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Red Maitreya Temple - Leh, Ladakh
Introduction
Tibet Heritage Fund’s (THF)1 mural paintings conservation project in Leh, Ladakh region of India, started in 2006’s summer at Red Maitreya Temple (in Tibetan: byams pa lha khang dmar po, pronounced Jampa Marpo Lhakhang), having three main goals. Due to the paucity of available technical studies of Tibetan wall paintings one of the first purposes of the project was the investigation of the murals starting with visual examination and documentation of the original painting technique, followed by sampling and analysis of the constitutive materials. This research was necessary for a better understanding of materials behaviour and deterioration process in order to establish further appropriate conservation treatments. The conservation project first task was the removal of the different overcoatings which were covering the murals and the stabilization of the revealed paintings (at support and paint layer level), treatments planned for the west wall and the western part of the northern wall. Those operations were urgent due to the fact that the murals are part of a still functional temple, visited by locals and tourists, a fact that could have lead to rashly executed local intervention (the lower part of the murals of the west wall were already cleaned improperly, with some losses). Therefore the third goal of the project was the follow-up training of two locals which participated in previous THF programs and gained good knowledge and skills regarding conservation issues and respect of heritage authenticity. 1. Site Description The Red Jampa Lhakhang (Figure 1) is a highly visible landmark on the ridge above Leh. It rises as a red tower just below the access road to the Leh Palace, housing a three-storey Maitreya image and a narrow ambulatory passage. The Red Jampa is part of a complex of three monasteries in the Palace area (the others being Chenrezig Lhakhang and Gonpa Soma), which used to be the main sites for Buddhist practice and celebration of the annual festivals have taken place in the past. Throughout the late summer, there are daily performances of traditional dances and music, and the Leh people still come for the major festivals such as Losar and Saka Dawa. However, mirroring the decline of the old town and the rise of the bazaar area, the importance of these three monasteries has been overshadowed by the new Tsuklakhang (central Buddhist cathedral) that was built 40 years ago in the main bazaar area of Leh.
Figures 1 and 2. Red Maitreya Temple and South Elevation; Figures 3 and 4. West elevation (left) and east elevation (right), drawings by arch. Almarindo Lopez; Figure 5. Ground floor plan, drawing by arch. Almarindo Lopez; Figure 6. View from the interior of the temple with Maitreya statue; Figure 7. East-west section, drawing by arch. Almarindo Lopez; Figure 8. Maitreya original clay statue.
1.1. Site history According to locally published sources, the Red Jampa Lhakhang was founded by the Ladakhi king Gragspa Bumdey (grags pa ‘bum lde) who reigned ca. 1400-1440. According to the temple’s mother monastery of Spituk, the exact founding year is 1430. The founder was a patron of Buddhism and built in fact two Maitreya temples in Leh: the Red one above the town and the White Maitreya (byams pa dkar po) in the centre of the town. A century later, the king Tashi Namgyal (bkra shis rnam rgyal) who reigned ca. 1500-1530 added a third Maitreya temple on the Tsemo hill high above Leh. 1.2. Temple description The Red Maitreya Temple is built from rubble stone with mud mortar around an internal timber frame. Its design follows traditional Tibetan monastic construction patterns and consists of several parts, a portico, an assembly space four pillars in size, a sanctum area housing a three-storey clay Maitreya image flanked by two standing clay Bodhisattva-s, an upstairs residential room and kitchen for the single monk caretaker, and a traditional composting-type toilet. The flat roof is built in standard Ladakhi fashion and consists of several layers: wooden rafters topped with layers of soil and clay. The parapet is decorated with loose local brushwood and roots following standard Tibetan design patterns.
Above the Maitreya sculpture is a wooden lantern topped by a tin pagoda-type roof in Chinese fashion (rgya phib).
The temple is owned by the Gelukpa-sect temple, Spituk and its branch temple Sabu. A single caretaker monk is deputed for a stay of three years from the two mother monasteries. The caretaker and day-to-day partner in the project during our intervention was the honorable Mr. Ngawang Tsering from Sabu monastery. 1.3. Mural painting description The original paintings dating to the 15th century can be found on the old western and northern walls which now form an ambulatory after the reconstruction of the inner hall in the late 1950s. No other original walls have survived the reconstruction. Colour traces were observed in the monk’s kitchen on the east wall, which is an extension of the main west wall, and on the exterior of the west wall, originally part of a portico. They were just recorded for future investigation. The northern wall measures 12.6 meters long and 6.4 m high, with a loss of surface of 1 m from bottom for the entire length. The western wall has an old section north of the entrance measuring 4.6 m long and 6.4 m high were the paint is still existing, with a bottom strip loss of only 30 cm high. The mural composition follows traditional Tibetan Buddhist style where various narrative scenes or sequences are sprawling along the entire surface not being constrained by frames. The iconographic program from the door going in north-eastern direction The west wall could be divided in three registers. Only the lowest one, the donors frieze, and Buddha’s life have been delineated through a horizontal border. In the first register the figures are separated on the horizontal by a lotus flower border, the vertical delimitation is achieved through the use of background motives – flames, clouds, or small representations of the deities or attendants which fill the in-between spaces. The main images on the west wall are from the door going northwards: in the lower register a donor assembly, followed by scenes from the life of Buddha; in the middle register the protector Mahakala and a three-headed deity (presumably a form of Namgyalma); and Vajrapani and a black representation of eleven-headed Avalokiteshvara in the upper register. The donor assembly in the lower part – king, queen, ministers and ladies, and an inscription, follows an established pattern found in almost all early Western Himalayan temples (for example Alchi, Wanla). On the north wall the main images are four large Buddha representations with halo and throneback (Sanskrit: astamangala) aureole, which is decorated with a series of mythical creatures such as Garuda and Makara. The central images are each flanked by two standing Bodhisattva-s on either side. On the upper part, around the Buddhas’ heads, are smaller figures including Buddha-s, lama-s, mythical figures and landscape elements. Tentatively, we have identified the four as (from west to east) Amogasiddhi, Menla (Medicine Buddha), Amithaba and the historic Buddha Sakyamuni. The murals were painted with superior craftsmanship, freely drawn with cursive delineation of the figures, with sinuous rhythm and modulation. The underlining abstraction is neither sterile nor chaotic, but always balanced, rhythmic and informed with harmony. We could observe also few artist’s attempts to depict the figures in the third dimension by graduation of the colour in parts of torso, face and arms (eg. Vajrapani image). 2. Technical investigation of the murals Basically the murals from Jampa Lhakang follow the known regional painting technology (a secco): natural pigments with animal glue as binder on dry mud plaster. Laboratory investigations comprised: microchemical tests, FTIR spectrometry (Bruker Tenson 27, KBr pellets), EDXRF analysis using portable Innov-X Alpha Series, optical microscopy (Leica DMLS in transmitted, reflected and polarized light) and examination of the cross sections. Based on those researches we could trace the basic characteristics of Ladakh’s traditional mural paintings and rise questions for further investigations. 2.1. The support layers The walls, which represent the primary support of the wall paintings, are built from rubble stones held together with mud mortar. The secondary support consists of two separate layers of earthen plaster. The stone walls were first levelled with a coarse plaster made of earth, sand, gravel and straws (sometimes using also cow dug). The diversity of the aggregate size assists adhesion to the primary support and also provides a good adherence of the subsequent plaster applications. The surface was then covered by a second finer layer containing markalak and sand. Markalak (Tibetan for buttery mud) is a local clay consisting of 62% clay, 30% calcium carbonate and 8% silt. This upper layer is thinner and more compact (perhaps as a result of burnishing of the surface with a smooth stone) – a technique used still today in the area - providing an appropriate smooth and stable base for the application of the painting foundation. The preparatory layer, which we found visible where the painting has been damaged, is a thin white coat (calcium carbonate) which provides a final even surface before the application of pigments. We could observe that its thickness is variable – under the figures it appears to be thicker while in some large areas with red background it seems to be very thin. 2.2. The preparatory techniques Considerable planning and preparation must have been an essential element in the realisation of the painting. A careful visual examination in areas where part of the painting layer was damaged revealed several traces that demonstrate a very elaborate compositional set-up of the murals since the beginning. We could observe guidelines (thig rtse or thigs pa) used as the first step to set out the board outlines of the composition. Those were carried out by means of a string dipped in red paint and gently snapped against the surface to create a red imprint of the line on the wall (Figures 10 and 11). The Tibetan technique of setting up the main figures, their proportions and poses was made through intersecting diagonal lines to create the central, focusing point. This technique is clearly visible on the north wall in the west side of it above the green Buddha, and also on the figures around him (Figure 12). The second step in the preparatory stage we could observe was the brush sketching of the figures and decorations with black paint (Figure 13). All the drawings seemed rather freely made without the use of any design transfer, not even in the areas with repeating patterns such as the lotus-flower or other different ornaments.
Figures 10 and 11. Details with the murals’ guidelines; Figure 12. Detail of isometric drawings; Figure 13. The brush sketching of the figures with black paint.
Although in the available literature regarding the Tibetan paintings technique (mainly thangka) before the brush sketching is mentioned a stage (kya ri) when the major outlines of the main figures are drawn on the ground using charcoal. However this phase was not apparent here. The way how the painters were drawing the nimbuses did not become apparent, we couldn’t find any incised compass lines that we assume were being used especially for the big nimbuses. We suspect that some system (perhaps with the same string method with one fixed point in the middle) must have been used.
Another interesting aspect are the colour notations (Tibetan numbers in this case) drawn with black colour on areas of different design parts (clothes, ornaments etc.) indicating which colour was to be employed in each area (Figures 14, 15 and 16). Thus, every number has a correspondent colour, this fact is known in Tibetan tradition as a usual convention used by the painters even nowadays. With this method the colouring conception was devised before, by the master painter, while the assistant was filling in the formulated colours.
Figure 14. Example with the colour notations; Figures 15 and 16. Details with the colour notations; Figure 17. Detail showing the corrections made during the painting.
2.3. The paint layer
According to our observations we can state that the paint layer was first applied as a background flat colours (leb tshon) and on top of it the fine details and line contours were painted (ri mo, a Tibetan term generally denoting figurative painting). In general the colours were applied careful with regard to the drawing, we could notice only few areas where they were overlapping the black contour lines. Also we observed only isolated examples of modifications made during the execution of the painting. However, we observed extensive modifications made to one of the figures, the Bodhisattva flanking the Green Buddha to the left on the left-most section of the north-wall. There it appears that a second painter (perhaps the master) corrected details in the face, hand and jewellery (Figure 17). Depending on the colour and on the nature of the pigment which was used the paint layers have different thickness (the blue and green backgrounds are one of the thicker layers). Thus some are more opaque whereas others are being used as very translucent glazes. The last details of the painting (figure details and ornamentation found in jewellery and textiles worn by deities) made after the succeeding application of the colour layers are executed using exceedingly fine brushes and coloured glazes. The level of detail achieved with this technique is admirable, close to the style of miniature painting than the wall paintings (Figures 18-23).
Figures 18, 19 and 20. Examples with the finest details achieved in these murals; Figure 21. Example of a delicate figure painted in a style close to that of miniature painting; Figures 22 and 23. The level of detail achieved by the painting technique.
2.4. The pigments The palette employed in the murals is very rich; the predominant colours are red, orange and blue. From the physico-chemical analysis results we can state that the following pigments were used: - blue – azurite – a coarsely ground of azurite was applied sometimes over a layer of charcoal black (Figures 24-27); - green – malachite; - red – cinnabar, red oxide; - yellow – orpiment; - black – charcoal black; For the rest of the colours like pink, purple or red glaze more investigations are needed in order to establish if some organic colorants were used. Traditionally the binder which is still used nowadays is the animal skin glue. Depending on the nature of the pigments they were used in either thick or thin layers fact which gave the surface different aspects – more matt-roughish, smooth-polished or translucent. According to the little available expert literature about Tibetan mural painting, in the eastern Tibetan style of painting colours are applied at least three consecutive times. In the Central Tibetan style only one thicker coat is applied. We are wondering whether we find corresponding information about our Western Tibetan mural painting. 2.5. Gilding technique Gold was used a lot for nimbuses, ritual attributes of the deities or jewellery (Figures 28-30). We could observe two different types of metal used; the gold probably in leaf and an alloy darker and not so shiny (further investigations are needed). In the damaged areas we could notice that a thin layer of orange (vermilion) or a yellow colour (orpiment) was applied bellow the surface of the gold. From local painters, as well as from thangka technique, we know that the vermilion was mixed with seed (wheat) glue as adhesive layer for this purpose. No varnishes or coatings were detected.
Figures 24, 25. Example of pigment analysis: area of sampling the blue colour and cross-section of the sample showing the azurite pigment applied on carbon black layer; Figure 28. Vermillion applied under the metal ornaments; Figures 29. Detail with the gold leaf; Figure 31. Intentional damages on the donor frieze. Figure 32. Detail of a repainted face.
3. The conservation condition of the mural paintings Following the study of the original paintings technique we have identified the conservation problems posed by the materials in addition with other factors. The main causes of the murals’ degradation are due to water (infiltration, capillarity and dampness) and improper human interventions. The different deteriorations have been surveyed and localised on drawings representing the walls, in order to estimate their recurrence and their situation in the whole area. 3.1. Previous interventions Over the past 600 years the temple suffered different kind of damages and transformations, which unavoidably affected the murals. Unfortunately we don’t have complete information about all the previous interventions. During the Dogra invasion of the 1840s the temple was sacked and damaged. Intentional damage appears to have been inflicted on the donor frieze where some of the faces (especially of the king and queen) were scratched out, and the whole area shows different kinds of incisions which caused losses of the paint layer (Figure 31). Lack of maintenance in more recent times, and perhaps other structural damages might have also affected the murals. Because of its situation on the slope of a hill, the northern wall is particularly prone to water infiltration, which has led to complete loss of the lower register of the paintings on the north wall. There has been also visible damage from roof leakage. It is known that there was a major restoration of the temple following the events of the 1840s but we lack any detail information about the nature of the intervention. We can observe traces of only one specific intervention on the donor frieze area, where part of the scratched faces were filled in and over-painted (Figure 32). This was probably done soon after the 1840s. In 1957 the temple was partly reconstructed. The huge main clay statue of a sitting Maitreya was preserved, but two of the four walls were taken down, and the entire chapel rebuilt on a smaller scale. Thus the two originals walls (north and west) and western walls were also rebuilt, which accounts for the absence of paintings in those areas. The surfaces which were rebuilt were covered with a high quality plaster which is in good condition even today with small exceptions. The way of application was done improperly where it borders the original paintings, the new plaster is overlapping the murals. More recently the parts where the support layer was lost (at the bottom and lower part of the murals) were filled in with an improper mortar from the composition point of view (grave contraction cracks are visible all over the surface). The application technique used was likewise inadequate (overlapping the original painting and thus creating different types of degradations). The walls were also at that time covered with one or two layers of coating, mainly markalak whitewash, as preparation layer for further repainting. This is a typical technique for both interior and exterior wall finishing or painting ground preparation. Removal of this coat layer constituted one of the main conservation problems. After THF’s discovery of the huge amount of historic wall-paintings hidden underneath the coating, but before THF could start the conservation program, an area with original painting on the lower part of the western wall was locally uncovered without adequate technology, provoking some losses in the already damaged paint layer. 3.2. Damages due to moistening Due to water sensitivity of the support materials, the moisture factor was, over time, one of the major causes of principal damages of the murals. Water infiltrations and leaking caused by roof deteriorations led to loss of adhesion of the plaster provoking deep support lacunae along the upper part of the walls. On the western wall an average of 30 cm on the entire length was lost while on the northern part (the west side) only 15 cm were damaged. At the same level along the edge of the murals small areas suffered from detachments between support layers. The water leaking affected the paint layer also. This being water-soluble, the infiltrations washed out the colours producing visible white traces especially in the upper part of the west wall. The same phenomenon happened at the bottom of the walls, this time due to the water seepage from the hill behind the wall. A loss of surface occurred along the lower section (ca. 80-90 cm). This was probably the reason why in 1957 the temple was rebuilt on a smaller scale. Extensive damages are also found on the entire surface, due to the way of applying in moist form the white-wash and plaster covering the original paintings. The different deteriorations have been surveyed and localised on drawings representing the walls, in order to estimate their recurrence and their situation in the whole area. After attentive research and observation in situ we identified the following damages occurred on the support and paint layers. 3.3. Conservation condition of the support layer The general conservation condition of the support layer is fairly stabile. Except the areas were the plaster was lost due to damp conditions the rest of the original support is sound, fact which demonstrate a very good knowledge of the materials and technology owned by the master painter. The damages which have been noticed at the support layer were: - loss of adhesion of the plaster layers which led to large fields with deep support lacunae (Figure 34). In the upper part (due to water infiltration) an average of 30 cm on the entire length was lost. The same phenomenon is visible on the bottom of the walls (ca. 80-90 cm were damaged), this time due to the water capillarity. These areas were filled in improperly during some previous interventions, perhaps repeatedly. The quality of the mortar used and the technique of application were inadequate. The material was applied careless, overlapping the edges of the original. The affected area shows also noticeable shrinkage cracks and detachments from the original layer due to the mortar composition (Figure 35). - loss of cohesion of the original mortars due to the moistening led to small detachments along the upper edges of the murals and some more acute losses close to the joint of western wall with the northern one. In this area we could observe one specific pocket detachment on approximately 100 square centimetres (Figure 36), and three more small areas, on the north wall, with the same damages. - weakness and superficial lacunae of the support layer are visible in the adjacent areas of detachments; - large cracks are running down on the west and north walls. Those occurred probably due to the inappropriate maintenance of the roof which during time was over loaded for waterproofing and thus creating over weights and tensions in the walls. The upper part of the one from the west wall was filled in (before the paintings were covered with new plaster layers). Along this crack a slight displacement of the support layer is noticeable, though the areas appear stable; - deep lacunae of the support layer occurred on the crack course. This gaps were filled in improperly during previous interventions. The mortar used is much more stronger than the original one thus big tensions were created along the edges; - few superficial lacunae of the support layer occurred on the walls. - fissures are visible but they does not seem to be causing active deteriorations nearby; - scratches are visible all over the surface, in the upper part they probably occurred due to the careless previous interventions, while in the lower part – on the donors frieze – most probably are intentionally made during the Dogra war. From the same reason the faces of the donors were scratched out leading to superficial lacunae of the support layer at this level.
Figures 34 and 35. Deep support gaps and previous improper interventions; Figure 36. Pocket detachment; Figure 37. Gap improperly filled; Figure 38. Detail with improper filling material; Figure 39. Detail of the deep gap; Figures 40 and 41. The initial aspect of the murals.
3.4. Conservation condition of the paint layer The survey regarding the paint layer condition was difficult to achieve because almost the entire painted surface was covered at the beginning (Figures 40 and 41). Thus the present considerations were recorded mostly during the intervention. As we mentioned above, the painting is highly water sensitive therefore very susceptible to damages and deteriorations as a result of exposure to water. Attentive observation in direct and raking light of the paint surface revealed two important aspects regarding the condition and the main causes of deterioration at this level: - the covering layers were applied very fluid, brush traces, splashes and drops are visible all over the walls (Figures 42-46). The high water percentage which was used affected the painted surface tremendously producing grave damages which posed the most difficult conservation problems during the treatment; - the paint layer was already damaged before the application of the over-layers (plaster traces exist in the paint gaps - Figures 47, 48). Thus the superposition of a new moistened layer highly aggravated the existing deteriorations.
Figures 42-46. Details in raking light showing the covering layers application method; Figures 47. Damages which occurred before the application of the covering layers; Figures 50 and 51. Paint layer lacunae.
Following-up the causes above mentioned and their effects we recorded the damages occurred in the paint layer as:
- powdering of the paint layer, lack of cohesion due to the damp ingress. In the upper parts of the walls this phenomenon is more acute but it can also be found in other small areas, as a result of binder losses (the latter being water sensitive as well) in the paint film. - different types of flaking occurred because of diminution of the paint layers adhesion (Figure 49). This type of deterioration is notable all over the paint surface. On the areas where the colours were applied thick (like green and blue) this phenomenon appear some times in the thickness of the paint layer – part of the colour remaining still on the support (Figures 50, 51). Detachments of the paint layer together with a thin part from the support layer are visible in some isolated places (upper edges of the murals). - in the areas where the paint layer was already flaking while the fluid over-plaster was applied the detachments which occurred at this level during the drying process produced grave strappo of the paint layer (Figures 52, 53). - lacunae of the paint layer are visible all over the surface, demonstrating a weakness of the paint layer.
From the stratigraphical point of view those lacunae could be divided in:
- lacunae of the paint layer – the paint layer is lost (Figure 54); - erosions of the paint layer – part of the paint layer is lost; - erosions of the patina; A peculiar aspect of this damage could be observed on the red colour from the fire background of the protector images from the west wall where lacunae of the paint occurred evenly on the whole surface even before the overcoat was applied (Figure 55). We assumed that this local deterioration is due to a technique deficiency: the preparatory layer seems to be very thin and also probably the binder proportion was misused for this area. Lacunae of the paint layer are widespread also on the low part of the west wall where the improper removal of the over-plasters led to huge losses of the flaking and sensitive paint surface (Figure 56). - white leaking traces are very visible on the west wall, the water infiltration washed out the colours on their way leaving white support traces (Figure 57). - scratches, both intentionally and involuntary, are noticeable all over the surface. The more serious ones on the donors frieze were already described above as being deliberately caused by an invading army. Scratches in the upper part of the murals they are probably a result of the careless previous interventions. - surface deposits. All over the painted surface are accumulations of airborne material of different types such as dust or adherent dirt. In the lower part of the walls due to the use of the butter lamps we noticed a fatty dirt layer that alters the original aspect of the murals. The complex conservation intervention which took place in several phases will be presented in the next issues of e_conservation magazine.
Notes:
1. THF is an international NGO that was founded in Lhasa in 1996 with the aim to preserve Tibet’s heritage, particularly its architectural and urban heritage. For more information please visit http://www.tibetheritagefund.org
Acknowledgments:
We wish to thank to: Project sponsors Trace Foundation New York and InWent Germany. Erfurt University of Applied Sciences – Germany for their cooperation which made the project possible thorough students volunteering (Hanna Pohle, Derya Pektas, Jana Bulir, Olga Emgrund, Sonia Cabela, Anke Farnik, Rebekka Ewert and Jovanna Glaß) and their professor Meinhart Landmann; and to the devoted local trainees Jangchen Dolma and Skarma Lotus. The National Research Laboratory for Conservation and Restoration of National Cultural Heritage (LNC) – Romania especially to Prof. Gheorghe Niculescu Director of LNC and his team (Dr. Olimpia Hinamasuri Barbu and Dr. Georgescu Migdonia) for all the scientific investigations presented here. All photos and drawings in this article are by Anca Nicolaescu, unless otherwise specified. References: [1] S. Bogin, "A technical Study of the early Buddhist wall paintings at Nako, India", unpublished Master’s thesis, Courtauld Institute of Art, University of London, 2004 [2] D. P. Jackson and J. A. Jackson, Tibetan Thangka Painting: methods and materials, Snow Lion Publications, New York, 1988. [3] G. Minke, Building with earth – design and technology of a sustainable architecture, Birkhäuser Basel, 2006 [4] A. Shaftel, "Note on the technique of Tibetan Thangkas", Journal of the American Institute for Conservation, 25, 1986, pp. 97-103 [5] L. Rainer and A. Bass Rivera (ed.), The Conservation of Decorated Surfaces on Earthen Architecture, J. Paul Getty Trust Publications, Los Angeles, 2006
About the authors:
Anca Nicolaescu Contact: ancanicolaescu@yahoo.com Anca Nicolaescu is a Romanian mural painting conservator with Master degree from the University of Fine Arts Bucharest, Conservation-Restoration of art works department. She received recognition as specialist from the Romanian Ministry of Culture in 2005 after having coordinated various distinguished conservation projects. One of the projects (a 17th century mural painting ensemble) done by Restauro Art Grup, (the conservation enterprise where she is a co-founder), was awarded in 2004 the "Vasile Dragut" prize for Cultural National Heritage by the Romanian Ministry of Culture. Her work experience includes international participation at conservation projects and seminars in UK, Turkey, Uzbekistan, Japan and India. André Alexander Contact: info@tibetheritagefund.org André Alexander was born in West-Berlin in the Year of the Wood Dragon. He currently divides his time between Ladakh, China and Germany. He was trained by traditional master craftsmen in Lhasa in traditional Tibetan architecture, and is currently affiliated with Berlin University of Technology (MSc in Urban Management and PhD candidate in Architecture), where he occasionally lectures. He is co-founder and first chairman of Tibet Heritage Fund, an international non-profit organisation working to preserve the heritage of the Himalayan regions. He has a prodigious publishing activity, from which several articles and reports can be seen online at THF website.
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