3.4. The Nako Gompa and its Conservation and Preservation

Krist, Gabriela; Schmidt, Kathrin

doi:10.7767/9783205203674-015

Cited by 2 publications

(6 citation statements)

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“…Today, this original work only survives in very limited areas of the lower section of the wall, while the middle and upper sections have been completely overpainted. Here it is also clearly visible that this overpainting itself is the product of various periods, and therefore the overall appearance of the apse is quite heterogenous (Krist 2007 and.…”

Section: Wall Paintingsmentioning

confidence: 87%

“…As well as this system there are also typical structures of horizontal cracks, which can be localised at different heights and only affect the layers of plaster and paint and are the result of settling of the wall substance (Krist 2007(Krist , 2008(Krist , 2009 Cracking occurs on the sculptures largely in areas in which the figure itself is instable, where the unfired clay reacts to stresses in the joints by forming cracks (fig. 224) (Perwög 2009: 56-60;Pöllnitz 2009: 30-7).…”

Section: Cracksmentioning

confidence: 99%

“…work at Nako" during the in situ campaigns between 2007 and 2009 (see Krist 2007Krist , 2008Krist , 2009 and the digital catalogue.) Many parts of the coping are missing, particularly in the areas on which the ceiling beams rest due to the sinking of the whole ceiling structure.…”

Section: Cracksmentioning

confidence: 99%

“…Flaking of the fine plaster, often including the ground and paint layers (figs 225 and 226), is another form of damage, which occurs quantitively most often, particularly at the edges of the walls and in areas near the ground (Krist 2007(Krist , 2008(Krist , 2009.…”

Section: Cracksmentioning

confidence: 99%

“…Typical are the differing consistencies: either extremely soft and crumbly, or very hard and crusty. However, the thin secco painting is extremely affected by water penetration; even small amounts of moisture caused clearly developed losses of the paint layer (Krist 2007(Krist , 2008(Krist , 2009.…”

Section: Water Damagementioning

confidence: 99%

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Nako

2016

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Beginning my introduction to our Nako-book, which has been in preparation for a long time, with Francke's famous quotation (1914 I :32) indicates how much I felt like him, the great researcher and world traveller, when I approached Nako for the first time in May 2005. When we arrived after our long journey from New Delhi in jeeps from Rampur, the drivers wished to smoke a last cigarette on this very final and hazardous leg, about 40 km from the Sutlej River Valley on the National Highway 22, always climbing up and up in never-ending curves-I called it "the long and winding road…" after the famous Beatles song. We were standing on a stone block in the middle of nowhere with the most incredible view to the Himalayan mountains and it was breathtaking. Never before and never since have I had this feeling of being so far away from home, in a completely different world, not mine but very close to my heart-a child's dream came true. A heavy snowstorm was our welcome at Nako, cold rooms, frozen water at the newly opened Reo Purgil Hotel, the top address in the village, and a nearly 10-year-long adventure began.What awaited us the following day, when we first entered the Nako Gompa, was even better. The four temples around the courtyard offered an unspectacular view from the outside, but what could we see in the dark interiors? Fine, delicate wall paintings together with clay sculptures and colourful polychrome wooden ceilings formed the most beautiful cultural ensemble ever seen. We knew that it would be hard, but a privilege to work here.Since then, that first exposure to a new culture and region, much has changed. We came every summer from 2004-2010, and Nako had a strong and sustainable impact on all of us, not only professionally but also personally. We gained our own experiences, met friends, learnt about the hard mountainous life and got involved in the most stimulating, most difficult and challenging conservation project ever.Ernst Bacher, the Conservator General of the Austrian Bundesdenkmalamt, brought us to Nako. He was the chairman of the "Nako Research and Preservation Project", which started in 2002 and was directed by Deborah Klimburg-Salter. Bacher had the difficult task of establishing a conservation masterplan for the Buddhist temple complex at Nako, the team around Klimburg-Salter was responsible for art-historical research, Romi Khosla, the chief architect, involved for architectural conservation and we-the Institute of Conservation of the University of Applied Arts Vienna-received the opportunity and challenge to undertake the preservation and conservation of the temple interiors. The Austrian Science Fund (FWF) granted our project "Scientific Study of the Artwork at Nako 2007-2011" (L335-N19) which enabled us to carry out first conservation research, laying the foundation for the subsequent conservation work. In the framework of two dissertations, three diploma theses and four undergraduate theses, important aspects of the building and artistic materials and techniques used at Nako were studied and ...

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Section: Wall Paintingsmentioning

confidence: 87%

Section: Cracksmentioning

confidence: 99%

Section: Cracksmentioning

confidence: 99%

Section: Cracksmentioning

confidence: 99%

Section: Water Damagementioning

confidence: 99%

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