Bangladesh / Cambodia / China

30

2023

The Thirtieth Regular Report

India / Indonesia / Kazakhstan

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

The Thirtieth Regular Report
Contents
Bangladesh

1

Cambodia

7

Cambodia

12

China

18

India

25

Indonesia

33

Kazakhstan

42

Dr. Mst Naheed Sultana
Magnificent Mughal Architecture ‘Tah Khana’ Chapai Nawabganj, Bangladesh

Chan Vitharong
Site Security Educational Program for Archaeological Site of Sambor Prei Kuk, Ishanapura

Sokonthea Sort
Restoration and Renovation of the National Museum

Bi Yi
Grotto Temple National Archaeological Park - Exploring A New Model for the Conservation andUtilization of Grotto Temples in China

Ar. Maulishree Mishra
Restoration of a 17th to 18th Century Old Ruin for Adaptive Reuse While Reviving Traditional Methodsof Vernacular Construction to Present an Example of Heritage Conservation to the Community andCreate More Hope for Abandoned Heritage

Yosua Adrian Pasaribu
Designation of Presidential Palaces as National Cultural Heritage Sites

Gulnaz Kulmaganbetova
On the Problems of Researching the Ancient City of Taraz﻿

Lao PDR

46

Nepal

49

New Zealand56

Sri Lanka

62

Sri Lanka

70

Uzbekistan

81

Sommay Singthong
The Management of Archaeological Remains from Hua Phu Cave Site

Dr. Suresh Suras Shrestha
SWAYAMBHU STUPA: Conservation of the Gajur (the topmost part – pinnacle)

Dr. Matthew Schmidt
Te Papa Atawhai Cultural Heritage Conservation Projects, Southern South Island: Arrowtown Chinese
Settlement Huts 2023

Getsy Thavarajah
Excavation and Conservation at Jaffna Dutch Fort From 2009 to 2017

R. Nishanthi Ranasinghe
Conservation of Ancient Murals and Sculptures of Yatawatta Temple on Pillars (Tam pita Vihara)
in Gampaha District of Sri Lanka

Dr. Akmal Ulmasov
The Practical Experience of Conservation of Museum Exhibits During Visiting Exhibitions

Bangladesh
Bangladesh

Magnificent Mughal Architecture ‘Tah Khana’ Chapai Nawabganj, Bangladesh
Dr. Mst Naheed Sultana, Regional Director
Department of Archaeology, Ministry of Cultural Affairs, Government of the People’s Republic of Bangladesh
Location
The Tah Khana archaeological site is located in Firojpur
Union of Shibgonj Upazila in Chapai Nawabganj districtin the north-western part of Bangladesh. It is locatedin the border area of Bangladesh and India and very
close to Sonamasjid Land Port. This archaeological site is
336 km from the capital Dhaka and 34 km from Chapai
Nawabganj district town (Fig. 1).

10 CE and 1212-27 CE). However, the golden age of Gaurbegan during the reign of Sultan Nasir Uddin Mahmud
Shah of the next Ilias Shahi dynasty (1435-69 CE). Aftera short break in the middle, Gaur became the capitalof Bengal until 1608 CE. Most of the areas of North andWest Bengal including Chapai Nawabganj became partof the Mughal Empire after the conquest of Bengal by
the Mughal Emperor Akbar. In some areas of East andSouth Bengal, the Bhuiyan developed resistance against
the Mughals. However, among the Mughal Subahdars,
Shahzada (Prince) Shuja was given the responsibilityof ruling this region (1631-59 CE). At that time, hecompleted several works in Chapai Nawabganj. During
his time, Hazrat Shah Neymatullah (R.) came here topreach Islam in the eastern part of Gaur. Shahzada
Shuja received him with the utmost respect. Later, Shah
Neymatullah (R.) permanently settled in Firozpur on theoutskirts of Gaur city.

Fig. 1. Photo taken from Google

The southern part of the ancient Gaur city developed
huge hinterlands where human settlements, mosques,mausoleums, madrasas, roads, ponds, resting places,
Mazar culverts, etc. were built. Today, these monuments
are the ancient heritage of the government of Bangladesh.
This area is so rich that numerous cultural objects can beseen everywhere (Figs. 3 & 4).

Short History
Muslim general Ikkhtiar Uddin Muhammad bin Bakhtiyar
Khilji defeated Lakshman Sen, the last Hindu king of
Bengal in 1204 CE at Nadia. Lakshman Sen fled andtook refuge in Bikrampur. Following Bakhtiyar Khilji’s
victory, Tah Khana was chosen as the capital of the newconquerors of Bengal and hence marks a new epoch in
the history and culture of Bengal.Later, this expansionof Muslim supremacy extended from West Bengal to thesouth and east, covering the entire Ganges-Brahmaputra
Delta. This entire region is known as Sultanal-i-Bangla or
Subah-i-Bangla (Fig. 2).

Tah KhanaIn the ancient capital Gaur, many structures have been
built in different eras since ancient times. Tah Khana is

Fig. 2. Photo taken from Google

Lakshmanavati is located very close to Navadwip.
Bakhtiyar Khilji established his administrative capitalat Devkot or Bangarh in Gangarampur Thana of West
Dinajpur soon after the conquest of Navadwip. After
Bakhtiyar Khilji was killed by assassins, his general Giash
Uddin Yuaj Khilji brought the capital back to Gaur (1208-

1

Fig. 3. Archaeological sites at Chapahi Nawabganj in BangladeshFig. 4. Location of Tah Khana archaeological sites in
Chapahi Nawabganj district

one of them and has special characteristics. ‘Tah Khana’is a Persian word which literally means cold buildingor palace. Shahzada Shuja built this building as a heatcontrolled building in Firojpur for the residence of his
religious preceptor, Shah Neamatullah (R.). According tovarious historical texts, Shah Shuja, the son of Mughal
Emperor Shahjahan, built the Tah Khana as a heatcontrolled building in 1639-1658 or 1639-1660 CE to show
his devotion to his religious preceptor, Shah Neamatullah(R.), during his tenure as the Subadar of Bengal (Fig. 5).

Bangladesh

Architecture
The two-storied building Tah Khana is mainly builtof brick, but stone has been used extensively in thedoorframe and floor. Wooden beams are used for theflat roof of the ground floor (Figs. 6, 7). The building
appears to be single story from the western side. Again,
the building can be seen as a two-storied structure fromthe eastern side. The ground floor rooms are extended
to the east and all the rooms are designed in such a waythat they reach close to the large pond. The roof of theground floor was used as an open floor or courtyard on
the eastern side of the first floor of Tah Khana palace (Figs.
8, 9, 10, 11).
Its length is 35.35 meters from north to south and 11.58
meters from east to west. There are 18 rooms in total. Of
these, 5 rooms are on the ground floor and 13 rooms areon the upper floor.
The Tah Khana palace is surrounded by a boundary andthere is an arched gateway in the middle of the wall toenter the building. The gateway is decorated with panel
decorations. Entering the palace through the gate, there
is a water fountain which represented the beauty andMughal nobility of that time (Figs. 12, 13). However, thefountain is currently inoperable (Fig. 14).
The ground plan of this palace is very complex in nature
but interesting. The palace can be divided into threeparts or divisions by looking at the shape, nature, andcharacteristics. “The most characteristic feature of thisstructure is its apparent coolness and freshness attainedby its existence at the bank of a tank and also its peculiarplan” (Hasan 1971:129).

Fig. 6. Flat roof of ground floor

Fig. 5. Shah Shuja (Photo collected from Google photos)

Legend has it that when Shah Shuja visited Niamatullah(R.) in Firojpur, he used to stay in this palace. There are
two more buildings on the north-western side of Tah
Khana. The nearest of these is a three-domed mosqueand the other is a single-domed mausoleum. The palace
was once very splendid and aristocratic. Although it had
deteriorated due to not being used for a long time. The
Department of Archaeology later restored the palace to its
original condition through a process of preservation andconservation.

Fig. 7. Arched doorways and niches of ground floor

2

Bangladesh
Fig. 8. Tah Khana, photograph taken from the east

Fig. 9. Photograph taken from the south east

Fig. 10. Tah Khana, photo taken from the south east (back side of 1st floor)

Fig. 11. Photograph taken from the south west (entrance of 1st floor)

Fig. 12. Boundary wall and gate

Fig. 14. Water fountain in front of Tah Khana palace

3

Fig. 13. Close view of the main gate

Fig. 15. Facade of Tah Khana palace

Bangladesh

Fig. 16. Octagonal room in the middle of Tah Khana

Fig. 17. Dome of octagonal room

Fig. 18. The dome is decorated with muqarnus art

Fig. 19. Bathtub inside the hammam

Entering the palace past the fountain, first is the hallroom and this room leads to another room in the middleof the building Tah Khana. The hall room is covered witha long tunnel vault. The entrance to the hall room fromthe western side has three wide multi-cusped archeddoorways (Fig. 15). Behind the hall room are threeadjoining rooms for living. Among the three rooms, themiddle one is special from the others. The shape of theroom is octagonal and a dome is used as the roof. The
dome is decorated with what is known as muqarnas art
but the exterior is a plan roof (Figs. 16, 17, 18). All therooms of Tah Khana palace can be accessed from thisroom: “... two octagonal towers towards the rear anglesof the building consists of a number of rooms, arranged
symmetrically in three divisions. The central division or
block, forming the nucleus of the building, consists of alarge oblong hall room and three other rooms on its rear”(Husain 1997:111).

found crossing two rooms. To the west of the open space
there is a special arrangement for prayers. There are three
Mihrabs on the western wall of this room, which is open
to the east (Fig. 22). Also, adjacent to this room is an
octagonal room with each arm measuring 2 m (Fig. 23).
There are two narrow staircases in the north and southof the western wall of the building and through thesestaircases one can climb to the roof of the building, from
where one can still enjoy the immense beauty of thesurroundings (Fig. 24).

On the southern side of the building is a royal Hammam
with a well, water reservoir (bath tub), water heating
furnace, bathing area, dressing room, and glass cover to
let in light from the roof. Although it is currently closed.
It was possible to collect water from the nearest pond.
(Figs. 19, 20, 21)
In the northern part of the building an open space isOrnamentation
The Tah Khana palace has panel decorations on thefront wall, back wall, and inside each room. Also, theoctagonal dome of the middle room shows the use of
muqarnas art. Other rooms have several niches, panel
decorations, and a multi-cusped arch design. Some of theniches are covered with designed plates for added beauty(Figs. 25, 26, 27).
Conclusion
Complexes divided into three parts or divisions within thesame building—living, bathing and another with prayer
room—are not seen anywhere else in Bangladesh. The
Tah Khana building is unique and special in its layout,
ornamentation, and architectural beauty. However, theTah Khana complex is not only important for its Mughal

4

Bangladesh
Fig. 20. Bathtub with a place of bathFig. 22. Three Mihrabs on the western wall of the northern prayer hallFig. 24. Octagonal room in the northern part of the palace

Fig. 26.The interiors of the rooms are beautifully decorated with niches and amulti-cusped arched design

5Fig. 21. A well is located in the south-eastern corner (adjacent the hammam)of Tah Khana palace and is very close to the pond.

Fig. 23.A narrow staircase located in the
middle of Tah Khana

Fig. 25. Ornamentation inside the hall room

Fig. 27. Niches are covered with designed plates

Bibliography
1.Dani, Ahmaed Hasan. Muslim Architecture in Bengal.
Paramount Press, 9, Hatkhola Road, Dacca-3, 1961.
2.H asan, Syed Mahmudul. Muslim Monuments of
Bangladesh. Anjuman Printing Press, 32, Joginagar
Lande, Wari, Dacca-3, 1971.
3.H usain, A. B. M (Editor). Gawr-Lakhnawti. Dana

Printers, 16, Mohakhali C/A, Dhaka 1212, 1997.
4.Z akaria, Abul Kalam Mohammad. Bangladesher
Pratnosampad. Moumita Printers, 25 Paridash Road,
Dhaka, 2011.

Bangladesh

style architecture in the city of the Sultanate period, butalso for its architectural quality. This architecture was thefirst of its kind in Bengal. Later, such Mughal buildings
were built at Lalbagh Fort in Dhaka, Mirzanagar Hammam
Khana in Jessore, and Ishwaripur Hammam in Satkhira
district.

Acknowledgements:
Md. Abusaid Inam Tanvirul, Custodian, Rabindra KachariBari Museum, Shahzadpur, Sirajganj.
Md. Abdus Salam, Upper Divisional Assistant, Departmentof Archaeology.
Md. Shahinuzzaman, Office Assistant cum Computer
Operator, Department of Archaeology.
Md. Afzal Hossain Mondol, Former Chief Draftsman,
Department of Archaeology.

6

Cambodia
Cambodia

Site Security Educational Program for Archaeological Site of Sambor Prei Kuk, Ishanapura
Chan Vitharong, Director
Department of Site, Archaeology and Conservation, National Authority for Sambor Prei Kuk, Ministry of Culture and Fine Arts
1.INTRODUCTION
The National Authority for Sambor Prei Kuk (NASPK) has
completed the “Site Security Educational Program for
Archaeological Site of Sambor Prei Kuk, Ishanapura”
project. Legal enforcement along with awareness of theheritage’s value is the foundational idea for implementing
the project with close community cooperation.
It was proposed that this initiative would initiate an
educational model for the preservation and protection ofcultural heritage sites in Cambodia. With the participationof each stakeholder in Sambor Prei Kuk, the outcomes ofthis initiative will contribute to the safeguarding andprotection of the site. Successfully completed activities

include a workshop and public educational materials
production. The project was conducted from September
2022 to June 2023, which it was funded by the Cultural
Property Agreement Implementation Grant (CPAIG), U.S.
Department of State.
2.WORK RESULT
2.1.Community Communication
The initiative started from the beginning of the project (inSeptember 2022) through a collaborative approach withthe local community, aimed at enhancing theircomprehension of cultural heritage values and attributes.
The stakeholders in this context encompass a range ofindividuals, including villagers, monument guardians,

The NASPK organized community communication activities with the locals prior to the workshop

7

2.2.Workshops
The workshop titled “The Value and Legal Enforcement ofCultural Heritage in the Sambor Prei Kuk ArchaeologicalSite” comprised two workshops focusing on the topics“The Value of Cultural Heritage” and “The Legal
Enforcement of Cultural Heritage.” The workshop, as
proposed, was conducted successfully on June 19-22,
2023, in Kampong Thom town and at the Sambor Prei Kuk
site. The workshops were consolidated into a unified fourday program.

Cambodiaconservationists, local tourism guides, and village/
community council members (as mentioned in the previous
report). The main objective of conducting small groupsessions with community people was to enhancecomprehension and progress in relation to the two
principal projects, namely workshops and public
educational materials. The utilization of a draft design
facilitates the community's understanding of illustration
concepts at this particular level.

According to the evaluation, the skeleton of the workshop
was intended to be expanded by educational materials,
panels, and a booklet. As mentioned above, since
September 2022, the content of the workshops has been
finalized through community communication, which

Activities of workshop on June 19-22, 2023, titled “The Value and Legal Enforcement of Cultural Heritage in the Sambor Prei Kuk Archaeological Site.”8

Cambodia

involved working closely with the local community toenhance their understanding of cultural heritage values
and attributes, the selection of national and international
resource persons with expertise in the value of cultural
heritage and the legal enforcement of cultural heritage,
and the participation of these individuals in the community
engagement activities.
The NASPK organized community communication activities
with the locals prior to the workshop.The workshop washeld at the Kampong Thom Royal Hotel in the provincial
center of Kampong Thom and included a visit to theSambor Prei Kuk archaeological site. Eighty people
attended the workshop, including 57 participants, and 23
speakers and resource persons. Professionals from various
institutions—largely cultural heritage institutes—as well as
community members from Sambor Prei Kuk and otherheritage protection sites were invited as follows:• Villagers of O Kru Ke, a village in the ancient moatcity area, will organize a series of small groupmeetings in the evenings, when they are notengaged in agriculture, to share this informationand knowledge with one another.
• Teachers from the villages of Chey Sampov O Kru
Ke and Sambor will incorporate the workshop’s
content and educational materials into their lessons
to expand the understanding of their students.
Interestingly, the other participants from different parts ofthe country, particularly the Provincial Culture and Fine
Arts and national authorities’ technical staff, were not only
able to share their experience with community members,
but also able to observe and learn from the positive
examples of community engagement in Sambor Prei Kuk.
On the other hand, this workshop is also a model of atechnical discussion on the value of heritage (from local touniversal), law enforcement, and the community's
involvement, with several types of educational materials,
speakers, and participants. It is practicable to develop thecommunity's understanding of heritage in this manner.
2.3.Public Educational Materials
A billboard panel and handbook for public education havebeen created. This activity was initiated concurrently with
community communication in an effort to improve design
comprehension. Notably, the design includes an illustrated
explanation, since some of the villagers are illiterate andthe importance of integrating art and education in these
activities. The installation of billboards within the protectedzone village, and delivery of booklets to the villagers werecarried out. Additionally, digital copies of the books will
be published to the websites and social media platforms of
the National Authority for Sambor Prei Kuk (NASPK) andthe Ministry of Culture and Fine Arts (MCFA).
2.3.1.Billboard Panel
In order to enhance local awareness, it is proposed that
illustrated posters accompanied by concise and easily
comprehensible information be erected throughout each
community situated in the protected zone.
Initially, our intention is to incorporate two images thatwould specifically highlight the remaining aspects of thearchaeological site. According to the prevailing discourse
among the community, a proposition has been made tointegrate two more separate designs on the panels thatpertain to their everyday activities, specifically cattle
herding and housing construction—in total there are four
designs for the panel. The objective is to distributeinformation to the residents of the nearby villages, as wellas those living in close vicinity to the temple and the city's
moated zones, with regard to cattle herding. Furthermore,
there have been recommendations to integrate theseconcepts into the architectural development of residentialbuildings located in the rapidly expanding area that falls
inside the protected zone.
2.3.2.Handbook
In the concept of a “Dos and Don'ts” booklet, a publication
entitled “Sambor Prei Kuk: Monument and People: An
Introduction to the Protection and Promotion ofArchaeological Evidence in Sambor Prei Kuk” has been
issued.
The booklet was designed in A5 and consists of 52 pages
printed using a full color printing process. This manual
offers an overview of the significance of integrating legallycompliant paragraphs in relation to drawings andillustrations by artists. This booklet has been carefully
designed to provide information in the following three
separate parts: an introductory overview of the site, dos
and don’ts, and the selection of related regulation. The“Dos and Don’ts” section is an overview of the value ofheritage, regulations related to cultural heritage, andguidance for integrating mindfulness into everyday
activities at the Sambor Prei Kuk site.
The first edition of "Sambor Prei Kuk: Monument andActivities of sharing with the people in the communities in their free time from agricultural work after the workshop on June 19-22, 2023.

9

Cambodia

The selected activities for installation at ten villages in the protected area of Sambor Prei Kuk.

The final design of the handbook (top is the cover) and selected pages. The bottom row shows the distribution to the villagers and schoolteachers.

10Cambodia

People" has been distributed to a variety of audiences,including the general public (each family in the protectedarea), schoolteachers, the Heritage Police Unit, andmonument guardians. The initial print run for its firstpublication was 4,000 copies, and according todemographic data, approximately 2,500 families reside in
the protected area. The NASPK is contemplating August2023 as the official release date for distribution to the local
community.
3.CONCLUSION
This project encompasses not only the achievement of two
objectives, namely the initiation of a workshop and the
production of public educational materials, but also theimplementation of actions centered around the preservationand promotion of archaeological evidence in Sambor Prei
Kuk, with a focus on community engagement, making it a“people center.” The acquisition of knowledge from theworkshop and the utilization of the handbook/panels willserve as a means of bolstering support and providing
incentives for marginalized populations within the11community residing in the designated protected area.
Concurrently, NASPK is engaged in the ongoing monitoringand evaluation of its initiatives to ensure the attainment ofintended long-term results. In order to further enhanceawareness for communities, NASPK will utilize anddevelop its existing annual workshop schedule,
collaborating with relevant departments within theorganization to implement additional educational programsor activities. The monitoring and assessment of the project
are essential in order to track its development and ensure
the achievement of sustainable outcomes.
Remark:The photographs presented in this report were taken as partof the Security Educational Program for the ArchaeologicalSite of Sambor Prei Kuk, Ishanapura Project, which was
carried out by the project team members: CHAN Vitharong,
CHHUM Vanchhan, EM Pherak, SEANG Sopheak, CHHUN
Reaksmey, and CHIT Chanpheakdey.

Cambodia
Sokonthea Sort, Officer
Planning Office, The National Museum of Cambodia
Note: This report provides a comprehensive descriptionof ongoing rehabilitation works at the National Museumof Cambodia. Please note that some information may besimilar to last year’s report and can be repeated elsewhere.
Introduction
After completion of the first phase restoration in early
2022, the museum roof restoration project continued tothe second and third phases, as planned in the restoration
master plan (2021-2024), and these projects werecompleted in mid-2023. The second phase was repairof the roof above the southern gallery, which began inearly 2022 and ended in late 2022, while the third phaserecondition was on the roof above the western gallery,
which began in February 2023 and ended in July of thesame year. Roof repair in the last four stages is to be done
as the next step. Besides the roof restoration project,
we are revamping other parts, such as refurbishment of
the front porch, which was planned to be the next stepCambodia

Restoration and Renovation of the National Museum

but which had to be done immediately because of theactual condition of the building. Heavy rain this year had
caused much more water drip across the front porch andinto the warehouse, which affected the collections on the
ground floor, and that is why we needed to complete it
early. Also, reconditioning of part of the fence aroundthe museum building (north part half of the continuationof the previous recondition). In addition, we also haveother work in the plan of conservation, development,
and protection of the museum building, as well as thecollections in this building.
1. Second and Third Phase: Roof Repair
The second phase is the repair of the roof on the southgallery (Figure 1), where severe damage was observed
after the first phase (the northern part), which we first
restored in 2021. As observed, the condition of thisdamaged part is similar to the previous one, with cracks
and decay on both large components such as beams

Figure 1-3: Damage to the timber structure inside and outside the roof

Figure 4(a,b): Mold on the timber of the roof

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Figure 5(a,b): Dismantle the bricks of the column to remove rot of the timber and reinforce atthe junction of components

Figure 6(a,b,c): Replacing parts and linking between new and old timber structure13

we need to replace the old wood instead supplying new
wood. In addition, the roof ornaments such as Neak
Cheng, (1) Neak Dong Kda, (2) Javea, (3) and Chong Cheng (4)also need to be repaired and painted with protective pain
to prevent destruction. This repair work is done in thefollowing order:

A. Condition of damage
For the study of the condition of damage of thesetwo parts, the observation indicated that there weresimilar problems. Rotting and mold were present on
the components, such as the tie-beam common rafters,
principal rafters, purlin collars, and girders. According to
the experience of the first stage repairs, the mold problem
does not cause damage to components, but is a signthat the roof is subject to high humidity, which causes
termites and rotted timber. Furthermore, the weather
could cause decomposition of the roof ornaments suchas Neak Cheng, (1) Neak Dong Kda, (2) and Javea, (3) andhollow the wood paneling of the gable. The condition of
the defects in the components is as follows:

General damage plan study: Inspect the condition of roof
damage and prepare a risk plan showing the problem
point or do a damage spot. At this stage, the expert teamcollects detailed data of the damage through recording,painting or sketching, photography, etc. The survey
results will be an important research document for thebasis of repair, conservation, and project planning or
improvement of the next step.

Main components: those in the roof structure are the mostdamaged, some supporting components (tie-beams rafterand purlin) are very fragile and rotten, and we found thatsome of standing structure suffered dry rot, with some
wet rot at the junction and on prop timber guttering. The
cause for this portion is insect infestation and weathering,and moisture from flooding roof tiles (Figure 3), but theselarge components were not completely damaged. Smalltimber: almost completely rotten because it is next to thetiles, which are in direct contact with the rain.
In this section, besides the decayed or rotten elements,
most of the elements were damp and moldy (Figure4a,b). Tiles are a major challenge that can cause damage
issues. Slanted gutters generated holes and trickled onprop timber during rain and flooded into the gallery,also causing damage. One other type of damage is
gable wood paneling shrinkage due to climate changethat created small holes that splash water into the roof.
Moreover, split covers of roof ornaments, namely Neak
Cheng, (1) Neak Dong Kda, (2) Javea, (3) and Chong Cheng(4)are the cause of petrification of support wooden poles(Figure 5a,b).
B. Repairs
Both stages of repair are the same, mending as per
the actual situation and following the example of past
repairs, with the previous observation used as a reference
for the traces of repairs. The technique of repairing is todismantle tiles and remove the rotten parts by replacing
them with new tiles. Then clean the mold, drying the
moisture in the roof cavity, and check the damage levelof the components to make repairs in the actual situation,
apply anti-fungal paint on the components and close thefissures of gable wooden panels. Then fix all damaged
parts and strengthen all timber elements by removing the
decayed parts and put back the new wooden structurethat has already been soaked or sprayed with termite
repellent. In the process of restoring major components,
we try to keep the old components as much as possible
but for other small pieces of timber, if severely damaged,

Cambodia

and timbers, caused by insects, fungi, and weathering.
Most of wood paneling in this part is a little better thanthe previous part. The third stage is in the western partof the building (Figure 2), and has the same problems.
The roof trusses are also corroded, requiring repair andreinforcement.

Dismantling the damaged area: Start dismantling thedamaged area to check the actual damage situation, makenotes and take photos of the condition of damage before
starting restoration work to keep as a document forreporting after completion of the restoration project. For
disassembly to repair, be very patient and pay attention
to each part, especially roof repair components, to ensurethat this disassembly does not add further damage. This
precaution is necessary to preserve timber as much as
possible. All these components of the roof structure need
to be reused to avoid complete replacement (Figure 5).
On the other hand, these are the repair and dismantling
steps to follow:-	Remove all damaged tiles, as they are convex andleaky.
-	Remove unusable timber pieces that are seriously
damaged.
-	Repair the damaged parts of timber, such as principal
rafters, purlins, common rafters, and battens-	Reinforce principal timber pieces that are damaged
but cannot be dismantled by repairing them by adding
new wood.
-	Clean off mold and moisture on the roof structure by
applying a moisture-proof coating on the timber andinspecting the damaged parts and testing how it affects
the timber.
-	Clear out insects and apply pesticide on structural
timber.
-	Put plate wood to fill in the cracking wooden
pediment and mixing material to fill in cracking
wooden timber.
-	Repair, clean, and repaint decorative gables and fill
the shrinking of the pediment with wooden plate andNagas-finials. The decorative gables of the pediment
comprise two parts, wooden structure and covermortar which is print as an ornament. But structures ofdecorative gabled are decay need to be removed andreplaced by new timber (Figure 6a,b,c).
Restoration Material
Of all the material used in this restoration some are
local products and some are imported from neighboring
countries. Wood that we use as rafters, principal rafters,
purlin, and batten is taken from various provinces in
Cambodia. New tiles are locally made. However, the paintfor protecting timber structures such as Marak is imported
from Vietnam instead of using natural local Marak. We

14

Cambodia
Figure 7: Porch renovation section

Figure 8(a,b,c,d): The damaged front porch and some of the renovation work

use Thai chemical pesticides for soaking wood to prevent
termites from damaging the timber.
2. Front Porch Repair
Aside from the roof restoration project, we also repaired
the front corridor to prevent water leaking into thebasement. Due to climate change and the heat andhumidity, the old floor tile burst out through the concrete
layer. Currently, the infiltration of water from the front
porch into the warehouse is increasing, which is worrying

15

in that there will be a negative impact on all items stored
in the warehouse. This problem has severely affected thebuilding as well as the collections in the building, whichneeds to be repaired urgently to control the damage
caused by the rain dripping inside. This renovation
section was started only in the front porch of the museum
building from the entrance of the office to the entrance ofthe library (Figure 7).
This corridor had already been renovated once inpreserve all old materials. However, for this work, there are still limitations in terms of repair techniques,
data collection, and recording work that need to be improved in the next project.

to touch up the concrete area to level waterproofing toeliminate water dripping into the basement warehouse.
(1)
It a part of ornament that is shaped same as the dragon
After head.
finishing the above step, we started re-arranging the(2)is the middle
the pediment old
and tiles
shapedthe samefrom
as a dragon
body, which
coveredremainingthe dismantling,butiswe
could
From that timeIt snappedtiles part
had ofto thebe gable
fixed offrequently,
withdamages
mortar onfrom
the timber.
not keep all the old tiles. The last work was peeling off
but they are still
day to day till now. In(3)partweof disassembled
roof gable. all the old tiles tothe old color pained on the pedestal(5) and fixing it tothis renovationTop
work(4)
It is onefloor
kindbelowof ornament,
is usedto decorate
anditpress
check the concrete
to findwhich
out thedribblemakebetterroofing.
than before.
(5)
It is
one
kind ofornament,
lookold
like a small column, and used to ventilate and decorate windows
point, removedoldmortar(we
did not shaped
removeto thethe doorit frame.
concrete floor or
becauseis still strong and can continue
3. Repairing the Fence Around The Museum Building
to be used) (Figure 8a,b,c,d), and pasted new mortar
Renovation of the fence is not a new project, but is(1)

Cambodia

Appendix
the 1960s,
along with the creation of the subsequent
warehouse.

(3)

(2)

7

(4)
(5)

16

Cambodia

an annual project that continues after the fence has
been partially repaired. We keep the old style, simply
strengthening the damaged parts (peeling old mortar).
Whether adding new pillars where they are broken,
increasing the column height or removing old rotten
columns and re-arranging them, the style and color are
the same. We also removed the old wire and replace itwith new wire. It should also be noted that the museum
fence is half lined with steel bars and the other half iscovered with wire. Trimming the plants near the fence
makes it more aesthetically pleasing. We have also
equipped it with hoses and an automatic water sprinkler
system.
Conclusion
As mentioned earlier, in 2022 to mid-2023, we conducted
three projects for the maintenance, preservation, andprotection of the museum building: restoration of themuseum roof in the second and third phase; two front
porch renovations; and three fences and repair workof fences around the building. The roof renovation is
focused on strengthening the structure from inside but
also keeping the aesthetics of the building from theoutside. As for the items to be repaired, we do not focus
only on the original materials, but also add new material
to replace the old material. We also re-layed someremaining old tiles that had not broken, and as a result of
repairing the roof, we have received a lot of good points,
for example, ending the rain leakage from the roof,
which in the past was very leaky, affecting the integrityof the office. The components are stronger than before.
We have strengthened and removed the rotten wood,and all the new wood components are soaked in termite-

17

resistant pesticides and painted, adding new protection.
The two further renovation results were acceptablebecause they have eliminated leaking water into thebasement warehouse when it is raining. The aesthetics ofthe building are now much better, but the sad thing is wecannot completely preserve all old materials. However,for this work, there are still limitations in terms of repair
techniques, data collection, and recording work that need
to be improved in the next project.
Appendix(1)	It a part of ornament that is shaped same as the dragon
head.
(2)	It is the middle part of the gable of the pediment andshaped the same as a dragon body, which is covered
with mortar on the timber.
(3) Top part of roof gable.
(4)	It is one kind of ornament, which is used to decorate andpress roofing.
(5)	It is one kind of ornament, shaped to look like a small
column, and used to ventilate and decorate windows or
the door frame.

References-	National Museum of Cambodia (2020). National
Museum Roof Survey Damage Report.
-	National Museum of Cambodia (2020). Gallery
Renovation Meeting Report.
-	National Museum of Cambodia (2021). Concept ofRestoration and Preservation of National Museum,2021-2025-	N a t i o n a l M u s e u m o f C a m b o d i a ( 2 0 2 2 ) . R o o f
Restoration Project, ReportChinaChina

Grotto Temple National Archaeological Park - Exploring A New Model for the Conservation andUtilization of Grotto Temples in China
Bi Yi, Project Manager
Beijing Tsinghua Tongheng Urban Planning and Design Institute
I. Overview of Grotto Temples in China
A grotto temple is a special type of cultural heritage. It
has its origin in Indian Chaitya and Vihara, which canbe dated back to the 2nd century. After grotto temples
were introduced to China, they were influenced by
Buddhist-Taoist cave niches and their function anddesign also changed gradually. According to a national
survey on grotto temples in 2022, there are nearly
6,000 grotto temples in China (grotto temples in thissurvey are defined as religious stone caves and cliff
statues, not including prehistoric rock paintings andliterati inscriptions), which are widely distributed across
28 provinces, mainly concentrated in Gansu, Shanxi,
Chongqing, and Sichuan (Fig. 1). Grotto temples in China
are large in scale and they represent a full spectrumof diverse forms and spatial distribution. They areparticularly concentrated in the era from the Northernand Southern Dynasties (420 AD – 589 AD) to the Tang
(618 AD – 907 AD) and Song Dynasties (960 AD – 1279
AD), which make them important witnesses to the early
histories of China. In terms of the World Heritage List,
China ranks first in the number of grotto temples listed,which include the Dunhuang Mogao Grottoes (Fig. 2),
Yungang Grottoes (Fig. 3), Longmen Grottoes (Fig. 4),
Leshan Giant Buddha (Fig. 5), and Dazu Rock Carvings(Figs. 6 & 7).
The development of grotto temples in China is closely
linked to the development of the Silk Road. The
excavation of grotto temples began in the 3rd century,
peaked in the 5th to 8th centuries, and lasted until the
16th to 17th centuries. The Wei and Jin Dynasties (220AD – 589 AD) were the initial period of development.
Excavations gradually reached their peak during theSui (581 AD – 618 AD) and Tang (618 AD – 907 AD)
dynasties. From the late Tang to late Song dynasties, theexcavation of grotto temples reached another peak insouthern China before finally declining. Grotto temples
in China were constructed mainly following the Silk Road
and concentrated around regional political centers. The
distribution of grotto temples is a winding route. They
were first excavated from the west to the east and thesouth. Then they gradually formed clusters around Xi’an
and Luoyang, and finally developed westward again
along the Ho-si corridor.
Grotto temples in China were initially similar to those in
India, but later developed their own artistic style withdiverse themes and designs, and became distinctively
Chinese. Compared to other types of cultural heritage,
the grotto temple is a prominent example of the cultural
exchange between the East and the West, as well as anembodiment of the inclusiveness of Chinese culture.
The design and execution of grotto temples exhibit theoutstanding craftsmanship of the Chinese people, as wellas the unique aesthetics embedded in the landscape.
Altogether, grotto temples in China tell a story of thespiritual pursuit, cultural exchange, and lifestyle of theChinese civilization. Figs. 6 & 7. Part of Dazu Rock
Carving showing scenes of people's daily lives and moral
stories, with distinctive Chinese characteristics.
II. The Current Situation and Conservation Challenges ofGrotto Temples
In recent years, the Chinese government has attachedgreat importance to the conservation and utilizationof grotto temples. In terms of management, China hasregistered grotto temples as a separate category ofcultural heritage. A comprehensive survey to collectdata on all grotto temples in the country has been
carried out. A two-tiered system of "national andregional centers" of conservation and research is underconstruction. Important regional centers such as theDunhuang Academy and other key institutions have beenFig. 1. Number of grotto temples in each province

18China19

Fig. 2. Mogao Grottoes in Dunhuang

Fig. 3. Yungang Grottoes in Datong

Fig. 4. Longmen Grottoes in Luoyang

Fig. 5. Leshan Giant Buddha

continuously upgraded at the administrative level in recent
years, and their technical capacity has been strengthened.
These institutions are playing an increasingly importantrole in setting examples and leading the field. In termsof conservation, a series of major conservation andrestoration projects have been carried out in an orderly
manner. Joint projects with national research institutions
on conservation techniques, as well as collaboration withforeign conservation institutions, have yielded rich results
and accumulated practical experience in the conservationof grotto temples. These efforts have led to thedevelopment of conservation concepts and the promotionof key technologies (fissure grouting technique, anchor
reinforcement technique, etc.). In terms of archaeologicalresearch, the academic research system of grotto
temple archaeology is well established. The research

ChinaFigs. 6 & 7. Part of Dazu Rock Carving showing scenes of people's daily lives and moral stories, with distinctive Chinese characteristics.

on Dunhuang, Yungang, and Dazu Grottoes has beenhighly recognized both domestically and internationally.
Many results have already been published and a teamof archaeological professionals has been formed. In
addition, the interpretation of heritage sites as well as thedissemination of research results has made great progress.
In addition to the regular exhibitions of various kinds,
major grottoes have been actively engaged in the fieldof cultural communication in recent years. Using digitaltechnology, they are able to combine the exhibition ofgrotto temples with performing arts activities or online
games. These activities are well received by the generalpublic.
Generally speaking, the conservation of grotto temples
in China is currently undergoing a transition, movingfrom rescuing sites in danger to developing preventive
measures. There have been increasing efforts in researchand comprehensive conservation measures, andconservation and utilization have made great progress.
At the same time, the conservation policy of "protection
first, strengthen management, assess values, effective use,
and make cultural heritage alive" has been established.
With the growing enthusiasm for cultural heritage among
the general public, there has been increasing demand for
improving the quality of exhibitions at grotto temples.
Currently, there are a number of challenges that thetraditional model cannot tackle effectively. It requires
innovative measures and new models to accomplish thetargeted tasks.
1. A comprehensive plan for the conservation and utilizationof grotto temples on a national level is still lacking. Such aplan needs to be promoted holistically with clear branding.
The advantages of holistic conservation and branding
are being recognized. Countries around the world are
exploring suitable models to build a more systematic andholistic system. However, grotto temples in China stilllack a conservation and exhibition system on a national
level. The conservation of grotto temples is polarized.
Only a few well-known sites can reach out to the generalpublic effectively. As a result, it is hard for visitors tohave a comprehensive understanding of grotto temples.
According to data on the attractiveness of tourist sites, themajority of domestic tourists would visit the four major
grotto temples (Fig. 8), and the majority of foreign tourists
would visit World Heritage Sites (Fig. 9). However, there
is a huge gap between the popular sites and other lesswell-known sites. Many grotto temples of high value
have not been recognized by the public and don’t
receive enough resources. Therefore, it is imperative toestablish a comprehensive strategy to allocate resources
and coordinate projects in a more systematic and focusedway.
2. Most grottoes are small and scattered, making it difficult
for them to become attractive destinations on their own.
Therefore, effective measures to integrate resources and enrich
exhibition content are needed. A large number of grotto

Fig. 8. Ranking of grotto temples according to data on the interest shown by domestic tourists

20ChinaFig. 8. Ranking of grotto temples according to data on the interest shown by foreign tourists

Figs. 10 & 11. Biludong and Yuanjuedong Grottoes in Sichuan, Anyue. Despite the exquisite statues, the grottoes are too small and scattered to effectively reach awider audience.

21

temples are small or medium in size. Many grottoes areof high historical and artistic value, but too small andscattered to become attractive destinations on their own(Figs. 10 & 11). Visitors complain that the tour is too
short, and they only walked around the site without
actually spending a meaningful time there. Therefore,
there is an urgent need to explore effective measures
to integrate surrounding cultural resources, enrich theexhibition content, and enhance the tourist experience.

is easy to understand. Some grotto temples are guarded
by fences that do not allow people to enter. Besides,
there are few well-designed visiting routes and necessary
tourist facilities, making it hard for visitors to have a goodexperience. Therefore, there is a need to improve theexhibition quality of existing grotto temples and set highstandards. Especially for the important grotto temples,standardized interpretation and exhibition should be
implemented to ensure quality.

3. The quality of existing facilities and exhibition content
is generally not up to standard, making it hard for theaudience to have an in-depth understanding of the historicalinformation of grotto temples and have a rewarding visiting
experience. Currently, many grotto temples, even thosewith relatively developed facilities, still have problems
including inadequate exhibition content and insufficient
display of research results. Visitors usually find theinformation too scarce, and not prepared in a way that

III. Research and Exploration of the Grottoes National
Archaeological Park
Given the existing problems mentioned above, theinstitution the author belongs to was commissioned by
the State Administration of Cultural Heritage to explore
new ways to exhibit and utilize grotto temples. We
are proposing a new model called the "Grotto Temple
National Archaeological Park" in order to systematicallytackle the existing challenges of the exhibition andChinaFigs. 12 & 13. Qianfoyan and Dongfengyan grottoes. The grottoes are right beside an ancient road along the Qingyi River and close to Dongfengyan, a World
Irrigation Heritage. All these elements constitute a comprehensive cultural landscape.

Fig. 14. Shifosi Grotto in Jiangjin. Foundations and tombs from the Song and Ming Dynasties have been excavated near the grotto in recent years.

utilization of grotto temples.
After learning extensively from international experiencessuch as the "National Park System" in the U.S., "Cultural
Routes of the Council of Europe," and "Japan Heritage,"
the author and the project team believe that the following
strategies should be adopted to design the Grotto Temple

National Archaeological Park, and make it a cultural
brand of national significance:
1. Exhibit "comprehensive elements" of grotto temples andenrich the exhibition content
Grotto temples in China are an integral part of their

22

ChinaFig. 15. Diagram of the comprehensive elements of the “core park area”

surrounding environment (Figs. 12 & 13). When ancientpeople built grotto temples, they considered the grottoes
as part of the surrounding mountains, rivers, ancientroads, villages, and temple complexes. These elements
are all closely interconnected in terms of function, andconstitute the landscape as a whole. As Sun Hua, arenowned Chinese scholar on grottoes, puts it, "Grottoes
should be viewed as a system, comprised of temples/monasteries, grotto sculptures, structures in front of thegrottoes, burial sites of monks or Taoist priests (Fig. 14),
as well as roads and other related elements." However,for a long time, the research and exhibition of grotto
temples focused mainly on their architectural forms,
stylistic features, and thematic content, and to a large
extent neglected other elements that are integral to them.
Especially in terms of exhibition and interpretation,less emphasis was placed on guiding the audience tounderstand and experience the relationship between
the grottoes and the surrounding environment. As aresult, a lot of important historical information that could
showcase the unique Chinese philosophy towards natureand culture has not yet been exhibited.
With recent advancements in grotto archaeology andresearch, the academic community has gained a deeper
understanding of the relationship between grottoes
and their historical environments. The concept of"comprehensive elements" conservation and exhibition
has gradually become the consensus among professionals.
Therefore, in the design of the Grotto Temple National
Archaeological Park, we adopt this concept in the
exhibition and utilization of grotto temples. Specifically,
we aim to integrate important grottoes with surrounding
smaller ones that are closely related to them, as well asinterconnected elements such as landscapes, ancientroads, temple structures, settlements, and monk tombs.
The goal is to create a holistic exhibition area, which is23

called the "core park area" (Fig. 15). This “core park area”
will serve as a major component of the Grotto Temple
National Archaeological Park. Expanding the scope of theobjects and content of the exhibition allows visitors tohave a more enriched experience and better access to theinformation.
2. Use "grotto temple heritage trails" to integrate relatedresources and enrich the tour experience.
Most of the grottoes are small and scattered, but they are
relatively concentrated in a certain area. As a result, we
adopt the concept used in the design of "Japan Heritage".
We use the grotto temples as a theme for people toexplore local history and culture. It will form a trail that
integrates scattered grotto temples and other related
natural and cultural sites, as well as intangible heritage
and tourist facilities along the route. The trail also aims topromote a series of tourism products like study tours andsimilar activities, in order to attract tourists and provide
an in-depth experience. In Sichuan and Chongqing,for example, the grotto temples are characterized bytheir close spatial relationship with the ancient roads,
the Yangtze River landscape, and the ancient fortresses.
Grotto temples in this area are also diverse in terms of
their themes, including sculptures and carvings of not
only Confucian, Buddhist and Taoist figures, but alsoof daily life and moral stories. As a result, we planned
several thematic trails including: “Experiencing the Tangand Song Dynasties along the Chengdu-Chongqing
ancient roads,” "Grottoes in a River Town," "Chinese
Buddhist Philosophy in the Grottoes," "Learning about
Everyday Life in Ancient China through the Grottoes,"“Grottoes in the Ancient Fortresses," etc. We hope to
integrate the grottoes with the natural and cultural
heritage sites along the route, enhanced by a signage
system to form a thematic cultural corridor.

In addition to the strategies mentioned above, theplanning of the Grotto Temple National ArchaeologicalPark also includes a number of institutional reforms andinnovations. For example, we hope that the establishmentof the Park will promote the dissemination of knowledge
from regional research institutions in terms ofmanagement experience and technological development.
By managing all cultural resources holistically within
the region, regional research institutions will be able
to break the administrative boundaries and provide
management and technological support to other smaller
institutions within the area. The goal is that major
regional institutions will help the development of smaller
ones, and promote the development of the whole region,
to improve the exhibition quality of grotto temples on thenational level. In addition, in conjunction with China's
ongoing "Territorial Spatial Planning," we intend toincorporate the "core park area" into the Spatial Planning
as a special category—"densely distributed area ofcultural relics." Within this area, various departments suchas cultural heritage, tourism, natural resources, forestry,water conservancy, and so on should work together tomanage the grotto temples in a concerted and integrated
way, taking into account cultural heritage conservation,
environmental protection, and tourism development.

China

3. Promote standardized exhibitions to enhance cultural
tourism and cultural dissemination.
In response to the current problem of the varying
quality of exhibitions, we propose that the Grotto
Temple National Archaeological Park should standardize
the exhibitions, setting criteria for design and service
facilities with high standards, to promote high-quality
interpretation and service. For example, it is proposedthat all "core park areas" should have museums ordigital exhibition centers dedicated to the interpretationof historical information to compensate for the lack of
information available on site; at least one "grotto temple
theme tour" should be planned to integrate different
resources; there should be a unified visual identity
system both online and offline; there should be adequate
medical and safety facilities; interpretation material should
be prepared by experts of diverse disciplines; there
should be professional training for docents and guides;
study trips should be organized regularly; there shouldbe publications and lectures for the general public; anda mechanism of "application - creation - listing" shouldbe established to facilitate local efforts to obtain the titleof "Grotto Temple National Archaeological Park" andencourage them to improve the exhibition quality inorder to enjoy corresponding policy benefits.

The research chooses Chongqing and Sichuan provinces
as pilot areas, where projects are currently being carriedout. In the future, more projects will be implemented
in other provinces across the nation, forming a newmodel that manages all grotto temples nationwide. With
the Grotto Temple National Archaeological Parks at thecore, the exhibition plan is comprehensive yet focused,concerted yet diversified. This will enable more grotto
temples to be fully interpreted and reach a greater
audience, allowing more domestic and international
visitors to appreciate the beauty of grotto temples in
China.

24

IndiaIndia

Restoration of a 17th to 18th Century Old Ruin for Adaptive Reuse While Reviving Traditional Methods of Vernacular
Construction to Present an Example of Heritage Conservation to the Community and Create More Hope for Abandoned Heritage
Ar. Maulishree Mishra, Principal Architect and Conservator
Studio MANDALA, Artefacts and Habitats Sustainable Solutions LLP
Introduction
As we know, India in pre-colonial times was a collectionof princely states where each state was unique and yeta part of the whole; an eco-system planned thoughtfully
and with adherence to nature. The construction at thattime was chiefly inspired and borrowed from a deep
understanding of nature, the natural materials available,
the prevailing climate and the culture and traditions of the
inhabitants of the particular region (Fig. 1).

DEHRADOON: An illustrated Journey of a City

Traditional timber dwellings can still be found in the rural
settlements along the Yamura Valley. The chief building materials
comprise of river stone, slate stone, teak/deodar wood and adobe.

Fig 1. An illustration representing a few types of traditional buildings from different regions of India.
Source: Mishra, M. (2021) Dehradoon: An Illustrated Journey of a City (1st ed). Copal Publishing Group, India

However, over time, this system of building has been
diluted and slowly disappeared, beginning with thecolonial times, which brought its own influences, andbuildings began to become more standardised in termsof spaces, use of materials, size of openings, height ofspaces, etc. Following the departure of the British Rajfrom India in 1947, the sense of architecture and planningthat remained behind was completely different fromwhat had pre-existed, and this was adopted as the newarchitectural beginning of a nation rebuilding itself after
200 years of subjugation. The structures in the different
regions built in the last century or two just before thebeginning of the colonial era—i.e. until the end of 18th

25

century or the beginning of the 19 th century—reflect
the sum total of the traditional building knowledge ofIndia until that point in time and form an important
heritage; however, due to lack of heritage knowledge
and understanding, most of it has either been alreadylost or will be soon as a large part of it comes underno protection and belongs to private stakeholders who
see little gain in it and often tear it down to build new
structures.
This paper focuses on one such case (Fig. 2) which
belongs to this timeline. The restoration of the building
was not only undertaken to give it new life but alsoIndiaFig 2. Images of the front elevation of the structure both before and after the architectural restoration was undertaken
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

provided an opportunity to take a look at a few rarebuilding practices being used at the time, providing
insight into practices some 200 years back. Every
Indian city that existed before the arrival of the British
has thousands of such structures, mostly built before
and some built during the colonial times, which needrestoration and can become great parts of a particularcity’s identity. However, in a developing nation, heritage
protection and restoration on a city scale often takes
a backseat due to the lack of knowledge and interestof stakeholders, the challenges involved, and the rare
availability of skillsets to deal with such projects.
Before Restoration
The case discussed is located in Dehradun in the hill stateof Uttarakhand in the northern part of India (Fig. 3). The
building comprises two levels as shown in Fig. 4: a raised
ground floor (main living area) and a semi basement(mostly for keeping and sheltering livestock animals suchas sheep and goats). On the terrace above the groundfloor only a chamber above the staircase area remains.
Architecturally, the building seems to have been plannedaround the courtyard with arched openings leading to
the rooms. The decorative masonry columns and arches
indicate that the original entrance to the structure would
have been an elaborate one like a ‘haveli’ 1 but wascompletely replaced at a certain point in time, of which
no indications could be clearly seen owing to a numberof alterations over time. The thickness of the walls varied
from 345 mm to 450 mm as the structure accommodated
a number of niches or ‘aalas’ for keeping earthen lamps
for light. The walls of the structure were mostly in brickmasonry with a particular type of brick (‘lakhauri’ 2 ) withcertain portions showing the use of local stone. Initially,
during assessment of the existing structure, every portionof the structure was covered with layers of moss andshowed intense vegetation. Only in one portion weresome original wooden beams found; in all other portionsof the structure the roof had completely collapsed,
probably because of overloading of the heavy roofing
load owing to insensitive additions. Some portionsof the fallen roof portions were also found on initialinvestigation (Fig. 3).
Developing a Restoration Plan
For every structure, restoration plans may vary,depending on the structure, material, and its condition. In
our particular case, the structure was highly damaged andunstable, so particular steps were taken to stabilize it:
Step 1. 	Dry cleaning of the structure to get rid of asmuch debris and vegetation as possible
Step 2. Wet cleaning of each of the walls and drying
Step 3. Documentation (photographic and architectural)
Step 4. Condition Assessment
Step 5. 	Developing a Scaffolding Plan to support weakersections of the structure
Step 6. 	Developing a Demolition Plan and dismantling
any insensitive later additions
Step 7. 	Obtaining samples for testing the mortar for thecomposition
Step 8.	Training and Capacity Building onsite to train thecraftsmen/workers as per the Restoration Strategy
and Requirements. This was the most important andconstant process as traditional master craftsman arealmost impossible to be found as everyone works
with modern materials nowadays, so the required
skills and processes were needed to be understoodby the architect, then tested, and then the craftsmen
needed to be trained accordingly. Since most of thecraftsmen were not very familiar with traditional1

A haveli is a traditional mansion /bungalow centered at the chowk/courtyard around which all family activities revolve. Havelis usually have historical and architectural significance and served as status symbols for thevarious communities (majorly Marwaris, built mostly in the 17th and 18th centuries) as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The courtyard serves asa lightwell and helps ventilate the house. Havelis were designed to be closed from all sides with only one large main gate for the purpose of security.
2
A lakhauri brick is a flat thin red-coloured burnt clay brick originating from the Indian subcontinent measuring 7” x 3” x 1.5” in size; popularily used between the 16th and 19th centuries.

26

IndiaFig. 3. Images of the structure before the architectural restoration was undertaken.
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

The red highlighted area indicates the basement portion

Major Cracking and detachment due to ground settlement

to be demolished on First Floor

Structural Cracks requiring immediate repairs to prevent
further damage
Will require Reconstruction and Repairs

to be demolished on Ground Floor

Later additions in variable materials(random rubble/brick, cement)This drawing is a property of Artefacts- This drawing
is a propertyof Artefacts
andHabitats Sustainable Solutions LLP. No part of the drawing shall Drawing
either beNo.
reproducedin Mishra
RE/RA/02orbyused
Mauli
and Habitats
Sustainable
Solutions
LLP.
CONDITION ASSESSMENT & POPOSED DEMOLITION
on 02/10/19
No withoutpart of the consent
drawing ofshall
be and Habitats Sustainable Solutions LLP.
any formtheeither
Artefacts
reproduced or used in any form without
Source: Studio MANDALA, Artefacts and(Prop No 4/11, Ambica Lane Old Rajpur, Dehradun)
the consent of the Artefacts and Habitats
Habitats Sustainable Solutions LLP.
Sustainable Solutions
LLP. 4. Developing a Condition Assessment and Demolition Plan
Fig

- Prop No.4/11, Ambica Lane Old Rajpur, Dehradun-

Fig 4. Developing a Condition Assessment and Demolition Plan. The red highlighted area indicates the basement portion

Drawing No. RE/RA/02 by Mauli Mishra on 02/10/19

27

Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions LLP.

Step 13. Repair of walls and openings
Step 14. 	Underpinning of foundations and addition of
new structural support
Step 14. Addition of new flooring and ceiling
Step 15. 	Rebuilding the original staircase in the original
style (Fig. 7a.)
Step 16. 	Addition of a lightweight new floor with thesame traditional look and feel
Step 17. 	Addition of structural buttress on the longunsupported side
Step 18. 	Preparation of traditional plaster and finishing
Step 19. 	Addition of electrical and plumbing fittings

Step 20. 	Addition of a new plinth apron all around thestructure to prevent water seepage from thesurrounding area as heavy seepage and damp
was a major issue with the existing structure.
Step 21. 	Preparation of an instruction manual for postrestoration maintenance of the structure.

Indiamaterials, techniques, and other details, the only
way to execute the plan was to make samples onsite
which could be replicated by them.
Step 9.	Getting the old bricks and wooden beams
obtained from the demolished portions cleaned
and stacked for use in repair works
Step10.	Digging the foundation pits at various points tocheck the condition of the foundation
Step 11. 	Procurement and preparation of material: As it
was a masonry structure, the major materials
comprised brick, mortar (composed of sand,brick dust, and lime), wood for lintels andwindow frames, and stitching rods for major
wall cracks where movement had stopped
Step 12. 	Design development as per the adaptive newuse (Fig. 5).

Restoration
Undertaking the repair works part by part from the rear
portion of the structure towards the front to completely
stabilize the existing structure (Fig. 6). Repairs in eachpart included:a.	Underpinning of foundation/addition of foundation baseto add structural support
b. Stitching of walls using FRP rods and brick stitchingc.	Replacing heavily damaged bricks which showed signs ofstructural damage or spallingd.	R epointing with fresh mortar after cleaning the olddamaged mortar
e. Adding new lintels and door/window frames
The walls had minimal openings to the outside and mostof the rooms had a specific type of ventilator which
admitted diffused light. Although there was an indicationthat the ventilators had brick jalis, most of these were
missing or completely damaged and were required to be
remade in the traditional style in brick.
Getting rid of vegetation was a major part of the works as- This drawing is a property of Artefacts and Habitats Sustainable
Solutions LLP. No part of the drawing shall either be reproduced or used in any
Fig 5. Proposed Groud Floor Plan3 : Drawing No. RE/RA/03 by Mauli Mishra on 02/10/19
form without the consent of theSource:
Artefactsand Habitats
Sustainable
Solutions
LLP.Sustainable Solutions LLP.
StudioMANDALA,
Artefacts andHabitats- This drawing is a property
Artefacts andHabitatsFloor
Sustainable
LLP. No
partof the drawing
eitherMishra
be reproduced
or used in any form without theFig 5. ofProposed
Groud
Plan:Solutions
Drawing
No.
RE/RA/03
byshallMauli
on 02/10/19
consent of the Artefacts and Habitats Sustainable Solutions LLP.

*Design-Development as per proposed new adaptive reuse. This was the initial Plan. However, many changes were made in

3 Design-development as per proposed new adaptive reuse. This was the initial plan. However, many changes were made once the restoration part was completed. For example, an additional service stairway was never
itthe
once
restorationpart
was completed; Like an additional service stair was never added as the old restored one was felt
added asold restored
one was felt tobe sufficient.

sufficient.

Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions LLP.

28

IndiaFig. 6. Images of the structure while architectural restoration was being undertaken and was in progress.
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

Fig. 7 a, b, c & d. Images of the structure while architectural restoration was undertaken and was in process.
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

some wall junctions had dense and thick ingrown foliage
which had grown to a floor height and were now a partof the walls. Forcibly removing them would have meantcausing damage to the walls so they had to be dealt withslowly, with support and repairs simultaneously.
One of the major findings of Step 10, i.e. Digging thefoundation pits at various points to check the condition of
the foundation, was interesting to note as the foundationin the front portion was much deeper in comparison
to the rear, and was probably done in order to use thenatural gradient, as the original land sloped towards thefront. In the rear portion on one side, the foundation
was almost 2 m deep while on the other side it directly
sat on bedrock, which caused major detachment andcracking in the walls due to uneven settlement over time.
Also, in the rear portion, since the foundations were
not very deep, a system of arches was used to keep the
structure tied together and to uniformly distribute theload of the structure. Though the detail was good, theuneven settlement of ground over time and two major
earthquakes (in 1991 and 1999) in the region probably
damaged it. It was thus important to redo the foundation
and wall in the rear part and add new foundations
wherever necessary after detailed inspection.
Most of the arches of the arched openings had failed and29

were required to be redone by either stabilizing them andpartially repairing or completely rebuilding them after
being dismantled (Fig. 7b). The lintels of all openings
were missing and were a major cause of damage tothe structure. The old beams found onsite which werestructurally good were cleaned, treated, and reused as
lintels over some openings; in other places new lintels
were placed (Fig. 7c and 7d).
Addition of Roof and Structural Buttresses
A lightweight steel frame was used as roofing for theentire ground floor with cement boards as flooringso as to keep the superstructure as light as possible(Fig 8a.). Exterior walls of 115 mm and 230 mm wereerected, supported by the thick ground floor walls.
Steel columns and beams (hollow sections) were usedas bracing so as to tie together the entire first floor andmake it earthquake resistant. The niches and openingsof the lower floor were replicated on the first floor withtraditional masonry to unify the entire structure. A lightsteel frame was further added to support the roofing in
traditional clay tiles (Fig. 8b). Traditional clay tiles werea new addition to the structure but more authentic andlighter than the roofing that existed earlier. Also, the clay
tiles could keep the structure cool in summer and warmin winter owing to its material properties.

IndiaFig. 8 a, b & c. Images of the structure while roofing and buttressing works were in progress.
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

Fig. 9. Material Palette
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

Fig. 10. Images of the structure from after the architectural restoration was completed; front elevation (left), inner courtyard (right)
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

30

IndiaFig. 11. Images of the structure from after the architectural restoration was completed; first floor (left), inner courtyard (right)
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

Figs. 12 (top) & 13 (bottom) Images of the structure from after the architectural restoration was completed
Source: Studio MANDALA, Artefacts and Habitats Sustainable Solutions

31

Project Finishing and Completion
Once the structural restoration was complete, the theme
building and additions for the same were done, which
included works like the addition of window panels,
flooring, plumbing, electrical fittings, plaster, andpainting. Since the structure was witnessing plumbingand electrical fittings for the first time, they had to bedone in a way that was non-destructive and reversible innature. For the plumbing, a 115 mm thick ledge wall was
erected inside the enclosure within which all the laying
and installation of pipes was carried out. For the electricalfittings, exposed wooden batten wiring was installed tokeep it simple and easily accessible. As the new adaptive
reuse of the structure was experiential traditional dining,
the interiors were finished in colours of the rural moodboard with raw textures to highlight the restored portions
and keep the restoration as authentic and as visible aspossible.
Elements like windows, door panels, courtyard pillars,
decorative front window, floor mandalas, and water bodyspouts were made onsite/procured to add the final lookand feel.
Traditional plasters were an important part of theoverall scheme and the perfect ratios were derived after
numerous trials with various compositions of traditional
ingredients like jaggery, jute, Azadirachta indica, lime,
sand, black lentil, and local soil (cleaned and sieved) (Fig.
9). The plasters thus derived gained strength slowly overtime as compared to quick setting and strength gainedby cementitious plasters, but once completely dry, werestronger and more compatible with the brick masonry
structure.
Conclusion
The Restoration Project for Adaptive Reuse of Old
Abandoned Heritage, while reviving traditional materials

and practices of construction by capacity building(focusing on conscious and sustainable approaches),
was completed over a period of three years (May 2019– October 2022) and found a space amongst the top
seven winning entries from across the country in the Best
Practice Category of the Housing and Urban Development
Corporation National Awards awarded by the Ministry of
Housing and Urban Affairs, Govt. of India, under Theme
VI – Urban Design & Regional Planning, Inner City
Revitalization & Conservation in April 2023.

India

The other major task was to add substantial support
to one of the major exterior long walls as it spannedaround 12 metres along the edge of the hillock without
any external buttress supports and showed settlement
damage at multiple points with critical diagonal andvertical cracking as well as bulging. This particular side
was kept constantly supported for almost two years withscaffolding all along the exterior side while the repairs
progressed on the inner side (Fig. 8c).

The restored structure (Figs. 10, 11 and 12) is a message
to the city and community and to everyone who
understands that as we face issue of climate change anddepleting resources, we must try to bring back to life oldabandoned heritage by leasing them a new life in themost sustainable way. Restoration/preservation should be
adopted towards saving resources which would otherwise
be spent in demolition of the old and rebuilding anew
as well protecting the identity and heritage of the city. It
is therefore very important for developing nations to first
identify their heritage, frame heritage laws to protect it,then restore and modify it if required so that it is usable
in line with the Sustainable Development Goals, so thatvarious cultures and their identities are protected for
future generations.
Reference:
Mishra, M. (2021) Dehradoon: An Illustrated Journey of aCity (1st ed). Copal Publishing Group, India)
Acknowledgements:
Team Studio MANDALA, Ar. Mauli shree Mishra (Project
lead; Conservation Architect); the owners of the property;
Mr Vikrant Thapli, Mr Kalsang, Mr Tenzin Thardoe, Mr
David, Mullahji and Rajesh Mistri for the brick masonrywork and the civil work; Mr Ehsaan, Mr Joshua Hishey,
and Mrs Richa Ghansiyal for the tailored wooden work;
Bishnu for the plumbing work; Mr Rakesh for theelectrical fitting and lighting; Mr Sandeep Tomar and Mr
Roberto Bello from CTS Europe for supplying the FRP
rods glues and admixtures used in the stitching process.
Special thanks to Mr Siddhartha Mukherjee, architect andAssistant Prof. School of Design, UPES, Dehradun forphotography, documentation, research, and help in thestitching of the structural cracks.

32

Indonesia
Indonesia

Designation of Presidential Palaces as National Cultural Heritage Sites
Yosua Adrian Pasaribu, Junior Heritage Expert
Directorate General of Culture, Ministry of Education and Culture, Research, and Technology
State Palaces as National Heritages
Indonesia inherited many palaces from the Dutch when it
declared its independence on 17 August 1945. The 18th19th century palaces in Jakarta, Bogor, and Yogyakarta
are the oldest palaces that the President of the Republicof Indonesia still uses today. The Bogor Palace (1750) andState Palace (1796) were built by the Dutch East Indies
Company, while the Gedung Agung Yogyakarta Palace(1832) and Merdeka Palace (1873) were built by the
Dutch East Indies State. These palaces are architectural
heritages where layers of Indonesian and Netherlands
shared history are embedded.
The preservation of these four palaces as a cultural
heritage has become a national concern since
independence. The designation of these four palaces as
National Cultural Heritage Sites in accordance with the
Law of Cultural Conservation has been implemented by
the Indonesian Government since 2021. In 2021, I joined

a team from the Directorate General of Culture, Ministryof Education, Culture, Research, and Technology, whose
task it is to organise the designation project with thestakeholders, prepare documentation, and archive data.
This article portrays the work in progress.
The Bogor Palace
The Bogor Palace is the oldest of the four and has been
the President’s House since 2015. This palace was listed
as a Cultural Heritage Building by the Mayor of Bogor
City on 7 March 2023. The designation of Indonesian
National Heritage is being created gradually, starting fromdesignation as City Heritage, Provincial Heritage, thenNational Heritage. We are still working with West Java
Province to designate this palace as Provincial Heritage.
A comparison of recent Google Earth photographs andaerial photographs from 1920-40 shows that the palaceand gardens have remained relatively unchanged for atN➤a) Aerial Picture from 1920-1940

Image © 2021 Maxar Technologies
Image © 2021 Maxar Technologies

100 mb) Recent Google Earth image

Fig. 1. Aerial picturesource: Tropenmuseum Collection Number TM-10015394

Fig. 2. Back of the Bogor Palace before the 1834 earthquake
Source: Work of Willem Troost in the 1836 collection of the Rijksmuseum, Number SK-A-4024

33

The Bogor Palace was built in 1745 by the Governor
General of the Dutch East Indies Company. In 1834 thepalace was destroyed by an earthquake and in 1839
it was renovated into its current form. Fig. 2 shows apainting depicting the palace, which was two storeys
before the earthquake in 1834, and Fig. 3 is a depictionof the palace when it was damaged by the earthquake.
In 1890, a portico was built to shade guests arriving by
horse-drawn carriage when it rained. The portico has
four arches supported by small columns at the front andtwo arches on either side. The portico was changed toits present form in 1952. Fig. 4 consists of comparison
photos showing the palace facades between 1899-1920
and the current appearance.
The main building of the Bogor Presidential Palace issymmetrical in shape and generally in good condition
and well maintained. The east and west auxiliarybuildings are also generally in good condition and wellmaintained. The east and west wings of the building areconnected to the main building by corridors supported bycolumns. The plaster motif of stucco blocks at the cornersof the building in an old photograph is in a different
colour from the background colour of the building. Fig.
5 is a diagonal view of the main building from the northeastern side, which shows the main building including
the accompanying buildings on either side.

Indonesia

least a hundred years. The main building and its wings
have been left relatively unchanged since the beginningof the 20th century (Fig.1).

The right (east) wing of the building is generally in goodcondition and well maintained. The building facade andstucco plaster motifs are painted white. As shown in thephoto before 1890 (Fig. 6), when the portico had not yet
been built, it is known that the stairs on the right (east)
wing facade had not been built either. Based on this data,
it is strongly suspected that the stairs on the facade of
the right (east) wing of the building were built after theconstruction of the portico in 1890.
The shape of the main building is relatively wellpreserved in line with the shape of the mid-20th century
building. The most visible change is the columned
portico that was built in 1890 and changed in 1952. Thechange in the facade of the right wing (east) building
with the addition of an entrance staircase is suspected tohave been done before independence, probably in theearly 20th century. Fig. 7 shows comparison photos ofthe building's facade in 1947 and 2021.

Fig. 3. Front of the Bogor Palace during the 1834 earthquake
Source: Work of Willem Troost in the 1836 collection of the Rijksmuseum, Number SK-A-4025

Fig. 4. Photos of the Bogor Palace facades 1899-1920 and 2021
Old photo source: Volkenkunde Museum collection, Number A113-1-1

34

Indonesia

In general, the main building of the Bogor Palace is ingood condition and well maintained. Fig. 8 shows arear view of the main building of the Bogor Presidential
Palace.
The Merdeka and Negara Palaces
The Merdeka and Negara Palaces in Jakarta are the main
Indonesian Presidential Palaces and have become asymbol of the State (Fig. 9). The Merdeka Palace and the

Negara Palace are located in the centre of Jakarta City, on
the northern side of the National Monument. Fig. 10 is anaerial photo showing the surroundings of the Merdeka
Palace and the Negara Palace between 1925-1940. The
surroundings of the Merdeka Palace and the Negara
Palace are outlined in red. On the southern side, there isa field called Koningsplein where the National Monument
was built later.

Fig. 5. The Bogor Palace from the northeastern side

Fig. 6. Palace facades before 1890 and 2021 (The old photo shows that the coloured portico has not yet been built; the same applies to the entrance stairs in theright wing of the building)
Old photo source: Kerncollectie Fotografie, Volkenkunde Museum, photo code [A41-1-1]

Fig. 7. Comparison of building facades in 1947 and 2021.
Source: 6000908 (photo), Wiel van der Randen, Spaarnestad Photo35

Indonesia

Fig. 8. The Bogor Palace rear view (south)

Fig. 9. The Merdeka Palace and the State Palace environment

Fig. 10. Aerial photograph of the Weltevreden area 1925-1940
Source: Tropenmuseum, Object Number TM-10017773

Fig. 11. The facade of the Merdeka Palace in 1900 and 2021
Old photo source: taken from geheugen.delpher.nl

Observation and documentation of the Presidential
Palace in Jakarta started from the northern part of theMerdeka Palace and then moved around to the southfrom the western side to the eastern side. The following
is the result of observations of the Merdeka Palace.
The facade of the building, which was built at the endof the 19th century (1873), is still relatively intact andretains its original shape. The most visible additions to
the facade are the Garuda emblem in the centre of thefacade and the flagpoles in the centre. On the facadesof the right and left wings of the building, there is anaddition in the form of a pair of Dwarapala statues. In
the southern courtyard of the Merdeka Palace building,there is the addition of a fountain pool. Figs. 11 and 12
show comparative photos of the facade of the Merdeka
Palace building in 1900 and 2021, and 1947 and 2021

respectively.
In the southern courtyard of the Merdeka Palace there
was a procession to transfer sovereignty from theKingdom of the Netherlands to the Republic of Indonesia
on 28 December 1949. The procession for transferring
sovereignty was carried out symbolically with thechanging of the flag, the departure of the Dutch leader,and President Soekarno's arrival at the palace. The event
was attended by thousands of people who packed thesouth courtyard. Below (Figs.13 and 14) are photos of theevent.
The Dwarapala statues to the left and right of the front
building are Banaspati from Central Java, 9th century AD.
Below are photos of the locations of the statues (Fig. 15).

36

Indonesia
Fig. 12. The facade of the Merdeka Palace in 1947 and 2021
Old photo source: Cas Oorthuys, taken from the Nederlands Fotomuseum

Fig. 13. The procession of the transfer of sovereignty from the Kingdom of the Netherlands to the Republic of Indonesia in 1949 and the appearance of thecourtyard in 2021
Image source: Image taken from a film by Polygoon-Profilti on youtube.com

Fig. 14. Portrait of the Dutch Governor being moved out of the Merdeka
Palace the day before the transfer of power in 1949.
Henri Cartier-Bresson, Magnum. The National Archives of the Netherlands© Foundation, Henri Cartier-Bresson Magnum Photos and ANPThe Dwarapala statue on the western side is made ofandesite stone and measures 1 m high. It is strongly
thought that this statue originated from the Kalasan
Temple (8th century) and was once placed in the yard of
the Presidential Palace in Yogyakarta (Gedung Agung).
The unique attribute of this Dwarapala statue is that
his left knee rests on the ground, which is described as
higher with a square block shape. Below are photos of
the Dwarapala (Fig. 16).

37

On the western side of the Merdeka Palace there is
Baiturrahim Mosque, which was built in 1961. Thismosque was initiated by President Soekarno anddesigned by the architect R.M. Soedarsono. In 2010, themosque was renovated especially to correct the directionof the Qibla and widen the mosque's area from 605 m² to1105 m². The dome and several pillars in the mosque arestill under maintenance in the renovation. Fig. 17 shows
the mosque.

Indonesia

Fig. 15. The locations of the Dwarapala statues are the southwest and southeast of the Merdeka Palace (indicated by blue coloured circles)

Fig. 16. The Dwarapala statue is thought to be from Kalasan Temple (Photos at Gedung Agung around 1900 and at Merdeka Palace in 2021.
Old photo source: taken from KITLV, photo code 40219

Fig. 17. Baiturrahim MosqueFig. 18. The Merdeka Palace seen from the eastern side

Fig. 19. a) Rear (north) facade of the Merdeka Palace

Fig. 19. b) Rear (north) side of the Merdeka Palace38

Indonesia

The centre of the palace is symmetrical in shape,
connecting the facade of the building on the southernside, with the central courtyard connecting the Merdeka
Palace and the Negara Palace on the northern side. Below
is a photo of the palace building looking to the east (Fig.
18).
The rear (north) facade of the building facing the central
courtyard, which connects with the Negara Palace, wasadded after independence. Fig. 19 shows photos of thefront of the rear (north) facade of the Merdeka Palace.
In the northeast corner of the central courtyard, there
is a gazebo which can also be seen in the 1928 aerial
photo (Fig. 20). During the Dutch East Indies period, thisgazebo was used as a place for musicians during garden
parties. During the independence period, this gazebo wasused for a Kindergarten class for the children of President

Soekarno and the staff of the Presidential Palace.
The front building of the State Palace was built at the endof the 18th century (1796). Fig. 21 shows the rear (south)
facade of the Negara Palace.
This building has companion buildings on its westernand eastern sides, which have a symmetrical plan. The
accompanying building, which now functions as offices,can be seen in an aerial photograph from 1928. The mainbuilding and the accompanying building on both sides
are connected by a corridor, which at the front (north) is
joined by a gate in the connecting wall. The following arephotos showing the two halls on the western and easternsides of the Negara Palace building (Fig. 22).
The north building of the Negara Palace was built at
the end of the 18th century. Two Banyan trees are now
planted in the courtyard of the Negara Palace. There isFig. 20. The gazebo is located northwest of the central courtyard

Fig. 21. Rear (south) facade of the Negara Palace

Fig. 22. Halls on the western and eastern sides of the State Palace

39

The Yogyakarta Presidential Palace
The Yogyakarta Presidential Palace originates from theofficial residence of the Dutch East Indies Resident, built
in May 1824. On June 10, 1867, in Yogyakarta, there
were two earthquakes on the same day. As a result, theofficial residence of the Dutch Resident collapsed. A newbuilding was erected and completed in 1869 (Fig. 25).
This building became the main building of the Yogyakarta
Presidential Palace Complex, which is now called theState Building.

The national history of the Yogyakarta Presidential Palacebecame very important when the government of the
Republic of Indonesia moved from Jakarta to Yogyakarta.
On January 6, 1946, Yogyakarta officially became the
new capital of the Republic of Indonesia. The palace
was turned into the Presidential Palace, the residence ofPresident Soekarno and his family.

Indonesia

a statue of an archer in front of the building. Below is acomparison of an old photo of the building with a 2021
photo (Fig. 23 and Fig. 24).

The Presidential Palace of Yogyakarta, also known as
Gedung Agung, was the President’s House at the time of
the Indonesian Revolution in 1946-1949. In this palace,
General Sudirman's inauguration as Commander-inChief of the Indonesian Armed Forces was held (28 June
1947, Fig. 26), as well as five cabinets of the Republic ofIndonesia.

Fig. 23. Negara Palace facade in 1916 and 2021
Old photo source: geheugen.delpher.nl

Fig. 24. Diagonal view of the facade of the Negara Palace in 1947 and 2021
Old photo sources: © Cas Oorthuys, Netherlands Photomuseuma) Façade

b) Rear side
Fig. 25. Yogyakarta Presidential Palace: façade and rear side40

Indonesia
Fig. 26. The inauguration of General Sudirman as Commander-in-Chiefof the Indonesian Armed Forces on 28 June 1947
Source: https://www.goodnewsfromindonesia.id/2020/06/28/sejarah-hari-ini-28-juni-1947-pelantikan-jenderal-sudirman

On December 19, 1948, the Netherlands launched its
Second Military Aggression. The Dutch succeeded in
occupying the capital city of Yogyakarta. That morning,at the Gedung Agung Palace, a cabinet meeting chairedby President Soekarno was being held to determine whatshould be done.
At that time, General Sudirman specifically met thepresident at Gedung Agung. General Sudirman waiteduntil the cabinet meeting was over and then met with
President Sukarno. The purpose of this meeting was
to beg the president to go on a guerrilla journey into
the forest. However, President Soekarno refused andstated that he would remain at the Palace. Then General
Sudirman excused himself to leave the city to lead aguerrilla war against the Dutch. The meeting between

41

General Sudirman and President Soekarno took placein the drawing room in the right wing of the palace.
At noon, the Dutch captured the palace, the president,
vice president, and the cabinet, and sent the leaders into
exile in Bangka and Berastagi. The conflict ended on
27 December 1949 with The Hague Agreement, and thepresident returned to Merdeka Palace in Jakarta the nextday.
Gedung Agung was listed as a National Heritage
Building on 27 February 2023, while the Merdeka andNegara Palaces in Jakarta and Bogor Palace are still inthe designation process and are planned to be signed
this year. The designation of presidential palaces is tostrengthen their management according to the Law ofCultural Conservation.

Kazakhstan
Gulnaz Kulmaganbetova, Chief Researcher
Kazarchaeology LLP
This year we have continued archaeological research into
the most ancient city of our country—Taraz.
These works were carried out as part of the appliedscientific research “Architecture of Medieval Taraz” under
the targeted funding program of the Ministry of Culture
and Sports of the Republic of Kazakhstan; individual
application registration number BR10164298; sourceof funding: the Ministry of Culture and Sports of the
Republic of Kazakhstan.
The archaeological excavations of this city carried out
by us in 2014–2018 provided extensive material on theheyday of the city in the 11th to early 13th centuries.
Excavations over an area of more than 20,000 m² madeit possible to identify a significant part of the city of theso-called “Karakhanid” period. This year, the work is
aimed at detailing certain elements of the city in order towrite a monograph on the results of the archaeologicalexcavations.
To write this article, we familiarized ourselves with all the

Kazakhstan

On the Problems of Researching the Ancient City of Taraz

works of our predecessors and data from written sources.
A distinctive part of our historiographical and source
research was the use of data from historical and epic talesof Turkic-speaking peoples, which have been passed
down to us in folklore collections and recorded in the
Middle Ages.
Our second task was to determine the historical zoning of
the study area. The fact is that the region where the cityof Taraz is located is defined in the scientific literature
as South-Western Semirechye. This is a completely
unacceptable historical and geographical definition thatdeveloped during the colonial period. The historian must
adhere to historically established toponyms, reflecting
geographical, climatic, and other features that determined
the name of the toponyms. The most incorrect modern
historically distorted oronym is the name of the Tien Shan
Mountains, which came into geographical use during
the colonial period. Russian geographer P.P. Semenov
adopted the Chinese version of the name “Heavenly
Mountains.” While these mountains are called Tanir Tau—“Divine Mountains”—by the local Kyrgyz and Kazakhs,

Taraz Archaeological Site

42

Kazakhstan

the peak has retained its authentic name Khan Tengri.

along the beds of the Talas River from south to north.

Another example is Boyi (Talas River basin), used byboth the Kazakhs and Kyrgyz. The Kazakhs call thebasin of the Shu River Shu Boyi (literally along the Shu
River). These two historical and geographical names werecombined into the artificial South-Western Semirechye.
The same thing happened with the historical mountains,
known from the maps of Al-Idrisi as Khan Tag (Kazakh
Khan Tau), which with the adjacent foothills werecalled primitively Shu-Ilei. In other words, the loss ofhistorical toponyms does not allow the researcher to fullycomprehend a certain territory.

The above conclusions about economic growth
substantiate the reasons for the genesis of cities amongnomads, supported by the military power of the nomadic
khaganates. We substantiate this primarily on the basis ofknowledge obtained from the works of experts in Kazakh
history, information from historical legends and epic tales,
coupled with data from written sources.

The modern name of the city Taraz is a distortedhydronym. Nomads gave names to geographical objects
based on their excellent knowledge of the characteristicsof the area. Thus, the stormy mountain rivers werecalled Tentek (Violent) and Kuturgy (Mad). The Talas
River, emerging from the mountain gorges in the Taraz
region onto the plain, formed a wide alluvial cone. This
was the reason for the frequent changes in its channels,
which most likely gave it its name “like a river breaking
into different channels.” In ancient Chinese sources
before the Tang era, this river is called “Do Luo.” In our
opinion, it is better for linguists to judge this. The city,
like the river, was called Talas, and the name Taraz, in
our opinion, is a distorted rendering of the name Talasby the authors of Arab-Persian sources. As an example,
we can cite the name of the city of Merke, located east of
Taraz, mentioned in the same sources as Mirki. Modern
archaeologists have identified the name as Sogdian. We
know that this oro-hydronym is found east of Almaty as
Ush Merke. Merke in Kazakh means a narrow and deep
gorge, which accurately characterizes the Merke gorge at
the mouth where the Merke settlement is located.
We associate the nomadic essence of the genesis of thecity of Taraz with its location on the fertile nomadic
path. Up the Talas River from Taraz at an altitude of 2200
meters and surrounded by mountain peaks of up to 4500
meters are the most famous summer alpine pasturesof Central Asia—the Susamyr Valley, an intermontane
depression in the Tanir-Tau mountains in Kyrgyzstan,with an area of more than 4,000 km².
Down the river, at a distance of about 350 km, there are
fertile winter pastures, the sandy Moyynkum desert withan area of 37,500 km², stretching to the lower reaches of
the Shu River. The lower reaches of the Talas River are
lost in these Moyynkum sands, forming a vast delta withrich vegetation, favorable for winter nomads.
These summer and winter pastures, convenient forbreeding nomadic cattle, allowed the population toreceive greater profits. The growth of the well-beingof the nomadic population was also facilitated by thepresence of silver mines near Taraz, which also broughtsignificant profits to the treasury of the rulers.
All the above circumstances led to a flourishing society
and the nobility began to build castles, the so-called
tortkuli, in their wintering places. Dozens of them stretch

43

When studying the monuments of the steppe zoneof the Eurasian steppes, among the scientists wereindividuals who knew the nomadic economy “fromthe inside,” for whom it was the history of the peopleof which they were part, namely Ch.Ch.Valikhanov,
A.N.Bukeikhan, Sh.Kudaiberdyuly, K.I.Satpayev, A.Kh.
Margulan, and Kh.Argynbaev. With the exception of
A.Kh.Margulan and Kh.Argynbaev, the first ones left few
works, these are usually small notes and historical essays,
but their scientific significance is very great. These were
outstanding bearers of the cultural and historical heritageof their people.
In contrast to “steppe historiography,” the study of theurban culture of the Kazakh steppes followed a different
path. There were no experts on the historical past here;
the cities had already ceased to exist. The discoverers
and researchers of urban culture discovered a new world
and were representatives of other historical and cultural
traditions, i.e., Columbus, discoverers of Central Asia for
Europe. Like the so-called researchers of the Bronze Age.
In the Andronovo historical and cultural community, they
were far from the subject of research and, accordingly,
their theorizing was often distant from reality.
Hence the numerous creations of non-existent peoples,
the names of peoples and cities, etc., distorted in
Chinese and Arab Persian sources, and transmitted
in their manner, began to be widely used without
interpretation. This happened with Talas, which became
Taraz, and the proud Talgar became incomprehensible
to its descendant’s population in the form of “Talkhir”
or “Talkhiz.” Archaeologists are still trying to identify thecities of Kulshuby, Kasribasy, and others based on datafrom written sources, by location, and distance from eachother.
The most important scientific apostasy occurred whenarchaeologists divided into researchers of cities, burial
grounds, petroglyphs, divided the entire centuries-old
history of our people into eras and periods, began to“engage” in the study of a separate element of an entire
culture, and most importantly, in dividing eras into
separate peoples and cultures. Not in development, but
in individual states. But the history of our people had
periods of rise and decline; these periods were perceived
by some researchers as a separate history of individual
peoples. For later historians, it is clear that even the
ethnonyms of supposedly peoples of individual eras
are just the names of the dominant clan or tribe in that
period. Hence the stable concept of “Dasht and Kipchak,”
which has no historical meaning. Since ancient times,
this country was called Arka or Sary-Arka. This name has

It is impossible to study separately the history of theTurgesh, Karluks, Oguzes, or Kipchaks; these are one
people, and the names of the tribes of one people.
Written sources record them during periods of powerof these tribes over the rest. In another period, another
tribe rises to power and then written sources record themunder the name of this tribe.
Remarkable periods in the history of the Kazakh steppes
are perfectly illustrated by archaeological monuments—
they are not entirely sedentary people; their entire historyis imprinted on the earth. In a sedentary agricultural
culture, cities and settlements do not disappear; they
are the main element of the existence of the people.
They can only be abandoned due to natural and climatic
reasons and transferred to another place, experience
decline and turn into simple villages, but cannot
disappear completely. It’s a different matter in the
steppes, where the dominant economy is nomadic cattle
breeding. During periods of cataclysms and population
decline, urban settlements are lost, with the people
being content with winter roads, leading to centers ofmetallurgy and crafts, and irrigation structures falling into
disrepair. Here, another extraneous and biased attitude
towards the history of the people is that irrigated efficient
agriculture is alien to Central Asia. It had existed in thedry steppes of Sary Arka already in the Late Bronze Age;however, the unique achievements of the Kazakh farmersof the Tokyrau River basin are much higher and moreskillful than those of Central Asia.
Our analysis of the researchers’ works led to the idea ofdividing them into two types:
The first is “craft,” i.e., a type of researcher seeking tosystematize data, usually using data from written sources.
Their work is distinguished by a detailed approachand painstaking construction of their thoughts. Theirfinely detailed approach does not allow them to see aholistic historical picture, which usually leads to artificial
constructions. Not knowing the language, culture, or spiritof the people being studied and remaining adherents ofwritten sources of foreign authors on the inhabitants of
the Kazakh steppes who present information that is notentirely correct, they aggravate this gap and, from theirpoint of view, strengthen this artificiality. Their artisanal
approach is a consequence of an attempt to compensate

for their ignorance, sometimes unwillingness, to know thelanguage and culture of the people being studied. The
research of the “artisan” consists of carefully executed
work, systematization, fascination with contradictions,and “methodologically” verified ideas, creating an
artificial scientific theory that is not capable of becoming
an integral architectural structure.

Kazakhstan

reached modern times, but is found in ancient times, forexample, in the written monuments of the Oguz epic.
During the era of Ulus Zhoshy Khan, Uzbek Khan spent
his last years in the country of Arka.

The second is the “architectural” type of researcher
who comprehends historical processes, widely uses all
information on the subject of research, does not limit
themselves only to highly specialized knowledge, studies
and knows the language, culture, and ethnography of thepeople being studied. This type of researcher places thecreations of the people themselves above other sources,uses such a complex and necessary source as mythical,
epic information and, most importantly, for steppe
history, knowledge of the Book of the Steppe—those
who passed, saw the steppes, and the life of the steppe
inhabitants. This makes even the information of explorers
who left the first foreign information about the Kazakh
steppes different from the works of scientists.
In past times, the individualistic approach dominated, thatis, certain periods of history were studied by one scientist.
This scientist, due to his knowledge and specialization,
mainly used certain sources. When studying the ancient
city of Taraz, we take into account precisely these features
and try to consider the genesis, development, and declineof this city, taking into account the development of anomadic economy, historical and geographical factors,
and the development of metallurgy and crafts here. Of
no small importance for the development of the city wasits inclusion in world specialization, which led to thedevelopment of trade and cultural exchanges.
In general, our study of the city of Taraz revealed a lotof new things in the development of construction art andarchitecture. Nomadic elements occupy a special placein ceramics and its ornamentation, in the manufacture ofmetal products, etc.
Analysis of the urban structure of the Shu-Talas Riverbasins allows us to attribute it to the structure of nomadic
cities. Planigraphically, these cities have a striking
difference from the urban oases of Otrar, Chach, andBukhara. It should be noted that these cities experienced
strong influences from the outside, especially fromCentral Asia, but also retained their predominant nomadic
character, due to the fact that these cities formed a single
organism with the nomadic environment and were an
integral part of that environment.

44

Kazakhstan
Archaeological Park Ancient Taraz

Caravanserai

45

Lao PDR
Sommay Singthong, Lecturer
Department of History and Archaeology, Faculty of Social Sciences, National University of Laos
1.Introduction
Archaeological remains are a valuable cultural property
to understand human evolution and culture. However,
economic development effects rapid change to human
life, occupation, and subsistence, which directly
challenges cultural heritage protection.
Laos is a developing country, where numerous
investment projects are being intensively investigated.
The standardization of management is still insufficient,which is directly adding the risk to cultural property
maintenance, and the future development might put thecultural property in danger of disappearing. Decrees
and laws related to cultural heritage protection can betraced back to the Lao Civil Code during the Indochinesecolonial era in 1929,1 followed by the council of minister’s
resolution on the management of cultural products
1982.2 Then, the decree of the President of Laos on thepreservation of cultural, historical, and natural heritageNo.03/SPP, issued on 20 June 1997 determines theprinciples, regulations, and measures on the protection
and preservation of national heritage. The law aims topreserve the value of national cultural, historical, andnatural heritage including movable and immovable
properties. It also aims to encourage a conscious loveof citizens for their nation and fine national traditions.3
The Lao government enacted the Law on National
Heritage No.08/NA on 9 November 2005, which provides
terminology and makes a precise identification ofnational heritage. Socio-economic development shallproceed side by side with protection and conservationof the national heritage. 4 This law also has manymeasures such as the level of cultural and historicalnational heritage, and involving the administration, use,
protection, conservation, restoration, and rehabilitationof national heritage. The law on heritage was improved
and reinforced in 2014 to involve all types of properties.5
Currently, cultural heritage protection and promotion
are also taken into account in the country development
policies of the Lao government as mentioned in the 9th
Five-Year National Socio-Economic Development Plan.6
Meanwhile, there were four laws passed concerning
the protection of archaeological sites, antiquities, andfossils: Decree No.158/PM dated 24 August 1996, on
the promulgation of regulations on planning for Luang
1
2
3
4
5

Lao PDR

The Management of Archaeological Remains from Hua Phu Cave Site

PraBang; Decree No.175/PM dated 6 November 2003,
on the promulgation of the preservation and value of
Luang Prabang as a World Heritage; Decree No.31/
PM dated 1 February 2012, on the promulgation of theplanning of Luang Prabang as a World Heritage Site
(which determines World Heritage planning for 20122017); and Decree No.278/PM dated 29 September 2009,
on the promulgation of the master plan on strengthening
Viengxai preservation planning 2006-2026.7
However, there remained a large gap between regulationand enforcement in terms of practical implementation,
which is urgently required to be minimized. Therefore,
this report aims to briefly highlight information on a casestudy of cultural property management regarding thearchaeological remains discovered at Hua Phu cave site
in the mountainous region of Luang Prabang province.
2.Site location
Hua Phu cave is located on the right bank of the Mekong
about 2 km west of Thin Hong Villgage, Chompet
District, Luang Prabang Province between 102°12'24.17'' E
latitude and 20°00'38.87'' N longitude. It can be reached
in an hour and half by a local motorboat upstream from
Luang Prabang. This cave is situated on the south-eastern
slope of Phak Pheo Mountain, a detached hill lying at thefoot of Luang mountain range, which has a maximum
altitude of 921 m above sea level. Hua Phu cave isapproximately 426.93 m above sea level and 100 m above
the surrounding plain.
3.History of investigation and discovery
Hua Phu cave site was primarily surveyed by Prof. H.
Watanabe and team in Dec. 1974, to explore limestone
caves of prehistoric sites for systematic excavations. Some
28 stone implements of Hoabinhian type, numerous
potsherds, and human bones and teeth were collected.8
Tam Hua Phu, previously identified by Anzai (1976) asa promising stone age site based on surface artifacts,
comprised a Hoabinhian deposit into which iron age
burials were interred.9 10 In 1994, Sayavongkhamdy Th.
and his team conducted an excavation with three trenches(2x3 m, 2×2 m and 2x1 m). The excavation found 71
stone implements, more than 3080 potsherds (weighing
35 kg), one complete pot, 14 bronze items, 47 ironitems, 40 cowries, and 39 beads. The whole collectionof finds has clearly shown that there were two phases ofCode civil laotien. (1929). de l'arrêté n0533 du 5 juin 1929 du Résident Supérieur du Laos règlementant les concessions domaniales au Laos . Bull. Admn. Laos, 1929, p. 859.
Resolution du conseil des ministers relative a la gestion des produits culturels (1982). Cultural movable heritage-cultural property . Dealer trade, protected area or good. Vientiane, pp. 1-3.
Decree of president of the Lao PDR on the preservation of cultural, historical and natural heritage. Vientiane, June 20, 1997, pp. 1-7.
National Assembly Law on National Heritage No. 08 / NA dated 9 November 2005, pp. 1-24.
Lao National Assembly (2014). Law on cultural heritage protection .

6

National assembly (2021). 9th Five-Year National Social-economic Development Plan (2021-2025). Approved by the Inaugural Session of the Ninth National Assembly on 22-26 March 2021 in accordance with
Resolution No. 20/NA, dated 26 March 2021, p.23
7
Khon Kaen University (2016). The research of the legal system of Laos People’s Democratic Republic and Legal Information Related to Social, Cultural, Political and Security of Laos People’s Democratic Republic.
Sponsored by the Office of the Council of State of Thailand, pp. 245-246.
8
Watanabe H., Shigematsu K., and Anzai M., (1975). Archaeological Survey of Prehistoric Cave Sites in Laos , pp. 8-10.
9Anzai K., (1976). “Stone artifacts collected at prehistoric cave sites in Laos” (English summary). Journal of the Archaeological Society of Nippon 61, pp. 81-82.
10White Jouce C. (2008). Archaeology of the Middle Mekong: Introduction to the Luang Prabang Province Exploratory survey . Recherches Nouvelles sur le Laos. Études thématiques n° 18. Vientiane - Paris: Écolefrançaise d’Extrême-Orient, 2008. ISBN: 978-2-85539-654-5.

46

Lao PDR

usage of the cave: the first one was as a habitation site
for a Hoabinhian society probably practicing a hunting
and foraging lifestyle; the second phase was its use by
agriculturalists who were probably living in small villages
on the alluvial plains.11
In May 2023, Singthong S. and his team re-excavated thiscave site by opening three trenches (2.5x2 m, 2.5x1.5 m,
and 2x1 m). This investigation aimed to re-survey andre-excavate Hua Phu cave site in the near future to findmore evidence of particularly archaeobotanical remains
and apply the archaeobotanical approach (pottery replica
method) to the pottery discovered from this prehistoricsite to obtain specific and feasible data through scientificexperiments using relics found in the Mekong Riverbasin and its tributaries, in order to describe prehistoric
agriculture and be able to understand the characteristics
of prehistoric culture in relation to the origin of cereal
farming and its distributed routes in the region comparedto the rest of Asia. Remains found during this field
investigation included human bone and teeth (weighing
28.8 kg), 2,723 potsherds (22.4 kg), 471 stone tools (9.8kg), 154 beads, 3 stone bangles (incomplete), 31 metal
objects (bronze and iron elements) (0.5 kg), river shelland seashell (Fig. 1), and charcoal.
4. Management (site and remains)
4.1 Site management

Hua Phu cave was initially documented by Watanabe etal., 197412 and Anzai et al., 1976.13 The technical recordthat was taken into account include the map drawn,
surface survey, artifact collection and identification;these were the starting point of the cultural property
preservation and promotion for this prehistoric cave site.
Then, Hua Phu cave was excavated by Sayavongkhamdy’s
team in 1994, and archaeological remains werediscovered and recorded. It was highlighted as an
outstanding prehistoric site of the region due to deposit
layers yielding the two periods of usage that included
hunter-gatherer (Stone Age) and agricultural societies(Iron Age) with abandoned remains. Alongside of theadvantages, some issues were considered by the author
such as the excavation trenches not being backfilled after
the excavation, which facilitated the further disturbanceby local treasure hunters; and the surrounding edgesof the excavation trenches being extensively dug intolarger pits (Figs. 2a and 2b). Moreover, the cave site is
not safeguarded properly as it was observed during thefield investigation that villagers could enter freely during
the day and night for daily subsistence. Moreover, somewaste was also found inside the cave and the surroundingarea. Nevertheless, the awareness of local communities
seemed to be an issue. For example, some villagers arestill maintaining archaeological properties which havebeen privately taken from the cave site.

1=beads, 2=seashell, 3=human bones, 4=stone axe, 5=stone flake, 6= iron elements, 7=bowl, 8=potsherds, 9=stone bangles
Fig. 1. Some of the archaeological remains discovered at Hua Phu cave site
11
12
13

47

Sayavongkhamdy Th. and Bellwood P. with an appendix by Bulbeck D. (2000). Recent Archaeological Research in Laos . Indo-Pacific Prehistory Association Bulletin 19, 2000 (Melaka papers, Volume 3), pp. 101-103.
Watanabe H., Shigematsu K., and Anzai M., (1975). Archaeological Survey of Prehistoric Cave Sites in Laos , pp. 8-10.
Anzai K., (1976). “Stone artifacts collected at prehistoric cave sites in Laos” (English summary). Journal of the Archaeological Society of Nippon 61, pp. 81-82.

Lao PDR

Fig. 2a. Traces of disturbance (trench 1)

Fig. 2b. Traces of disturbance (trenches 2&3)

Fig. 3a. Remains with containers since 1994

Fig. 3b. Labels of remains since 1994

4.2 Management of archaeological remains
The storage location of the archaeological remains whichwere collected primarily from the survey in 1974 is still
not known by the official staff currently working in
related organizations, which might be due to mistakes intransmitting the information and records from previous
public staff to the current staff. In addition, the storage
place was not entirely stable, which required the remains
to be moved and placed in restorage several times not in
an unsystematic manner.

5. Conclusion
Even though the regulation of cultural property protectionin Laos is quite inclusive, a large gap between regulationand enforcement crucially remains due to several
limitations relating to human resource and funding
priorities.

The remains collected from the excavation in 1994 stored
at the Department of Heritage, Ministry of Information,
Culture and Tourism (Figs. 3a & 3b) are still unidentified.
Moreover, the stratigraphy of cultural layers correlatedwith the remains and its spatial distribution built up
the prehistoric site before the excavation is lost, while
the containers are slightly degrading over time. Some
containers are required to be replaced. The labels are
one of the most significant elements for further intensive
analysis and interpretation, but they have become fragile
and there is a risk of their disappearing.
Meanwhile, the archaeological remains collected during
the excavation in May 2023 have been stored at the
Department of Information, Culture and Tourism of
Luang Prabang Province and await further intensive
investigation.

The local community’s awareness seemed to be a hot
issue for prehistoric site maintenance. Therefore, to solve
this issue, the regulation of cultural properties is required
to be inclusively well announced to local communities.
Meanwhile, the archaeological remains require further
management involving intensive survey, analysis,
identification, and publishing. The storage place,containers, and labeling tapes are also required to be
replaced for sustainable maintenance.
6. Acknowledgement
I would like to extend my gratitude to the Resona
Foundation for Asia and Oceania in Osaka, Japan for
funding support for the field investigation in Laos.
Sincerely thanks to Asia-Pacific Cultural Centre for
UNESCO (ACCU) in Nara, Japan for providing theopportunity as an international correspondent on
cultural heritage protection which has crucially improved
academic capacity for the author, alongside the protectionof cultural property. Thanks to the whole stakeholders in
Laos for their facility.

48

NepalNepal

SWAYAMBHU STUPA: Conservation of the Gajur (the topmost part – pinnacle)
Dr. Suresh Suras Shrestha, Director General (Joint Secretary), Executive Director
National Archive, Nepal; Narayanhiti Palace Museum
1. Introduction
The Swayambhu Stupa is one of the most important andoldest monuments of the Kathmandu Valley, which has
been worshipped by many people in Nepal and othercountries around the world. It embodies the tranquility
between Buddhism and Hindu and is a symbol forworld peace. However, there is no inscription or any
other evidence about the exact date of its construction,although there was an inscription lying in the whitewashing pit at the north west corner of Svayambhu
Chaitya which shows that the king (Shankar Deva)
seems to have donated a piece of land for the chaitya
when he renovated Swayambhu Mahachaitya, which was
venerated and respected by both Buddhist and Hindu
devotees according to their own traditions, based on the
Swayambhu purana and the himvatkhanda, respectively.
King Viswadeva (Vrishdeva) ruled in Nepal at the
beginning of the 5th century (400 - 412 AD). According to
the history of Nepal, King Sankara Deva was the son ofKing Vrishdeva. This inscription also stresses that it wasconstructed before Shankar Deva. King Manadeva was
the king since before the written history of Nepal and it ismentioned that he offered an umbrella for the top of theMahachitya. It also shows that the Chaitya was establishedand more popular in Nepal since the beginning of the 1st
century or earlier.
Although there have been no inscriptions found yeton the construction of this stupa except for the few
mentioned above, some of the inscriptions say that someparts of the stupa were renovated in the medieval period(13th to 16th centuries AD) and that there were many
conservation works carried out in the medieval period
as well as in the Rana period (18th to 19th centuries
AD). But there is no complete documentation about theprevious conservation/renovation work, except for somedocuments on funding, including a list of donors andamounts.
History of Conservation of the Stupa
It is difficult to say exactly who founded this stupa andwhen, but certain repairs and perhaps enlargements ofthis Swayambhu Stupa must had been carried out in the
Licchavi period, although evidence for this has not yet
been found. The first authentic historical evidence ofsuch restoration occurred in 1129 AD, recorded in an
inscription adjacent to the stupa. This stupa has suffered
many natural calamities and human vandalism in thecourse of its long history. One of the most severe acts ofvandalism was the Muslim invasion of the valley in 1349
AD; during this invasion, the army of Sultan Sams-ud-dinlooted, destroyed, and burnt innumerable monumentsof the Kathmandu Valley including the Swayambhu
Mahachaitya. Twenty-three years after this incident, anobleman, Rajharsh Bhallok of Kathmandu city, renovatedthis stupa in 1372 AD. According to Tibetan sources also,49

the earliest renovation work at Swayambhunath wasdone in 1372. The stupa was renovated again during thetime of King Jayasthiti Malla and his son Jyotir Malla.
The most frequent repairs to this stupa have been either
the replacement of the central wooden mast called the'Yasti' or repair of the finial. During the time of King
Laxminarasimha Malla, the central wooden mast was
replaced by Shyamarpa Lama of Tibet. In 1751 AD (NS871) other notable renovation work was carried out at the
stupa.
The pinnacle and golden flowers of Swayambhu broke
off in a severe tropical cyclone. These were repaired
and reinstalled but they were again destroyed by aheavy storm. With the support of the king, merchants
reconstructed the Mahachaitya by changing the central
beam or mast (Yasti); it took ten months for the entire
work to be completed. This was during the reign of King
Rajendra Vikram Shah.
The major renovation of Swayambhu Stupa was carriedout under the direction of Dharma Man Tuladhar, adevoted businessman, and sponsored by Lamas in NS
1038 (1917 CE). At that time the nine niche shrines—
four shrines of Taras along with those of the five Dhyani
Buddhas—were rebuilt, sponsored by three brothers:
Harsa Sundar, Pushpa Sundar, and Ram Sundar. During
the renovation, in order to enhance the beauty of theshrines, they installed railings of mani prayer wheels
engraved with the mantra 'Om mani padme hum,'
together with four levels of lamp railings. After thecompletion of these works, gilded images of Vairochana
Buddha and the four Taras (namely Saptalochani,
Mamaki, Pandara, and Arya Tara) were installed withthe proper rites and rituals. King Prithvi Narayan Shah of
Gorkha also made a donation, which is mentioned in an
inscription found in this area.
Since the 1917 renovation of Swayambhu Stupa there
had been no need to repair the stupa, but some parts
such as the parasol, pinnacle, and jewel clusters needed
to be repaired, and they were repaired in NS 1095
(1974 CE). There is no mention of the damage causedby the 1934 earthquake in this stupa. In 1961, several
renovation works were carried out in the area, but there
were no conservation works for the whole stupa after
the 1917 renovation so the gilded gold of the copper
sheets gradually wore out and the wooden materials
also decayed day by day in a natural process during thislong-time span of nearly a century. So, it was required torenovate the whole stupa, as was done in 1917 (NS 1038).
After around a century, almost the entire stupa wasrenovated, from the shrines on the dome and all parts
above this up to the pinnacle by one of the donors, theTibetan Mingma Meditation Center based in the USA, in2. Conservation of the Pinnacle – the “Gajur” of the Stupa
The conservation work was expertly carried out from2008 to 2011 and the stupa is very strong in terms of its
physical structure, as each and every traditional norm andsystem was followed for its conservation.
Swayambhu Mahachaitya is situated on the hilltop
of Swayambhu, which is one of the windiest placesin Kathmandu due to its location. The history above
also shows that several incidents have occurred overthe centuries, especially due to strong winds. One ofthe vulnerabilities or risks for the stupa is strong wind(cyclone) as a natural disaster. There was the heavy andstrong wind on 29 February 2023 in which the uppermost
part of the pinnacle (gajur) broke; however, it had not
fallen onto the ground and the incident was regarded assuspicious. The local people were surprised that there
was no gajur on top or on the surrounding ground. Aftera few days, a few locals estimated as per their previous
experiences that part of the pinnacle should be at thebase of the gajur. It was decided to observe the top of
the stupa, but this was very risky and there was no way
to reach there without scaffolding, which is very longprocess, and it was not certain that the gajur would befound there anyway. Therefore, it was decided to send up
a drone with a camera and take video. The drone camera
recorded that part of the gajur was lying in a corner ofthe base of the gajur.
The initiative for the conservation of the gajur was
taken by the Federation of Swayambhu Management
and Conservation on the basis of detailed photographic
descriptions and that the incident was observed by locals
and covered by many media outlets. After obtaining
approval from the Department of Archaeology, a meeting
was held where it was decided to form a dedicatedsteering committee, to be chaired by the chair of theFederation, which included almost all of the prominent
stakeholders and authorities related to Swayambhu
Mahachaitya. The steering committee called a seriesof meetings and discussed the quick rescue, damage
assessment, reporting, and the preparation of a plan forthe conservation of the recently broken pinnacle, which
was done very carefully with support from the locals andrelated authorities.
2.1 Need for conservation
As mentioned earlier, based on the evidence available,
the Mahachaitya was renovated after about a century,
from 2008 to 2011. It was not the time for conservation of
the main stupa, which had been completed just a decade
before, but due to the natural calamity the main pinnacle– the gajur, the top part, was broken and that was an

emergency activity to carry out.
Similarly, due to the activities of monkeys, the small
decorative bronze artistic parts have also been lost during
the last decade. The damage assessment also indicatedthat they must also be renovated.

Nepal

collaboration with Department of Archaeology and theFederation or Swayambhu Management and Conservation,from 2008 to 2011. During this renovation, many ofthe decorative parts were strengthened with additional
wood and similar materials used in the stupa. The major
objective of the project was to re-gild the gold on thecopper sheets that had been covering the structure. Thisrenovation was the most important activity carried out
after around a century.

Therefore, renovation of the gajur and few decorative
bronze elements within the whole stupa have been
carried out.
2.2 Conservation work
2.2.1 Documentation
Documentation is the basic element or the basic processof an archaeological conservation project anywherein the world, which can provide every detail for theconservation, estimate, and acknowledgement of
the conservation work in the future as well. So, theconservation project always starts with documentation,
which includes text documents, drawings, photography,
visual aids, and every process used in recording the
project work. Thus, the documentation of this project also
used the different tools of documentation, which are as
follows:
Conservation Notes – Before / During / After
According to the principles of archaeological conservation,conservation notes should be prepared in the beginning,
if any monument or object is to be conserved, throughwhich the need for conservation and the process would
be determined. So, it is important to study and prepare
conservation notes before doing anything on theobject or monument. FSMC, in collaboration with DoA,
prepared the conservation notes before, during, and after
the process of documentation as well. The notes wereprepared under the direct supervision and guidance ofthe senior advisor from the MoCTCA (i.e., myself, as I
am still working as an advisor for the project), and we
tried to include each and every momentum activity in thisproject.
First of all, the team prepared a conservation note, andas outlined in it, conservation was to be executed first.
Next, execution documentation was to be prepared andafter completing the conservation work, the report/notes
should be prepared.
In this way, the documentation team has been preparing
a very good quality of documentation for this project,which is one of the most exemplary conservation works
in Swayambhu—a collaboration which also includes thefull involvement of the local community and local people
in the heritage conservation.

Maintaining a Log BookWe, the steering committee, have formulated four layersof committees for assisting the easy execution of the
project. Among these four committees, the Conservation
Committee and Monitoring Committee maintained a
log book at the time the gajur was carried down, as
well as for its reinstallation, including the reinstallationof other elements as well. It was therefore mucheasier at the time of reinstallation of the gajur. In themeantime, replacement of the lost small decorative50

Nepalelements, i.e. leaves in the corners, fe gan (wind bells)
and many others, which were also newly made as perarchaeological norms (studies were carried out before
new replacement elements were made), was much easier
as they had a full record of every small part, including
where they were actually placed and their condition.
In the same way, the Gold and Gold Gilding Monitoring
Committee (GMC) also maintained a log book as thegold gilders used a certain amount of gold for the gajur
and every other element. So, there was documentation
with a recording system being developed simultaneously,
which also helped the documentation team in the
documentation process.

Photography
Photography is also one of the best tools for
documentation, as it can be more detailed than text
and other tools. In this project, the documentationteam prepared as much photographic documentationas possible. Photographic documentation follows the
text documents with images of before, during, andafter conservation, as well as many other associatedphotographs, which can give a detailed description of thewhole project.
Video
There are several advanced technologies for recording
and documenting heritage, and there are also manysophisticated machines for documentation. Video is oneof them. The team prepared some of the most important
documentation using the technology for recording as
video, which is a more reliable and knowledgeable
source for everyone. However, even though it was notprepared for the whole project, partial documentation
through video supports the entire documentation effort aswell.
3. Involvement of the local communities and local people
Heritage conservation actually means to transmit intact tofuture generations as much as possible of the structure,design, style, and knowledge of heritage. The traditional
way we have carried out our conservation work on
heritage has been to do it as a duty as well as making it
the responsibility of the entire society or the community
where the heritage is located; however, this may vary
according to the time and circumstances. In Nepal,
many communities are very much aware of heritage
conservation and management, and carry it out using
their own traditional techniques and systems.
The history of the conservation of Swayambhu
Mahachaitya, which was completed in 2011, also shows
the same evidence, as it’s mentioned above that every
renovation work was done with the involvement of andin coordination with the local people. Conservation work
is not to be done once; it is an ongoing, not an instant,process. As the communities in Swayambu are awarethat their community heritage is on the UNESCO World
Heritage List, they were involved in the project very
actively and were committed to their responsibilities. The
steering committee formed different layers of committees
for the easy execution of conservation work in the proper

51

way, and declared the responsibility of each committee asmentioned below:
Chair, Federation of Swayambhu Management andConservation (FSMC)
Chair
Chief Priest / Representative nominate the chief priest
MemberRepresentative, Department of Archaeology
MemberRepresentative, Kathmandu Metropolitan City (KMC)
MemberMemberWard Chair, Ward 15 KMC
Chief, Valley Police Swayambhu Circle (Nepal Police)
MemberRepresentative, Guthi Corporation Member
Representative, Three Members (FSMC)
MemberRepresentative, Locals (Guruju’s family)
MemberExperts from FSMC (as nominated by FSMC)
MemberAdmin, (nominated by FSMC)
Member Secretary
Senior Advisor (with full rights as a member) Dr. Suresh
Suras Shrestha, Joint Secretary, Ministry of Culture,
Tourism and Civil Aviation (MoCTCA).
The other sub-committees are as follows:

Technical Sub-Committee:
A technical sub-committee was also formed, consistingof representatives from the municipality, security (Nepal
Police), the Buddhacharya family (a local priest’sfamily, who represents the local people as well) undera representative from the DoA. The sub-committee wasalways devoted to finding an easier way to achieve theconservation without compromising the quality of the
project. It was always present and made decisions at thetime of removal and reinstallation of elements, and someproblematic situations as required for the project.
Conservation (Removing / Reinstallation) Monitoring SubCommittee
The conservation monitoring sub-committee was formed
to monitor the removal, mending, repair, making new,and reinstallation of the gajur and other elements of the
stupa. The members of this sub-committee always kept alog or catalogue of the objects at the time of inspection
and the study as well as for reinstallation of the objects:
i.e. the names or parts of objects, pieces, measurement,
their physical condition, record of the persons climbing
up to the gajur for work/inspection and so on. Not only
this, they also kept a record of every object found (thatmight be either of archaeological or religious value) in
the process of all the activities in the project. After that,they arranged a handover of all objects to the related
team by having them sign a receipt. Again, they kept a
record at the time of reinstallation for day-by-day work as
previously done. In this way, the main responsibility ofthis sub-committee was to watch and take care of every
object from the stupa and set them back properly in their
original place intact, which was also a very sensitive job
overall.

Similarly, experts as volunteers were involved as the subcommittees on gold and the gold gilding process, whichwere much appreciated activities that were carried out by
the locals as the guardians of their own heritage.
In this way, different layers of committees were formed
for the execution of the project and every member
could be involved in the decision making—taking partin meetings and so on. Many of the local people wereinvolved in the process of removing, repairing, andreinstallation of objects, together with the project team. Allof the committees were comprised almost entirely of local
people and local organizations of Swayambhu, which
helped to carry out the conservation work more easily.
Actually, the local people and the local organizations
played a vital role in sensitizing the whole community
to heritage conservation, and everyone in the area tookcare of the work as well as monitoring it indirectly, which
helped to secure/guard the archaeological remains of the
stupa during the conservation work. That's the reason
why it was the best example of community involvement
in heritage conservation.
4. Conclusion
Although the pinnacle (gajur) of the Swayambhu
Mahachaitya Conservation Project had a very limited
time to fulfill its goal of conserving the broken gajurof the main stupa of Swayambhu, it completed thiswithin six months. After the inspection of the entire

stupa up to the gajur by steering committee members
during the reinstallation of the broken gajur, a vigorous
discussion was held and came to the conclusion that it isnecessary to replace or reinstall all the small decorative
elements within the stupa due to natural calamities andthe activities of monkeys. Therefore, even though thereinstallation of gajur has already been completed, theconservation project continues for the rest of the newly
explored conservation activities for the stupa, whichmight take more or less a year.

Nepal

The membership of the sub-committee consisted of
local people led by a member of the FSMC; however,some of them were representatives of local community
organizations.

The gajur of the Swayambhu conservation project is oneof the most important conservation works carried out, notonly in the Kathmandu Valley, but for the whole rangeof cultural heritage conservation and management in
human society. It was such a very significant conservation
project; however, it was small in view of the size of thebudget. The locals through their organizations, especiallythe FSMC, initiated the project in technical collaboration
with related government authorities and other agencies,
and this important and significant conservation work
was carried out successfully with almost all of the locals
having the opportunity to get involved in preserving
their heritage, which is the most significant part of thisproject. Secondly, the project team prepared properand high-quality documentation on conservation of the
gajur. Similarly, it is the best example of a communityinitiated project with coordination among the central andlocal governments, local people, heritage professionals,
and traditional technologies experts, as well as with theworkers.
In this way, the gajur of Swayambhu conservation project
set another record in the history of heritage conservation

Broken gajur lying on the base floor. Drone images.
Source: The Federation of Swayambhu Management and Conservation (FSMC)

Chhemapuja-Worshipping for conservation of gajur. Source: FSMC

52

NepalScaffolding for conservation activities.
Source: FSMC

The broken gajur taken down for conservation.
Source: FSMC

The gajur under repair. Source: FSMC
Source: FSMC

Replacement for missing parts. Source: FSMC

Reinstallation of missing parts.
Source: FSMC

53

Reinstallation of gajur by craftsmen.
Source: FSMCNepalSupports for the gajur during reinstallation Source: FSMC

Supports for the other parts of the stupa Source: FSMC

Reinstallation of repaired gajur. Source: FSMC

Reinstalled gajur. Source: FSMC

54

Nepalin Nepal, with such dedicated heritage experts, authority
representatives, craftsmen, and local peoples' involvement
as well. Through this conservation work, the local
people became very much aware of the conservationand preservation of heritage, and they learnt a lot about
the importance of peoples' involvement in heritage
management. It is acknowledged that cultural heritage
preservation, conservation, and management is almost
impossible without the people's active participation
rather than passive involvement. This was also a great
achievement of this conservation.
Technically, the project was significant in that it
succeeded to conserve the gajur, the top-most part of the
stupa, as well as preparing the documentation on it andthe process of the conservation work.
Although it was a great achievement, heritage
conservation is not for once and not permanent
forever after just one time; it is an ongoing process andthe people must think about and consider that. The
community must obtain knowledge from this for the
future conservation of cultural heritage as well. It's also
the responsibility of the nation to preserve heritage
and the state must allocate adequate budgets for theconservation of monuments, giving higher priority to thecultural sector.
5. Bibliography
1.	S h a k y a , M i n B a h a d u r ( 2 0 0 4 ) , Sri Swayambhu
Mahachaitya (Translated into English), Swayambhu
Vikash Mandal, Swayambhu, Kathmandu, Nepal.
2.	Shakya, Hem Raj (NS 1098). Sri Swayambhu Vikash
Mandal , Swayambhu, Kathmandu, Nepal.

55

3.	Bajracharya, D.B. (1993). Lichchhavikalka Abhilekh,
CNAS, T.U., Kirtipur, Kathmandu, Nepal.
4.	E h r h a r d , F r a n z - K a r l ( 1 9 8 9 ) . R e n o v a t i o n o f
Swayambhunath Stupa in the 18th Century and its
History , In Ancient Nepal, No. 114 Oct.-Nov, Journalof the Department of Archaeology, Kathmandu, Nepal.
5.	 E h r h a r d , F r a n z - K a r l , F u r t h e r R e n o v a t i o n o f
Swayambhunath Stupa (From the 13th to the 17th
Centuries) , In Ancient Nepal, No. 123-125, AprSep, Journal of the Department of Archaeology,
Kathmandu, Nepal.
6.	Shrestha, Suresh Suras (2010). Wooden Architecture
and Conservation: A Case Study of Swayambhu Stupa
Conservation , In Research, Analysis and Preservationof Archaeological Sites and Remains, CHPC OfficeACCU Nara, Japan.
7.	Shrestha, Suresh Suras (2010). If Hundreds of People
Work for Rescuing People, Only One Person May
Contribute for Heritage Rescue , In Research, Analysis
and Preservation of Archaeological Sites and Remains,
CHPC Office-ACCU Nara, Japan.
8.	Sanday, John. Tradit ional craf ts and mod er nconservation methods in Nepal
9.	K omine, Yukio (2007). Insect Damage in Wooden
Buildings (Ecology, Damage, and Control), Japan
Institute of Insect Damage to Cultural Properties,
Japan.
10.	Bajracharya, Y.P. (2009). Swayambhu: Sanchhipta
Parichaya. Federation of Swayambhu Management andConservation, Kathmandu, Nepal.
11. The Conservation of Cultural Property, UNESCO, 1968.

New Zealand
Dr. Matthew Schmidt, Senior Heritage Advisor/Kaitohu Matua Taonga Tuku Iho
Southern South Island, Te Papa Atawhai Department of Conservation (“DOC”), New ZealandIntroduction
This report focuses on the conservation of four Chinese
miners hut sites dating to the late 19 th to early 20 th
centuries located at the Arrowtown Chinese Settlementin Whakatipu (Figure 1). Archaeologist Dr Neville Ritchie
originally excavated these hut sites forty years ago as partof an extensive research programme in the early 1980s on
19th century Chinese miners in Southern New Zealand (seeRitchie 2023). The Arrowtown Chinese Settlement is oneof the most visited cultural heritage places in the Central
Otago/Whakatipu Districts of Otago attracting thousandsof tourists each year coming to learn about the lives ofChinese who came to Otago from the 1860s onwards tomake their fortune in gold (Figure 2).

Figure 1. Location of the Arrowtown Chinese Settlement New ZealandFigure 2. E ntrance to the Arrowtown Chinese Settlement (Photo: Briden2018).

19th Century Chinese Miners in Otago & the Arrowtown
Chinese Settlement – a brief history
Gold was first discovered in the Arrow River next totoday’s Arrowtown by local shearer Jack Tewa in 1862.
Jack worked for the pastoralist William Rees who had

New Zealand

Te Papa Atawhai Cultural Heritage Conservation Projects, Southern South Island: Arrowtown
Chinese Settlement Huts 2023

just acquired large tracks of land for sheep farming andas such the discovery was kept quiet so Rees could farmin peace and not have the area declared a gold field.
However, word got out on the discovery and a rush to
the Arrow River began with a goldfield soon declared.
Thousands of miners flooded into Arrowtown looking
for gold in the rivers and streams in the surrounding hills
and mountains. By 1864 the easy gold had been won
and only those miners who invested in creating the larger
more complex mining operations involving water races,
reservoirs, dams, sluicing, gold stamper battery’s etc.
remained. Most miners used simple tools such as shovels,pans and cradles, and it was these miners who moved
to the West Coast discoveries in 1865 leaving the Otago
Region wanting for miners and the small Otago towns
that grew on the early gold finds also wanting for morebusiness and investment.
To fill this void, the Otago Provincial Council encouraged
Chinese miners from the Victoria goldfields in Australia
to come to Otago. Even though there were Chinese
miners already in New Zealand by the mid-1860s, thenumbers were few in comparison to the thousands ofEuropean miners with only about 200 Chinese miners
recorded in Otago by 1866. By 1869 Chinese miners
were coming directly from China and mainly from the
Canton (Guangdong) province where life was particularly
hard at the time. A census in 1874 showed that by thistime 3564 Chinese miners were in Otago, a significant
and rapid rise from 1866. Many Chinese miners weresuccessful and returned home with ca. £100 in theirpockets (a fortune at the time), but hundreds remained
and were buried in Chinese sections of local cemeteries.
At the close of the 19th and in the first few years of the
20 th century, a programme of repatriation of Chineseburied in New Zealand was organised by successful local
Chinese businessmen seeing many Chinese exhumed andreturned home.
Although the Chinese were encouraged to come to
Otago, racism was an ongoing issue meaning that the
Chinese miners established their own settlements outsideof the main European towns. Examples of these Chinese
settlements were the Lawrence Chinese Camp, theCromwell Chinese Settlement and the Arrowtown Chinese
Settlement. All these towns existed from the mid-1860s
through to the 1920s. The Cromwell Chinese Settlement
was archaeologically excavated in 1980 before being
flooded in1992/1993 with the creation of Lake Dunstan
as part of the Clyde Dam hydroelectric project. The
Lawrence Chinese Camp has three buildings associatedwith the camp but archaeologically, significant evidenceof the camp remain which were partially excavatedbetween 2005-2010.
The most easily seen and extensive remains are at the56

New Zealand
57

Arrowtown Chinese Settlement which was excavated in1983 and where above and below ground evidence of
the Chinese occupation still exists today. Established by
the first few Chinese miners to the Arrow River in thelate 1860s, by 1885, the settlement consisted of about 10
huts, a large social hall and at least two stores and there
were numerous gardens providing fresh produce sold to
local stores. Gardening became crucial to supplement themeager earnings from gold.

married leaving their spouses at home) and initially
accommodation was shared (up to 6 at a time) before
more huts were constructed. At its peak the settlement may
have had 60 Chinese living there being a combination of
permanent residents and those temporarily leaving theirclaims, such as during Winter. During a Chinese New
Year festival in 1885, a newspaper reported 200 Chinese
from around the District being at the camp. Between 1880
and 1900 there were 16 to 20 permanent residents. In
1932, the settlements last resident, Ah Gum, passed away.

Buildings were constructed from a range of materials
including mud brick, mortared stone, wood, and canvas.
Some buildings were thatched using local tussock grasses
with others roofed with canvas and corrugated iron.
Only Chinese men lived in the settlement (around 70%of the Chinese miners who came to New Zealand were

The 1983 excavations and reconstructions from 1987
onwards
In figures 3 to 6 can be seen some of the excavations
underway at the settlement in 1983. When the settlement
was first surveyed, it was overgrown with thick vegetation

Figure 3. Ah Gum’s Hut during excavation in 1983 (Ritchie 1983).

Figure 4. Ah Nue’s Hut during excavation in 1983 (Ritchie 1983).

Figure 5. Kong Lum’s Hut during excavation in 1983 (Ritchie 1983).

Figure 6. Tin Pan’s Hut during excavation in 1983 (Ritchie 1983).

Figure 7. Ah Lum’s store. This building is original requiring conservation work
only (Photo: Briden 2018).

Figure 8. A h Wak’s stone outhouse. This building is original requiringconservation work only (Photo: Schmidt 2022).

New ZealandFigure 9. Reconstructed hut of Old Tom (Photo: Briden 2018). Excavations
and historic photographs showed that stone, mud and iron were used toconstruct the hut.

Figure 10. Some of the reconstructed huts and rock shelters (Photo: Briden2018). Excavations and historic photographs showed that stone, mud,tussock thatching and iron were used to construct the various huts.

Figure 11. Reconstructed Chinese hut made of stone and iron, based on
excavations and historic photographs (Photo: Briden 2018).

Figure 12. Reconstructed Chinese hut made of stone, mud and iron based on
excavations and historic photographs (Photo: Briden 2018).

obscuring the heritage sites and hence the story of theChinese who lived there. Archaeologist Dr Neville Ritchie
excavated the settlement as part of his PhD researchat the time, his resulting work after excavating thissettlement and other Chinese heritage sites including
the Cromwell settlement providing the first detailed andcomprehensive history of the Chinese in the goldfields
as seen through archaeology. Twenty-five locations werearchaeologically investigated in the Arrowtown Chinese
Settlement uncovering 14 hut sites. Conservation work
was also undertaken on Ah Lum’s store and Ah Wak’s
outhouse which were the only two complete original
structures surviving. Ritchie also compiled histories ofsome of the Chinese residents of the settlement such as
those of Ah Lum, Ah Wak, Tin Pan, Ah Nue, Ah Gum,and Old Tom and that of a Canadian resident named Mr
Perry who lived in a hut at the same time as the Chinese
at the close of the 19th century.

The 2023 hut re-excavation work and future management
Seven of the excavated hut sites were left open after
excavations were completed in 1983 and were notreconstructed to illustrate how such sites looked whenfound. However, after 40 years and thousands of visitors
to the settlement plus some unfortunate taking of stone
by fossickers, these sites had become damaged andpartially reburied. It was therefore decided that thesesites needed conservation work undertaken on themwhich would require re-excavation, fencing and a new
management regime put in place to ensure they would
continue to provide their story about the settlement.
This would include signage with the names and known
history of the Chinese miners who lived in the huts being
installed.

Soon after the excavations the land was transferred fromprivate ownership to the Department of Conservation/
Te Papa Atawhai and reconstruction of some of the huts
began based on the archaeological excavations andhistoric photographs. The aim of the reconstructions wasto provide visitors with a tangible understanding of what
it was like for the Chinese miners to live in the various
types of huts and rock shelters (Figures 7 to 12).

In October 2023, four of the seven sites were re-excavatedby a team of Department of Conservation archaeologists/
Senior Heritage Advisors (Matthew Schmidt, Brooke
Jamieson & Tom Barker) and Heritage Rangers (Richard
Kennett & Jim Croawell) and a University of Otagoarchaeology student (Jovan Andric) (Figures 13 to 14).
The re-excavation found that the hut remains were largely
intact from 1983, particularly the floors which were in
the same condition as when discovered (Figures 15 to18). Much of the damage had been to the low chimney
remains which over time had collapsed into the hut sites.
Removal of a tree stump from Tin Pan’s Hut revealed a58

New ZealandFigure 13. Re-excavation team at work on Ah Nue’s hut. In the picture
are Brooke Jamieson, Jim Croawell, Jovan Andric and Tom Barker, who is
explaining the work to some visitors (Photo: Schmidt 2023).

Figure 14. Senior Heritage Ranger Richard Kennett re-excavating Ah Nue’s
Hut (Photo: Schmidt 2023).

Figure 15. Ah Gum’s Hut before and after re-excavation (Photos: Schmidt & Jamieson 2023).

Figure 16. Ah Nue’s Hut before and after re-excavation (Photos: Schmidt & Jamieson 2023).

Figure 17. Kong Lum’s Hut before and after re-excavation (Photos: Schmidt & Jamieson 2023).

59

goldfields sites. Analysis of this find continues.
The excavations attracted local interest with schools
visiting the excavations not only taking part but learning
about the Chinese miners’ lives (Figures 20 and 21).
The work also attracted a national news story (Figure
22, to see the story online. go to https://www.1news.
co.nz/2023/10/18/archaeologist-returns-to-120yosettlement-which-inspired-passion/).

New Zealandsmall array of artefacts such as Chinese eating bowl andstorage jar fragments but most significant were five very
heavy oval shaped lead ingots (Figure 19). The ingots
were on top of an area of burnt charcoal-stained soil andassociated with small pieces of melted lead. It is unclear
what such a large deposit of lead means, smaller deposits
were found in other huts in 1983 and may have beensold for solder or fireworks. This large deposit, however,is very rare and has not been found at other Chinese

Figure 18. Tin Pan’s before and after re-excavation (Photos: Schmidt & Jamieson 2023).

Figure 19. Artefacts from Tin Pan’s Hut showing the five very large and heavy lead ingots (Photo: Jamieson 2023).

Figure 20. Visiting pre-school children helping to re-excavate Ah Gum’s Hut (Photo: Jamieson 2023).

60

New ZealandFigure 21. Secondary School students listening to a talk on the Chinese miners
and the re-excavation (Photo: Jamieson 2023).

Figure 22. Seven Sharp television filming the re-excavation for a national
news article (Photo: Schmidt 2023).

Conclusions
The re-excavation of the four Chinese miners’ huts is justthe first step in the conservation work to be undertakenon the seven hut sites first uncovered by Ritchie 40 years
ago. The fencing of the four hut sites will commence in
the Summer of 2024 and plans are currently underway forthe re-excavation of the final three hut sites in October
2024. In addition, development of the signage willcommence in 2024.
References
Ritchie N. 2023. Archaeology and History of the Chinese61

in Southern New Zealand during the Nineteenth Century:
A Study of Acculturation, Adaptation, and Change.
Studies in Australasian Historical Archaeology 9. Sydney
University Press.
Acknowledgements
Thank you to Richard Kennett, Jim Croawell, Brooke
Jamieson, Tom Barker and Jovan Andric for contributing
their skills and knowledge to the October 2023
excavations. Also, thanks to Phil Latham of the Universityof Otago Archaeology Department for the loan of the
excavation equipment.

Sri Lanka
Getsy Thavarajah, Development Officer
Archaeological Museum, Regional Archaeological Office, Department of Archaeology, Jaffna
The Dutch occupied Sri Lankan coastal areas in 1505
and constructed several forts all around the country for
defence and trade purposes. Jaffna Fort on the northern
Jaffna Peninsula is the second largest fort after Galle
Fort in the south. Jaffna Fort is special due to its massive
ramparts, majestic buildings inside including a massive
Dutch church, the architectural features, the moat andwalls of geometric shapes, unique outer defence walls,
etc. It is unique in that the residential quarters were built
in a grid city just outside the fort, which is surrounded bya large open esplanade. The plan shape of Jaffna Fort issimilar to Bourange Fort in the Netherlands. This is the
only star-shaped fortress with five bastion corners in Sri
Lanka. It is also famous for its outstanding design, whichis comparable to the best forts, even in England.
1.1 Location
Jaffna Dutch Fort is located in Jaffna District in The
Northern Province of Sri Lanka and to the Jaffna Fort
is situated between longitude 9.6620º N and latitude
80.0084º E with the GPS point (M265+ R97), 2.1 m above
sea level. It is located near Kandy Road Junction, 1 km
from Jaffna City, if coming from Kangesanthurai Road on
the left-hand side of Pannai Road (Figs. 1,2,3).
1.2 History of Jaffna Dutch Fort
The first fort was built by the Portuguese during theperiod 1624 to 1632 in a square shape with four large
bastions. According to the older plans found in thearchives, the northwestern and southwestern ramparts
were spearhead-shaped while the other two were similar
to three quarters of a circle (Fig. 4). After the Dutch
conquered the fort in 1656 it was decided to repair itas there was damage due to the war, and in 1665 thepresent fort was built after the demolition of the original
Portuguese fort. As per W. N. Nelson, construction wascompleted in 1680, together with all the buildings inside,and this is written in the inscription at the entrance wall.

Sri Lanka

Excavation and Conservation at Jaffna Dutch Fort From 2009 to 2017

Also, the construction of the moat and the outer rampartsof this fort began in the early 18 th century and theconstruction of Jaffna Dutch Fort was completed as acomplete structure in 1792 AD. The exterior parts suchas the moat, walls, outer bastions, and gun points wereconstructed and completed just three years before theFort was handed over to the British in 1792. Although
there were some additional changes in the building
structure of the fort during British rule (1796-1948), thepresent structure reflects the Dutch architectural style,and therefore, Jaffna Fort is called the Dutch Fort by thecommon folk.
1.3 The Structure of Jaffna Dutch Fort
The total area of Jaffna Dutch Fort is 62 acres including
the inner fort structures covering an area of 34 acres,the moat, and the outer fort structures beyond the moat.
The width of the outer walls of this fort is 40 feet at thebottom, and 20 feet at the top with a height of 30 feet.
Therefore, enemies from outside could not easily climb
up and enter. The fort also has a deep moat 20 feet widearound its outer walls. The moat is filled with waterflowing in from the adjoining Pannai Lagoon, which islocated to the south west of the fort.
Massive artillery emplacements, defensive ramparts, watch
towers (Guard Rooms), tunnels, and firing platforms (Gun
Points) were constructed in all four parts of this fort.
The outer ramparts of the fort and the fort’s high curved
walls were well placed to make the main gate not easily
accessible by enemies.
They had a special method to collect rainwater falling on
the rampart walls and to filter it before it drained into themoat. Ventilation into the dungeons and warehouses was
ensured through the openings in the walls. Administrativebuildings, soldiers’ quarters, armory rooms, a Christianchurch (it was rebuilt in brick), Queen’s House, and theFig. 1. Aerial view: Dutch Fort – Jaffna. Source: Fig. 2. M ap – Dutch Fort, Jaffna, Sri Fig.3. Map – Dutch Fort, Jaffna. Source: Google
Department of Archaeology
Lanka: Source: Google Map
Map

62Sri Lanka
Fig. 4. Portuguese Fort, Jaffna: Source: Atlasandmap.com

prisons are the main building units inside the fort whichstill recall the memories of the Dutch.
A well was dug in the Utrecht bastion interestingly 30 feetabove ground level to the northwest and a bell tower was
erected in the Holland bastion to the southwest.
1.3.1 Material used for the fortification
Descriptions of the construction of Jaffna Fort have been
given widely through documents of the Portuguese andthe Dutch. Jaffna Fort was constructed mostly with cut-tosize pieces of coral stones obtained from places such as
Velanai, Kayts, Nainativu, Analaitivu, Eluvaitivu, and Delft.
However, there is little evidence of the limestone andgranite stones of various shapes and sizes which were
irregularly inserted between the coral stone blocks. But
we are unaware from where such limestone stones wereobtained and used in the construction of the ramparts.
According to folk stories, the City of Nallur, the capitalof the Jaffna Kingdom, was conquered in 1519 and themonuments of the capital were destroyed. Simultaneously,
five hundred Hindu temples with large houses in Jaffna
were destroyed and the fort was built with stones broughtby the Portuguese from those structures. Most of thoseused stones are building blocks of Hindu Temples andreveal much evidence of carvings, decorations, stonepillars and Tamil inscriptions.
Further, the buildings were formed inside of the fort andalso above the fort wall, and had been constructed withbricks. Limestone called “Kanda Kal”—pieces of unshaped
large limestone—were also used for the construction ofsome of the buildings.
Furthermore, the builders used cement made out oflimestone processed from kilns in Jaffna, jaggeries whichwere brought from Goa in India, and clay which had
been brought from Jaffna ponds as mortar for joining wallstones. Different colours such as white, pink, dark red,and yellow were used for plastering the walls of the fort.
It is worth noting here that local masons worked with theEuropean (Portuguese and Dutch) masons to constructthis fort.
However, for the structural parts or the internal fillingof the ramparts, normal soil was used, similar to other63

Fig. 5. Plan of the Dutch Fort

forts such as Galle and Katuwana. It is said that theyellowish thin bricks used in the construction of thearches in the entrance gates were directly broughtfrom the Netherlands. The empty ships sailing from theNetherlands were filled with bricks as ballast for easy
sailing, as they were sailing ships which used the naturalwind.
1.4 Jaffna Fort in 2010 before Conservation
During the period of the three decades of civil war, thewarring troops of the two opposing sides had taken
turns to occupy Jaffna Dutch Fort, choosing it as theirstronghold and subjecting it to their control. As a result,the fort suffered massive damage as it was frequently
attacked by opposing forces. Thus, while its outer ramparts
were partially damaged, its inner ramparts including
the western rampart and bastions in the southwest andnortheast were also heavily damaged. A large part of theinterior of the fort has been completely destroyed and is
now visible with only partial walls and ruined buildings(e.g., Dutch Church). Only a few buildings remain withpartial damage.
Further, due to the location of the fort, since it was built
beside a coastal landscape, the salty air and humidityof the sea and wind have caused erosion, deterioration,and cracking of some portions of the Fort. For morethan 30 years, there have been massive trees like peepal
trees and banyan trees sprouting on the fort, causing
further deterioration, especially due to the waste of birds
housed in the trees and buildings that had not been
maintained for a long time. These are the challenging
factors of the stability of buildings after the war. Before
the commencement of conservation works of Jaffna
Dutch Fort in 2009, the fort looked like a forest. Due tothis dense forest covering the inside and outside of thearea of the fort, dangerous poisonous insects had beenhoused in the area. Until 2010 no one except military
men entered the ruins of any part of this fort such as themilitary garrisons, ruins of moats and ruined building
elements, as permission was needed to enter.
1.5 Jaffna Dutch Fort – Conservation and Restoration Works
After the end of the civil war in Sri Lanka in 2009,
the Department of Archaeology of Sri Lanka started
explorations for archaeological remains in the northernpart of the country and to document, conserve, andSri Lanka

Fig. 6. Jaffna Fort Conservation work divided site map
Table 1: ofWork
Sites of Jaffna
Conservation & Restoration
Project Work Project Work
Table 1: Work Sites
JaffnaFortFort– –Conservation& Restoration

Name
Site

Bastian1

Gelderland

2
3
4

Holland5
6

Zeeland

7

Friesland8

RampartbetweenFriesland andUtrecht
Bastians.
Utrecht

9RampartDirection

Special Monuments

Done

NE

Buildings, Tunnels,
Queen House



SE
S

Bell Tower, Tunnels.
Tunnels with Air Holes, 4A, 4B: Rooms, Main
Entrance.




SW
SW

Buildings’ ruins




SW

Damaged Bastian

Between Site
1 & Site3
Bastians

E

Between Site
3 & Site5
Bastians
Between Site
5 & Site7
Bastians
Between Site
7 & Site 9
Bastians

TunnelsW

Damaged Rampart, Portuguese ¾ round shaped
Bastian evidences.

NW

Old well, Tunnel

Name
Site

Bastian

10

11
12
13
14
15
16
17
18



Rampart
BetweenSite 9 &Site1
Bastians

Tunnels



















Outside of moat

Direction

Special Monuments

N

Buildings’ ruins







Done


 & Entrance way

S









SE
E
NE
N
NW






W



SW

64

protect them, which is still continuing.

Sri Lanka

Although three European countries have colonised Sri
Lanka, only the Kingdom of the Netherlands agreed toprovide financial and technical assistance as they wereconvinced for that under the Mutual Heritage concept.
Under the scheme the Kingdom of the Netherlands
has provided technical and financial assistance for theconservation of Galle Fort, Matara Star Fort, Katuwana
Fort, Urubokka Irrigation Dam, and Jaffna Fort. All the
projects were initiated by the Department of Archaeology
under the supervision of the Director (Architectural
Conservation), Archt. Prasanna B. Ratnayake. The
conservation staff of the Department of Archaeology
commenced the conservation works after detailed
documentation of the existing remains. There was aparallel training program for the students of the Universityof Jaffna, giving them a great opportunity, which had notbeen available to them for the last thirty years.
It was planned to be completed in three years from when
the reconstruction work started in 2009. However, due
to a number of reasons, the works were not completed
as per schedule, and the renovation work continued till2015.
As the initial phase of the Jaffna Fort reconstruction work,
the Department of Archaeology started clearing andremoving bushes and debris from the end of 2009. Also,in 2010, a land measuring survey, exploration works, andsampling excavation works inside and outside of the fort
began. Initial works for the reconstruction of the fort werecarried out in September 2010. Work sites were divided
into 18 sites for easy management of conservation, whenstarting from the inner fort to the outer ramparts withtunnels and outside of the moat.
After about a year the Ministry of National Heritage
appointed Prof. P.B. Mandawala as the Conservation
Consultant (until 2015) and Prof P. Pushparathnam wasappointed as an Archaeological Consultant. Mr. R.M.B.
Rathnayaka was appointed as the Project Manager and 12
Jaffna University archaeological graduates were appointed
as supervisors for this work. Hundreds of workers were
hired for this work under the classification of Skilled(technical staff, masons, blacksmiths, carpenters, drivers,etc.), and Unskilled (labourers). All employees, including

Fig. 7. Main Entrance pathway & Arch – outer rampart65

the Project Manager, were paid on a daily basis based on
the work schedule and paid once a month.
1.5.1 Conservation Work1.5.1.1. Before the conservation work
The entire fort area was covered with plants, trees, andother vegetation as result of long-term negligence, andthe ramparts were damaged and dilapidated due to thewar. There were several trees growing everywhere suchas banyan, neem, Morinda tinctoria, and peepal.
Therefore, at first, the entire fort area, which was forested,
was cleaned and cleared. Also, the trees on the work sites
were classified as small, medium, or large based on theirsizes, and uprooted vegetation was removed using humanpower. The removal of roots from high and sloping walls
was difficult. Also, trees growing over the buildings were
removed by chemical treatment methods. After that, thesoil-covered areas were excavated until the old building
remains were exposed and more soil was excavateddeeply to the specified level as per the construction
requirements. In order to identify the remains of ancientbuildings buried under the soil and to carry out theirconservation, the soil removal to expose the construction
walls was not a planned excavation method, but was
carried out as an open-type excavation for conservation.
The excavated soil was piled in one part of the fort to be
filled in later when the conservation work was completed.
Also, the soil excavated from the ruins was collected andsorted to be used in the works. In addition to that, thesoil was used to prepare the ground for the landscaping
works and pathways. A number of artifacts were foundin the excavations and they were recorded and storedsafely.
During the excavation, a large number of unexploded
munitions, explosives, claymores, and mortar bombs werealso found at the work sites. Sri Lankan Army Engineers
were deployed at the work sites to ensure safety, defuse
the bombs, and remove them from the designated areas.
The ramparts and the ground levels were finished,ensuring the drainage of rainwater into the moat.
GI pipes and square foldings were used to remove theplants and trees at the higher levels of the rampart andthe bastions (Figs. 7, 8, 9, 10 & 11 – before conservation).

Fig. 8.The Tunnel – outer rampart of the fort, Site 11 – East view; before theworkSri Lanka

Fig. 9. Main Entrance; before conservation work - N

Fig. 10.Rampart between Gelderland Bastion & Holland Bastion; before
earth removing work – S

Fig. 11. Rampart between Gelderland Bastion & Holland Bastion; before
conservation work – S

1.5.1.2 Works Done during the Conservation Works
The conservation work was commenced after completionof the cleaning and leveling of the site.
The rubble stones needed for the conservation works
were taken from the ruined buildings and prepared forthe conservation works by the use of grinding and cutting
machines. There was a separate team of workers to
supply and transport materials to the sites.
The lime chips needed for the lime concreting andcasting of block stones were obtained from used coralstones from demolished old houses. To match the ancientfinish of the rampart walls, the coral stones were essential
and it was easy to work with cut stones, but it tooktime to shape the stones. Bricks were also used for theconservation of brick-built areas of the fort.

Several new architectural remains were identified
through excavations. Unrecognisable building remains
were identified for their original plans and constructedaccordingly. Some of them were built according to thedesigns found in old photographs. The arched entrances
and tunnel tops were measured, stones were cut
accordingly, and trial conservations were carried out withclay soil mortar. When it was decided to be correct, themortar was removed and the structure was conserved
using permanent mortar in the same place.
Pointing works were done on the top of the walls, andthe grooves between the stones were filled in during theconservation with coral stone, lime and bricks.

It was difficult to find original coral stones for the exteriorwall of the rampart. Therefore, imitative blocks were
manufactured using soil, lime, metal chips, and cement
used for the exterior, while limestone was used as aninterior filling material.

Finally, in the walls, the spaces between the stones wereplastered and embellished with mortar, and the oldmethod of plastering, which was considered essential forthe preservation of the buildings, was adopted. As per
the old pointing methods on the walls, pointing works
were done by applying a mixture of cement, lime, sand,and ant hill clay to distinguish the new construction fromthe old constructions. In order to distinguish the new
constructions from the old constructions, the year wasmarked between them. Also, the old remains were left
intact at 60 cm intervals between the conserved areas toshow how much it had degraded before the conservation.

The damaged steps and platforms were conserved byusing a mixture of cement, sand, lime, and rubble chips.

They were built at a certain height (3 m) due to theadditional cost of renovating some building ranges, theTraditional construction methods were followed in theconservation, but a small amount of cement was added tothe mortar to make the works flexible.

66

Sri Lanka

non-availability of old stones to build the walls to the oldheight level, and the non-availability of old coral stonesin the required sizes. It should be noted that the oldwalls had undergone massive damage and could not be
detected.
With the support of the Sri Lankan Army, the moat of
Jaffna Fort was dredged, desilted, and cleaned, and theThus, the conservation works from Site 01 to Site 13
were carried out until 2015. The conservation works
started from the main entrance areas in the south outsideof the moat (Site 11). These works were carried out up

Fig. 12. Damaged rampart between Friesland Bastion and Utrecht Bastion;conservation progressFig. 13. Main Entrance pathway & Arch – outer rampart of the fort; after theconservation work.

Fig.14. The Tunnel – outer rampart of the fort; after conservation work.

Fig. 15. The Holland Bastion; after conservation work

Fig. 16. Main Entrance; after conservation work, 2014 – N

Fig. 17. R ampart between Gelderland Bastion & Holland Bastion; after
conservation – S

Fig. 18. The Tunnel – Gun points of Gelderland Bastion: af ter
conservation work; earth filling progress67

moat structures were reconstructed by the conservation
team. The Queen House inside of the fort was also
partially restored.

1.5.1.3 After Conservation Work
The soil that was removed through excavation andcollected was used again to fill the gaps in the gun points
and ramparts after the completion of the conservation
works (Earth filling work) (Fig. 18). The ramparts andbastions on top of the soil-filled fort have been plantedwith sods of grass cut from the banks of ponds as
landscaping to prevent soil erosion. During the rainyseason, maintenance works were also carried out for theplanted grasses (Turfing work) (Figs.15, 17). Cleaning
work was carried out in the conserved areas and in
the fort office premises. The works were divided into
different categories and executed on the basis of norms.
2. Recent Archaeological Surveys at Jaffna Dutch Fort 20102017
In 2010, two model excavations were carried out insideand outside of Jaffna Fort before the conservation of thefort. A small-scale model excavation was carried out at
the southwest coast of the outer fort. Another large-scalemodel excavation was carried out (size: 6’ × 6’ in thesouthwest part of the inner ground of the fort (in frontof the present storeroom). It was carried out in 2010
under the leadership of archaeologist Dr. Nimal Perera.
The excavation carried out complete reports of this up
to the identification of the natural soil. That excavation’s
complete results have not yet been published. However,Dr. Nimal Perera, who spearheaded the excavation,
released a study to a newspaper, and said that theevidence found here dated back to the 5th century
AD and that was 1200 years before the arrival of thePortuguese in Jaffna (Pushparathnam 2021:14).
The third excavation was carried out in 2011, at theentrance area of the fort, near the present church, witha 10’ × 6’ × 2.5’ (length, width, depth) pit with up to
three layers of cultural soil till. Also found in the 3rd
cultural crops were Chinese pottery tiles believed todate to between the 10th to 13th centuries AD, 300 years
before the arrival of the Portuguese. Prof. Pushparathnam
has mentioned that since the said excavation pit was
not continuously excavated until the natural soil was
identified, the archaeological evidence in that research pit
could not be brought out (Pushparathnam 2021:13).
Then, a pit (size: 6’ × 6’ × 7’ – length, width, depth) cut
for toilet purposes near the building where the European
soldiers stayed was excavated. Some objects were foundthere accidentally. It cannot be considered a formal
excavation as the soil layers had already been disturbed.
However, all the archaeological evidence found in this pit
was confirmed to be pre-European.
During the excavation work carried out in 2010 (2015for the conservation of Jaffna Fort), several artifacts
were found accidentally. Among them was not only
evidence of the European period, but also evidence ofearlier periods, such as the Black and Red Ware of the

Megalithic period, Chinese ware, Roman ware, Chinese
coins, Chola Coins, Terracotta images, with Hindu temple
building parts also being found there. Furthermore, it
was decided to identify and rebuild the foundations of
the war-torn Kruys Kerk Church inside of the fort asa step towards the reconstruction. Accordingly, under
the project “Post-disaster Archaeological Investigationin Northern Sri Lanka” implemented by UNESCO,
exploration and excavations were carried out under
the leadership of the British archaeologist Prof. Robin
Coningham in this area in late 2017. These works werecarried out in collaboration with Durham University, theBritish Academy, and Jaffna University under the auspicesof the Jaffna project of the Central Cultural Fund of Sri
Lanka.

Sri Lanka

through Site 12 to the eastern outer bastion of Site 13.
No conservation work has since been carried out on theouter ramparts and bastions from Site 14 to Site 18 outsideof the moat due to lack of funds. (Fig. 12. Conservation
progress; Figs. 13, 14, 15, 16 & 17. After conservation).

In late 2017, scientific exploration works and excavation
works were carried out by this team in the areasurrounding where the church ruins are located, using
modern technology equipment (e.g. GPR: Ground
Penetrating Radar Survey). Their research has confirmed
the presence of Portuguese architectural remains under
the soil in the ground where the church is located. Many
artifacts have been recovered from the church remains
and excavations in the church precincts, grounds, andthe area near the building where the European soldiers
stayed.
Nine different cultural soil layers were identified and theirperiod was estimated to be around 700 BC. The Black& Red Ware of the Megalithic culture found here in thenatural soil layer was estimated to date from between
700 BC and 100 AD, and the Gray ware was estimated todate from between 500 BC and 200 AD (Pushparathnam
2021:16). Through these examples, it is clear that 1500
years before the arrival of the Portuguese, the area
where Jaffna Fort is located was an area with important
Table 2No

Name of ware

Period (between)
BC

AD

1

Northern Black Polished - India

500-100

3

Roman Rouletted

4

India: Tamil Nadu: Arikkamedu (Type 10)

5

India: Tamil Nadu: Arikkamedu (Type 18)

300

200

6

Roman Arretine

100

100

7

Omphalos – Greek & Roman

200

100

8

Roman Amphora

9

Indian Red Polished

200

100

10 White Slipped with Red Painted: Tamil

200

800
600 - 1100

Nadu, India, and Sri Lanka
11 Applique

1200 1400

12 Sasanian Islamic: Iran & Iraq

200

700

13 Buff

400 - 800

14 Lustre

800 - 1000

15 Imitation Lustre
16 White Tin – Glazed
17 Lead – Glazed
18 Xing Ding White
19 Yue Green
20 Green Splashed White
21 Changsa Painted: China

800 - 900

22 Coarse Stone

700 - 1100

23 Chinese Porcelain

1400 1700

68

Sri Lanka
Fig. 20: Pot shards found from excavation in 2017; Source: C.C.F, Jaffna (Dr. R. Coningham)

settlements. And the international evidence found in the
excavations here show that this fort area was a maritime
trade centre since ancient times. Important potteries
which were found in Jaffna Fort are shown in Table 2 &Fig. 20
Through these excavations, it is clear that the area
where Jaffna Fort is located was a place with continuous
historical settlements with international connections 1500
years before the arrival of the Portuguese. Already, it
is noteworthy that pre-European evidence such as the
Chola period Tamil inscription from the 11th century(Archaeological Museum, Jaffna) and Roman Era goldcoins (Codrington, 1924 Essay reference) have beenfound in this region.
Conclusion
The reconstruction work of Jaffna Dutch Fort wasundertaken as one of the works to preserve a legacy andpass it on to future generations. It is our duty to preserveand protect the heritage symbols of our territory without
any discrimination on the basis of caste, language, race,or religion. It is easy to destroy legacy heritage symbols
with high technology. But conservation is a very difficult
task.
Moreover, there is a tradition of such symbols being
erased by local people who regard European-Era heritage
symbols as symbols of foreign slavery; however, the fort69

was built with European technology and artistic tradition
with the construction and sculptural skills of local people.
Therefore, credit goes to the European and the local
people for building the fort in keeping with the local
natural resources, nature and land structure, environment,
and climate. The fort was built using the remains ofmaterials used in buildings constructed before the arrivalof the Europeans. This is evidenced by the artifacts andthe building parts found during the reconstruction works.
A number of artifacts with domestic (local) and foreign
connections have also been recovered from the site,
including the Megalithic period’s Black & Red ware (7thcentury BC to 3rd century AD) which corroborates thealleged history of trade depots at the site prior to theinitial establishment of the Portuguese fort. Through these
excavations, it is clear that the area where Jaffna Fort islocated was a place with continuous historical settlementswith international connections 1500 years before thearrival of the Portuguese. The history of Sri Lanka’sNorthern Region’s remains looks similar, like smoky
stained glass. There is a need for thorough excavations to
be carried out through proper dating methods to discover
the history of this region.
In this way, Jaffna Dutch Fort is the first heritage symbol
to be conserved, especially after a long period of war,with the aim of creating awareness among the public
about the heritage value of our country and its protection.

Sri Lanka
R. Nishanthi Ranasinghe, Archaeological Research Officer
Promotion Division, Department of Archaeology
Introduction
The primary responsibility of the Chemical Conservation
Division of the Sri Lanka Department of Archaeology is
to conserve image houses containing ancient murals andsculptures. Such ancient image houses with murals andsculptures, in varying numbers, can be found in every
province in Sri Lanka. The types of image houses are
identified according to the nature of their construction
or architectural styles. Although these buildings
connected with Buddhism are quite ancient, they could
be considered living monuments used for worship by
Buddhist devotees. It is noteworthy that, despite theirage, the murals and sculptures inside the image houses
still survive in good condition.
The Temples on Pillars (Tampita Vihara) represent a
distinct form of Buddhist architecture prevalent across
Sri Lanka. The main categories of image houses arecave temples, image houses, and temples on pillars.
The cave temples are constructed by adding walls and a
jutting roof to natural caves. An ordinary image house isalways a building with walls and a roof constructed ona foundation. These are generally large image houses.
The third type of image house is the square, wattle, anddaub clay building, small in size, constructed on granite
or wooden pillars, known as a Temple on Pillars (Tampita
Vihara). Due to their manner of construction, Temples
on Pillars are considered a special type of building,displaying unique characteristics in size, shape, murals,
and sculptures. These Temples on Pillars can be traced
back to the 17th, 18th, and 19th centuries AD. They can

Sri Lanka

Conservation of Ancient Murals and Sculptures of Yatawatta Temple on Pillars (Tam pita Vihara) in
Gampaha District of Sri Lanka

be considered art galleries made by Sri Lankan artists
for the religious use of royalty as well as the common
people. Painters, sculptors, carpenters, masons, smiths,
stone masons, and pottery makers have contributed tothe construction of Temples on Pillars.
Similar to the stupa (dagoba), Bodhi enclosure(Bodhighara) and monks’ residence, the image house too
was an essential part of an ancient temple. The image
houses in the Anuradhapura and Polonnaruwa eras were
not large, and the characteristics of such buildings could
be seen in the image houses on pillars.
Typically, the image house consists of two parts, theOuter Chamber (Vatamalaya) and Inner Chamber(Athulmalaya). In most instances, the Outer Chamber(Vatamalaya) is constructed as a circumambulationpassage to be used by the worshippers of the image in
the Inner Chamber because the Inner Chamber has avery limited space. In addition, the drumming hall canbe seen in front of the image house. Since the image
house on pillars is located a certain height from groundlevel, wooden steps have been constructed to give accessto the building. Some Temples on Pillars contain two
storeys. To base the foundation of the main image house,stone pillars are planted on the ground and levelled, andthereafter wooden beams are laid horizontally on thepillars. The floor of the image house is made of wooden
planks positioned on the beams.
The walls are constructed atop the planks using

Fig.1. Inside of the Temple on Pillars (Yatawatta )70

Sri Lanka

traditional Sri Lankan methods. This was done with awooden frame made of bamboo which was filled witha mixture made of rough sand, soil, and water. Next,
the frame was completely covered with a plaster madeof sieved sand and soil mixed with rice starch which
was used as the binding material. Next, the walls wereplastered with soft kaolin clay and followed by multiple
layers of white clay (Makulu clay) or lime, which isconsidered as the paint receiving layer of the temple. The
wattle and daub walls are made by first planting verticalwooden posts and tying horizontal strips of wood to theposts. Then the gaps between the posts and strips arefilled with a mixture of clay and water. Both the insideand outside walls of the image house are plastered witha soft clay mixture and finished with a lime or kaolin(Makulu clay) plaster smoothened to a fine texture. Thissurface is painted with beautifully done murals, andsculptures too are made against it.

Although the Temples on Pillars are small in size due
to being constructed during a period of minimal royal
patronage, still, the fact that they are placed at a level
higher than the ground conveys a sense of grandeur.

A circumambulation is constructed around the image
house. It is surrounded by half walls. The roof of theimage house has a four-sided roof, square or rectangularin shape and covered in flat tiles (pethi-ulu). Mainly,
the image house has a single entrance, a wooden
door elaborately carved. The door panels, too, contain
paintings. On either side of the door there are two
figures of guardians, either painted or sculptured. There
are wall paintings and statues of gods and the Buddha.
The wooden ceiling contains attractive paintings of lotus
flowers.

Objective
In 2012, after preliminary investigation, it was identified
that Yatawatta Image House was facing deterioration.
Accordingly, during the period of a month from October
to November 2012, the Chemical Conservation Divisionof the Department conducted conservation activities
using standard methods. This temple was given priority,
taking into consideration the fact that it contained ancientmurals and sculptures belonging to the Kandyan era(18th century CE), and also the aesthetic value of the wall
paintings of the image house.
Several factors were identified in the image house andurgent measures were taken. The main objective of the
project was to minimize the deteriorating conditions andincrease the lifetime of the image house. Despite being anancient temple, it has continued to exist up to the present
time as a living monument subject to religious worshipby the people of the villages, which contributed theimportance in conserving it. Another unusual feature of

Several factors can be identified as being instrumental
in giving rise to the tradition of Temples on Pillars. Mostof these temples are to be found in the wet zone of Sri
Lanka. The design helps to protect the building from theenvironmental and climatic conditions. The height fromthe ground level and the stone pillars provide protection
from termites and other insects.

The tradition of Temples on Pillars could be considered
impressive despite the buildings being smaller
and different from the tradition of temples in theAnuradhapura and Polonnaruwa eras (5th century CE and12th century CE).
Yatawatta Temple, chosen for this research paper,
belongs to the unique tradition of Temples on Pillars
explained above. The murals and sculptures of
Yatawatta Image House were conserved by the ChemicalConservation Division of the Department of Archaeology
in 2012. The conservation team involved in this project
was led by me and included four other members.

Fig. 2. Location Map

71

Location
The temple is situated in the divisional secretariat of
Pahalagama in the District of Gampaha, Western
Province. The temple is approximately 35 km from
Colombo city and 3 km from Gampaha town. Thisancient Temple on Pillars is located within the premisesof Yatawatte Vidyaravinda Maha Pirivena Vihara(Yatawatta School for Monks).

under the leadership of Walpola Sonuttara Thero in1861 AD, according to historical sources. In 1867, theownership of the temple was granted to his brothermonk by Udugampola Sonuttara Thero. Once again,
the trusteeship of the temple passed to Udugampola
Indrasara Thero in 1888.

Sri Lanka

this image house is the location of the Shrine to the Gods
(Devalaya) inside the image house itself, by sculpting theimages of the gods there.
Th e p r i nc i p l e ai m s o f th e pr o j ect i n cl u d ed t hepreservation of the image house as an archaeological
heritage for future generations and for use of theresearchers and university academics studying the
tradition of Temples on Pillars.

It is mentioned that this temple was constructed using
the stone pillars of an ancient shrine (devale) which had
existed there. The wooden beams were obtained from
Gampaha Botanical Gardens adjacent to Yatawatta village.
Ceylon Ironwood (mesua ferrea) timber from the gardens
was used for the construction. Although historical sources
mention the existence of an ancient shrine (devale) on
pillars at this site, at present only the Temple on Pillars
survives. This can be identified as a Buddhist temple used
for worship by the devotees of the area from ancient
times to date.

Historical Background
The temple was gazetted as an Archaeological Monument
on 22nd November, 2002. The establishment of the temple
runs as far back as the reign of King Parakramabahu
VI. The king had instructed his ministers to conduct
an investigation to find suitable locations to establish
Buddhist temples in the Gampaha area (Siyane Korale).
Accordingly, Dadagamuwa, Godagedara, Ragama, andYatawatta were selected and King Parakramabahu VI had
Buddhist temples constructed at these sites. Yatawatta
Temple on Pillars is considered as one of the temples
so established. However, with the passage of time, thetemple had gone to ruin, and had been reconstructed

Site Plan and Characteristics of the Temple
At the site where Yatawatta Temple on Pillars is
located, a few other characteristics could be observed.
Among these, the stupa, Bodhi enclosure (Bodhighara),
preaching hall, chapter house (uposathagharaya), shrine(devale) and Residence of the Monks take precedence.
The image house could be considered as middle-sizedamong the Temples on Pillars in Sri Lanka. The entire
image house is constructed so that it is raised from theground level on granite pillars. There are 30 such pillars
here. The ground plan is rectangular: 450 cm in length

Fig.3. Main entrance of the temple complex

Fig.4. Side elevation of the Temple on Pillars with drumming hall

Fig.5. Front elevation of the image house

Fig.6.The wooden beams were made by Ceylon ironwood (mesua ferrea )72

Sri Lanka

and 270 cm in width. There is a 60 cm circumambulation
ledge around the image house, covered by a half wall.
A subsequently constructed platform for drummers(drumming hall) is located in front of the temple.
Between the stage and the image house there are two setsof stairs constructed of wood. The image house is divided
into two main parts, the Outer Chamber (Pitatha Malaya)and the Inner Chamber (Athul Malaya). In addition to themain entrance, the Outer Chamber has two side entrances
providing access to the circumambulation passage ledge.
The Inner Chamber has a sculpted Dragon Arch (Makara
Torana) located above the entrance.
Style of Murals and Sculptures in the Image House andSubject Matter
The murals in the image house show characteristics ofthe Kandyan period (18th century CE). There are murals
in the ceilings and walls of the Outer Chamber and Inner
Chamber. These paintings are done on panels, the wall is
divided horizontally into several sections from the top tobottom, and the murals are painted from the left to rightin each section.
There are several types of murals:•	Traditional floral decorative vine with flowers(liyawel)• The 16 sacred sites• Image of the God Kataragama•	Flowers in the images of stylized females (narilatha)
flower designs• Image of the God of Creations (Vishvakarma)• Image of the god Genebandara•	Image of the Chief Incumbent of the temple at thetime• Images of Arhants bearing lotus flowers in hand•	Images of the chief disciples of Lord Buddha,
Arhants Sariyut, and Mugalan• Lotus flower designs on the ceiling73

seem to be soluble in water.
Conservation Process
The conservation proceeded in several parts:• Preliminary examination and site inspection•	Preparation of estimates and purchase of necessary
equipment and goods•	Study of the decay conditions of the image houseand preparation of a technical report containing
remedial measures•	Afterwards, the conservation process commenced in
the following manner:
 Pre-conservation photography	Survey and preparation of plans of the imagehouse
	Sketching the murals on grid paper andreporting decay conditions by tracing theimages using symbols (graphic documentation)
 Written recording of murals and sculptures
 Mechanical cleaning	Consolidating the weak parts of the colour
layers Chemical cleaning for removing soot	Filling and stabilizing the decayed parts of theplaster on the walls containing murals andsculptures	Restoring damaged parts of the colour layer byapplying colours
 Applying a protecting layer
 Using chemical remedies for termite attacks
	After conservation, establishing a notice board
to signify the site as a conserved place	Educating the Chief Incumbent of the temple
regarding the ordinary maintenance of theimage house. This included attention paid tothe controlling of sunlight from open doors
and windows, and controlling the lighting ofoil lamps and incense sticks
	Monitoring of the site by our conservationteam once every six months after theconservation

The following sculptures could be identified:•	Standing Buddha in Dhayana posture (Dhyana
mudra) Buddha statue• Dragon Arch (Makara Torana)• Two guardian deities holding swords• Statue of the god Natha• Statue of the god Vishnu
The murals are coloured using the flat colour method.
The human figures show partial characteristics. Red,
yellow, blue, green, black, and white could be identified
as the main colours. The colours black and white

Beginning of the Conservation Process
Photographic Recording
Prior to the conservation process, walls were numbered
and all data regarding the condition of the image housewere photographed. Here, priority was given to the
decayed condition of the murals and sculptures, and in
addition, the front elevation, side elevation, foundation,roof, and other architectural aspects were photographed.

Fig.7. Plan of the Temple on Pillars

Fig.8. Side elevation (without drumming hall)Sketches of Murals and Sculptures, Reporting Decaying
Conditions and Situation (Graphic Documentation).
Sketches of the murals and sculptures were drawn upon
the plans of the walls done to scale, using grid sheets. Alldata of the murals and sculptures were included in thesesketches. Thereafter, the decaying condition of the walls
was documented, using standard symbols by tracing thesketches made on the grid paper onto tracing paper. Also,
the places where the plaster has broken away from thewall were studied with the naked eye, and cross sections

Fig.10. Graphic
documentation(wall no. B2)

Fig.11. Graphic
documentation(wall no. A2)

Sri Lanka

Fig.9. Front elevation

Drawing Plans
The image house was measured, and the ground plan,side, front elevation, and a cross section were drawn. In
addition, plans of the walls and ceiling containing themurals and sculptures were prepared to scale.

of the wall were made. At that point it was identified thatthe cross section consisted of several layers.
-	Support: It is a wattle and daub wall using clay
mortar. The materials used were identified as Caryota
urens (arecaceae) (Kitul palm in Sinhala) timber andbamboo tree (bambusa vulgaris), sand, clay, and small
gravel.
-	Plaster Layer: This consists of sand and clay, and isfiner in texture than the mortar of the supporting
structure.
-	Paint Receiving Layer: This is a very thin layer, madefrom finely powdered sand and lime.
-	Paint Layer: Mainly, the colours red, black, white,yellow, blue, and green could be identified. The black
and white are soluble in water.
-	Protecting Layer: It was identified that a protective
coating has been applied to the murals in certain
places. The coating was assumed to be Polyvinyl
Acetate (PVA).
-	Wooden Ceiling: Upon the wooden planks a thin layerof lime plaster has been applied and the murals are
painted on it.
-	Sculptures: These are made using clay plaster withthe main structure consisting of clay bricks and small
pieces of gravel. Caryota Urens (arecaceae) (kitul
palm in Sinhala) wood has been used for arms. All the
sculptures are painted in various colours.
Identified Decaying Conditions
A number of decaying conditions were identified:	On the surface of the paint layer, cobwebs andsmall nests of insects (wasp nests) were firstobserved. Also, carbon particles (soot) depositedon the paint layer as a result of the lighting of oillamps and incense sticks over a long period oftime was identified. The murals on the ceiling havesuffered the most from the soot. The lotus flower
designs on the ceiling were almost unrecognisable,
being entirely covered with a layer of soot.
	A certain amount of flacking of the colour layer
was observed. The weakening of the bond between
the paint receiving layer and the paint layer was
established as the reason for the flacking colour
layer.
	In
certain places the paint receiving layer hasbroken away. The bonding between the rendering
layer and the paint receiving layer has weakened,
and as a result the rendering layer was exposedin the places where the paint receiving layer had
broken off.
	There were places where the bond between the
support and the rendering layer had weakened,
and parts of the wattle and daub were exposed
where the plaster had fallen off.
	Some minor cracks could be observed on the walls.
They ran from the top of the wall to the bottom.
	As another common decaying condition, it was
identified that in certain places the paint layer had
been entirely destroyed.
	There were many instances where pieces had
broken off from the sculptures. The devotees wereused to tying tokens, mostly coins in pieces ofcloth, to the arms of statues of gods as part of the74

Sri Lanka
Fig.12. Graphic documentation of the state of decay - wall no. B2

Fig.13. Graphic documentation of the state of decay - wall no. A2

Fig.14. Graphic documentation of the state of decay - wooden ceiling no. A475

Fig.15. Wooden ceiling before chemical cleaningFig.16. Deep lacunae in the support (wall no. A)

ritual of making a vow. This practice had caused
considerable damage to the hands and arms of thestatues.
	The Dragon Arch (Makara Torana) contains aseries of small sculptures, and parts of some had
broken off.
	The damage by termites was observed both insideand outside the image house.
	The wooden floor of the image house had been
subject to the risk of decay due to rainwaterflowing in through the damaged sections of theroof.

Sri Lanka

Fig.17. Rendering plaster had broken off from the Dragon Arch (Makara
Torana ) - (wall no. A2)

Fig.18.Before consolidation

Fig.20. Before cleaning - stone pillars and wooden beams - under the base of
the image house
Fig.19. Human abrasions

Remedial Conservation Measures Undertaken
The initial step in the conservation process involved
the preparation of plaster. In this phase, the plasterstructure of the walls of the image house was observedwith the naked eye, and the raw materials used in theconstruction of the walls were identified. Accordingly, theclay obtained from ant hills, sand, lime, and small gravel
were identified. The same materials were used in the
preparation of the plaster for conservation. The strengthof the plaster structure prepared was kept at a lower level
than the original plaster. Two different types of plasters
were made—rough plaster and soft plaster. The roughplaster was made of a mixture of clay and sand without
grinding to fine powder at the ratio of 3 sand : 2 clay,
with lime water as the bonding medium. The soft plastersand and clay finely ground and sieved was mixed withlime water at the ratio of 2 fine sand : 1 fine lime, andwater. The layer bearing colours was prepared at theratio of 2 fine sand : 1 fine lime, and water. These typesof plasters were prepared in the necessary quantities andkept in air-tight polythene bags for approximately fourdays to season, before use. To use for consolidation of
the cracks in the walls, the soft plaster had to be made inliquid form (grout).

Prior to the commencement of the conservation, the roofof the image house was repaired with the contribution of
the Chief Incumbent of the temple, under the supervisionof the Architectural Conservation Division of the
Department of Archaeology.
	First, the cobwebs and dust on the colour
layer were mechanically cleaned off by the
careful use of a brush with soft bristles. It wasnecessary to be very cautious in removing
dust particles as flaking of the paint layer wasobserved in some places.
	After the mechanical cleaning, flacking of
the paint layer was consolidated, using thechemical plexicum diluted in 2% xylene
medium. The flacking places in the colour
layer were glued and consolidated using an
Apple brand No. 1 pointed brush.
	Thereafter, the chemical cleaning commenced.
This method had to be employed in theremoval of carbon particles deposited on thesurface of the ceiling murals. A mixture of 5%ammonium hydroxide in water was appliedby cotton buds to remove the layers of soot,76

Sri Lanka

by wiping softly in a circular motion. Here, adeep cleaning process was not used, and care
was taken not to remove the patina on theancient paint layer. Thereafter, cotton buds
soaked in distilled water were used to very
carefully wipe the remaining chemicals off thecolour layer. The murals became clearly visible
after the layer of carbon particles was cleaned
off the surface. A 6-square-foot section of theceiling murals was not cleaned and left intact
for research by future conservationists.
	Consolidation of rendering layers: The deep
lacunae were consolidated first by using
the coarse plaster and then the fine plastermixture. The paint receiving layer was applied
thereafter. This process was undertaken
layer by layer. Only after one layer had been
consolidated and dried well could the work on
the next layer commence.
	In consolidating the cracks in the walls, water
mixed with 2% ethyl alcohol solution was
injected by syringe and the cracked area waswell hydrated prior to injecting the plastermixture (grout). Using a syringe, the plastermixture was injected several times inside
the cracks. A limited quantity of the grout
was injected at a time and only after it had
solidified could the process be repeated.
	The wasp nests on the colour layer were
removed without any damage to the colours

Fig.21. Preparation of clay plasterFig.23. Chemical cleaning for removing soot. (Wooden ceiling no. 4)

77

after moistening the nests with a solution of
2% ethyl alcohol in water.
	Consolidating
broken plaster on sculptures:The plaster was used to consolidate the places
where pieces of plaster were missing in the
Dragon Arch (Makara Torana) above theentrance to the inner sanctum. Repairing thedamage to small sculptures there involved arather complex process. The damaged sectionsof the Buddha statue facing the main entrance
to the inner sanctum and its seat wereconsolidated using plaster. It was discoveredthat cement had been used to repair the armsof the statues of the gods Natha and Vishnu.
This plaster had to be carefully removed
before consolidating the damaged parts withthe prepared mixture of clay plaster.
	After consolidating the walls and sculptures,the reintegration of damaged parts of murals
and sculptures was undertaken using water
colour medium. For the reintegration ofmurals, the aqueouspoke technique was
employed.
	The plexicum 2% xylene solution was applied
as a protective coating by a flat brush with finebristles only in the places where the murals
faced the danger of flacking off or decaying topowder.
	As the final stage of conservation, chemicals
were used on the places damaged by termites

Fig.22. Preparation of paint receiving plasterFig.24. After chemical cleaning (wooden ceiling)

Sri Lanka

Fig.25. During consolidation of the Dragon Arch (Makara Toran a) by using clay
plasterFig.26. During consolidation of the Dragon Arch (Makara Torana ) by using
lime plasterFig.27. After consolidation and reintegration
Fig.28. After conservation (1)Fig.29. During conservation

Fig.30. After conservation (2)Fig.31. After conservation (3)Fig.32. After conservation (4)78Sri Lanka
Fig.33. After conservation (5)Fig.34. During reintegration

Fig.35. After cleaning under the Temple on Pillars

inside and outside the image house. 2%
Phyrenex mixed in water was injected bysyringe to the areas. This treatment continued
once every three months until the termite
damage was minimized.
Conclusion
The Temple on Pillars (Tampita Vihara) stands as aunique hallmark of the Sri Lankan temple tradition.
Therefore, the preservation of Yatawatta Temple on
Pillars stands as a testament to the commitment of the
Chemical Conservation Division to safeguarding Sri
Lanka's cultural heritage. Temples on Pillars are foundscattered all over the country and some are in dangerof decay and destruction. The conservation of one suchdecayed temple, the ancient image house on pillars at
Yatawatta, was successfully completed in 2012, andfollow up inspections are conducted periodically.
Throughout this conservation process, all materials
and chemicals in this conservation were utilized withminimum interference. Great care was taken to employ
conservation methods according to the rules andregulations of the Venice Convention. The plaster used
for repairs was made at a lower strength than the existingoriginal plaster. The raw materials of the plaster and thewater colours for the reintegration of murals were used
in a manner that would facilitate reversibility if necessary.
Photographs were taken methodically before, during,
and after the conservation process. A final conservation

79

report containing all the data was prepared for reference
for future conservationists, researchers, and university
students.
The murals and sculptures within the Yatawatta Image
House vividly portray the distinctive characteristics ofthe Kandyan style, a significant facet of Sri Lankan mural
traditions. Additionally, the image house boasts numerous
architectural and archaeological features of great value.
The intention of our conservation team at Yatawatta
Ancient Temple on Pillars (Tampita Vihara) was toenhance the longevity of the image house by minimizing
the deteriorating factors affecting this monument, which
possesses considerable archaeological, architectural,and aesthetic value. The final result of our conservation
process is expected to be the preservation of thisarchaeological heritage for the future generations of thecountry and to protect it as a living monument treasured
and revered by the populace from ancient times.
Acknowledgements:
Our team members of the mural painting conservation
project: Mr. Wasantha Wijerathne, Mr. Amila Jayasundara,
Mr. Dammith Anura Franando, and Mr. R. Aloka Bandara
Photographs: Mr. Arjuna Samaraweera - Reprographer,
Department of Archaeology
Scale drawings and plans: R. Nishanthi Ranasinghe
References:
1. Coomaraswamy, A. K. (1908). Mediaeval Sinhalese Art.

Sri Lanka). Department of Archaeology. Colombo7,
Ceylon.
6. (1999). Gampaha Disthrikkaye Samaja Sanskruthika
Adhyanaya (Sinhala medium) (Gampaha District
Socio Cultural Studies). Department of Cultural Affairs,
Sridevi Printers Pvt Ltd, Colombo 5, Ceylon.
7. Agrawal, O. P., Wickramasinghe, N. A. (2002). Materials
and Techniques of Ancient Wall Paintings of Sri Lanka.
Sundeep Prakashan, New Delhi, India.
8. Wijayawardane, K. (2010). Sri Lankawe Tampita Vihara(Sinhala medium) (Temple on Pillars Tradition in Sri
Lanka), Dayawansa Jayakodi and Company, Colombo
10, Ceylon.

Sri Lanka

United States of America Reprinted at States Printing
Corporation, Sri Lanka.
2. Karunarathne, L. K. (1971 January). Ancient Ceylon No.
1 Architecture in Wood. Department of Archaeology,
Colombo7, Ceylon.
3. M ora, P. Mora, L. (1984). Conservation of Wall
Paintings. Blantyre Printing and Binding Co. Ltd,
Glasgow, Scotland.
4. Wejesekara, N. (Editor-in-chief). (1990). PaintingArchaeological Department Century (1890-1990)
Commemorative Series. State Printing Corporation, Sri
Lanka.
5. ( 1999). Sri Lankawe Tampita Vihara Sampradaya(Sinhala medium) (Temple on Pillars tradition in

80

Uzbekistan
Uzbekistan

The Practical Experience of Conservation of Museum Exhibits During Touring Exhibitions
Dr. Akmal Ulmasov, Head of Department “Unique Objects” PhD,
Fine Arts Institute, Uzbekistan Academy of Sciences
Introduction
As a rule, before visiting exhibitions, selected museum
exhibits are subject to preventive conservation. And,if necessary, some of them are restored. This practicehas been carried out in many restoration laboratories ofmuseums and scientific institutions in Uzbekistan. The
author of this report, as a restorer, has been directly
involved in the work related to exhibitions. This reportbriefly outlines the process of practical work on museum
exhibits when organizing two major outside exhibitions.1
Touring exhibitions
The first exhibition was held at the Louvre Museum in
Paris from last autumn to this spring. The exhibition,
entitled “The Splendours of Uzbekistan’s Oases: at the
Crossroads of the Caravan Routes,” was dedicated to thetheme of the Great Silk Road, which in ancient times
passed through many cities of Central Asia, including
Uzbekistan. About 170 exhibits were shown at theexhibition, most of which were selected from major
museums and collections of scientific institutions of the
Republic. In addition, some exhibits were brought fromthe Louvre Museum itself and other museums in France,from the British Museum, from the Cleveland Museum(USA), etc. (Fig. 1 a).
More than ten of the most remarkable museum exhibits
from the archaeological collection of the Fine Arts
Institute were part of this exhibition. Among them aremonumental clay and ganch2 sculptures of Buddha andBodhisattva, the head of a Kushan prince and a Devata
with a necklace, an ivory comb from the settlement ofDalverzintepa (1st to 3rd centuries AD); a statue of theRuler, the head of a warrior and a terracotta medallion
from the early Kushan site Khalchayan (1st century BC to
1st century AD); bone belt plates with engraved images
from the Orlat burial ground, etc.

It should be recognized that the “Dalverzintepa gold
treasure” was one of the most impressive and amazing
exhibits in the Louvre exhibition. It weighs about 36
kg and consists of 115 pieces. For this and the next
exhibition, the most unique of them were selected,
among them rectangular bullion with an ancient Kharoshti
inscription, a pectoral with the image of Hercules, anecklace inlaid with precious stones, and much more. It
is important to note that these unique masterpieces were
exhibited outside of Uzbekistan for the first time.
The second exhibition opened on Museum Island,
Berlin (Germany) in the middle of this year and will
last until the beginning of next year. The exhibition iscalled “Archaeological Treasures of Uzbekistan from
Alexander the Great to the Kushan Empire.” It presents
archaeological finds that cover the period from thearrival of Alexander the Great in the second half of the
4th century BC until the end of Kushan rule in the 4th
century AD. The exhibition presents about 300 exhibits
from different museums of Uzbekistan, of which morethan a hundred belong to the Institute (Fig. 1 b).
At this exhibition, judging by the subject matter, thoseexhibits that are presented in the Louvre have been
selected first of all. Clay-ganch sculptures, terracotta
figurines from Dalverzintepa and Khalchayan, ceramic
and bone objects, and samples of ancient inscriptions
on shards were added to them. Also, for the first time,
this exhibition presents new coins from the Hellenistic
fortress of Uzundara (in the south of Uzbekistan), whichdate back to the middle of the 4th century BC to the 1st
century AD. These coins depict portraits of emperors andkings who ruled various state associations. For example,
on two coins you can see portraits of Alexander theGreat III; on others, Antiochus, Diodotus, Euthydemus,

Fig. 1 a, b. Exhibition posters: at the Louvre Museum and the James Simon Gallery(source: https://gk-usbekistan.de, “Daryo” / Madina Nurman https://daryo.uz/en)

81

1

The Exhibitions were organized by the Art and Culture Development Foundation of Uzbekistan.

2

Ganch (local variety of gypsum) – a binder, artificial or (rarely) natural mixture of gypsum (from 30% to 60% calcium sulfate dihydrate CaSO4•2H2O) and from 40% to 70% small clay particles.

At both exhibitions, in addition to exhibits of the institute,unique objects of culture and art from other museums of
the republic have been exhibited for the first time. Amongthem a stone statue depicting two snakes of the Bronze
Age, a stone sculpture of the Kushan period from the
Buddhist monument Fayaz-tepa, which depicts Buddha
with two monks, the famous early medieval wall painting
from Afrasiab, a wooden carved door of the mausoleumof Emir Timur, and many unique exhibits of the Timurid
period. For both exhibitions were published special
colorful catalogs/albums. They contain annotations
on the subject of the exhibition, a brief description ofarchaeological sites and explanations of the finds. The
texts are written mainly by local scholars and also by
scholars from France, Germany, and other countries.
Preparation for exhibitions
The presence of a large number of exhibits from theInstitute at both exhibitions attracted the special attentionof the organizers for their preparation. First, the curatorsand specialists got acquainted with the museum exhibits
related to the themes of the exhibitions and they selected
the most expressive items. After the list of exhibits wasapproved, a bilateral agreement was signed, which
specifies all details of the organization of the exhibitions.
Researchers and restorers presenting the exhibits
examined the selected objects and compiled a "condition
report." In addition, various documents were drawn up,
including insurance policies, a list of exhibits, whichindicated their dimensions, weight, and other information(Fig. 2 a, b).
Packing and unpacking, and assembling and dismantlingof the exhibits were carried out by professionals from
specialized companies that have extensive experiencein the field of exhibition preparation. For the packing ofeach exhibit, the properties of the materials from which
they are made, their dimensions, strength, and otherfeatures were taken into account. For all the exhibits,

special wooden boxes of different sizes were made. The
transportation of exhibits was also well organized: forthe land route between the museum and the airport,
the exhibits were conveyed on special trucks; they werethen transported by plane to the country hosting theexhibition. It should be noted that, according to thecontract, in all procedures, in particular from packing
to unpacking, during the flight, and during customs
procedures, responsible persons from both sides were
present without fail (Fig. 3 a).

Uzbekistan

Demetrius, Eucratides, Heliocles, and other Seleucid
and Greco-Bactrian basileus. A large number of exhibits
are occupied by bronze arrowheads of the 4th to 3rd
centuries BC from the Uzundara site. In addition, newunique finds are involved from Uzundara, such as
fragments of ceramic vessels with moldings of humanfigures and floral ornaments, flasks for water, and a
fragment of the cheek piece of a pseudo-Attic helmet, etc.

At both exhibitions, there is an individual approach tothe installation of exhibits. For example, special metal
fixtures were made to attach a monumental sculpture ofa Bodhisattva to a wall, and special pedestals, podiums,
or metal frames were made for some objects. All thesenecessary things were specially made in the workshops
and laboratories of the Louvre Museum. We must alsomention the designers and artists, technical specialists
who installed lighting fixtures, and many others (Fig. 3 b).
Conservation and Restoration works
Due to the different sizes and dimensions of the exhibits
and the short time before the exhibition, several groupsof restorers were invited from the exhibiting countries.
Among the exhibits subjected to conservation andrestoration, monumental clay-stucco sculptures took a lotof time to prepare because most of them are large (forexample, the Bodhisattva statue reaches a height of morethan 2 meters). Moreover, they have not been restored formany years. In addition, the sculptures were prepared not
only for transportation, but also for installation according
to special conditions (for example, one directly on thewall, another on a pedestal, and so on).
The restored sculptures also included the head of a
Buddha and a Bodhisattva, the head of a Kushan prince,a statue of a ruler, the head of a Devata, the head ofa warrior, etc. Clay sculptures have been found atarchaeological sites such as Khalchayan (1st century BC
to 1st century AD) and Dalverzintepa (1st to 3rd centuriesAD), located in the south of Uzbekistan (Fig. 4 a, b).
The surfaces of almost all clay-gypsum sculptures
and their fragments were cleaned with a cotton swab
moistened with acetone. This solvent can dissolve thepolymer resin of poly butyl methacrylate (PBMA) andpartially remove this dusty resin film. If necessary, cracks

Fig. 2 a, b. Example of a condition report for exibits

82

Uzbekistan
Fig. 3 a, b. Packing and installation of Exibits (photo by author)

Fig. 4 a, b. Process of treatment of exibits before exhibitions: at the laboratories of the Fine Arts Institute and James Simon Gallery

Fig. 5 a, b. Preparing the Bodhisattva statue for the exhibition

83When installed on one of the monumental sculptures,a kind of handicraft was carried out. The fact is that thehead and torso of this sculpture, that is, the Bodhisattva,
were found separated during excavations, and for easeof transportation, they were left in this form. Before theexhibition, in agreement with the experts, the neck wasslightly raised to make the head more vertical. After the
statue was put on display, the horizontal gap between
the head and neck was filled with special mastic (a 50%
solution of water-based Flextol glue in water and sandpowder). Backfilling was carried out in two stages: first,
the pits were filled with an adhesive mixture, and thenthe covered surface was leveled with a soil mixture (Fig.
5 a, b).
The collection also includes bone items, including combs,
chess pieces, and belt buckles. On two surfaces near one
crest, a female head and a bird are depicted. And, on
the second ridge of the image, a scene is carved with theparticipation of the queen in the palace and an elephant.
The chess pieces, which are carved from ivory, represent
the Indian elephant and the humpbacked zebu bull.
Two other bone artifacts are male belt buckles, probably
belonging to high military official. On their obverse
flat surface, a hunting scene and a battle scene are
depicted in the technique of fine and high-quality plastic
engraving. Among the restored items were also ceramics,
metal and glassware, fragments of wall paintings, etc.
As part of the exhibition, a group of French and German
restorers took part in the preventive conservation andrestoration of the exhibited items, as well as preparation
for the exposition, in the largest museums and restorationlaboratories of scientific institutions in Uzbekistan. In
particular, the French restorers headed by A. Liegey
restored clay-stucco sculptures; D. Elie-Lefebvre processed
the bone products of an elephant and other animals. The
German restorers S. Krebstakies and R. Froelich workedon the archaeological items that were selected for theexhibition in Berlin. Among the restored objects weremainly ceramic vessels, fragments of sculpture, bone
objects, coins, arrowheads, and other metal objects. It
should be noted that local specialists actively participatedin the restoration work. They comprehensively helped
their foreign colleagues and at the same time gained a lotof experience and skills (Fig. 6 a).

Uzbekistan

were sealed and powder coated with 7% Primal E330
in ethanol. The cracks were filled with sifted marble
powder, pigment, and 30% Plextol B500 in water. The
restored areas were chromatically reintegrated with
Winsor & Newton watercolors.

Another French restorer, C. Pariselle, carried out workon the conservation of metal objects, among the selectedmuseum items for exhibition at the Louvre. In particular,
she conserved a bronze mortar of the 11th century
from the archaeological collection of the institute.
First of all, the dimensions, weight, raw materials, andphysical condition of the exhibit were determined. Rust,debris, and dust on the surface of the product were
removed mechanically with cotton wool using solvents.
Remains of corrosion and deposits inside the pores weremechanically cleaned using soft rotating brushes mounted
on a micromotor. The hardest shells were removed with ascalpel and bur. The inner surface of the mortar was only
lightly cleaned with a brush so that traces of use fromthe time of its manufacture would not disappear. On theouter surface of the mark, deposits from the pits were
removed with a scalpel.
Among the French restorers, Geraldine Frey, who
has been collaborating with scientific institutionsin Uzbekistan for many years, should be especiallynoted. G. Frey mainly specializes in the restoration andconservation of ancient and early medieval wall paintings
and frescoes. She and her colleague actively participatedin the preparation of museum objects for the exhibitionand successfully carried out preventive conservation ofwall paintings from early medieval archaeological sites
such as Afrasiab, Balalyk-tepa, and Akchakhan-kala. In
these works, they were assisted by the chemist-restorer
M. Reutova, a local specialist with extensive experiencein the conservation of ancient wall paintings and otherarchaeological items. In addition to conservation, they
actively participated in the installation and dismantling ofmurals (Fig. 6 b).
Conclusion
These exhibitions gave me, as well as other local
restorers, great experience and many new skills. Those
specialists who participated in the restoration and packing

Fig. 6 a, b. Restorers during the work process(Source: 6a: Author, 6b: https://www.facebook.com/termizarxeologiyamuzeyi)

84Uzbekistan

mastered new technologies, and got acquainted withnew restoration materials and preventive conservation
techniques. As suggestions, I would like to say thatwithin the framework of such international exhibitions, itwould be useful to send young museum employees andrestorers to museums and restoration laboratories. Or,
invite professional specialists from museums and scientificinstitutions, where they have accumulated a great dealof experience, and organize training and master classes.
Firstly, such events stimulate the local specialists, andgive them the opportunity to learn new technical skills.
Secondly, the events strengthen intercultural relations
between Uzbekistan and other countries.
As a result, we can say that, in general, the first exhibition85

was successful and set a record for attendance. That is,
the exhibition was visited by about 300,000 visitors, mostof whom were foreign tourists. These exhibitions are ofhistorical significance in terms of intercultural cooperation
between Uzbekistan and European countries, and will
acquaint history and art lovers from all over the world,
foreign tourists, and local residents with the rich history,
culture, and art of Uzbekistan. Most importantly, given
the large number of visitors to the Louvre and Berlin
museums from other regions besides Europe, it can besaid that these exhibitions play an important role inintroducing Uzbekistan to the world community. In thisway, we hope to increase interest in our country and,ultimately, stimulate the development of the tourism
industry.

Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
437-3 Somanouchi-cho, Tenri, 632-0032 Japan
Tel : +81-743-69-5010
Fax: +81-743-69-5021
E-mail: nara@accu.or.jp
URL: https://www.nara.accu.or.jp© Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2023

Laos / Nepal / New Zealand

Sri Lanka / Uzbekistan