ABSTRACT

In accordance with the 1964 Venice Charter, the preservation of wall paintings by detaching and mounting techniques is the last resort when all other means of protection prove to be ineffective. This method is a highly sophisticated method that is now rarely practiced. The technique has been used in India successfully to salvage many decorative schemes such as Rang Mahal at Chamba, Rupi Palace at Kulu, separation for the two-layered paintings of Thanjavur, the Buddhist rock-cut shrine at Bagh, and the Sinon and Phugtal monasteries in Sikkim and Ladakh by specific teams of specialized Indian conservators. Few of these extremely delicate techniques are included in the present knowledge systems of conservation. This paper presents the circumstances wherein the techniques of removal of wall paintings are applied, and the methodology followed in India. The knowledge and practical experiences in the transfer of historic decorative schemes during instances of natural calamities require the allocation of a specialized team of art conservators.

摘要

根据 1964 年威尼斯宪章，当所有其他保护手段都被证明无效时，通过分离和安装技术保存壁画是最后的手段。这种方法是一种高度复杂的方法，现在很少实践。该技术已在印度成功地用于挽救许多装饰方案，例如 Chamba 的 Rang Mahal、Kulu 的 Rupi 宫、Thanjavur 的两层画的分离、Bagh 的佛教岩石圣地、Sinon 和 Phugtal 寺院由专门的印度保护人员组成的特定团队在锡金和拉达克进行。这些极其精细的技术很少包含在目前的保护知识体系中。本文介绍了应用去除壁画技术的情况，以及印度遵循的方法。