LITERATURE REVIEW ON

“PRESERVATION OF CULTURAL HERITAGE OF INDIA”

SUBMITTED IN PARTIAL FULFILLMENT OF REQUIREMENT OF

SCHOOL OF PLANNING AND ARCHITECTURE, VIJAYAWADA

FOR

GATE SCHOLARSHIP
2020-2021

UNDER THE GUIDANCE OF: SUBMITTED BY:

DR. AMRITAVA SARKAR SMRITIKA BALDAWA

DEPARTMENT OF ARCHITECTURE M. ARCH(MAC), I SEM

SPA VIJAYAWADA SPA VIJAYAWADA

DEPARTMENT OF ARCHITECTURE

SCHOOL OF PLANNING AND ARCHITECTURE, VIJAYAWADA

Contents
INTRODUCTION .......................................................................................................................... 3
INTRODUCTION OF ARCHITECTURAL CONSERVATION .......................................................... 3
DEGREE OF INTERVENTIONS .................................................................................................. 3
PRESERVATION OF THE EXISTING STATE ........................................................................... 3
CASE STUDIES ............................................................................................................................. 4
LIST OF CULTURAL HERITAGE: ............................................................................................... 4
TAJ MAHAL, AGRA...................................................................................................................... 5
Introduction ........................................................................................................................... 5
Problems faced ...................................................................................................................... 6
Preservation of Taj Mahal ...................................................................................................... 7
AJANTA CAVES, AURANGABADH ............................................................................................... 9
Introduction ........................................................................................................................... 9
Preservation of Paintings found in Ajanta Caves ................................................................... 9
Copying the painting ........................................................................................................ 10
Preservation and Restoration of the paintings done in early 20 th century ..................... 10
Preservation of the paintings done by the Archaeological Survey of India (1954) ......... 11
THE GREAT STUPA AT SANCHI ................................................................................................. 13
Introduction ......................................................................................................................... 13
Preservation of the Stupa .................................................................................................... 13
NAGESHWAR TEMPLE, PUNE ................................................................................................... 15
Introduction ......................................................................................................................... 15
Preservation and Conservation of the temple..................................................................... 15
VISHRAMBAGH WADA, PUNE .................................................................................................. 17
Introduction ......................................................................................................................... 17
Preservation and repairs done in the Wada ........................................................................ 18
REFERENCES: ............................................................................................................................ 20
INTRODUCTION

INTRODUCTION OF ARCHITECTURAL CONSERVATION

Conservation is the action taken to prevent decay and manage change dynamically. It
embraces all acts that prolongs the life of historic buildings.

Conservation involves making interventions at various scales and levels of intensity which
are determined by the physical condition, causes of deterioration and anticipated future
environment of the cultural property under treatment.

DEGREE OF INTERVENTIONS
Interventions practically always involve some loss of a ‘value’ in cultural property, but are
justified in order to preserve the objects for the future. As a result a conservation architect
is expected to provide minimum interventions so as to protect the value of the structure.

There are 7 degrees of interventions:

i. Prevention of deterioration
ii. Preservation of the existing state
iii. Consolidation of the fabric
iv. Restoration
v. Rehabilitation
vi. Reproduction
vii. Reconstruction

In this review, few examples portraying preservation as a degree of intervention applied so

as to protect the cultural heritage of India.

PRESERVATION OF THE EXISTING STATE

Preservation deals directly with cultural property. Its object is to keep it in its existing state.
Repairs must be carried out when necessary to prevent further decay. Damage and
destruction caused by water in all its forms, by chemical agents and by all types of pests and
micro-organisms must be stopped in order to preserve the structure.
CASE STUDIES
LIST OF CULTURAL HERITAGE:
1. Taj Mahal, Agra
2. Ajanta Caves, Aurangabad
3. The Great Stupa of Sanchi, Madhya Pradesh
4. Nageshwar Temple, Pune
5. Vishrambagh Wada, Pune
TAJ MAHAL, AGRA

Introduction
Location: Agra, Uttar Pradesh, India

Built in: 1632-1653

Built by: Mughal emperor Shah Jahan to house the tomb of his wife Mumtaz Mahal

Architecture Style: Mughal Architecture

The tomb is lies in the centre of 17-hectare complex, which also includes a mosque and a guest
house, and an extended formal Mughal garden which is bounded by a crenelated wall on 3
sides.

The Taj Mahal was designated as a UNESCO World Heritage Site in 1983 for being "the jewel of
Muslim art in India and one of the universally admired masterpieces of the world's heritage".
It is regarded by many as the best example of Mughal architecture and a symbol of India's rich
history. The Taj Mahal attracts 7–8 million visitors a year and in 2007, it was declared a winner
of the New 7 Wonders of the World (2000–2007) initiative.
Problems faced
For the several years because of the air pollution, the Taj Mahal is undergoing discoloration
and the white marble structure is turning pale yellow. The major reasons behind the pollution
includes the following:

Air Pollution: Agra and its neighbouring areas have a high rate of pollution caused because of
the automobile discharge, burning of municipal waste, cow dung and other forms of waste.
These wastes releases huge amounts of particulate matter into the atmosphere causing
severe environmental damage.

Acid Rains: Gases like Sulphur-dioxide emitted by foundries, chemical industries and refineries
combine with Oxygen with the help of moisture in the atmosphere and result in Acid Rain. This
has a corroding effect on the marble of the Taj Mahal making is pale yellow.

Natural Causes: The Taj Mahal was built in 1632 being 388 years old, the structure undergoes
some discolouring over the period of time. Marble does not exist in a pure form as a result,
there are other mineral components present in the marble of Taj Mahal. Without proper
preservation, such mineral combination could led to oxidization. Oxidization causes chemical
reaction along the outer layers leading to the browning of these minerals, resulting in black
and brown marks on the marble structure. Other than that, the structure undergoes
weathering due to thundershowers and rain which slowly leads to development of cracks and
chipping along the outer surface.

River Pollution: The pollution in the Yamuna has also resulted in the growth of insects which
leaves excretions which further leaves yellow stains on the structure. The polluted river has
also eroded the banks near the foundation of the monument. Yamuna has been polluted
due to various factors which also includes being a dumping ground for industrial and
domestic waste. About 60% of the total waste is dumbed in the river in New Delhi. Though
various treatment plants have been established to stop the chemicals from Industries the
results have been very low as several factories continue to discharge chromium, arsenic and
cadmium. Other reasons for increasing water pollution includes poor drainage system,
saturated landfills, and human settlements around the river.

Other issues: Deforestation for urban growth has led to a shift in climate of Agra. Agra lies in
a semi-arid zone, and the temperatures can reach around 48 degrees Celsius in the area. Due
to the absence of trees, the heat waves that regularly move along the plains of North India
are moving swiftly to wreak any physical resistance which stands on its way. Hot wind along
with dust has a highly abrasive effect on the Taj Mahal for the past two decades. According
to the reports of Archaeological Survey of India, sand accumulated in the reclaimed riverbed
can erode the marble surface during sandstorms.
Preservation of Taj Mahal
Government initiatives: The government has announced the formation of a committee under
the Chairpersonship of Secretary, M/o Environment, Forest and Climate Change, C. K. Mishra
including experts from NEERI, IITs and experts from various organizations to look into the
issue of industrial pollution. To deal with the water pollution in the Yamuna, the government
is planning to cleaning of the Yamuna falls under the Namami Ganga project since it is a
tributary of the Ganga and several projects are already being taken up to make the river
pollution free. The government on its part has come up with 36 projects worth Rs. 4000 Crores
on the river Yamuna. It showed that 11 projects already started in Delhi on the river Yamuna
and the tender for the 12th project will be finalised soon. Aiming to reduce the heat wave,
the government has taken measures to be taken up includes afforestation along the Yamuna,
construction of rubber dam, solid waste management, developing a 35 KM long garden along
the water front of Yamuna in Uttar Pradesh, Haryana and Delhi.

The court further directed the following to monitor the air pollution in Taj Trapezium zone. Taj
Trapezium refers to an area of 10,400 sq. km. trapezium shaped area around Taj Mahal covering
five districts in the region of Agra.

The setting up of hydro cracker unit and various other devices by the Mathura Refinery.

The setting up of 50 bed hospital and two mobile dispensaries by the Mathura Refinery to
provide medical aid to the people living in TTZ.

Construction of Agra bypass to divert all the traffic which passes through the city of Agra.

Additional amount of Rs. 99.54 crores sanctioned by the Planning Commission to be utilized
by the State Government for the construction of electricity supply projects to ensure 100 per
cent uninterrupted electricity to the TTZ.

The construction of Gokul Barrage, water supply work of Gokul Barrage, roads around Gokul
Barrage, Agra Barrage and water supply of Agra barrage, have also been undertaken on a time
schedule basis to supply drinking water to the residents of Agra and to bring life into river
Yamuna which is next to the Taj (Court order dated May 10, 1996 and August 30, 1996).

Green belt as recommended by NEERI will be set up around Taj.

The Court suggested to the Planning Commission by order dated September 4, 1996 to
consider sanctioning separate allocation for the city of Agra and the creation of separate cell
under the control of Central Government to safeguard and preserve the Taj, the city of Agra
and other national heritage monuments in the TT.

All emporia and shops functioning within the Taj premises have been directed to be closed.

Directions were issued to the Government of India to decide the issue, pertaining to
declaration of Agra as heritage city, within two months.
Steps taken by ASI: The preservation, conservation and restoration work of Taj Mahal is done
by the Archaeological Survey of India (ASI). Its experts have been applying Fuller’s earth packs
(Multani Mitti) on the Taj since 1994. The marble mausoleum had been given this treatment
several times in the past, including in 2001-02, 2008-09, 2012 and 2014. Before 2014, this
mud pack was applied on minarets, the passage and the level from which the main dome rises
as said by MK Bhatnagar, of the science branch of ASI, Agra. In 2017, the main onion dome
was treated with mud as well. Certain measures are taken so as to prevent the mud from
drying up soon, use of polythene sheets which is wrapped around the paste along with green
nets to prevent sunlight is done. When the layer of dried clay starts falling, the walls are
washed with distilled water.
Fuller’s earth packs are quite
effective, non-abrasive
and non-corrosive. They
remove sticky pollutant
deposits on the walls and
crevices of the monument.
Once cleaned, the surface
doesn’t require treatment for
6-7 years. This method has
been successfully used in the
UK and Italy as said by MK
Bhatnagar.
AJANTA CAVES, AURANGABADH

Introduction
Location: Aurangabad District, Maharashtra, India

Built in: 2nd Century BC to 480 CE

Architecture Style: Rock-Cut Buddhist Cave Architecture

The caves consist of 36 identifiable foundations, some of them discovered after the original
numbering of the caves from 1 through 29. The later-identified caves have been suffixed with
the letters of the alphabet, such as 15A, identified between originally numbered caves 15 and
16. The cave numbering is a convention of convenience, and does not reflect the
chronological order of their construction.

The site is a protected monument in the care of the Archaeological Survey of India, and since
1983, the Ajanta Caves have been a UNESCO World Heritage Site.

Preservation of Paintings found in Ajanta Caves

Ajanta Caves consists of paintings of tempera technique on a mud/lime plaster in India. After
it was rediscovered in 1819, Ajanta attracted hordes of eager copiers, who applied many kinds
of varnishes to brighten the colour enough to copy the paintings, thereby causing a long term
impact on pigments and plasters. Many physical-chemical conservation measures were also
carried out by international/Indian conservators to evolve and develop a suitable
methodology for painting preservation. After taking over in 1953, the Archaeological Survey
of India gave highest priority and setup an expert panel to regulate and suggest ways and
means for the preservation of the Ajanta murals.

Copying the painting

Kampo Arai a Japanese Buddhist painter, who was associated with the copying of the Ajanta
paintings, visited India in 1916 to teach Gurudev Rabindranath Tagore Japanese calligraphies.
He also worked in Ajanta Caves where the use of rice starch glue was used to examine the
wall as so to make sure if won’t fall. After that to trace the painting, a Japanese paper was
placed on the wall and foroge-utsushi (method used by Japanese painters to produce a copy)
was done to create copies. The use of glue to stich the paper was avoided so as to not cause
any harm to the wall. The reproduction copies were stored at the Tokyo Imperial University
but were destroyed by fire during Taisho earth quake.

During the course of copying the paintings, various artists applied varnish with an aim of
brightening the colours and protection the paintings against dampness. After a period of time
it was observed that the varnish had flaked off from all parts carrying with it the paint. In 1919
A. Foucher a Buddhist scholar quoted that varnish and smoke has resulted in darkening the
colours of the paintings.

Preservation and Restoration of the paintings done in early 20th century

Three principal causes of the ruin of paintings as derived by the Italian restorers of
1920-21 led by Prof. L. Cecconi were:
i. The insects generated by vegetable matter mixed in the mud plaster
ii. Percolation of rain water along the surface of the rock wall and
iii. Roosting of bats along the edges of ceiling and wall with the paintings.

Based on the above, the Italians devised a scientific method of treatment for the
Paintings. For the removal of the old dark varnish, the Italians tried alcohol, either alone, or
with turpentine. L. Cecconi also favoured the use of much diluted caustic soda, alcohol and
few drops of hydrochloric acid. Cecconi’s method also consisted
of liberal use of shellac in alcohol, or gum dammar in turpentine
as fixatives of pigment. Where the colour was seen to be
peeling off, a very dilute solution of gum dammar was applied
until the pigments were fixed. Finally, the surface was gently
pressed down with a spatula.

For fixing detached patches of paintings, L. Cecconi used the

following methods:
i. Injection of casein in lime where the gap was narrow.
ii. Filling with plaster of Paris or lime, fine pozzolana where
the cavity was large. Figure 1. Painted figures in cave
iii. Fixing of copper nails in dangerous parts for supporting no.17 with copper nail
the coarse plasters.
 iv. Strengthening of the plaster by sticking strips of linen on the surface with hot gelatin
and removal of the linen by means of hot water, after the parts were secured to the
wall.
v. Liberal use of unbleached shellac, dissolved in alcohol for general preservation.

Major structural conservation measures, in the form of improvement of drainage and other
protective measures were also executed during that period. Five drains to cope up with a
run off of 4 inches per hour of rain water, with a slope to develop a velocity of 4 to 6 ft. per
second were constructed on the top of the cave. A zinc drain was also inserted in the inner
aisle of cave no 1 to drain out water from the important paintings of Padmpani & Vajrpani.

Preservation of the paintings done by the Archaeological Survey of India (1954)

i. One of the first tasks of ASI was to remove the shellac coat that had turned yellow or
even dark brown, covering the original colour of the paintings. Based on long
thorough experimentations, asuitable mixture of solvents which was useful was made
consisting of: acetone - 1 part, diacetone alcohol - 4 parts, amyl acetate - 1 part,
cellosolve - 4 parts and morphline – a few drops.
ii. Turpentine or petroleum spirit was used as a restrainer. The coating material removed
with cotton swabs during cleaning showed the presence of mastic and, in some cases,
copal varnishes in addition to shellac.
iii. These varnishes were probably applied by the many previous copiers of the paintings.
The Italian restorers of 1920 were not able to completely remove this earlier varnish
coat before their own application of shellac. Due to repeated applications of varnishes
in the past, some of the materials seeped into the cracks. Initially, during the chemical
cleaning work when the solvents were applied, the coating on the surface was
removed and the paint layer seemed to have regained its original look.
iv. However, in a few days’ time a thin whitish deposit called chalkiness appeared on the
cleaned surface of the paintings. After observing the chalk like deposit and properly
cleaned paint under microscope. The pigments were found to be intact and the
whiteness was found to be only a superficial deposit. It was revealed that whiteness
occurred because of the breakdown of particles of shellac, which no longer a cohesive
film was transmitting light. When the last trace of varnish was removed and the
cleaning was complete, the chalkiness no longer appeared.
v. During the course of works it was also found that Di-methyl formamide was most
suitable in the removal of copal varnishes.
vi. Grease and oil matter was removed with solvents like benzene and toluene.
vii. For the removal of soot from the paintings, tri-ethanol amine mixed with other
neutral solvents was found suitable, but they have to be used by very experienced
hands, with lot of care and precautions, taking due care not to lose any grain of black
outlines, black colours of the original painting, which are also carbon based. At the end
of the cleaning, all traces of tri-ethanol amine are removed with toluene and
subsequently the area is flooded with restrainers such as turpentine.
viii. Sometimes, it was found that the paint surface was too fragile to be cleaned by
normal methods. In such cases a filter paper sheet, soaked in the solvent mixture
was applied over the surface and kept in contact for about 10 minutes. The sheet
was covered with tin foil to slow down the evaporation of solvents. When the filter
paper sheet was removed at the end, it was found to have absorbed the dissolved
varnishes. After the surface has dried, a second application may be made and the
process is repeated until cleaning is complete.
ix. In some places, particularly the upper portion of the wall, the white deposits occur,
due to remnants of bat droppings. A combination of extremely carefully mechanical
methods and a selective use of alcoholic ammonia solution (5%) was used to remove
those deposits.
x. For the preservation of chemically treated painted surfaces, polyvinyl acetate in
toluene, ethylene-di chloride and ethyl alcohol mixture was employed in 1-2%
strength. Poly methyl methacrylate was limitedly tried, as it was found that under the
tropical conditions, prevailing at Ajanta, it may tend to become insoluble, after
exposure to the atmosphere. In view of that and to its marked tendency to attract
dust, it was also not employed in the fixing of the pigments. Instead, surface
impregnation with thin dilute solution of poly vinyl acetate was carried out.

Steps were also taken to preserve the paintings from biological impacts caused by micro-
organisms and bacteria that were carried in from visitors. The dampness caused because of
rain is also studied and various methods were implemented to prevent it from damaging the
paintings. Many more studies were made to understand the temperature and humidity in
the caves and also illumination of Mural paintings.

As for today, before any new preservation and conservation work, a detailed study about all
past conservation techniques and treatments that were carried out is done before drafting a
new plan.
THE GREAT STUPA AT SANCHI

Introduction
Location: Madhya Pradesh, India

Built in: 3rd Century BCE

Built by: Emperor Ashoka from Maurya Empire

Architecture Style: Buddhist Architecture

The Great Stupa at Sanchi consists of a simple hemispherical brick structure built over the
relics of the Buddha. It was crowned by the chhatri, a parasol-like structure symbolising high
rank, which was intended to honour and shelter the relics. In the 1st century BCE, four
elaborately carved toranas (ornamental gateways) and a balustrade encircling the entire
structure were added. The Sanchi Stupa built during Mauryan period was made of bricks.

Preservation of the Stupa

The 1st initiative of the conservation and preservation at Sanchi was undertaken by H.H. Cole
in 1869. During this time, a massive project of copying, photographing and replicating of the
Sanchi monuments took place along with the restoration of the structures. Concerted
attempts were made by the British government in India from the 1880s to preserve the
ancient site of Sanchi.

During the 1st phase of conservation and preservation, various wrongful attempts were
undertaken which further led to displacement of several smaller stupas around the main
stupa to accommodate the construction of a road leading up to the main monument. The
restored southern gateway’s lintels were placed front-to-back. These mistakes were never
reversed for the fear of damaging these structures further.

The 2nd phase of preservation was under the supervision of Mr. Cook, State Engineer at Bhopal
in 1904. During the restoration work pillars and coping stones (the highest stone in any
architectural structure) of the main railing around the Great Sanchi Stupa were destroyed or
removed along with the inscriptions of the names of the donors on them.

The Bhopal state funded the next phase of restoration and preservation project of the Sanchi
site undertaken by John Marshall, the Director General of Archaeology in India, between 1912
and 1919. He spent this time undoing the terrible damages that had reduced most of the
stupas to a rubble at the site. A small on-site museum was instituted by Marshall at the foot
of the hill. It was devoted to the care and preservation of antiquities that lay scattered around
the site. The Bhopal Durbar extended full support in this matter as the Begum of Bhopal
entirely financed the construction of this museum.

In a survey conducted by ASI in 1995-96, a leak was noticed in the Stupa during the rainy
season. After thorough inspection it was noticed that a tree trunk had got in to the crevices
of the middle part of the Harmika part and binding material of the stupa was dead.

Recess pointing along with grouting was done to conceal the gaps which has been created in
course of time after 1912-1919 conservation work at Stupa no.-1. The ancient technique of
making Lime plaster was studied and a
mixture was made by also adding Bel,
Gurh, Menthi and Udath dal etc. This
lime plaster was used to seal all the
pockets which were resulting in water
leakage during rainy season. All weep
holes were cleaned properly, so that the
percolated water will come out easily.
The cement mortar which was used for
mending the railings of the
Figure 2. Reliefs on the ground railing of Stupa II at Sanchi. Source:
pradakshina patha was carefully "The Monuments of Sanchi", John Marshall and Alfred Foucher, 1902.
removed and was replaced with
epoxy and stone dust.
NAGESHWAR TEMPLE, PUNE

Introduction
Location: Nagesh Peth, Pune, Maharashtra, India

Built in: 13th - 17th Century AD

Architecture Style: Hemadpant Yadava structure and Maratha Architecture

Materials Used: Basalt Rock, Teak Wood

Use: Shiva Temple.

The main shrine of the temple is a typical Yadava structure. Several renovations and additions
have been made the temple over the years. The major one being in Peshwa period. The Sabha
Mandap is built in the Peshwa period by a moneylender Aba Shelukar.

The temple complex is a Cluster of various temples which includes the Main temple,
surrounding shrines, a Shiva temple, Lord Vishnu temple, Lord Hanumana temple and Lord
Dattatreya’s temple. The temple is now surrounded with an urban fabric but still stands out
with its unique values.

It is declared as a protected monument by State ASI. Hence there was a need to preserve and
conserve this cultural property.

Preservation and Conservation of the temple

Before deciding a plan for conservation and preservation of the structure, a proper recording
of prime building and the entire precinct were carried out to of all existing details. Non-
destructive testing of all structural members both timber and stone were carried out to
understand the location and degree of deterioration in order to identify the structural
problems affecting the longevity of the structure.

Alternatives available for proposed action through a combination of repairs, redesign were
examined each of the intervention areas. Finalization of selected options to prepare a flexible
and phased program of implementation was decided as the functioning of the Temple with
all its rituals was not stopped during the period of execution.

The first step towards the Preservation effort started with stopping further deterioration. This
included removing vegetation growth on the structure and peripheral walls. The second step
was to take action to reconstruct areas which were in an unsafe and dilapidated condition.
These included the side structures, Shikhara of the main temple and adjacent smaller shrines.

The sabhamandap of the main temple had tilted due to deterioration in the structural
members and lack of proper anchoring. The same was pulled and anchored in position with
additional structural arrangement. The wooden framed structure of the main temple was
strengthened and deteriorated wooden sections were replaced.

The next step was to reinstate areas which had undesired interventions by way of extra
construction, painting over original walls, etc. to its original status, excavating the filled
up water body (kund), steel grills and fabricated doors, etc. There were several examples of
wall paintings, wood carvings and iconography which had been covered up or badly damaged.
The same have been reinstated in its original state using same material. The wooden false
ceiling which was damaged was reinstated using original material itself.

The last phase of the exercise was to

look at the entire precinct around the
temple complex and treat the same
by way of Signage, lighting, street
furniture, public seating spaces,
public convenience, etc. to further
enhance the area. Preservation and
Maintenance measures and
timetable was also made so as the
keep the building in the best state.
VISHRAMBAGH WADA, PUNE

Introduction
Location: Sadashiv Peth, Pune, Maharashtra, India

Built in: 1807 AD

Constructed by: Bajirao Peshwa II

Architecture Style: Wada Architecture

Materials used: Basalt Rock, Wood, Baked Bricks

Use: Originally built as a residence for Peshwa Bajirao II, later converted into an Education
centre for learning Sanskrit by British and is currently used as a Palace open to public and also
consists of Post office and other Municipal Offices.

The area of the Wada is a total of 20,000 sq. ft. The structure is divided into three parts
around three courtyards which are divided according to the use as public, semi-private and
private area of the residence. The structure is famous for its fine entrance and the wooden
balcony known as meghadambari with carved woodwork.
Preservation and repairs done in the Wada

The project for preservation and

restoration of Vishrambagh Wada
was taken by PMC under Heritage
Corridor plan in 2004. The
government initiated the project
involving various specialized people
to be involved and to provide
proposals for restoration.

Before providing any proposals a

through scientific research and
testing were done. Bricks were tested in the laboratories to know the composition of the
bricks. The visual observation technique was carried out by experts. Deficiencies were
identified including external damage, decay, presence of severe cracks and splits. Checking of
foundation, walls, floors and roof were also carried out.

The preservation and restoration work was carried out in 3 stages. The 1st step was to restore
the third courtyard and then the second one. The open area of the first courtyard was cleared
from new temporary interventions. The damaged flooring of the passage around the second
and third courtyard were replaced using the similar kind of basalt stone as used in the original
structure.

The wooden flooring on the 1st floor was repaired and the decayed wooden columns were
replaced by new portions of Burma teak wood joined with help of metal plates and was later
polished by linseed oil.

The roof of the Wada was in much bad condition. The

roof structure was dismantled, retaining much of the
original materials and replacing the decayed timber
truss by new members and the broken roof covering
was replaced by new clay tiles.

The original lime plaster which was damaged due to

weathering was removed and a similar lime plaster of
the original colour was reapplied.
The external wall was which was exposed brick façade was brought back to original keeping.
The Meghdambari which is the balcony on the eastern façade was restored and preserved in
to is original style which consisted of Bengal style roof and detailed carvings. For regular
preservation and maintenance a plan was drafted.

Items of structure, paintings and decorations which

formed an integral part of the monument were
removed with a sole means of ensuring their
preservation. The decorative elements of the
building like the brackets (peacock head motifs),
columns and entrance doorways were preserved
and conserved o its original self by providing
necessary measures.

Although Vishrambagh Wada has changed over the

time, its journey has been interesting so has its
conservation. Since it has been restored twice in
different periods, it sees different styles of
restoration done. The recent work which was done
in 2004-2005 seems to have followed a channel
where a lot of its authenticity and the original fabric
is tried to be preserved.
REFERENCES:
i. M.C. Mehta v. Union of India, 1986 – Taj Trapezium Case – Case Summary (October 1,
2018)
ii. Muddy makeover of the Taj -Governance Now
iii. Pollution of the Taj Mahal (careeranna.com)
iv. Report on “Chemistry of preservation of Ajanta Murals” for International Journal of
Conservation Science done by M.Singh.
v. Sanchi Monument: A Rediscovery | INDIAN CULTURE
vi. ARCHAEOLOGICAL SURVEY OF INDIA BHOPAL (asibhopal.nic.in)
vii. Nageshwar Temple | Pune Municipal Corporation (pmc.gov.in)
viii. Restoration of Nageshwar temple to take at least another year, says architect | Cities
News,The Indian Express
ix. Vishrambaug Wada Cultural Centre | Pune Municipal Corporation (pmc.gov.in)
x. Report on “Conservation and site management plan of Vishrambagh wada, Pune” by
Soumita Smarth
xi. Report on “ Wada Architecture of Maharashtra” Preservation of Maharashtrian
Cultural Heitage done by Anushree Kulkarni