thecropped survey map SO 785 in Figure 8, a number ofbuilding’s and structures are shown such as the bridges,
houses, huts, gold workings and the layout of the Danseys
Pass Coach Inn buildings. When this survey map isreferenced against Hart’s ca. 1877 photo, it appears thatmany of the buildings and structures from the 19th century
were still being used until this time (see Figures 4 & 8).
The importance of survey maps SO 4799 and SO 785 isthat these surveys are in the location of where restoration
works were undertaken at Sites 1 & 2. In addition, SO 4799
also shows the names of the persons who probably createdthe mining remnants at Site 1.
The Kyeburn Diggins today
This large gold field has had very little formal archaeologicalsurveying probably due to it being located on a large
pastoral lease (farm) away from the risks of hydroelectric
power, viticulture and private development, and due its
isolation. The most detailed survey of this goldfield wasundertaken in 2007 by the author and archaeologist Shar
Briden when the lease of the property was being reviewed
by the Crown. This survey showed that archaeologicalsites were present all along for the 8km surveyed on eitherside of the Kyeburn River and up to 3km inland of its riverbanks (Figure 9). This survey only scraped the surface ofwhat is present in the wider landscape, but confirmed thehigh intactness of the numerous sites and their extent fromwater races starting at high altitude in the mountains many
kilometres from the mining itself right down to theworkings on the Kyeburn (see Figures 10 to 22).
All the types of sites and features associated with this
goldfield as shown in the ca. 1877 photograph and 1918
survey could be seen plus many more mined areas notrecorded on old survey plans or in any other historic
records. In addition, a number of the historic sites seen in
the ca. 1877 Hart photo and the 1918 survey map SO 785
could still be found today (see Figures 23 to 28). Whether
the archaeological remains of mining at the Kyeburn
Diggings are the result of European or Chinese miner’s
activities cannot be determined by the way sites look asboth groups mined in a similar manner. This is acharacteristic of many of the 19th century Otago gold
mining sites. Even when European or Chinese artefacts arefound at 19th century miners hut ruins, items such as foodbowls and drink bottles were often recycled by both45groups due to the isolated nature of their way of life, andso this too is not always an indicator of which ethic group
lived there. Fortunately for this project, as noted above, we
can associate named European and Chinese miners with
one of the sites, Site 1.
Overall, the Kyeburn Diggings are unusual and special for
their high state of preservation and even though many of
the sites which make up this mining and occupationarchaeological complex cannot currently be seen by the
public, those that can be seen today illustrate the important
contribution they make to Otago’s gold mining history.
Given the significance of the Kyeburn Diggings, damage
to its gold mining heritage goes back many years and has
been the result of both human and natural processes (seeFigures 29 to 38). Earthworks for various Government andprivate company projects, vegetation encroachment,
farming activities, flood events and natural changes in thepath of the river have all contributed to the loss of sites.
Most of the damage by human processes appears to be inparticular locations as a result of initial earthworks for a
project and then additional damage being done when thesame locations have been revisited over the years for more
project earthworks or vegetation clearance. This has
contributed to the destruction or large scale damage tosites in the vicinity of the Danseys Pass Coach Inn, along
the alignment of Towers carrying the power lines from the
Roxburgh Dam (opened in 1956) and where smaller powercompanies have installed power poles. Day-to-day farming
activities over the decades have damaged sites but not tothe same extent due to the relatively light impact thatsheep farming has on historic mining sites. Common
reasons for damage by human activities on Otago goldfields
sits are a lack of understanding of the importance of
heritage sites and landscapes to local and regional history,changes in attitudes to what heritage is important topeople, and an unfamiliarity of the law with regard to thelegal protection of archaeological sites.
Damage by exotic vegetation growth on sites would be thenext major impact on the archaeology at Kyeburn after
earthworks. The exotic pine, broom and gorse hascompletely enveloped many sites and as the trees andplants growing on the sites and features get bigger, theroots ‘blow out’ the stone and earth features. For large
trees the additional risk comes from wind throw whentrees are toppled by high winds ripping up the roots withthe tree then falling on top of the site. The heavy vegetation
growth also affects the amenity value of the archaeology.
In areas where the archaeology can be viewed from apublic place, vegetation encroachment gradually hides thearchaeology and lessens its value to the public.
Restoration of gold mining sites at the Kyeburn Diggings
One area from where the public can readily see the
Kyeburn Diggings is from the public road which runs up
the Kyeburn River called Danseys Pass Road. This roadoriginates in the Maniototo, Central Otago and takes
people north over the Kakanui Range at 935masl anddown into the Waitaki District. The gold workings comeright up to the road at places and can also be seen on theother side of the river from the road (see Figure 9).

Some sites on either side of the river were damaged
initially back in the 1950s during the building of towers for
power lines from the Roxburgh hydroelectric power
scheme. The huge towers are part of the country’s
12,000km National Grid network which takes power fromvarious power generations schemes around the country tosuppliers (go to www.transpower.co.nz for a history of
New Zealand’s national power grid). Since the initial towerbuilding, more damaged has occurred from maintenanceworks around the towers but also from some farming
activity and vegetation encroachment. The State Owned
Enterprise called Transpower has been responsible for the
National Grid since 1994 and as such any towers that run
through Kyeburn. Because of this, Transpower partnered
up with Heritage New Zealand to undertake vegetation
clearance and restoration works along part of their toweralignment which runs through sites at Kyeburn so as tomanage past damage and uncover and promote the wellpreserved areas of the sites. This would help in the
management of the sites in the long term and show the
public heritage which had been hidden along the Danseys
Pass Road for many years.
In Figures 25, 29 to 35 can be seen the two sites (Sites 1 &2) which were focused on for the restoration works andtheir equivalent locations are marked on the ca. 1877
photograph and 1918 survey map (see Figure 4 & 8). One
site lies on the true right of the Kyeburn River by theDanseys Pass Road (Site 1) and the other on the true leftof the river on a terrace (Site 2) (see Figures 2 & 3). These
photographs show how past earthworks have damaged
these sites and how vegetation has encroached on the
intact features. At Site 1, earth and vegetation had been
dumped into a stone-lined miners’ tail race (Figure 38).
The aim of the works was therefore to clear vegetationfrom the intact archaeological features to make themvisible to the public so as to detract from the past impacts
on the sites. The work required the vegetation to be cut
and cleared by hand as machinery would damage thefeatures. A large digger was used to help with the clearance
by placing it in a location where it could lift vegetation
away but not damage the archaeology. It was also used to
dig out the miners’ tail race to reveal the remains of theoriginal stone lined walls.

The results of the restoration works can be seen in Figures
39 to 46. Not only do the sites look more visually interestingfor the public, but now the remnants of the gold mining
activities can be better understood and interpreted for thesites. Of particular interest is the beautifully built dry stone
wall at Site 1 built as part of a large tail race to take waterand sediment away from the sluicing’s (Figures 43 to 44).
This race would have had gold saving apparatus in it atsome stage and at its base today there will be a layer of
sediment which still has uncaptured gold in it. The
craftsmanship of this tailrace is of high quality and so theminers who built it were experienced. Looking at the ca.
1877 photograph, it appears this tail race was built throughthe older tailings after this time possibly by the miners
noted in the 1883 survey map. At Site 2, the gold tailings
are more extensive than in the ca. 1877 photograph and assuch also show a continuation of mining at this location
for some years since the photograph was taken.

New ZealandHowever, many of the quality workings are obscured byvegetation with the damaged parts of the sites being more
obvious.

Conclusions
This small project to uncover gold mining heritage sites at
the Kyeburn Diggings is a good example of co-operation
between two parties with a vested interest in managing
heritage in a location where important infrastructure assets
are located. Now these gold mining sites are more exposed,in the future Transpower will be able to direct contractors
undertaking works on the power network on how to avoid
these sites and manage them. In addition, Transpower andHeritage New Zealand have provided the public with anopportunity to see what heritage lies along this stretch ofisolate road which will be soon supplemented byinterpretations panels.
Acknowledgements
My thanks to Dougall Campbell of Transpower forrecognising the importance of this mining site as part ofthe management of its power network assets. Also, thanks
to Electrix for undertaking the vegetation clearance works
required during the restoration.
References
Briden, S. & M. Schmidt, 2007. Historic Resources on the
Shortland’s Station Pastoral Lease. Report for the
Department of Conservation and Land information New
Zealand. Copies held by Department of Conservation
Otago Conservancy Office and the authors.
New Zealand Archaeological Assn online site recording
scheme ‘ArchSite’.
Land Information New Zealand “LINZ” landonline service.

46

New ZealandFigure 1. Location of Otago goldfields, South Island, New Zealand.

Figure 2. Location of the Kyeburn Diggings, Maniototo, Central Otago.

water race
Gold workings

Gold workings

House3
House5
House2water race
Hut Gold workings
House4 water race
House1Gold
workings
Site 1
BridgeGold workings

Site 2

Danseys pass
Coach Inn

Gold workings

Hotel

Figure 3. Google earth photo of above some of the Kyeburn Diggings
with Sites 1 and 2 indicated where the restoration works were
undertaken.

Figure 5. Reverend Don giving a bible lesson to Chinese miner’s ca. 1900 AD.
Note the Cantonese text on the Christian poster of Jesus. (source:
Chinese gold miners and Reverend Alexander Don at the Kyeburn
diggings, Otago. Ref: 1/2-019156-F. Alexander Turnbull Library,
Wellington, New Zealand. records/22883508)

47

Gold workings

Figure 4. The Kyeburn Diggings taken by William Hart possibly around 1877.
Structures have been identified in the photo by the author suchas ‘bridge’ and ‘House 1’. Sites 1 & 2 as they looked in ca. 1877
are highlighted (source: ‘Danzies Pass, Kyeburn Diggings, Otago,
NZ’, William Hart, Museum of New Zealand Te Papa Tongarewa
Registration No. C.014912).

Figure 6. Survey map SO 4799 from 1883 which lists the Europeans and thecompany of Chinese who were mining where Site 1 is today (Mapsource: LINZ).

New ZealandFigure 7. Cropped area of survey map SO 4799 showing Site 1. This map shows
the names of who owned the water races on this terrace:		
‘Gee Wee’s race’ and ‘Meikle’s race’ (Map source: LINZ).

Figure 8. Survey map SO 785 from 1918. Buildings and structures from theHart ca. 1877 photograph appear to be still present (Map source:
LINZ). In addition, this map confirms that some of the gold workingsin the location of the restoration works at Site 1 can be associatedwith named European and Chinese miners.

Figure 9. Archaeological sites identified on the Shortlands Pastoral Lease during
Briden and Schmidt’s survey in 2007.

Figure 10. Gold mining sluice faces and tailings from the 19th century(Photo: Briden & Schmidt 2007).

48

New Zealand49

Figure 11. Herring bone patterned gold mining
sluice faces and tailings from the 19th
century (Photo: Briden & Schmidt 2007).
Thousands of stones have been moved
and stacked during the mining of theancient alluvial terrace.

Figure 12. Gold mining artefacts are still present on Figure 13. One of the large earth reservoirs sitting
the gold tailings (Photo: Briden & Schmidt
high on the hills above the gold workings2007).
nearer the Kyeburn River (Photo: Briden& Schmidt 2007).

Figure 14. The remnants of an old stone housenear the Kyeburn and gold workings.
This could be ‘House 5’ as indicated in
Figure 4 (Photo: Briden & Schmidt 2007).

Figure 15. A 19th century surveyor’s trig marker(probably 1870s) high up in the mountaintussock. From these elevated points,
land boundaries and mining claims weresurveyed from and referenced (Photo:
Briden & Schmidt 2007).

Figure 16. A high altitude mining reservoir made ofearth. Four mining water races can beseen skirting the mountainside behind
the reservoir with one of these races
feeding water to the reservoir (Photo:
Briden & Schmidt 2007).

Figure 17. A surviving sod walled hut. A mud brickhut was also located near this structure.
These could have been used by miners(Photo: Briden & Schmidt 2007).

Figure 18. One of the huge earth walled gold mining
water reservoirs. The pipework to control
the flow of water out of the reservoir andinto a ‘header’ race to the mining area is
intact (Photo: Briden & Schmidt 2007).

Figure 19. A water ‘header’ race which took wateraway from the reservoirs to the gold
mining area to be used for sluicing(Photo: Briden & Schmidt 2007).

Figure 20. Sluice faces and extensive gold tailings
resulting from the mining of an ancientriver terrace using water under pressuresourced from reservoirs (Photo: Briden& Schmidt 2007).

Figure 21. A cobbled entranceway to a building once Figure 22. An aerial photograph of the gold workings
located near the old Kyeburn mining
further down the Kyeburn River from thetown. The poplar trees mark the area of
Danseys Pass Coach Inn. Mining on thean extensive enclosure perhaps used
left and right of the river can be seen
to keep animals or for gardens (Photo:with the mining of the left side of the
Briden & Schmidt 2007).
photograph most affected by vegetation
encroachment. This can indicate an older
mining area. Note the distinctive group of‘herring bone’ gold tailings (Photo: Kevin
Jones).

New ZealandFigure 23. 19th century schist bridge abutments.
These are from the bridge that can beseen in Hart’s ca. 1877 photographof the Kyeburn Diggings in Figure 4(Photo: Matthew Schmidt).

Figure 24. The ruins of the schist ‘Hut’ seen inHart’s ca . 1877 photograph of the
Kyeburn Diggings in Figure 4(Photo: Matthew Schmidt).

Figure 25. Gold tailings at Site 1. These can be seenin Hart’s ca. 1877 photograph of the
Kyeburn Diggings in Figure 4(Photo: Matthew Schmidt).

Figure 26. The ‘Schist House’ at Site 2 as indicatedon Survey Map SO 785 from 1918 in
Figure 8 (Photo: Matthew Schmidt).

Figure 27. View over where ‘House 1’ used to bepresent which can be seen in Hart’s
ca . 1877 photograph of the Kyeburn
Diggings in Figure 4 (Photo: Dougal
Transpower).

Figure 28. Artefacts exposed in an access way
cutting related to the occupation of‘House 1’ (Photo: Matthew Schmidt).

Figure 29. 19th century gold tailings damaged
through the bulldozing of an access way
at Site 1 (Photo: Matthew Schmidt).

Figure 30. Damage to 19th century gold tailings
through using earthworks machinery
to clear vegetation at Site 1 (Photo:
Matthew Schmidt).

Figure 31. Exposed 19th century rubbish pit fromaccess way earthworks near ‘House 1’(Photo: Matthew Schmidt).

Figure 32. Damage to gold mining tailings andsluicings through past works on a power
network tower and vegetation clearance
at Site 2 (Photo: Matthew Schmidt).

Figure 33. Exotic vegetation encroachment on
gold mining workings at Site 2. This
site used to be able to be viewed easily
from the Danseys Pass Road seen in the
background (Photo: Matthew Schmidt).

Figure 34. Exotic vegetation encroachment on gold
mining workings at Site 2. This site used
to be able to be viewed easily from theDanseys Pass Road and the 1877 bridge
seen in the background (Photo: Matthew
Schmidt).

50

New Zealand51

Figure 35. Exotic vegetation encroachment on thegold mining stone tail race at Site 1 (seeFigures 43 & 44 below). This tail race
also would have been able to be seenfrom the road in the background (Photo:
Matthew Schmidt).

Figure 36. A water race from one of the Kyeburn
Diggings large earth water reservoirs
which has been cut through by a farmaccess road (Photo: Briden & Schmidt
2007).

Figure 37. This area of gold workings is falling
into the Kyeburn River from erosion of
the steep river bank (Photo: Briden &Schmidt 2007).

Figure 38. The stone-lined tail race at Site 1 fullof vegetation debris dumped in thefeature over the years. The race may
have originally been ca . 2m deep withstonework along both sides (Photo:
Matthew Schmidt).

Figure 39. Vegetation being removed from thestone-lined tail race at Site 1 during
restoration works by Heritage New
Zealand & Transpower. Note the stone
revetting (Photo: Matthew Schmidt).

Figure 40. Vegetation clearance work being
undertaken by Electrix contractors at
Site 1 (Photo: Matthew Schmidt).

Figure 41. The exposed 19th century gold mining
tailings and possibly a hut site (centreof the picture) after vegetation has beencleared at Site 1 from the area shown in
Figure 30. These features can now beseen from Danseys Pass Road (Photo:
Dougall Campbell, Transpower).

Figure 42. Site 1 viewed from the other side of
the Kyeburn River near ‘House 1’.
The historic mining remnants can beclearly seen as can Danseys pass Road
unobstructed by vegetation (Photo:
Dougall Campbell, Transpower).

Figure 43. The beautiful dry schist stone wallingof the roadside tailrace at Site 1 after
vegetation clearance. This is the same
tailrace obscured by vegetation in Figure
35. The stone has originated from thepiles of gold tailings which used to fill
the space next to it. Skilful experienced
miners would have built this wall (Photo:
Dougall Campbell, Transpower).

Figure 44. A close view of the dry schist stone wallstonework seen in Figure 43 (Photo:
Dougall Campbell, Transpower).

Figure 45. The exposed gold tailings of Site 2 asseen from Danseys Pass Road after
vegetation clearance. These are thetailings seen in Figures 33 & 34 (Photo:
Dougall Campbell, Transpower).

Figure 46. More exposed gold tailings of Site 2 asseen from standing on the site with theroad in the background. These are thetailings seen in Figures 33 & 34 (Photo:
Dougall Campbell, Transpower).

Sri Lanka
D.A. Rasika Dissanayaka, Assistant Director (Promotions)
Department of Archaeology Sri Lanka

Sri Lanka

History of the Architectural Conservation Division of the Department of Archaeology in Sri Lanka

Among the divisions of the Department of Archaeology,
one important division is the Architectural Conservation
Division.
The main duties and activities of this division are:i. Conservation of all protected monuments as well asprotection of ancient city centers and maintenance ofenvironsii. 
Preparation of conservation plans, layout of city
centersiii. Control and supervision of conservation/construction
work.
iv. 
Documentation and Recording of monuments andsites
v. Remedial measures for monuments

Drawing prepared by Smither

In order to fulfill these duties there are three Chartered
Architects, one Civil Engineer, forty Architectural
Conservationists and twenty Draughtsman working in thisdivision. These officers are responsible for conservation ofmonuments in all nine provinces in Sri Lanka; they are also
involved in implementation projects, and preparation of
condition assessments and documentation.
The history of the Architectural Division dates back to theyears before 1890.
Years Before 1890
During the period of British governance under Governor
Sir Hercules Robinson (1871), Mr. Joseph Lawton
photographed the archaeological legacy found throughout
the island, particularly at the ancient capital cities ofAnuradhapura and Polonnaruwa with financial and otherassistance provided by the government of the island. This
event marked the start of documentation of historicalmonuments in Sri Lanka.

Drawing prepared by Smither

Drawing prepared by Smither

Photographs taken by Lawton

In 1873, under instructions given by the Governor, Sir
William Gregory, a survey of Ancient Anuradhapura wascarried out by Mr. Casher, and it contained even themeasurements of dagabas. Mr. J.G. Smither preparedscaled drawings of ruin structures of Anuradhapura under
the direction of Sir J. Ferguson in 1877 and it was released
under the title of “Architectural Remains of Anuradhapura”
in 1894.

During the years 1884-1886, Mr. Burrows (of the Ceylon
Civil Service) was assigned the responsibility of supervisingarchaeological matters related to the monuments and otherantiquities of Anuradhapura and Polonnaruwa. He tookfurther steps to promote architectural conservation such as
the clearing of thick jungles. Old roads were restored andnew roads were constructed.
Years 1890 – 1910
In order to carry out archaeological works, a permanent

52

Sri Lanka

fund was allocated in 1890. As a result of explanations to
the State Council by Sir Arthur Gordon, the Governor of
Ceylon, on 29th November 1889, Mr. H.C.P. Bell (of the
Ceylon Civil Service) was appointed as the first
Commissioner of Archaeology in February 1890. Mr.
H.C.P. Bell, who was the Government Agent of Kegalle andprepared the Kegalle Report, assumed his position andcommenced archaeological operations in North Central
Province on 7th July 1890. This event marked the official
birthday of scientific archaeology on the island.
The area was divided into nine portions in Anuradhapura,to facilitate the archaeological activities more efficiently.
However, Bell’s main duties dealt with exploration. As aresult, exploration and site clearing were carried out, withfew preventive measures being implemented.
The archaeological survey that had been limited to North
Central Province was extended to Central andSabaragamuwa Provinces in 1894, which means therehabilitation of Barandi Kovila at Seethawaka andexploration of Sigiriya were the main activities. After theclearance of thick jungle in Sigiriya, land surveyingcommenced using a theodalite, with the lower gradientssurveyed by traverse methods in 1896.
In May 1900, archaeological activities commenced in
Polonnaruwa following the same systematic conservation
methods as in Anuradhapura. During this period, surveys
in Anuradhapura, Polonnaruwa and Sigiriya werecompleted satisfactorily. Erecting iron platforms andconserving walls in Sigiriya were also done accordingly.
Similarly, conservation activities were effected in North
Western and Central Provinces and the Kegalle District.

Maintenance work at Vatadage, Polonnaruwa

It is stated that the principles and theories of architecturalconservation grew during this period. At that time, theDepartment of Archaeology did not take a clear position as
to whether a particular monument should be conserved,
or restored to use for devotees. Although standing orders
had been prepared there were no clear conservation
principles to be seen. Though Mr. Bell showed interest inconservation, he did not pay attention to the principles.
The first person concerned about the principles ofarchitectural conservation was Mr. R. Ayerton, but after his
sudden death, the debate did not continue. Therefore, anumber of monuments that had already been excavatedbefore 1914 were destroyed without being conserved. Mr.
A.M. Horcart (1922-1924) who paid special attention to thesituation, attempted to introduce the following
fundamentals, i.e., “Excavation must be carried out if only
possible for conservation and maintenance.”
During the governorship of A.M. Horcart, the relationshipbetween the Department and public expanded evenfurther. There were frequent requests from the public forthe conservation, rehabilitation or maintenance of heritage
places. Permission was issued under certain conditions forselected cases and the applicant had to pay the cost ofconservation. Similarly, separate workers were appointed
for preventive conservation and regular maintenance ofthe conserved monuments.

Documentation of Sigiriya and erecting iron platforms

Years 1910-1930
During this period, the main aim of the Department ofArchaeology was the declaration of monuments and sites
and maintaining them. Accordingly, Anuradhapura,
Polonnaruwa and Sigiriya were well maintained. In
addition, Mihintale, Kushtarajagala, Arankele, Yapahuwa,
Nalanda and Berendi Kovil were also preserved andmaintained. Special attention was paid towards preservationof the environment and landscaping.
Tomb of Mr. R. Ayerton in Hambantota

53

With this appointment, the main office, which was situatedin Anuradhapura, was shifted to an allotment at Colombo
Museum and later shifted to the present premises.
During this period, the social and economic backgroundof the country badly affected the architectural conservation
process. The world economic depression of 1931 and themalaria epidemic of 1934 had an adverse effect onarchaeological investigations, and Mr. Paranavithana andothers became victims of the epidemic. Similarly, theSecond World War (1939 – 1945) had an indirect impact
on Sri Lanka, and archaeological activities were badly
affected as a result.
When there was an indication that Sri Lanka may gain
independence, especially in 1946 when the independence
movement was developing in earnest, a change appearedin the minds of the people, coupled with a rise in national
pride and a tendency towards disapproval of the activities
of foreign archaeological officers. Religious sentiments
also began to rise.
It became apparent that archaeological conservation was
regarded as a religious activity. But if the responsibility of
the archaeologist was to preserve ruined monuments
without changing their form, it was allowed for religious
activities as well.
The Antiquities Ordinance No 9 of 1940 was enacted on
15th July, 1940 to form part of the Sri Lankan legal code,and this can be regarded as a special event; the ordinance
was amended by Gazette notification No 6940 on 13th
December, 1946. In 1941, an Advisory Committee wasappointed to obtain approval for plans to protect
monuments.

During this period, special interest was taken in maintaining
the ancient city centers, such as constructing roads,
planting trees along the roads, and creating a pleasantenvironment. The Architectural Conservation activities
were carried out in Anuradhapura, Polonnaruwa, Sigiriya,
Mihintale, Panduwasnuwara, Dedigama, Thirukeshwaram,
Aukana and Embekka Devala by Mr. P.H. Wilson, who
was the Assistant Commissioner (Architectural Conservation)at that time.

Sri Lanka

Years 1930 – 1950
An important event that took place during this period was
Mr. C.F. Winzer’s retirement from government service and
Mr. Senarath Paranawithana’s assuming his duties as Acting
Head of the Department. Mr. A.M. Longhurst, who was theArchaeological Superintendent of India, had been
appointed as the Archaeological Commissioner since 8th
October 1935, but with his retirement in 1st October 1940
Mr. Paranawithana was assigned as Commissioner ofArchaeology.

Years 1957 – 1970
Towards the end of 1957, the great flood caused theeastern and south eastern sides of the Jetavana Dagaba
dome to slide down, with something similar occurring to
the Hatares Kotuva of Abhagiri Dagaba. This flood caused
serious damage to Polonnaruwa too, and Rankoth Vehera
was also damaged. It was understood that the monuments
and city centers needed to be well maintained because
visits by foreign tourists and local pilgrims in the festival
seasons increased.
In 1963, when new bricks were used for old monuments,
it was necessary to insert the mark pu vi de (Sinhala) on
the bricks. This practice was started by Dr. Godakumbura.

mq¡ ú¡ f o¡
Mark inserted on new bricks

Years 1970 – 1990
A clear development appeared in the functions of the
Department of Archaeology during this period and it canbe regarded as a miracle considering the challenges it had
to face. In 1971, as a result of the JVP revolt a senior Field
Officer of the Department of Archaeology died and thematerials in his workshop were lost. On 14th May, 1985 in
the LTTE terrorist attack on Sri Maha Bodhi in Anuradhapura,a large number of pilgrims were killed and an employee of
the Circuit Bunglow of the Department of Archaeology,
which is near the Sri Maha Bodhi, was fatally shot. At thesame time, in 1980, with the participation of the Prime
Minister, the Central Cultural Fund was established, which
was administered by an Executive Committee. The Director
General of this institution was the Archaeological
Commissioner.

Well maintained property54

In 1970, four regional offices were set up in Anuradhapura,
Kandy, Tissamaharama and Colombo to establish a proper
management structure. In the early period conservation
activities were limited to Anuradhapura, Polonnaruwa andSigiriya, but these were extended to the southern area ofthe country. The shelter for the famous Buddha statue at
Aukana was erected in 1974, and the Dutch Fort at
Katuvana, Ambalama at Mangalagama, and Soragune
Devala were the other main conservation projects.

Years 1990 to 2017
From 1990 to the present, six Directors General have
served the Department. The expansion of the Architectural
Conservation branch began in 1990, with the appointmentof three chartered architects (one Director and two
Assistant Directors) and nine regional architecturalconservators; construction of a new building for the
Department commenced in 1990 and was completed in
1999.

However, these restoration activities spread all over thecountry, and thousands of monuments were conserved
during the period of Dr. Roland Silva.

Natural Disasters
In the tsunami disaster which occurred in Indian Ocean on
26th December 2004, the southern coastal area wascompletely destroyed and a great number of lives werelost, with the displacement of about 1.7 million people.
Thalalla and Dickwella Ambalama were completely
washed out to sea and Welipatanvila Gangarama Vihara,
which had a pirith mandapa from the Kandyan period,
was destroyed. Similarly, part of the rampart of Galle Fort
and the servant’s room were damaged, and the marine
museum, which belonged to the Central Cultural Fund,was completely destroyed.

Sri Lanka
Conservation of monuments

Nalanda Gedige is an ancient Hindu temple constructed
sometime between the 8th and 10th centuries with stones in
the Pallava style. It was threatened with inundation by the
newly created Bowatenne Tank. Hence in 1980, theDepartment decided to dismantle this monument and reerect it in an elevated position in the same place, after
filling in the ground. The decision was taken to erect the
Maligawila crystalline Limestone Buddha Statue which was
falling down on earth by Ministry of Cultural Affairs in
1974. Although this task was assigned to the StateEngineering Corporation, it had to be stopped because of
the scaffolding which was used to support to statue wasslided and damaged to the statue in 1976. The Dutch
Hospital, which had been built for the use of Dutch sailors,
was restored under the supervision of the Department ofArchaeology by a private organization in 1985.

The heritage value and significance of the Galle Fort andits fortifications have been recognized by UNESCO andthis property was inscribed as a cultural UNESCO World
Heritage Site in 1988 under criteria iv, for its uniqueexposition of “an urban ensemble which illustrates theinteraction of European architecture and South Asian
traditions from the 16th to the 19th centuries.” The Central
Cultural Fund carried out its restoration activities with theformulation of a special project.
It is miraculous that the Yatala Dagoba, which is 340 feetin circumference and 124 feet in height, was restored with
its ancient elephant wall in a limited time of five years
under the leadership of Dr. Roland Silva with the help of
his architectural conservators. “With the completion of the
pinnacle, it was ceremonially opened by His Excellency
the President R. Premadasa on 15th June 1987.

Disaster caused by the tsunami

Nevertheless, it is of some satisfaction that the archaeologicalmonuments escaped with less damage, and this can beconsidered as a gift of fate.

Restoration of Yatala Dagaba in 5 years

55

Disasters Caused by People
The Temple of the Tooth Relic of Kandy, considered withdeep veneration and inscribed on the World Heritage List,

After conservation, the height of the Dageba was 192 ft.
and the diameter was 145 ft. In this conservation, reinforced
concrete rings were used and 1 million bricks wereconsumed. Similarly, the temple complex was also
conserved. This project was completed by employing all
the technical staff of the department, who worked day andnight.

Sri Lanka

was bombed by LTTE terrorists on 25th January, and several
parts of the building complex suffered damage.

The Dematamal Vihara complex was also underconservation during this period. Similarly, Dageba, themonk residence, Chapter House, Bodighara and the shrine
room were conserved and the completed complex was
declared open by the President of Sri Lanka.

After the bomb blast at the Temple of Tooth Relic, Kandy

As a result of the hand of fate, the chief and most importantbuilding of the complex containing the sacred tooth relic,the Tampita Vihara, was not damaged, and only some ofthe paintings suffered damage. The main entrance, theWahalkada; and the octagon, the lower floor of the Dig
Ge; as well as the Hewisi Mandapaya were damaged.

Maligawila Buddha statue in Monaragala District, which
was made with crystalline limestone and was laying on the
ground, was conserved and re-erected on 1st September
1991. It is 77 ft. 10 inches in height. This statue had been
captured by treasure hunters for a long period and washanded over to the state engineering corporation by the
Department of Archaeology. Their first conservation
attempt resulted in failure, but the second attempt was
successful.

During the conservation and preservation of this World
Heritage monument, special attention was given to
structural stability, the materials used, future usage andaestheticism and authenticity.
The responsibility for conservation was mainly assigned tothe architectural conservation section of the Department ofArchaeology and the supervision was done entirely by Dr.
Gamini Wijesuriya, a former Director (architecturalconservation). He documented all the data, utilizing eightgroups of architectural conservators.
Thus all conservation activities were completed by August
1999 and the customary Dalada procession was held onthat month.
Particulars of Conservation Activities Fulfilled During This
PeriodThe re-conservation activities at Mirisawatiya Dageba in
1979 failed. However, conservation activities were restarted
in March 1991 and the completed work was declared open
by the Prime Minister of Sri Lanka on 4th June 1993.

Restoration of Mirisawetiya Dagaba in 1993

Maligawila Buddha Statue

Simultaneously, another Bodhisattva image called
Dambegda situated ¼ km from Maligawila Statue wasblasted by treasure hunters after its collapse on the ground,when it was found by the Department of Archaeology.
When attempts to erect it in 1970 failed, the German
Federal Government agreed to fund the conservation
process in 1988. This crystalline limestone image had beenbroken into more than a hundred pieces. This Bodhisathva
statue, the height of which is 33 feet, was assembled byusing three 85 mm stainless steel rods inserted into thestone parts. The Department restored this image to its
pristine state without any sophisticated equipment. A

Erecting Bodhisatva statue of Dambegoda

56

Sri Lanka
Primary Mechanism used at Ruwanwella
Conservation

Ruwanwella Fort Entrance, before Conservation

Former residence of Dutch Naval Commissioner at Trincomalee

After Restoration

Training Programme

Deegawapi Dagaba

Neelagiri Dagaba

57

After Conservation

The Entrance of British fort in Ruwanwella was in a stateof disrepair and had almost toppled, and using limited
resources it was restored to its correct position andpreserved.
The Maritime and Naval History Museum was establishedin 2009 at Trincomalee which once had been the official
residence of the Dutch Naval Commissioner which had
decayed and been abandoned during the LTTE war
situation before 2009.
Conservation of the Dutch fort in Jaffna started in 2010,
after the end of the war in 2009.
A training programme on documentation of timberbuildings was held 21-26 October in 2013 in ancient
Embekka Dewalaya. This workshop was funded by the
Asia-Pacific Cultural Centre for UNESCO (ACCU) in Japan
with the participation of 15 officers from the Departmentof Archaeology, Museum Department, and Central Cultural
Fund.
The ancient pond in the Kingdom of Raigama wasconserved with the involvement of the Lions Club of
Horana and was funded by the Central Cultural Fund. The
special feature of this pond is that the walls of this pond
are made with Kabook stones. The famous architect Ashley
De Vos consulted on this project.
The conservation of Neelagiri Dagaba and Deegawapi
Dagaba and the restoration of Mihintale Dagaba areconsidered the main projects at present.
When considering the above facts, the process ofarchitectural conservation in Sri Lanka, which was started
in 1871, is currently at a higher level of development. Thissection is under a separate Director and staff assigned all
around the country, and more than 100 monuments arebeing conserved yearly.
Reference:
1. 
Smither, James G. (1894). Architectural remains,
Anuradhapura, Ceylon, comprising the Dagabas andcertain other ancient remains, structures, measured,drawn and described by order of the Ceylon
Government, Second Edition.
2. Wijesekara, Nandadeva. (1990). History of Departmentof Archaeology, Archaeological Department Centenary(1990) Commemorative Volume (1890-1990) First
Volume, Government Press. (Sinhala Medium)3. Wijesuriya, Gamini (2007). The restoration of the Templeof the Tooth Relic in Sri Lanka: a post-conflict cultural
response to loss of identity, cultural heritage in postwar
recovery, in ICCROM Conservator Studies 6 ISBN 929077-201-8
4. 
Wijesuriya, Gamini. Wijetunga, Sirisaman. (1993).
Mirisaweti Udanaya, Archaeological Department,
Tharanji Printers. (Sinhala Medium)5. 
Wijetunga, Sirisaman. (1996). Profesor Senarath
Paranawithana, Archaeological Department, State
Printing Corporation. (Sinhala Medium)6. Silva, Roland. Wijeseriya, Gamini. Wysse, Martin (1993).
Restoration of a Vandalized Bodisattiva Image at
Dambegoda, Sri Lanka, The Story of Logo, 10th General
Assembly of ICOMS. Sri Lanka Government Printing
Department.
7. Prematilake, P.L. (1985). Nalanda, Central Cultural Fund,
State Printing Corporation.
8. 
Herath, Madduma Bandara. (1991). Okkampitiye
Dematamal Viharaya, Archaeological Department, The
Associated Newspapers of Ceylon Ltd. (Sinhala
Medium)9. Archaeological Department (1987). Yatala Vehera,
Archaeological Department, Municipal Press. (Sinhala
Medium)10. Deraniyagala S.U. (1999). Administration Report of the
Director General of Archaeology For the Year 1 9 9 2 ,1993, 1994, 1995, 1996, 1997, 1998.
11. http://whc.unesco.org/en/list/451/documents/

Sri Lanka

sketch prepared when it was surrounded by wooden
scaffolding is used as a logo, the symbol for the 10th
General Assembly of ICCOMOS 1993, Sri Lanka.
The pulpit of the Dutch church in Galle Fort was conservedin 1994. For this process, technical advice were given by
Nederland Wood Conservation Specialists and training
was given to carpenters of the Archaeological Department.

58

Uzbekistan
Uzbekistan

New Discoveries at Dalvarzintepa in 2015-2016
Akmal Ulmasov, Leader specialist
Fine Arts Institute, Academy of Sciences of the Republic of Uzbekistan
Introduction
The archaeological expedition of the Fine Arts Instituteunder the Academy of Sciences of Uzbekistan together
with the famous Japanese professor Kyuzo Kato conductedarchaeological research in Dalverzintepa. The ancient
settlement of Dalverzintepa – the ruins of one of the large
ancient cities of Bactria – is located in the Surkhandarya
region. The city was first erected on the southern side of ashallow hill in the 3rd to 2nd centuries BC. In the Kushanera, the houses of ordinary citizens and nobles wereerected here; at the crossroads of the central streets was alarge Buddhist temple; on the northern side was the
sanctuary of the local goddess. On the south-western sideof the city there was a quarter of potters. Outside the city
there was a Buddhist sanctuary (older than the city temple)
and a Zoroastrian “naus” – a funerary building or tomb. In
the second half of the 3rd century AD the city was ravagedby the Sassanids, and in the 6th to 7th centuries AD theprotected part of the citadel was temporarily inhabited by
the population. During excavations it was established thatthe defensive wall of the city was constructed out of large
bricks of various sizes and had about 30 towers. The total
length of the defensive wall of the city was 2500 m; its
width was 10-15 m. In the eastern part of the city, a sauna
was accidentally discovered. The floor of the sauna wasmade from burnt bricks, with ceramic terracotta pipes, andthere was a pit for water drainage.
Archeological excavations in DT-32 and DT-37
Archeological excavations were conducted in 2015-2016.
In the center of the settlement were discovered the ruinsof a residential building (DT-37) of the Kushan era, which
had about twenty rooms.
On the south-western side of the monument there was acomplex (DT-32) of several rooms that had possibly
belonged to a wealthy man. In the central hall (9.35 x 5.15m) of the complex a large stone base of the eastern-typecolumn widely distributed in Bactria was found, as well as
fragments of the capitals of the column. Similar samples ofthis type of column base have been found at manymonuments of ancient Termez and Khalchayan.

59

amphoras with two handles, as well as boilers, vases, large
bowls, vials, glasses, plates and other kitchen utensils. In
one of the premises revealed by the excavation wereseveral “hum” – big jar(s), located in one row. Hums, large
vessels distributed in Central Asia, were intended for the
storage of grain, rice, wine, water, etc.
A large number of ceramic products found were jugs andtheir numerous fragments. Judging by their surviving parts,
they were both one-handed and two-handed. On somefragments of the surface of the jugs, various stamps or
seals have been preserved. On one of them, there aretraces of two overlaid seals of an even, oval shape with theimage of identical signs resembling a “tamga”1 – a stampor seal.
On another fragment of the jug, there is a seal with theimage of a man in a boat and holding in his hands (mostlikely) a shield and a sword. The image along the perimeteris framed by a lattice pattern. It seems that the master
potter was trying to show a guard floating in a boat on theriver and a water-filled ditch surrounding the city. This was
the first time for this image of a boat to be found in
Dalverzintepa, but similar samples have been found onother monuments in this region. For example, there was aclay bull brought from the Buddhist complex Karatepa in
Old Termez. On it was an imprint of the oval form with theimage of the ship. The location of the bull on the bank of
the Amu Darya allowed the researchers to assume that “itdepicts a specific Amu Darya military transport vessel
floating down the river”.
Among the finds, special attention has been paid toterracotta figurines. Among the samples of these small
sculptures female characters predominate. Women are
depicted in full growth, or sitting in long robes, strange
headdresses, with beautiful hairstyles, and with the fingersof their hands closed; others have different objects in theirhands.

The architectural elements of the structure can be
determined from fragments of terracotta antefixes.
Antefixes and a decor of palmettos and acanthus wereused to frame the edges of the roof. A large number ofsimilar analogues have been identified in Khalchayan; they
were less often found in the Bactrian structures of AiKhanum, Surkh-Kutal, Kul-tepa and other monuments.

Terracotta in Dalverzintepa was created in the tradition of
local art, but there is also the influence of Hellenistic
culture. These figurines are related to different religions
and reflect the spiritual worldview of the local population.
Among the terracotta figurines there are also stylized
images of the figures of horses in the form of burnt
handmade figures covered with red paint (angobe).
Skillfully executed details of clothes on the figurines andtheir decoration testify to the skill and experience ofmasters.

Archeological objects
The main objects discovered during the archaeologicalexcavations were elegant ceramic articles of the Kushan
era and their fragments. For example, there wereornamented jugs made from gray clay in the form ofDuring the excavations, oil lamps, hundreds of woven
spindles, bronze mirrors, small glass vessels, animal bone
products, coins and other various products were also
discovered. A large number of Kushan coins made ofbronze and copper, minted at the behest of the rulers of

Among the metal products, a unique sign – a seal
representing a bronze coin with a soldered round ring – isof great interest. This find is interesting because the coinbelonged to Vima Kadphises, one of the Kushan emperors,
who ruled from 90 to 100 CE.
Of particular importance among archaeological items is abrazier (or candlestick) with a zoomorphic metal handle in
the form of a horned deer. Presumably, this highly artistic
product was intended to kindle an aromatic plant, forexample, the medicinal herb “isirik” – peganum harmala(or Syrian rue) – used for magical purposes, and usedduring special ceremonies. A candlestick with a similar
handle was found in Dalverzintepa for the first time andhas no Bactrian analogues as yet. Other similar Bactrianmonuments are also unknown. But this pattern resembles
a brazier from Iran, dating back to the time of the Arsacids
dynasties of Parthia (2nd century BC to 2nd century AD).
The only difference is that the handle on the Iraniansample shows a griffin instead of a deer.
Among other items, elegant small glass vessels were found,which were supposedly used for medicinal or perfume
products. This indicates the demand for such products by
the city’s residents, which in turn indicates their highculture and developed tastes.
Another discovered object is, in the scientific literature,
called a toilet tray or powder box. This product, skillfully
carved from black steatite, is a round disk, in the center ofwhich is depicted a fabulous polymorphic creature. His
body is made in the form of a winged snake with a scaly
fish tail, and the head, neck and front legs are like ahorse’s. In bas-relief, the front right leg and the upper partof the wing are broken.
In Dalverzintepa and earlier, stone palettes had the imageof a hippocampus – a sea horse with a fish tail. The upper
part of the disc is hand-crafted, carved in the form of abas-relief marble-like calcareous stone, and the
hippocampus is depicted with a man sitting on it. According
to the researchers, this toilet tray is comparable to samples
from the neighboring historical and cultural areas ofGandhara, which was in close contact with Bactria. In
Greek mythology, the hippocampus was considered a sea
horse with a fish tail, a king of fish, and was equated withwhales. The image of the hippocampus is inherent in theart of Central Asia of the Kushan era; it was displayed in
the form of a horse-snake or a horse-dragon.

Stone toilet trays were also found on several Kushanmonuments in the territory of Tajikistan, and theirnumerous and diverse samples are known from the
excavations of Sirkap (Taxila) of the 1st century BC to 1st
century AD. In Gandhara, stone palettes expressed
Hellenistic influences, and the stories do not repeat eachother. For example, in one of them, Triton is settled on thethrone decorated with a lotus, and on the other Ketos is
depicted sitting on a winged horse. But, here you can finddiscs featuring feasting scenes, fantastic creatures (mostly
hippocampus), Nereids over a horse or a sea monster, etc.

Uzbekistan

Kushan, testifies to the commodity-money relations thatexisted in the territory and the developed economy as awhole.

Conclusion
Unique artifacts discovered in Dalverzintepa indicate thatin ancient times in this territory a culture of town planning,
applied art, handicraft, international trade and cultural ties
were developed. This proves that in ancient times
Dalverzintepa was one of the major socio-political andculturally enlightened urban centers of Bactria.
References:
1. L itvinsky B.Ya., Sedov A.V. Tepai-Shah. Kultura i svyazi
Kushanskoy Baktrii.– “Nauka”. Moskva, 1954. - S. 143144, ris. 57/1.
2. P
 eters B.G. Izobrajenie korablya na bulle iz Karatepe. //Buddiyskie kompleksi v Starom Termeze (Kara-Tepe
VI). - Moskva: “Nauka”, 1996. - S. 213-220.
3. Pugachenkova G.A. Khalchayan. Problemi khudojestvennoy
kulturi Severnoy Baktrii. - Tashkent, 1966. - 285 s.
4. P
 ugachenkova GA, Rtveladze E.V. Dalverzintepe –kushanskiy gorod na yuge Uzbekistana. - Tashkent:Fan, 1978. - 240 s.
5. T urgunov B., Ulmasov A. Dalvarzintepa: tadқiқot va
toplilmalar // J. “Moziydan sado”. - Toshkent, 2017. №2.
- 25-27 betlar.
6. U lmasov AF Holchayandan nomalum antefikslar // J.
San’at. - Toshkent: “San’at”, 2010. №4. - 6-8 betalar.
7. U lmasov A.F. Novie naxodki kamennix baz antichnogo
vremeni na Khalchayane. // Materiali khudojestvennoy imaterialnoy kulturi Uzbekistana. Tashkent, 2014. - S.
103-119.
8. 
Gandhara and Silk Road Arts. The Hiroyama Ikuo
Collection // Catalog of the Exhibition. Asahi Shimbun.
- Tokyo, 2000. - P. 40. Cat. No 76.
9. M
 arshall, John S. Taxila. An Illustrated account ofArcheological Excavations. Cambridge University Press,
1951. Vol. II, p. 493; Vol. III, pl. 144-146, p. 193-194.

60

Uzbekistan
1. a) Map of Bactria

DT-37

0.50

2.80

2.60
0.80
2.61

0.95
3.40

0.90

3.30

1.85

1.83

3.30
1.20

2.31

1.25

1.28

1.80

4.30

1.90
1.20

1.20

3.30 - 3.40
2.33

2.35

2.07

2.00

1.25

1.30

0.80

4.00
3.10 - 3.40

1.30

3.10

4.50
яма

3.10

1.80

1.80

2.00

1.60

4.30

4.00

1.20

3.30

N

3.42

1.70

1.30

1.20

0.70
2.00

1.90

1.40

2.20

2.10

1.20

2.40

3.10

3.10

2.80

1.90

2.95

1.64

1.60

1.10

1.50

1.58

2.18

2.81

1.10 2.64

Schematic plan archeological site DT-37.
Dalvarzintepa 2015
On B.A Turgunov, 2016
Drawing and Tracing by A.Ulmasov

Dalvarzintepa.
DT-32

2.67 м

2.70 м

3.90 м

2.70 м

1.00 м

Room 42.20 м

5.25 м

5.50 м

N

2.77 м

Room 6

2.26 м

2.80 м

2.50 м

3.97 м

3.00 м

4.95 м

2.80 м

3.03 м

18.90 м3.05 м

Room 1

DT-32

Hearth3.05 м

9.85 м

Corridor

5.26 м

Room 52.82 м

3.10 м
5.10 м
1.00 м

1.20 м

2.90 м

5.05 м

2.75 м

5.05 м

Room 23.60 м

4.00 м

3.65 м

Sotne bases

2.40 м

2.45 м

2.72 м
3.47 м

2.70 м

2.74 м

1.60 м

3.40 м

Room 71.70 м

1.63 м

3.25 м

3.60 м

3.25 м

1.60 м

3.50 м
1.80 м

22.50 м3.50 м

Room 81.40 м

CorridorCorridor

1.70 м

1.64 м

1.62 м
2.42 м

4.55 м

1.65 м

1.09 м

2.50 м

3.15 м

Room 91.30 м

2.45 м

2.46 м

3.90 м

М - 1 : 10

2.25 м

Room 102.30 м

0

1

2

3

4

5m

3.05 м

On B.A Turgunov, 2016
Drawing and Tracing by A.Ulmasovb) Location of Dalvarzintepa archeological sitec) Plan of excavation sites DT-32 and DT-37

2. Room No. 1 with two stone bases

61

3. Potteries with stamps and seals:

Uzbekistana) Tamga(s) - stampsb) Imprint of seal with floating boat image

4. Terracotta figurines and objects

5. Seal with the bronze coin of Vima Kadphises

62Uzbekistan
6. A brazier (or candlestick) with horned deer metal handle

63

7. a) Glass flaskb) Spindle whorlsc) Fragment of Antefix

8. Toilet tray with image of a hippocampus

Published by
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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) 2017

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