Ala Gila Painting
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Aman Kumar SinghAla Gila Painting
Uploaded by
Aman Kumar SinghConservation of Ala-gila painting:
A Case study – Continuous Conservation process
( Purana Rangji Temple, Pushker, Rajasthan)
Introduction
A traditional wall painting known as ala-gila or
Rajasthani technique is very smooth having glossy
appearance.
Ala –Gila is a compound word Ala means niche and
“gila” means wet i.e. the moist condition. It is
generally used for wall paintings (bhitichitra)
executed on wet plaster of lime.
The term Ala-gila is interchangeably used with
aaraish, i.e the Rajasthani technique used for frescos
bono.
Location
Shri Rangnath Venugopal
Mandir popularly known as
Purana Rangji Mandir is
one of the most important
landmarks of Tirthraj
Pushkar. Located on the
north of the lake at Pushkar
,
14 k.m from Ajmer.
Historical significance
The temple complex was built by Seth
Puranmal of Ganeri after the inspiration of
Shri Anantachari Maharaj of Kancheepuram
in 1844 CE.Seth Puranmal being a follower of
Ramanuja Vaishnava sect, introduced into
Pushkar the dravidian form of architecture.
Architecture
Total area - 8361.2736 Sq/ Meter
It is a marvelous example of
the amalgamation of South
Indian temple architecture,
Rajasthani architecture and
remarkable fresco tradition of
Rajasthani.
The entire Nijmandir complex
is enclosed by a fortified wall,
decently decorated by Chhatris
and Jharokas and are adorned
with Ala –Gila paintings on
Aaraish plaster
The temple has three shrines on the
main platform west of the Garud
Dhwaja devoted to Lord Krishan
(Known as Lord Venugopal in South
India);
Lord Rangnath of Srirangam; Shri
Ramanujachariya and other Alwars.
On the two sides of this main
platform/idols of Goddess Laxmiji and
Goddess Godammaji and Shri P.B.
Anatachari Maharaj are installed
All the five shrines are surmounted by
Shikhars and the Mandapa in front of
the platform is decorated with typical
Hindu symbols.
The major themes of the paintings and
carvings on the outer parikrama are religious
and mythological stories, such as Krishna
Leela – the romantic dance of life by Lord
Krishna and his Gopis –and stories form
Ramayana; the various Vishnu Avtars; Sagar –
Manthan etc.
Technique of Ala –Gila paintings
The araish, technique is very often called but it
frescos,. It was introduced to India during the Mughal
period in combination which bhitichitra or izzaras,
walls and ceilings.
It is one of the most popular finishes seen the Mewar
region. The plaster used for araish is pure lime putty,
traditionally prepared by slaking seasoned lime for up
to a year with additives such as, gur and curd and
organic fibrous material ( jute ,flax rice husk) are
commonly used
Casein in curd improves the plasticity and better
adhesion of the mortar
FACTORS OF DETERIORATION
Adverse environmental
conditions ,
improper drainage,
bio-deterioration
photochemical actions of
light
Fluctuations moisture and
temperature
Atmospheric pollutants
Vandalism
local factors
EXTENT OF DETERIORATION
(Examination )
Deterioration of Plaster
Deterioration of Pigment
Deterioration of binding media
loss of painted plaster
loss its hold on the wall and Chajja
loss of binding medium strength and
loss of pigments due to flaking
local factors
As a micro environmental local factors responsible
for deterioration are various though Pushkar is in
arid zone but the presence of large tank invariably
causes humidity similarly temperature variation is
caused due to its physiography i.e. mountainous
Vandalism- Large gathering during Brahma
mahotsave festival and yatra
rain water penetrate to
some depth into the
material exploiting pores
or cracks of painting
layers ,
so the burnished and
polished surface of ala-
gila affected by wetting
drying process
causes damage externally
and internally because of
crystallization of pollutant
and end products.
TECHNICAL STUDY
For the identifications of the method
and material employed some damaged
fragments of the painted sample of
Ala-gila collected from the temple. A,
proper scientific investigation is
required to know the essential
fundamental layers of wall paintings
i.e. support, ground, pigment and
binding mediums.
Araish sample studied under stereomicroscope,
Various thickness of Stratigraphic
layers
Plaster sample Layer thickness Observation
1. Coarse lime plaster - 15mm lime,sand,inert material,
brick aggregates
2. Fine lime plaster ( Thapi Kada )- 4 mm lime , sand ,marble grit
organic fibrous
3. lime plaster (Coarse )- 5 mm lime, fine sand, marble-dust,
brick powder
4. Kada of lime (seasoned putty ) - 1- 1.5mm seasoned lime
5. Paint layer - .1 mm
Lime and silica contents of plaster were determined
quantitatively by gravimetric methods
Lime - 28.55%
Aggregate - 59.45%
Loss of ignition – 12%
Examination of aggregates-
by mechanical separation was as follows-
Organic material - 5-8 % Organic material collected as a residue
after chemical analysis
Sand particles and Brick powder - 64 % pigments
PIGMENTS
. The colour pigments used
for Ala-gila painting in
Rangnathjee are, blue,
red,marron green, indigo,
pink yellow black and
white.
Conservation
1. Documentation of the temple (old Rangnath
Temple)- graphic and photograph
2. Dry – Cleaning -( a) mechanical
(b) Removal of lime wash
1. Wet cleaning - (a) water
(b) Chemical solution
(organic/inorganic)
Note - Spot test is the first requisite before using
wet / Chemical solution for restoration
Phase wise
The work started at the five alcoves of main
entrance gate of the temple complex.
Phase – I
Removal of dust and dirt ,
Removal of lime wash with soft brush,
Phase – II
water and teepol as a solvent were used to
clean the shoot depositions.
Phase – III
ammonia + teepol + (1: 10:) was used to
clean the deep rooted stains
Phase – I Removal of lime wash
unwanted deposit on the surface of
Ala-gila- different layers of lime
wash (5-7 Layer )
mechanical process - by using
sharp scalpels and surgical knife
with skilled hand cleaning of
thick coat of lime over the
Garud Temple)
5% of Acetic acid and applied it
over the surface of thick deposit
of lime by brush and cotton pad
soaked in above solution. It was
kept intact for 15 minutes. This
softened the lime layer then
removed the mechanically with
scalpel.
Phase – II
Especially for araish
surface and not on the
surface of Ala-gila
painting. Normally,
simple pure water is
not able to dissolve the
dirt and stains so a mild
detergent (Teepol) is
added to it to dissolve
it. (1:10 )
Phase – III( a)
For hard incrustation 3-5% ammonia
+hydrogen peroxide (2-5% ).
solution with normal water was used and the
cotton pad was soaked with the solution and
applied over the incrustation parts for 5
minutes and then it was removed and cleaned.
Phase – III(b)
During the cleaning of paintings it was found, that
there were pigments of three colours - maroon, green
and light pink. These pigments colours are soluble in
water and organic solvent (methyl alcohol, ethyl
alcohol) but are insoluble in toluene.
After cleaning the whole alcoves, a normal burnishing
was given with water and muslin cloth.
Restoration and Preservation
Restoration was done by
traditional mason using
seasoned lime and burnished
properly
Finally one coat of toluene
(2% PVA) was applied on
cleaned surface for
consolidation and
preservation of Ala-gila
painting .
Ala-gila -
During
After
Conclusion
The original shine of the wall surface of old
Rang jee Temple was restored. After cleaning
all the chemically cleaned portions wall was
washed with normal water spray technique.
Because if a film of chemical solvent will
remain in the applied portion for long time it
will act as deteriorating factor for the applied
part. The over all effect of the conservation
treatment has been successful and the paintings
which had already been treated are in good state
of preservation