Extent of damage in wall paintings (Darbar Saheb Ji)

Since the paintings were created by Bhai Atma Singh directly over the paintings done earlier by Bhai Gyan Singh, the grip or binding to the ground (earlier painting was serving like ground layer) was minimal and there was huge amount of flaking. The paintings of Bhai Atma Singh were in turn over painted by different people in an attempt to arrest or hide the flaking!
So, the problems were many, but some people in our team were enthusiastic learners. One day i got a call from my team members regarding their inability to consolidate with the method that i described earlier, and we discussed the condition on phone itself and i just gave instructions about injecting a specified percentage of a conservation grade resin. Before i reached Darbar Saheb ji, the work was already done successfully with full photo and video documentation (I stressed on video documentation specially when i was not there). This is not some simple routine activity, experiences like this boost the confidence. This one activity encouraged rest of the team members to try it.

Gauri confidently worked on the panel (shown in the picture) which was heavily over-painted by different people in the past.

Noor Jahan worked on another challenging panel which had extensive amount of flaking.

 

 

I love these girls for the positivity they exuded and they never let it spoil their head. They are very down to earth and at the same time classy and with good taste of style.
There are many more stories to be shared with all good intentions of coming out of our ‘me/I’ thing (that was a bit more prominent in the earlier post)…

Author: namitajaspal
Namita Jaspal, with inherited skills of art and aesthetics and passion for science, opted to pursue post- graduation in ‘Conservation of Cultural Property’ after her graduation in Science from Delhi University in 1992. Four year intense training at National Museum Institute provided the right foundation to start a career in Conservation. She is currently practicing conservation consultancy for Heritage property including monuments and collections. She has been doing independent research in conservation techniques and procedures in Indian context. She is currently working on the conservation of wall-paintings of Sri Harmandir Sahib Ji (The Golden temple at Amritsar. The project is nearing completion and getting a lot of appreciation for the organized and ethical treatment it is providing. It is for the first time in the history of Sri Harmandir Sahib Ji (The Golden Temple) that wall painting conservation and preservation is being done in a scientific manner, keeping the codes of Ethics into consideration while decision making. Another project just completed is of the Conservation of Krishna Temple at Kishankot, Gurdaspur, Punjab. In her private Conservation Laboratory, she is not only providing onservation services, but also mentoring young aspiring conservators and archaeologists by the way of training and paid internships. She has been a guest lecturer at DIHRM (Delhi Institute of Heritage Research and Management). With all the updated knowledge database and innovative practical approaches relevant to the Indian conditions, she could successfully do curative and preservative treatment of very old textiles like a nine feet long flag from nineteenth century that is regarded as priceless memorabilia of second Dogra regiment at Chandi Mandir, and four hundred years old (seventeenth century) Chola Sahib Ji of Sixth Guru of Sikhs, Sri Hargobind Sahib Ji. Apart from this she has done conservation of Photograph collections, archival records, numerous paintings, manuscripts and other cultural objects. She is also involved in preparation of up-gradation proposals for museums and such organizations. Her expertise includes Conservation and preservation technologies and procedures for conservation of varied material like wall paintings, paper, photographs, textile, ceramics, stone, metal and archaeological objects.

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