Second restoration of the wall painting of Bodhisattva Manjushri with a Retinue from the cave monastery of Bezeklik

The 11th-century painting of Bodhisattva Manjushri with a Retinue from the cave monastery of Bezeklik (Eastern Turkestan) was brought in by the First Turkestan Expedition led by Sergei Oldenburg and entered the Petersburg Museum of Anthrоpology and Ethnography, where fragments were mounted on plaster blocks reinforced by iron rods. In 1932, the painting was transferred to the State Hermitage's Oriental Department for safe-keeping by Natalia Diakonova, later by Maria Pchelina.

During the Siege of Leningrad (1941-44), when it was impossible to maintain the proper temperature and humidity regime in the museum, the painting was seriously damaged. Under the influence of moisture, the loess plasterwork began to swell and the destructive processes even reached the pigment layer. In 1952-53, the painting underwent restoration without its being taken off the plaster slabs. However, this did not stop the loosening of the unevenly thick plasterwork layer. The Restoration Council of the State Hermitage listed the painting among those items which could not be taken away for exhibitions due to the unstable state of the plasterwork and pigment layer, as well as hydroscopic, fragile and heavy mounting. The painting consisted of 21 fragments with overall surface dimensions of 310 х 240 cm.

In 2005 the State Hermitage's Laboratory for Scientific Restoration of Monumental Painting performed a whole complex of restoration work on the painting: the state of preservation of each fragment was checked; the pieces were photographed; a graphic record was made; laboratory investigations using physical and chemical methods were done together with the Department of Physical and Chemical Examination; the plaster slabs were removed, the plasterwork was levelled, the foundations underwent strengthening in depth and both closed and open drying were applied; the front and back surfaces were processed; the work was mounted on a new base; the pigment layer was cleaned; the colouring was restored on all those parts where this had been done earlier on the basis of the 18 April 1954 decision of the Restoration Council; all fragments were brought into conformity in tone and colour for the painting to have an integral appearance for purposes of exhibition, including the colouring of the foam plastic platforms.

The given painting as well as the previously restored painting of the Pranidhi are unique and represent the largest Buddhist monuments (in surface area) from pre-Islamic Central Asia to have come down to us. As a result of the thorough cleaning of the pigment layer, several details which were not easy to distinguish earlier have become very visible - all of which is very important for the future study of these works of art. The mounting of the painting on a solid and light foundation made it possible to include the painting in the State Hermitage's exhibition programme. It is mounted on six foam plastic platforms, which facilitates its transportation.

Art restorer at work
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Wall painting of Bodhisattva Manjushri with a Retinue
11th century
Before restoration
Larger view

Wall painting of Bodhisattva Manjushri with a Retinue
11th century
After restoration
Larger view

Wall painting of the Bodhisattva Manjushri with a Retinue. Detail
Before and after restoration
Larger view