First Steps in Manuscript Conservation
When I began my internship at Heritage Preservation Atelier Pvt. Ltd. (HPA) in January, I stepped into a world of hands-on learning and responsibility. My first project was a manuscript already undergoing treatment. Its deacidification process was in progress, giving me an early opportunity to take part in conservation work.
Deacidification introduced me to the care involved in handling fragile paper. Each sheet was carefully supported on both sides using Bondina during immersion in a chemical-water solution, then left to air dry. This first experience was both surprising and fascinating, revealing how much attention even a single treatment stage requires.
As treatment progressed, I learned about tape removal and mending. Seeing tape removed without damaging the fragile paper beneath, and torn sections carefully rejoined, helped me appreciate the precision of conservation work.
Learning Across Materials and Objects
While the manuscript remained under treatment, other objects in the laboratory required attention, and more continued to arrive. These included:
- A couple of paintings
- A camphor wooden chest
- A historical map
- A Punjab Police uniform complete with buttons, medals, insignia, and sword
Working hands-on with different types of objects broadened my experience of conservation techniques. Alongside treatment, I learned to prepare condition reports and record treatment steps with accuracy and care. Documentation became an important part of my learning, connecting each intervention to the object’s condition.
From Internship to a Major Painting Conservation Project
After completing my four-month internship, I continued at HPA as an Assistant Conservator. Soon, I became involved in a significant project: the conservation of a large painting by Kirpal Singh from the Government Museum and Art Gallery, Chandigarh.
At first glance, the painting appeared almost impossible to restore. It was brittle, heavily cracked and in very poor condition. A Japanese tissue layer had been applied nearly 30 years earlier as a preservation measure, but the paint beneath was already flaking at the time. Its condition had continued to deteriorate, making the removal of the tissue itself a major challenge.
Stabilising a Fragile Paint Surface
Once the tissue layer had been successfully removed, the next challenge was the fragile surface beneath. There was almost no adhesion between the paint layer and the canvas. We used a conservation-grade adhesive, injected beneath the paint layer, to consolidate the flaking paint and help prevent further loss.
Where paint had already flaked away, the team prepared and applied a conservation-grade filling to stabilise the affected areas. After drying, these areas were in-painted using earth pigments mixed with Paraloid B72 as a binder, to match the original artwork.
A Journey of Learning and Care
Watching the painting regain its form through successive stages of treatment was deeply satisfying. Contributing to its conservation while learning at every stage became a valuable part of my journey at HPA—from my first encounter with manuscript treatment to the challenges of a fragile painted surface.
Working under the guidance of Ms. Namita Jaspal and assisting in these treatments has been invaluable to my growth as a conservator. My experience at Heritage Preservation Atelier Pvt. Ltd. has shown me how careful treatment, accurate documentation and hands-on learning come together in the work of preserving heritage.
Shagun