SHALU Association

THE LUKHANG TEMPLE
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TECHNICAL REPORT

BY JEAN-MICHEL TERRIER
PARIS
FEBRUARY 1997

GENERAL STRUCTURAL CONDITION
During the recent intervention in 1985, the pillars, floors, ceilings, terraces etc. were reconstructed on the previous model, in concrete. The additional weight has led to cracking, water infiltration, and damage to the frieze of the walls inside.

This major reconstruction is clearly irreversible, according to the architect and expert in historical restoration, John Sanday, with whom I visited the site. The building as a whole appears solid, and the pillar-ceiling relation seems to be stable. This first inspection indicates that the extra weight occasioned by the new cement superstructure does not endanger the walls. Nevertheless, the terrace on the fourth level needs to be waterproofed and a proper system of drainage introduced.

WALL PAINTINGS
The total surface of the wall paintings on the second and third levels is covered with a thick coat of varnish (probably phenolic lacquer, samples are under analysis) (see report by Jon Braenne).

This varnish is the source of various types of damage :

• Tension provoked by the incompatability between the varnish and the technique of the original wall paintings.
  
• The interpenetration of the recent varnish with the original layers (paint and protecting coat) is the cause of multiple mechanical and chemical reactions, such as splitting, tearing, blistering, detachment of various kinds, problems of porosity, oxidisation etc.
  
• The extreme yellowing of the new varnish has penetrated the original protective coat, which was already yellowing and dirty.

POSSIBLE TYPES OF INTERVENTION
The recent varnish is of extremely poor quality and was applied directly over surfaces that were badly repaired or simply left unattended. It should be lightened as far as possible, partly removed or entirely eliminated. This last eventuality is extremely delicate because of the fragility of the painted surface. Cut and torn areas must be reattached before the varnish removal process is undertaken. The appropriate method will be decided following results from stratigraphic and chemical analyses. It will be necessary to define, after removal of the varnish, a procedure for cleaning the retouched and defaced areas, and the parts where surface paint has disappeared. An overall strategy for reading the total surface should be developed. Priority will be given to the preservation of the original protective coat that covers the painting itself. The result should give to the whole surface a new form of organic flexiblity, the necessary porosity, and thus offer better resistance to aggression from outside. It is advisable to intervene, urgently, on the paintings on the west walls (8) and (9) of the second floor, and on the third floor, to lighten the varnish, and refix surface(?) After restoration, it will be necessary to decide if the aggressive colours used in the overall decor might need adjusting.

WALL PAINTINGS ON THE SECOND LEVEL
The entrance door faces south-east. The painted area consists of thirteen panels separated by windows, or corner angles. The south and east walls represent the Life of Pema Obar, whose exemplary and fabulous story is well-known throughout Tibet. The west and north walls describe the legend of the King Lekye. Protective grills cover the main parts of the paintings. A large central altar occupies an important area between the four pillars which supports two main beams.

DESCRIPTION OF DAMAGE

• Wall 1 East O.60 m x 1.40 m and Wall 2 South 0.30 m x 1.40 m
  • upper section in bad condition
  • old cracks
  • numerous sections repainted
• Wall 3 South 0.80 m x 1.40 m
  • large cracks
  • enduit(?) missing
  • much detachment
  • great fragility of painted surface
• Wall 4 South O.80 m x 1.40 m
  • horizontale crack above right and left with much lifting
  • enduit(?) missing around cracks
• Wall 5 South 1.00 m x 1.40 m and Wall 6 West 1.00 m x 1.40 m
  • diagonal crack in the upper section of wall 6.
• Wall 7 West 2.10 m x 1.40 m
  • paint in reasonable condition
  • numerous small cracks
  • repainting
• Wall 8 West 0.60 m x 1.40 m
  • quite good condition
  • some small detachments
  • upper decorative section damaged and repainted
• Wall 9 North 1.00 m x 1.40 m
  • horizontal cracks in the upper section
  • repainting
  • upper decorative section damaged and repainted
• Wall 10 North 1.40 m x 1.80 m
  • ???
• Wall 11 North 0.80 m x 1.40 m and Wall 12 East 0.30 x 1.40 m
  • small areas missing or repainted
• Wall 13 East 2.20 x 1.40 m
  • large cracks above left
  • upper decorative section repainted
  • numerous minor cracks
  • very problematic repainting

WALL PAINTINGS ON THE THIRD LEVEL
The entrance faces north-east. The paintings cover ten panels, separated by openings or corner angles. The south side is taken up by a loggia separated from the rest by arcatures(?) in painted wood. Protective grills cover the major part of the paintings A small movable altar hides part of wall 7. In the centre, four concrete pillars support two beams, also in painted cement. Wall 3 East shows the 84 Indian mahasiddhas, together with the 28 disciples of Guru Rinpoche, all presented in expressive and varied scenes. Wall 4 East and 5 South show in brief famous monasteries and places of pilgrimage. Wall 8 West shows various methods of meditation and yogic practice of the great masters of Buddhism. Wall 10 North is one of the most remarkable and curious of all. It describes scenes of conception and sickness, shows internal organs of the human body, energy channels, and the influence of celestial bodies on human life. The far end of this painting shows meditation methods according to the Kagyupa schoool. The central section is occupied by peaceful and wrathful dieties of the Bardo.

DESCRIPTION OF DAMAGE

• Wall 1 North 0.15 m x 1.30 m and Wall 2 East 0.50 x 1.30 m
  • numerous cracks and repainting
• Wall 3 East 2.60 x 1.30 m
  • Important area of painted surface missing between the two beams under the platform
  • numerous clumsy retouches
  • two very large cracks originate more or less at the level of
  • each beam and go towards the centre of the wall
  • on each side of the left crack and in the upper part of the right crack, serious barbouillage(?) spreading widely from the opening of the cracks.
  • the top section of hanging jewels is seriously damaged and clumsily repainted in several places.
  • the Vajra and Greek(?) frieze is also very restored.
• Wall 4 East 0.50 m x 1.30 m and Wall 5 South 0.40 m x 1.30 m
  • painted surface missing, lifting and cracks caused by humidity from the upper section.
  • the ceiling is peeling in many places
  • the lower section seems to be relatively in good condition
• Wall 6 South 0.30 m x 1.30 m and Wall 7 West 0.65 m x 1.30 m
  • painted surface missing and lifting in the upper section
• Wall 8 West 2.20 m x 1.30 m
  • much lifting and surface missing due to serious humidity from the ceiling
  • serious damage in the central section
  • large vertical cracks in the left section, with clumsy repainting
• Wall 9 West 0.60 m x 1.30 m
  • seriously damaged by the same water leakage from the terrace as Wall 8.
  • the upper section is seriously damaged
  • the whole surface (paint and varnish) is tending to peel off
  • numerous places with surface missing, coming unstuck, cracks, repainting.
  • large area of surface missing in the central left part
• Wall 10 North 4.20 m x 1.30 m
  • repainting in the upper decorative section
  • numerous small cracks
  • generally in good condition

EXTRACT ON THE LUKHANG TEMPLE

by JON BRAENNE

from

DECORATIONS AND WALL PAINTINGS IN VERNACULAR BUILDINGS, BURIAL SITES, MONASTERIES AND TEMPLES

NIKU - Norwegian Institute for Cultural Heritage Research Oslo, 20.2.1996.

SOURCES

• "The Guide to the Potala" rTse Potala'i gnas bshad, TAR Cultural Relics Committee 1985, 214-216.
• "Guide to Culltural Relics of Lhasa Municipality", Lhasa'i rig dngos kyi gnas yig, Lasa wenwuzhi, published by the Committee for Administration of Cultural Relics of the TAR, Lhasa 1985, pp.75-77.
• Hugh Richardson, Ceremonies of the Lhasa Year, Serindia 1995(?)
• Jon Braenne, Decorations and Wall Paintings, in Vernacular Buildings, Burial Sites, Monasteries and Temples, Report for NIKU-Norwegian Institute for Cultural Heritage, 1996.
• Jean-Michel Terrier, Lukhang, Report for the Shalu Association, Paris 1997.