The National Mission on Monuments and Antiquities (NMMA) – workshop at Chennai from October 31st to November 2nd 2023 (3)

The National Mission on Monuments and Antiquities  (NMMA) – workshop at Chennai from October 31^st to November 2^nd 2023 (3)

The third day proceedings of the NMMA Workshop for the Southern Region: The following speakers delved upon their respective topics and specialized areas. Though, the topic has been documentation of the objects, the speakers mostly discussed about their findings with their valuable experience with important points.

• Prof. Deivanayagam, Tamil University , Thanjavur
• Shri Nishant Zodape and Shri Yash Gupta, on utilisation of open-source software for creating databases,
• Dr. Muthu Shankar, Head of GIS Applications, French Institute, Pondicherry ,
• Dr Arun Raj.T on strategies for stopping illicit trafficking of antiquities” and ultimately
• Dr Charuta Kulkarni, IIT, Madras talking about INQUA Database on Global South

Prof. Deivanayagam, Tamil University, Thanjavur: speaking on identification of Chola Bronzes. He explained with photographs pointing out the nuances of the bronzes. To understand his speech, one should know other subjects also, as because of his versatile experience, he explained many details about the icons and sculptures.

Cholas’ bronzes: Chola bronzes were typically of deities, royalty and the politically powerful people of the day-all in a distinctive Chola style, classically representative of the human form, and perfectly proportioned. The sculptures are recognizable by the way the bodies are posed. They are always graceful, elegant and sensuous, particularly if a sculpture is that of a couple, such as Siva and Parvati. The bronzes also depict the “mudras” or gestures derived from classical dance. Chola master sculptors created their works with the cire perdue, or lost wax process, which is still in use today.

There are two methods of casting metal images-solid and hollow casting. The required image is fashioned by the stapathi in bees wax. Then the wax model is given several coats of fine clay. The clay mould is then carefully dried under the sun. After a few days the clay mould is ready for casting. When the wax model is prepared and is ready for the preparation of the clay mould, arrangements for the preparation of the alloy are made. The five metals to be used in the alloy and they are -copper, silver, gold, brass and lead popularly known as panchaloha. In actual practice by chemical testing we have found the percentages of the metals as follows:

How manufactured – alloying technique[1]: Brass is an alloy of copper and zinc. Bronze is an alloy of copper and tin. Normally bronze is a composite alloy of metals-copper, tin, lead, silver and gold in varying proportions. However analysis of South Indian bronzes reveals that they invariably consist of copper, tin, lead, zinc and iron. Trace elements such as arsenic, antimony, Bismuth etc., have been detected. Above l% is considered as a major element and below 0.1% is considered a trace element, e.g. Copper: 79%: Tin 5%, Lead: 13% Zinc 1%; Iron 1%; Trace elements arc arsenic, antimony, nickel and silver and no gold is Present. Manipulating the alloying elements, different shades of metal were produced. This shows tin has been used. Therefore, the alloy is predominantly of copper, tin and lead. The presence of gold and silver is rare or trace. The clay mould with the wax model inside it is baked skillfully over all the wax. When the alloy is ready, it is poured through the orifice into the empty mould in a thin, even and continuous stream. The molten metals allowed for cooling. Then the mould is broken open and the solid metal image is obtained. The image is given finishing touches by the sthapati. This part, the opening of the eyes of the image is what imparts the exquisite expressions on the faces. This is done under some sort of spiritual inspiration. Sometimes, Stapathis are known to take even weeks to open the eves. The science of Image making is dealt with in the ancient Indian science of Silpasastra (Sculpture Science).

Hollow casting- In this case, the object is moulded in clay and the core is coated with wax, which in turn is covered with a coating of clay. After draining the wax by heating, the mould is used for casting. This method is usually associated with North India.

Patina and patination: A Patina is a thin layer of corrosion, usually brown or green, that appears on copper or copper alloys as a result of natural or artificial oxidation. Patina is a thin layer that variously forms on the surface of copper, brass, bronze and similar metals and metal alloys (tarnish produced by oxidation or other chemical processes).On metal, patina is a coating of various chemical compounds such as oxides, carbonates, sulfides, or sulfates formed on the surface during exposure to atmospheric elements (oxygen, rain, acid rain, carbon dioxide, sulfur-bearing compounds. The green patina that forms naturally on copper and bronze, sometimes called verdigris, usually consists of varying mixtures of copper chlorides, sulfides, sulfates and carbonates, depending upon environmental conditions such as sulfur-containing acid rain.

Nishant Zodape and Yash Gupta: They explained “on utilization of open-source software for creating databases”. With “access” how the excel can be used for filling up data and create a document.

 Muthu Shankar: He explained about the “South Indian Historical Atlas” with many facilities, but, it is not available to the public. The primary data for the project comprise historical and geographical information collected from a large corpus of south Indian inscriptions besides archaeological data collected from a series of field surveys supplemented with the data taken from archaeological reports of ASI and other institutions.   Workshop/review meetings were held every six months are to evaluate the progress of the work. The atlas was developed as web-browser software allowing different basic GIS display and database querying functionalities necessary for a user-friendly usage of the Atlas. It uses W3C (WWW Consortium) compliant Graphics /Open GIS so that the system can be accessed through the internet. The atlas has a conceptual resilience on how to curate data, compile information from it, and disseminate it through new digital tools available then, even when illustrative examples in the application of data science mehods in historical research was scarce. This resulted in the curation and archival of historical data sets that encourage data-driven inquiries into the past, while integrating data, computational science methods into historical research.

T. Arun Raj, director NMMA, Noida: Talked on “strategies for stopping illicit trafficking of antiquities.” Perhaps, next to Pramod Joglekar, he directly discussed the issue with examples. He pointed out how Alexander Cunningham used to travel on a donkey visiting archaeological and ancient places for collecting details. The ASI at present listed 3697 monuments as protected. He pointed out how the Delhi Iron pillar was brought to the present place and Rajendra Cholas brought sculptures as “war trophy” to Thanjavur. Alexander Rae and others carried on excavations even before the formation of ASI and collected many objects. He left some at Egmore Museum and others were taken to London. Even now, the ASI is struggling to deal and store the smuggled artefacts returned back to India. In Trichy, the sculptures have been lying there for more than 20 years, which were recovered. Though HR & CE recorded more than 36,000 temples and quantified 9,000 bronzes many others appear to be not accounted. However, for the export of antiquities, thousands of applications are filed with the ASI, Chennai and they are pending. Nealy more than 20,000 applications have been pending, because, there are no expert persons to identify the objects mentioned in the applications as “less than 100 years” or not. Thus, the crucial problem comes here. Once the certificate is given, the antique object would go out of India legally. He pointed out that unlike Sri Lanka, India does not have “Heritage Police,” and hence, the illegal export / smuggling out of the antiquities have been going on. He also pointed out as how a lesson has been included in the CBSE syllabus to adopt a monument nearby school, so that awareness is created not only among the school children, but also the public living surrounding the monument.

Dr Charuta Kulkarni, IIT, Madras: Talking about INQUA Database on Global South[2], she explained related issues. Stemming from the PAGES-INQUA supported early-career researcher workshop on “Past Socio–Environmental Systems (PASES)” (pastglobalchanges.org/calendar/26972) in 2020, the INQUA-funded project “The whole is not the sum of the parts: building a synthesis database of past human–environmental systems in the Global South (pSESYNTH)” has initiated research collaborations among paleoscientists from, and/or working on, the Global South and other underrepresented regions of the world (e.g. Australia, Southeast Europe). Pursuing the Integrated, Coordinated, Open, and Networked (ICON) approach (Koren et al. 2022), the overarching goal of pSESYNTH is to establish, articulate and strengthen regional, interdisciplinary teams for studying past socio–environmental systems of the Global South, and to build the first multi-disciplinary paleo database representing its regions.

pSESYNTH primarily focuses on the Holocene (the last 11.7 kyr) because: (i) there is greater spatial availability and better chronological controls of the datasets compared to the Pleistocene, and (ii) the Holocene is characterized by a progressive degree of anthropogenic influence over landscapes, offering ways to explore the evolution of diverse socio–environmental systems. Under the pSESYNTH framework, linking proxies of environmental change with climatic signals and societal processes (e.g. subsistence strategies, growth rates, migrations) will provide baselines to pose and test multiple hypotheses for explaining the trajectories of socio–environmental systems. Specifically, pSESYNTH activities are being developed around three main objectives.

To explore drivers of past environmental change combining a diverse set of proxy information, organized into three themes: paleoecology (e.g. pollen, charcoal, diatoms), paleoclimatology (e.g. biomarkers, stable isotopes, varves, numerical simulations), and archaeology (e.g. radiocarbon dates, phytoliths, archaeobotanical remains, material culture).

2) To quantitatively analyze the links among paleoecology, paleoclimatology and archaeology, with an emphasis on research questions that can be generic across the Global South (e.g. are there connections, or commonalities, between colonial legacies and the evolution of socio–environmental systems in the Global South?) or specific to each subregion (e.g. at what spatial and temporal scales were human–environmental systems coupled or uncoupled to climatic fluctuations?).

3) To share the outputs and products of the project in the form of a database that meets the FAIR (Findable, Accessible, Interoperable and Reusable) principles (Wilkinson et al. 2016). pSESYNTH participants will capitalize on existing single- and multi-themed databases (e.g. Neotoma, NOAA, PANGAEA, p3k14c, ArchaeoGlobe) in complementing their data contributions in the novel Global South database. Together, the FAIR–ICON principles will underpin the database organization and will ensure geographic coverage, comparability, and accessibility for time-series data synthesis, which is crucial for mainstreaming paleoscience research from the Global South.

© K. V. Ramakrishna Rao

04-11-2023

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[1] T. S. Sridhar (ed.), The Cholas Bronzes – 1000^th anniversary of Thanjavur Big Temple celebrations Sept 25^th to Oct.4^th 2010, The Tamilnadu State Archaeology Department, Chennai, 2011, pp.12-13.

[2] Charuta Kulkarni and others, pSESYNTH project: Community mobilization for a multi-disciplinary paleo database of the Global South, https://pastglobalchanges.org/publications/pages-magazines/pages-magazine/137240