Conservation at the Red Fort – New Delhi 2003Conservation at the Red Fort, Shahjahanabad, New...

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Conservation at the Red Fort – New Delhi 2003 table of contents: Removal of 'Restored' Plasterwork and Replastering Rang Mahal Khas Mahal Inappropriate Plasterwork Rang Mahal Shah Burj Inappropriate New Use of Historic Structures Mumtaz Mahal Continuing Damage to the Historic Fabric Diwan-I-Khas ceiling Khas Mahal inlay Damage Due to Water Ingress Shah Burj Protection Urgently Required Khas Mahal 'Scale of Justice' Jali Reconstituted Features Bakhsh-I-Hayat Shah Burj

Transcript of Conservation at the Red Fort – New Delhi 2003Conservation at the Red Fort, Shahjahanabad, New...

Page 1: Conservation at the Red Fort – New Delhi 2003Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 13 Even now, after the PIL, work on-site is being carried out in an ad-hoc

Conservation at the Red Fort – New Delhi 2003

table of contents:

Removal of 'Restored' Plasterwork and ReplasteringRang MahalKhas Mahal

Inappropriate PlasterworkRang MahalShah Burj

Inappropriate New Use of Historic StructuresMumtaz Mahal

Continuing Damage to the Historic FabricDiwan-I-Khas ceilingKhas Mahal inlay

Damage Due to Water IngressShah Burj

Protection Urgently RequiredKhas Mahal 'Scale of Justice' Jali

Reconstituted FeaturesBakhsh-I-HayatShah Burj

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Work currently in progress

(after media reports) to

strip the facades of the Khas

Mahal of recently 'restored'

plaster-work,

Photos courtesy S Makhija, 21 Oct. 2003

Removal of 'restored' plaster-work... Khas Mahal

No precautions taken to

protect the marble jali

during this large scale

operation.

Severe, irreversible damage is being

caused to the structure's brickwork

and historic surfaces by this rash use

of inappropriate tools and techniques

(see next page for details)

structural brickwork

being reduced to

rubble once again

(details of damaged

material overleaf),

and left exposed

until recently.

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The hurried pace and heavy-

handedness of work is

irreversibly damaging the

original Mughal Lakhori brick

underneath the faulty plaster.

detail of multi-layered historic

plaster from Shah Burj.

Photo courtesy S Makhija, May 2002

above: detail of fragment from the

debris hacked out from the recently

'restored' north facade of the Khas

Mahal

sandstone

intermediate layer

top render

of fine plasterto take pigment

base layer

containing brickaggregate,to create form

Removal of 'restored' plaster-work... Khas Mahal

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No precautions taken to

protect the marble jali during

this large scale operation

Replastering Khas Mahal

the second layer of mortar on these walls in the last year

(these works commenced in october 2003, after media reports)

Photos taken October 29 2003.

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Similar work in progress to remove the recently

'restored' plaster-work on the North facade of

the Rang Mahal, after initial media reports.

That this recent plaster 'restoration' is being

rashly undone and redone, below, indicates a

cavalier approach to restoration.

Photo courtesy AGKMenon3 Oct. 2003

Removal of 'restored' plaster-work... Rang Mahal

Photo taken Oct. 29 2003

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inappropriate plaster work Rang Mahal

Eastern, river-facing facade

On the face of it...

this structure has been restoredto match traces of its former glory.

A closer look reveals...

cosmetic alterations and additions, obliterating originalgeometry, worksmanship, and aesthetics.

during the time of these works, a request for scientificprocedures to be followed was made directly to theminister, on-site. An appeal was made that action on thissite must be preceded with a detailed conservationmanagement plan, which respects the integrity, precision,quality construction and exquisite design inherent to thisMughal masterpiece.

after restoration (may 2002)

before restoration (Jan 2001)

photos courtesy: S. Makhija

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inappropriate plaster work Rang Mahal (detail)

Eastern, river-facing facade

before restoration (Jan 2001)

after restoration (May 2002)

necessary action

for water disposal

inadequately

attended to.

quality of restoration, and an understanding of the

underlying geometry that formed the rationale for

elements of Mughal construction, are lacking.

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No effort to scientifically consolidate the

historic plaster has been made.

Both examples illustrate that the profiles

created in the new rendering do not relate

in geometric precision to its own historic

precedent.

This work should have been preceded by

accurate studies to analyse the precise

profiles, materials and workmanship

required to match the original.

inappropriate plaster work Rang Mahal (east facade)

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more evidence of the restorers'

ignorance of the geometric &

aesthetic bases of Mughal

architecture and ornamentation.

Photos taken Oct. 2003

the southern facade,

facing the Mumtaz mahal.

inappropriate plaster work Rang Mahal (detail)

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inappropriate plaster work Rang Mahal (details)

Photos taken Oct. 2003

further details...

revealing crass plaster rendering

of the symmetry and proportions of

the typical flower finials that

crowned these Mughal arches.

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inappropriate plaster work the Shah Burj

It is totally unacceptable thatthe conservation work shoulddestroy the precision of thehistoric fabric, and not utilizearchitectural documentationskills prior to undertaking theintricate task of replacing it.

A cruder version, using approximations by eye to replace the complex and

precise multifaceted geometric form of the historic plaster work.

Photos courtesy S Makhija; top: May 2002, bottom right: October 2003

Replacement of the orignal material is thelast option and may be exercised only afterconsolidation of the original is carried outby extremely ski l led craf tspersonssupervised by qualified and technicallysound conservation professionals, that areavailable in India.

Till the process of scientific documentationis completed and the appropr iateconservat ion methdology is speci f ied,responsibility rests with ASI to protect thehistoric evidence.

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in the Mumtaz Mahal

at the present Archaeological Museum,

traces of the original frescoes are

revealed through 'windows' in the

extensive whitewashing, which

contravenes all norms of conservation.

additionally, the quality of displays

does not befit a monument or a

collection of such importance.

inappropriate new use of historic structure

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Even now, after the PIL, work on-site isbeing carried out in an ad-hoc manner,which must be stopped immediately.

it is not based on scientific research oforiginal design, material, or constructiontechniques.

A detailed plan based on the findingsfrom the historic fabric prepared by amultidisciplinary team is an imperativeprerequisite to such an exercise.

This entails a clear definition of thedocumentation processes, identification ofthe skilled human resources, enumerationof material specifications and techniquesto match and respect the original designand construction, illustrated here.

continuing damage to the historic fabric

urgent need for a stay on further work

gilded & painted gesso work

on Diwan-i-Khas ceiling,

showing on-going

interventions.

Details overleaf.

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historic state

degraded state

readied for renovation

continuing damage to the historic fabric

urgent need for a stay on further work

Diwan-i-Khas ceiling

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Inlay work in Khas Mahal

Rapid interventions are

in progress in the Khas

Mahal to replace the

work of earlier

restorers.

The ad-hoc work is not being

scientifically documented.

an evaluation by master-craftsmen

and autonomous experts is urgently

requested (Pending a conservation

management plan & all it entails)

Photos taken Oct. 29 2003

continuing damage to the historic fabric

urgent need for a stay on further work

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Inlay work in Khas Mahal

Inlay restoration carried out

during the colonial period,

especially restoration with glass,

is part of the historic fabric and

eligible for protection.

It is being removed and replaced

with inappropriate materials and

workmanship.

Crude trace-drawings used to cut stone profileslacking in finesse and an understanding of historicMughal precedents.

Extensive and incompatibleuse of adhesives

Photos taken Oct. 29 2003.

continuing damage to the historic fabric

urgent need for a stay on further work

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Inlay work in Khas Mahal

original

flower inlay

new inlaywork

inlay in green

glass from the

colonial period

with reference to

a poorly traced

drawing, the new

inlays are being

inappropriately

and crudely

assembled with

adhesives.

Photos takenOct. 29 2003

continuing damage to the historic fabric

urgent need for a stay on further work

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Pointing in white cement

at the source of the Neher-i-

Behist in the Shah Burj, the

pool was pointed with white

cement (a bag of which sits

beside the artisan, below)

Material analysis by an

independent conservationist

is requested.

in the Shah Burj pavilion

The Shah Burj, or royal tower, was used for theprivate council meetings that were part of the dailyroutine of the emperor. It was accessible only to theimperial princes, the vizier and a few importantcourtiers who had the emperor’s special confidence.Koch Koch Koch Koch Koch (2001) Mughal Art and Imperial Ideology, p.219

From the pavilion attached to the Shah Burj, waterdrawn from the river below would have flowed into a poolat the head of the Neher-i-Behist, and continued from thereinto the fort's complex system of waterways.

reproduced from PIL annexure P 7, pg. 101

continuing damage to the historic fabric

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Damage due to water ingress

Rash reactivation

of Water flow

leaks have developed on

the west wall of the Shah

Burj. This may lead to

other strcutural damages

due to water-seepage into

the plinth and foundation

of the structure. The

damage from this flow into

the stagnant Neher-i-Behist

will soon become evident.

Below, cement pointing and

other inappropriate

measures taken to block

these water leakages will

further damage the

historic structure .

photos courtesy: S Makhija21 Oct. 2003.

in the Shah Burj pavilion refer to annexure P 7, pg. 101 in the PIL

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Damage due to water ingress

in the Shah Burj pavilion

photo taken 29 Oct. 2003.

a week later...

the water flow is

halted

but the faulty

restoration and

cement pointing

retain dampness.

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One of the finest specimens

of Mughal lattice-work in

the country.

The screen carved with the scale of justice, partof emperor’s insignia, formed a transparentvertical boundary between two central arcadeverandas on the north and south faces. TheNeher-i-Bahist channel flowing below the screenbisected the open width of the Khas Mahal.This space, cooled by the water channel, seemsto have been a favourite spot of the lateremperors, who are often depicted in the courtpaintings with the screen of justice, silhouettingtheir profile amidst the hint of the breeze andthe prospect of a vista of marble pavilions.MukherjiMukherjiMukherjiMukherjiMukherji (2001) p.29

above: 19th cent. illustr. from Kaye (1980) p.75left: uncredited photo from a common postcard;left below: photo taken in 1997,from Mukherji (2001) p. 31

* The Khas Mahal, or special palace, wasthe emperors personal living quarters, withmultiple verandahs and chambers.Its parts were variously designated theKhwabgah, the House of Dreams or moreprosaically, the Sleeping Chamber; theTasbih Khana or Chamber of Telling Beads;the Toshakhana or the Baithakkhana, theRobe Chamber or the Sitting Chamber.

in the Khas Mahal*

protection urgently required scale of Justice Jali

reproduced from PIL annexure P 14 colly, pg. 106

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Photos at left courtesy: S Makhijataken 21/10/03

After the initial media reports,

the bricks precariously

supporting the severely

damaged Scale of Justice jali

have been partly removed.

The extent of loss is clearly

visible. immediate measures

must be undertaken to accertain

culpability, and protect and

conserve the remaining parts.

an investigation into the cause

of this damage is requested.

Photo below taken o9/03, allegedly twomonths after breakage.

refer to PIL annexure P 14 colly,

pg. 106

protection urgently required scale of Justice Jali

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details of damage,

with faulty patching

and propping-up.

Photos taken October 29 2003

protection urgently required scale of Justice Jali

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reconstituted features

New Fountainheads

Newly carved fountains have been

added in a denser and atypical

arrangement in the channel

flowing between the Sawan and

Badhon pavilions.

canals & pavilions

in the Hayat Baksh Garden

The Zafar Mahal stands in the centre of theHayat Baksh Garden, amidst fountains in apool where four canals converge.The south and north canals emanated fromthe small Sawan and the Bhadon pavilions.

The photograph above indicates their historic

form and placement. These photos document

successive generations: the older, with

weathered blue paint from a previous

beautification effort, sits unmoored beside an

inaccurate reproduction; fragments from

the succession.

Photos taken Sept. - Oct. 2003

in the Bakhsh-i-Hayat

Photo from E. Moynihan (1979) Paradise asa Garden In Persia and Mughal India, p. 136

reproduced from PIL annexure P 12, pg. 104

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These photos document successive generations:

the older, (with weathered blue paint from a previous

beautification effort), sits unmoored (placed alongside for

comparison) beside a grossly inaccurate reproduction that

has been made operational

Photos taken Oct. 29 2003

reconstituted features

Above: Detail from photo onprevious page, from E.Moynihan (1979) Paradise asa Garden In Persia andMughal India, p. 136

The photograph above

indicates the original

form of the fountain

heads in the Hayat

Baksh garden.

refer to annexure P 12, pg. 104 in the PIL

recently carved

fountainheads

older

fountainhead

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reconstituted features

New versions, below, lack the fine

proportions and depth of carving

in the original, above

Shah Burj Balustrades

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Bibliography

S. P. Blake - Shahjahanabad The Sovereign City in Mughal India 1639-173, Cambridge: Cambridge University Press (1993)

Crowe, Haywood, Jellicoe, Patterson - The Gardens of Mugal India,Delhi: Vikas Publishing House Pvt. Ltd. (1973)

Dube, Ramanathan - Delhi, The City of Monuments, New Delhi:Timeless Books (1997)

M.M Kaye (Ed.) - The Golden Calm,Devon: Webb & Brown Ltd. (1980)

Ebba Koch - Mugal Art and Imperial Ideology Collected Essays,New Delhi: Oxford University Press(2001)

Ehlers, Krafft (Ed.) - Shahjahanabad/Old Delhi Tradition and ColonialChange, New Delhi: Ajay Kumar Jain for Manohar Publishers (2003)

Joshi, Okada, Nou - Taj Mahal, Paris: Abbeville Press Publisher (1993)

MARG, Vol. XXXIX, No.1, Patrons of Art: The Mughals and the Medici,Bombay: MARG Publications.

Masselos, Gupta - Beato’s Delhi 1857,1997, Delhi: Ravi Dayal Publisher(2000)

E. Moynihan - Paradise as a Garden In Persia and Mughal India, NewYork: George Braziller, Inc. (1979)

A. S. Mukherji - The Red Fort of Shahjahnabad,New Delhi: Oxford University Press (2002)

Nicholson, Venturi - The Red Fort Delhi,London: Tauris Parke Books (1989)

G.H.R. Tillotson - Mughal India, London: the Penguin Group (1990)

Illustration credits

All uncredited photographs & images in these paperscontributed by R. Sethi & S. ChatterjeeCredited Contributors: S. Makhija, A.G.K. Menon