1 Report on Architectural Conservation

Introduction

Architectural Conservation simply is any action taken to prolong the life of a structure
and to prevent it from decay. The manmade structures will not always remain in the
same condition because of various factors such as weather, human activities,
movement of soil, earthquake, acid rain, vegetation etc. Hence, the conservation of
such structures is needed at certain interval of time. The methods used for conservation
ensures the prolongation of life of material, historical and design integrity of mankind.
Conservation motivates to regenerate what is lost or what has otherwise taken a
different form. The scope of architectural conservation consists of historical buildings,
ranging from the conservation of a whole town to preservation of a crumbling artifacts
and architecture.
A building holds multiple values which make it necessary to conserve the building. The
values are,
 Emotional Value
 Functional value
 Cultural value
 Historical value
 Archaeological value

Objectives

General objectives

 The general objective of this report is to inspect the monuments and understand how
lives of people are related to these monuments.
 To inspect the present condition of the monuments.
 To focus on the decays or damages on the monuments so that conservation can be
carried out.
 To study how building is changed over a period of time because of construction and
renovation.

Specific objectives

 To understand the essential characteristics of the monuments.

 To examine various elements of the monuments closely or in detail so that the quality
and correctness can be judged.
 For preventing further deterioration.
 For restoration of the monuments to its original form
 For rebuilding the collapsed parts of the monuments
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Methodology

First the monuments were visited and a brief observation was carried out and
photographs were taken. Various parts of the monuments such as roof, plinths, walls,
windows etc were observed. Basic measurements were carried out where possible.
Followings are other methodologies adopted,
 Site survey
Site was visited so that current conditions of the monuments could be inspected.
 Measured survey
In most cases it was not possible to go and measure the monuments but basic
measurement was done where possible.
 Historic Survey
For historic survey various places such as Lalitpur Archaeological department at Patan
durbar, Nepal Archaeological Department etc were visited and various books relating to
the subject matter were studied.
 Structure survey
How the building is build and what sort of technology is used were surveyed.
 Interview
Local people were interviewed so that cultural, ethical and emotional significance of the
monument could be learned.
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MATSYENDRANATHA TEMPLE
Tangal, Ta Bahal, Patan
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General

Style: Tiered temple

Storey: Three
Constructed: A.D. 1408
Renovated: A.D. 1966
Deity: Avalokiteshvara
Sect: Buddhist and Hindu
Recorded: A.D 1673
Present condition: Fair
Owner: Panju of Bungamati

Background and History

Also known by the name of Taha Bahal Avalokiteshvara, and Machendranatha,

the temple was probably build in 1408 A.D., although it may be somewhat later in origin.
It is a three-storey Tiered style structure which is sacred to both Hindus and Buddhists
of Nepal. Legend has it that the building was erected by Narendra Deva of Surya
vamshya dynasty and a great deal of myth has grown up around this site as one of the
most important temples in all Nepal. The story of its foundation stems from the visit of
Gorakhanatha, a disciple of Matshyendranatha, to Nepal. Upon his arrival he found that
little reverence was shown to him and in anger he sat on the snakes responsible for
rain, from which he refused to move for 12 years. As a result a terrible drought occurred
in Nepal. At last Matsyendranatha himself was brought from Kamapura in Assam so
that Gorakhanatha would rise to respect his Guru. When Gorakhanatha moved, the rain
quickly came to end the drought and in thanks to Matsyendranatha, Narendra Deva, a
prince of Patan, had the temple built and established a festival in his honor to take place
every year in the month of Vaishakha.
In another account the building is said to be originally Buddhist shrine dedicated
to Padmapani Lokeshvara. It is one of the few free-standing temples in Nepal with a
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clear history of Buddhist veneration. It is a good example of a monument equally

supported by Buddhist and Hindus today in a manner which is uniquely Nepalese.
The image of Matsyendranatha here is a roughly carved block of dark red wood
which is carried through the streets of Patan once every year in a Jatra called
Machindra Jatra which is one of the most important and popular festivals held in Patan.

ARCHITECTURE OF THE TEMPLE

Pinnacle
The shimmering pinnacle is of a particularly
attractive design, involving four small golden pinnacles
around one large central spire over which a multi-
staged golden umbrella is held by six curving supports.
This pinnacle design resembles that of Patan's
Mahavihara in Kva Bahal, but the umbrella support do
not appear to be snake forms as at Kva Bahal.

Roof
All three roofs are of gilded metal. The lowest roof supported by struts depict various
forms of Avalokitesvara, has a row of bells all the way round and around pot
hanging from each of the four corners. The ribs of the roof end in bodhisattva faces
and on each of the upturned corners of the roof is a bird with a fish in its beak. The
first story of the temple has one large window flanked by two smaller windows on
each side. The large window is open, the two
smaller windows each have a bodhisattva
face. The second roof is of gilded copper has
an inscription which has been disrupted,
pieces of old inscriptions being patched
together and not always in order.

C
Copper sheet of roof
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C
Corner of roof depicting a bird
with fish on its beak

Struts
The struts supporting the roofs depict various forms of Bodhhisattva Avalokiteshvara.
These 10 foot long struts depicting many armed deities are most impressive in place
beneath the overhanging roofs high above the ground.

Struts on the Machhindranath Temple

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Superstructure
The walls a r e load bearing and are similar to that of traditional newari temples.
The steps are flanked by stone lions lead up to each of the other three doorways of
the temple. Each of these doorways is surmounted by an elaborately carved wooden
torana depicting multi−armed and multi−headed deities. There is a window on the
ground floor above each of the doorways. Each window has the face of a deity in it.
The floor joists of the first floor all end with the faces of the yamadutas.

Front entrance with Guarding Lions

Plinth

This temple is not mounted on

a high plinth of three stages as might
be expected but only on a small
stone platform about 3 feet high, yet
does not supper loss of impact, as in
case of Bhimshen Temple in Patan,
because it is placed in a very large
courtyard which has temple as its
focal point.
.
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Entrance
The entrance side of the temple is faced by a bewildering variety of pillar-
mounted sculptures in bronze, most of which are of attendant animals and all of
which are excellently build. They are mounted no higher than 12 feet above the court.
Among these figures are a horse, fish, cobra, elephant, griffin etc. Presumably, these
figures have been donated at various times by devotees.
Less elegant additions to the temple are the utensils, water jars, and other objects
mounted under the eaves as offerings to thank the god after being cured of illness.

Pillar mounted sculptures in front of the main entrance of the temple

Other monuments in the courtyard of the temple

Behind Matsyendranatha is a small Buddhist temple attached to the continuous

walls of the court enclosure. There is a large plastered caitya which is placed in the
courtyard as evidence of Buddhist veneration.There are two Patis and a Jaladroni near
the temple.
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Jaladroni, a traditional water spout, near the

temple. This is no longer in use.

Two Patis near the temple, There is a Dabali infront of one of the patis. Both of
the patis are locked up and are used as store.

Bihar and Chaitya behind the temple

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Present Condition and Recommendations

1. Marble tiles are being used to cover the walls which seem to ruin the
beauty of the temple. It looks odd and doesn't blend with the style and
other elements of the temple. So Traditional building materials should be
used to renovate the walls and the white wall tiles should be removed.
2. The whole of the temple is fenced by a blue fence to protect it from the
thieves. Even though the intention to fence the temple is good, it is ruining
the image of temple so electronic surveillance system should be
introduced to protect the precious images and iconographies of the
temple.
3. The temple remains closed for almost six months of a year. During this
period efforts should be made to clean the temple which is filled with bird-
droppings.
4. The struts and other statues of the temples made up of woods are
decaying so efforts should be made to restore these elements.
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CHYASIN DEVAL
Mangal Bazar, Patan
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General
Location: Patan Durbar Square
Style: Shikhara Style
Storey: Three
Constructed: A.D. 1723
Renovated: After earthquake of 1934
Deity: Gopinath (Krishna)
Sect: Vaishnava
Present condition: Fair
Owner: Patan Durbar Samrachhyan

Background and History

Krishna, an incarnation of Vishnu, is one of the most revered and loved deities in the
Hindu pantheon of gods. One of the most famous and most spectacular temple in Patan
Durbar Square is Krishna Mandir. There are two Krishna Mandirs in the Patan Durbar
Square, both build from stone. Chyasim Deval is the unceremonious one, while all
religious rites and festivities take place in Krishna Mandir that lies opposite the Patan
Museum.
Chyasim Deval was build by Yogamati, King Yoganarendra Malla's daughter. At the
time of the death of her father, thirty-two women had to commit sati at her father's
funeral pyre. Dismayed by the plight of women and their unnecessary sacrifice,
Yogamati spent all of her wealth in building this temple. The temple with some fine and
intricate sculpting is the only octagonal temple in Patan Durbar Square and is
completely made up of stone like the other Krishna Mandir built on the opposite side.

Architecture of the Temple

The structure is raised over three platforms. It has mini shikharas on all sides in
symmetrical order and two lions named Jaya and Bijaya guarding its stairway. The
images of Rukmani, Krishna and Satyabhma adorn the temple. It has an octagonal form
with a peristyle at the ground floor and a balcony at the first floor.

Of those ten temples in Patan and Kirtipur which have survived in their original
configuration, the octagonal Krishna Mandir, established at the Durbar Square in 1723
by the daughter of King Yoganarendra Malla, replicates the prototype in an innovation
variation by omitting the first floor. The octagonal scheme allows the pavilions with an
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ambulatory of 40 columns to appear more closely engaged to the central shaft. The
notion of a clustered mountainous pile from which a plain shaft rises is rendered more
convincingly than in the nearby prototype. By reducing the qualities of lightness and
airiness, the structure is unambiguous. The squatness is in fact exaggerated by the
central shaft, which was unfortunately shortened in its post-1934 earthquake
restoration.
The eight cornered stone temple is a shikhara style temple which demonstrates the
influence of Indian architecture in Kathmandu, have lotus shaped parabolic drum/
pyramidal tower above garbhagriha. There is no portico and mandapa like in temples of
India, it has only simple sanctum, garbhagriha. There is a medium or low plinth with
some portico type forming a peristyle entrance and the architecture and cornice are
elaborately carved with floral pattern.
There are three horizontal divisions which are clearly defined by horizontal bands. As
Nepal is land of tiered temples, the bands are used in cornice level of Shikhara are
similar to tiered temple style. Although being different from buildings and temples in
color, forms and materials, it has been able to stand in harmony to the surroundings.

Plan of Chyasin Deval

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Technology

All parts of the shikhara are made using stone: from the basement steps, often
enriched with carved frames, to the central cell and curvilinear tower whose walls are
constructed using many individual and regularly hewn stones. The peristyle pillars and
beams are monolithic.
In case of structure having raised plinth, the foundation is based on its plinth whereas in
single and low plinth, foundation is made
below the ground. Generally the foundation
is spread footing.
Shikhara is also based on traditional
technology of load bearing type
construction. Wall is also similar to the
tiered temple with 3 layer of wall. In stone
shikhara, dressed Amalaka stones used as
outer leaf and ordinary fired brick from
inside. These are bonded by Surkhi mortar
and other locally used mud mortar.
In the porch, column is rested on stone
base with meth supporting Ninah. Columns
are mostly stone and in case of stone
shikhara, stone ninah is used. The porch
projection is done by providing slab in stone
shikhara stone pieces are closely arranged.
Columns of Chyasin Deval

The entrance of garbhagriha is made providing doors of

timber having medium height. The frame of the door is
mostly archival with torana reflection cast out of stone.
There are two wooden doors and 6 blind doors. The
wooden (1’10” X 3’9”) has been raised 1’3” up from the
floor.

Door at Chyasin Deval

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The temple rises from a triple stepped octagonal plinth. Twenty-four columns support
the upper level, with eight domed pavilions which are engaged to a bulky tower with
only one offset on each of the eight sides.

Plinth of Chyasin Deval

There is a gajura, which is

typical of all most all
Nepalese Temple on the top
of the temple which is made
up of metal. And there are
16 small pinnacles made of
stones each on the top of 16
domed pavilions.

Upper part of Chyasin Deval with Gajur.

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Present Condition
1. No damage is seen on the metal pinnacle whereas the 16 stone pinnacles
over the parabolic drum and the floor balcony has few damages that are seen
to be due to lack of maintenance rather than due to the earthquake. Few of
the stone pinnacles have lost their domical toppings. The main reason may
be due to weathering effect and pigeon droppings
2. No serious crack or damages is seen on the parabolic drum however,
discoloration and vegetation growth can be seen which poses threat to the
structure.
3. Metal bands are being used to held the structure together
4. The wooden door has started to disintegrate with age.

Recommendation for degree of Intervention

1. Further deterioration of the monument should be stopped
2. The inscription should be studied and measures for its protection should be
carried out.
3. Efficient drainage system should be installed since seepage is seen.
4. Damages caused by vegetations, bird-droppings should be cleaned on regular
interval.
5. Public awareness should be increased since many people spend their evenings
in this temple, they should be aware of the importance of this monument.
6. Renovation works should be carried out.
7. An institutionalized body and yearly evaluation of the conditions should do the
monitoring of the temple condition.
8. A team of experts should analyze the temple conditions on yearly basis and
suggest for any repair.
9. Involvement of the local people in the conservation process and to develop the
route as a tourist street, which will have positive impact on the economy of the
locals. The involvement of the local people will also educate the public about the
need of conservation.
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Conclusion

 Inspection carried out contributes to the conservation of the monuments.

 Their historical, cultural, emotional or functional value is clearly observed and the
process of intervention is recommended accordingly.
 There are some immediate interventions that should be carried out.
 Inspection was carried out and proper immediate, midterm and long term
interventions are recommended in this report
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References
 Shikhara temples, Wolfgang Korn
 Temples of Nepal Valley, Sudarsan Raj Tiwari
 Nepal Mandala, Marry S. Slusser