An
accidental find has yielded seven figures on the outer surface of
the famed Mirror Wall of Sigiriya. Kumudini Hettiarachchi reports
More apsaras at Sigiriya
High up on the 300-metre scaffolding, hugging the outer Mirror Wall
of the famous rock fortress of Sigiriya, the task of the six-member
mural painting conservation team was not only arduous but also dangerous.
Just
three weeks into the conservation project, Dias Wagachchi, was on
the scaffolding, checking out the colours. Cotton swab in hand,
he was cleaning up the surface when the outer pigment got erased,
but nothing happened to the next pigment.
"Suddenly
line drawings surfaced. It was an arm. It was June 7 around 10.30
in the morning," said Mr. Wagachchi, head of the Mural Conservators
of the Central Cultural Fund. Hearing his exclamations, the excitement
mounted. What had been a laborious task took on a different meaning.
The
team set to work with fresh vigour and enthusiasm and the arm and
an armlet emerged in the earth colour of red. Below the arm they
found square sketches, indicating the fold of the cloth at the waist.
Then bangles at the wrist. Sadly the face had been damaged.
Mr.
Wagachchi quickly sketched the lines and rushed up to the fresco
pocket to compare. "They looked similar and we feel more or
less certain that these apsaras were also painted at the same time
as the rest, about 1,600 years ago," he says.
Conservation
was the aim of the project launched on May 15, this year, before
the discovery of apsaras or celestial nymphs, for the outer surface
of the Mirror Wall had not been touched in over 100 years, since
the time of then British Archaeological Commissioner, H.C.P. Bell.
Dating
from the 5th century, the Mirror Wall is built up from the base
of the Sigiriya rock, with brick masonry and has a polished plaster
finish. Alongside the interior of the Mirror Wall is found a walk
or gallery and the apsaras can be seen in a depression above this.
Graffiti have been scribbled on the polished inner surface of the
Mirror Wall.
The
most admired and photographed features of Sigiriya, both in modern
and ancient times, are the Sigiriya ladies bearing flowers and floating
on clouds. "However, the external surface of the Mirror Wall
on which the conservation effort was being carried out had no indication
of graffiti or paintings. Conservation was deemed necessary as cracks
were appearing and the plaster was deteriorating," says Dr.
Mohan Abeyratne, Deputy Director General of the Central Cultural
Fund. "The plaster was loose and falling off, the light brown
clay lime plaster layer was peeling off, there was algae and lichen
in some areas and bird droppings in others. Some activities of man
had also caused deterioration."
Even
during Mr. Bell's period the Mirror Wall had been damaged and they
had conserved it. Unfortunately, some of the plaster used at that
time had not been compatible with the original work. "The earlier
plaster was lime-sand but in conservation a mixture of cement-sand-lime
had been used. Now UNESCO has prohibited the use of cement in the
conservation of ancient structures," explains Dr. Abeyratne.
The
conservation work being carried out under the direction of Dr. Abeyratne
entailed removing the old cement mixture and using a lime-clay mixture
with 5% of the bonding media of cremecryl. The algae are being removed
with alcohol and an ammonium carbonate 3% solution, while for lichen
it is a 5% solution.
It
is no easy task. Explaining the dangers of standing high up against
the sheer wall face of this rock fortress built by Kasyapa (477-495
AD), the patricide king, Mr. Wagachchi says if a basket or a bottle
of water falls from the scaffolding it shatters into tiny indistinguishable
pieces.
The
Geological Survey and Mines Bureau had chipped in with tremendous
support by constructing the scaffolding. "The job was tough
because even manual drilling can damage Sigiriya, which is a World
Heritage Site. The bureau did a marvellous job," says Dr. Abeyratne.
Conservation
takes up much time – a month to clean up one square metre.
The outer surface of the Mirror Wall runs to 107.5 metres. The labour,
however, has not been in vain as in addition to conserving this
national monument for posterity, the Central Cultural Fund has stumbled
on more paintings of apsaras.
"On
June 18, the team unearthed a face not only with the eyes, nose
and mouth clearly visible but also an earring and a set of necklaces
with a large pendant," says Mr. Wagachchi. Upto now the external
surface of the Mirror Wall has yielded seven paintings, one with
a full figure.
We
are collecting the yellow, red and green pigments found on the outer
surface of the Mirror Wall to scientifically ascertain whether they
are similar to those used in the fresco pocket, he said. Two tests
will be done - X-ray diffraction and F.T.I.R. (Fourier Transform
Infra-red Spectroscopy).
The
ancient artists who dabbled with lines and colour, around 1,600
years ago to change the glowering rock-face of Sigiriya into a colourful
art gallery, most probably used plant gums and resins as binding
material.
"If
we can extract them, we can do dating," assures Dr. Abeyratne
who is also Director of Research and Chemical Conservation, explaining
that infra-red photography will be used to reconstruct the original
frescoes.
Adds
Mr. Wagachchi, "This treasure trove of apsaras we have stumbled
on give credence to the Sigiri Graffiti scribbled between the 7th
and 13th century AD by visitors that there were 500 apsaras making
Sigiriya one massive picture gallery."
In
the light of recent controversies whether Sigiriya was actually
the abode of the patricide king or a monastery, it is left to historians
and archaeologists to battle out the details, as the enigma of Sigiriya
keeps unfolding. |