Before Leonardo da Vinci painted "The Last Supper," Tibetan
craftsmen were creating stunning artistry of their deities in the
remote Himalayan kingdom of Mustang. In "Lost Treasures of Tibet,"
NOVA goes behind the scenes with the first conservation team from
the West, as it undertakes the painstaking restoration of these
ancient masterpieces and the beautiful monasteries that house them.
Located in present-day Nepal, Mustang contains some of the last
remaining relics of an almost vanished world of ancient Buddhist
culture. Across the border in Tibet, Chinese occupiers have
destroyed thousands of monasteries since taking control of the
country in 1950. Therefore, the survival of Mustang's monasteries or
gompas is more important than ever. But preservation is
extremely difficult because of the centuries of neglect, weather,
and earthquakes that have brought many buildings to the brink of
collapse. Inside, their exquisite murals are in a near-ruined state.
In the course of their restoration work, conservators from the West
come face-to-face with a thorny problem of culture clash: local
people want missing sections of the murals completed. Westerners are
aghast at the idea, but their hosts are equally shocked at the
thought of worshiping unfinished deities.
The program follows the struggle of an international team headed by
British conservationist John Sanday to restore the greatest gompa of
all—Thubchen, the royal monastery in Mustang's capital of Lo
Monthang. The first order of business is fixing Thubchen's
roof—no small feat since 200 tons of dirt have been piled on
its flat surface over the centuries to seal out leaks. To bear that
much weight, the hidden ceiling beams must be more than two feet
thick, an apparent impossibility considering that Mustang is
virtually treeless. Sanday solves this riddle when his team
excavates down to the beams and discovers an elaborate jigsaw puzzle
of construction that uses interlocking small timbers to create a
lightweight, load-bearing structure.
Ancient Tibetan craftsmen were equally inventive in engineering an
ideal wall surface for their murals (see
Creating a Wall Painting). Six layers of plaster were applied to the walls, starting with a
coarse grain and becoming progressively finer. The same method was
used for secco (dry plaster) murals in Europe during the
Renaissance, although there is no evidence that Tibetans and
Europeans exchanged information on the technique.
As for Thubchen's paintings, they are badly obscured by eons of
butterlamp soot, animal glues, and abrasions from yak tail dusters.
To deal with the disfigurement, Sanday calls in Rodolfo Lujan from
Italy, one of Europe's premier experts in art restoration.
After painstaking treatment to stabilize the plaster, which is badly
flaking, Lujan and his assistants start removing the grime. What
emerges is startling to behold: brilliantly colored scenes depicting
the life of the Buddha (see
Before and After).
The artists have left no signatures, but Lujan places them in a
class with the Italian Renaissance masters. "Maybe the quality is
even better than ... a Leonardo, Michelangelo, Raphael," he marvels.
Which makes it all the more difficult when he is asked to take his
own brush in hand to complete the missing sections of these
priceless masterpieces.
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High in the Himalayas of western Nepal, in a
little-visited kingdom known as Mustang, lies a treasure
trove of medieval Tibetan art now undergoing urgent
restoration.
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