REVIVING LOST GLORY

A deep dive into the evolution of art restoration and conservation in India.

- SHIVPRIYA BAJPAI

The historical archives of India are a testament to the prevalence of restoration and conservation practices since the ancient times to preserve our creative heritage. Take for instance, the meticulous preservation of cave art and sculptures in the Mauryan and Gupta periods, the initiatives undertaken during the medieval times by the Mughal emperors, and the efforts in the colonial era to document Indian art. The establishment of Archaeological Survey of India (ASI) in 1861 marked a significant milestone in the conservatory practices. There’s no denying that these practices gained traction to become more organised and professional disciplines only in post-independence era. It was in the ’80s, Martand Singh (fondly known as Mapu), the erstwhile Rajput prince of Kapurthala and heritage and textile conservationist, founded the Indian National Trust for Art and Cultural Heritage (INTACH) with a vision to endeavour nuanced exhibitions and projects.

Bindu Manchanda, heritage revivalist, founder of Cultural Conservation Consultants and the founding trustee of The Partition Museum, shares her experience of working under Mapu at INTACH, “Meeting and working with Mapu was life-altering. His vision and clarity of thought was unparalleled. While today we are so dependent on technology, he remembered every detail and instructed us verbally without even a paper in his hand at the time of working on my first museum project—Rani Ka Mahal in Jaisalmer. He pushed me out of my comfort zone right at the onset, from talking to the funders for the project, to mounting humongous choga which belonged to a rather burly Maharawal,” she laughs.

MAPPING THE EVOLUTION