Abstract
The paper analyses traditional and modern methods and technologies for preservation and restoration of wall paintings found through archaeological excavations in the Republic of Tajikistan. Medieval monuments such as the ancient Panjekent, Bundzhikat, Adzhina-Tepa and others gave a variety of works of pictorial art, including unique monumental paintings, the preservation of which presents a priority task for scientists, restorers and art experts. These artefacts are exposed in the State Hermitage Museum (St. Petersburg), the National Museum of Antiquities of Tajikistan, the Republican Museum of History and Local Lore of Rudaki in Penjikent and the National Museum of Tajikistan. The paintings portray diverse and interrelated household, mythological, religious and epic plots, battle scenes, scenes of feasts and hunting, as well as geometrical, vegetable, and zoomorphic motives. The study of these paintings helps scientists to study in detail the medieval history of Tajik people. Therefore, their preservation is the primary task of the corresponding experts. The paper is based on personal experience of the author in preservation and restoration of monumental paintings within international projects on preservation of cultural heritage of Tajik people.
Highlights
At present, the society is facing an urgent need to preserve the objects of historical and cultural heritage, which are destroyed throughout time or as a result of human activity
The study of monumental wall painting in Tajikistan started in the middle of the 20th century when, in 1946 the group of archeologists led by experts from the State Hermitage Museum began excavation works in the ancient city Panjekent
The ancient city Panjekent represents a complex monument. It consists of an extensive ark with three strengthening pillars, the Shakhristan city surrounded by a defensive wall, as well as suburban houses and a necropolis
Summary
The society is facing an urgent need to preserve the objects of historical and cultural heritage, which are destroyed throughout time or as a result of human activity. Fresco – fresh), the wall painting in the Central Asia is made on dry loessial plaster and is called ‘a secco’
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