Choijin lama temple museum conservation management plan

SPONSOR IMPLEMENTER PARTNER
Stephen J. Kelley Inc.
CHOIJIN LAMA TEMPLE MUSEUM
CONSERVATION MANAGEMENT
PLAN
Developed by:
Historic Conservation Specialist, Architect Stephen J Kelley, FAIA, SE. FUSICOMOS of the USA
ULAANBAATAR
2020

CHOIJIN LAMA TEMPLE MUSEUM
CONSERVATION MANAGEMENT PLAN
Prepared by
Stephen J. Kelley, FAIA, SE, FUSICOMOS
For
The Arts Council of Mongolia
23 August 2020

CHOIJIN LAMA TEMPLE MUSEUM CONSERVATION MANAGEMENT PLAN
i
TABLE OF CONTENTS
I. Introduction and Acknowledgements 1
A. What is a Conservation Management Plan? 1
B. Training Course 1
C. Stakeholders Workshop 3
D. Acknwledgements 3
II. Background 4
A. Historical Context 4
1. Dissolution of the Mongol Empire 4
2. Establishment of the Capital of Outer Mongolia 4
3. Bogd Khan and State Oracle Lama for the Autonomous State 5
4. The Great Repression and Saving the Complex 8
5. Establishment as a Museum 9
B. Restoration Campaigns 9
C. Description of the Region, Site and Choijin Lama Temple Museum Complex 11
1. Climate 11
2. Geomorphology 11
3. Seismicity 11
4. Urban Development 11
D. Architecture and Construction of the Choijin Lama Temple Museum 12
1. Yampai Gate 15
2. Makhranz Temple 16
3. Dund Gate 18
4. Main Temple 18
a. Ceremonial Portal
b. Main Temple
c. Zankhan Temple
5. Zuu Temple 21
6. Undur Gegeen Temple 22
7. Yadam Temple 23
8. Baruun Gate 24
9. Zuun Gate 24
E. Significance Assessment 25
1. Authenticity 25
a. Form and design
b. Material and substance
c. Use and function
d. Traditions, techniques and management
e. Location and setting
f. Spirit and feeling
2. Integrity 26
a. Outstanding Universal Value

ii
b. Adequate size to ensure representation
c. Physical condition
III. Condition Assessment 29
A. Methodology 29
1. Archival Research 29
a. Books
b. Reports
c. Internet sources
2. Contextual Site Visits 30
a. Bogd Khan Palace Museum
b. Dashichoiling Monastery
c. Gandantegchinlen Monastery
d. Geser Sum Monastery
3. Visual and Non-intrusive Assessments 32
4. Minimally Intrusive Assessments 34
a. Resistance drilling of wood
b. RILEM tube testing
c. Roof work at Main Temple
d. Test pit
e. Previous geotechnical investigation
5. Sample Removal for Evaluation 36
B. Observations 36
1. General Findings 36
a. Foundations
b. Wood post and lintel structure
c. Roofing and water management
d. Masonry and stucco walls
e. Windows and doors
f. Flooring
g. Decorative features
h. Surrounding walls and utilities
2. Makhranz Temple 48
3. Dund Gate 49
4. The Main Temple 51
b. Main Temple
c. Zankhan Temple
5. Zuu Temple 56
6. Undur Gegeen Temple 59
7. Yadam Temple 61
8. Baruun Gate 63
9. Zuun Gate 64
C. Summary 65
IV. Vulnerabilities and Opportunities 67
A. Significance 67
1. Religious Symbolism 67
2. Related to and Event 67
3. Related to a person 67
4. Architecture 68

iii
5. Collections 68
B. Authenticity 68
C. Vulnerabilities 68
D. Opportunities 69
V. Conservation Policies 70
A. Conservation and Restoration 70
B. Reconstruction 71
C. Evaluation and Monitoring 71
D. Protection and Buffer Zones 72
E. Management 73
F. Risk Preparedness 73
G. Source Documents 74
VI. Action Plan 75
A. Temporary Urgent Measures 75
B. Further Investigative Work and Monitoring 75
C. Structural Strengthening 76
D. Exterior Repairs 76
E. Decorative Work 76
F. Site Enhancements 77
G. Monitoring Protocol 77
H. Maintenance and Standard of Care 77
I. Capacity Building 77
J. Risk Preparedness 77
K. Two Year Construction Scheduling 78
L. Multi-Year Construction Scheduling 79
Appendices
Appendix A – Makhranz Temple Architectural Drawings
Appendix B – Dund Gate Architectural Drawings
Appendix C – Main Temple Architectural Drawings
Appendix D – Zuu Temple Architectural Drawings
Appendix E – Undur Gegeen Temple Architectural Drawings
Appendix F – Yadam Temple Architectural Drawings
Appendix G – Baruun Gate Architectural Drawings
Appendix H – Zuun Gate Architectural Drawings
Appendix I – Source Documents

I. Introduction and Acknowledgements
At the request of the Arts Council of Mongolia, Stephen J Kelley, FAIA, SE. F.USICOMOS of the USA
visited the site of the Choijin Lama Temple Museum from 2 through 14 June 2019. The reasons for this
visit were to perform a condition assessment of the buildings which comprise the Choijin Lama Temple
Museum; teach a training course in the maintenance and conservation of built cultural heritage; meet
with the stakeholders, and lead a workshop to discuss future interventions at the Choijin Lama Temple
Museum; and prepare this Conservation Management Plan.
A. WHAT IS A CONSERVATION MANAGEMENT PLAN?
A Conservation Management Plan is a document that establishes the significance of a cultural heritage
site, and how that significance will be retained in any future use, management, conservation,
restoration and repair. It is based on a thinking process which starts with describing what is there;
why it is important; what condition it is in and the factors leading to its condition; the policies and
principles by which it will be managed; and finally setting more detailed work programs for
maintenance, management, access, use or other issues. A Conservation Management Plan helps in
the proper care for a site by defining precisely what is important before major decisions are made
regarding restoration works.
The process of preparing a Conservation Management Plan involves bringing people together and
organizing information. There are eight basic steps in the process, which are:
1. Understanding the cultural heritage resource and defining its significance.
2. Identifying the stakeholders.
3. Defining the physical conditions of the site and the root causes of those conditions.
4. Exploring how significance is vulnerable and opportunities for future care.
5. Establishing policy aims and objectives.
6. Setting a work schedule for conservation and restoration works.
7. Implementing the recommendations in the Conservation Management Plan.
8. Monitoring and reviewing the Plan from time to time.
At the time of this writing only steps 1 through 6 have been completed and no recommended works
have yet to be implements. Therefore, this Conservation Management Plan should be considered a
living document, that is, it is dynamic and subject to change as the recommendations are implemented
and monitoring of works completed takes place.
B. TRAINING COURSE
The lecture portion of the Training Course was held in the offices of the Arts Council of Mongolia.
Lectures that were presented and simultaneously translated into Mongolian were the following:
1. Understanding Building Materials
2. Building Systems
3. Diagnosing Building Problems
4. Long-Term Monitoring
5. Vulnerability and Risk Assessment

6. Determining Significance and Preparing a Conservation Management Plan
7. The Roofs of the Choijin Lama Temple Museum
8. Choijin Lama Temple Museum Preliminary Analysis and Next Steps
The field portion of the Training Course was held at the Choijin Lama Temple Museum during both
weeks. The students implemented many of the diagnostic procedures discussed in Chapter III and took
part in discussions regarding the diagnosis of specific building problems. Their participation during the
condition assessment of the Museum was essential to the success of this initiative.
The Training Course was facilitated by translator, Digge and Arts Council staff member Binderiya
Munkbhat. Participants who took part in some or all the training course included the following
persons:
Training Course Participants
З.Оюунбилэг (Зөвлөх архитектор, доктор)
Ц.Батбаяр (Зөвлөх архитектор) Сүлд Проект ХХК
Г.Нямцогт (Зөвлөх архитектор) Сүлд Проект ХХК
Н.Энхжин Архитектор Сүлд Проект ХХК
Э.Гантөгс Барилгын инженер Сүлд-Уул ХХК
Ц.Дуламсүрэн (Сэргээн засварлагч) Сүлд Уул ХХК
М.Буянтамир Барилгын инженер Зэндмэнэ Суварга ХХК
Б.Норов-Очир Барилгын инженер Энэрэлт Их Эрдэнэ ХХК
Д.Төмөрбөх Сэргээн засварлагч /Мужаан/ Энэрэлт Их Эрдэнэ ХХК
Б. Батзориг Арxитектор TUTO ARCHITECTS
Б. Бадраx Мэргэшсэн арxитектор TUTO ARCHITECTS
Б.Бизъяасүрэн (Мэргэшсэн архитектор) Архитектурын сургуулийн багш
Н.Энхманлай Сэргээн засварлагч Богд хааны ордон музей
П.Ариунаа Сан хөмрөгч УБ хотын музей
Ц.Содномсүрэн Менежер Эрдэнэ Зуу
Д.Жүрмэддорж аюулгүй байдлын хэлтсийн ахлах мэргэжилтэн Нийслэлийн Хот байгуулалт, хөгжлийн газар
Б.Болорцэцэг Барилга, дэд бүтцийн тэнхимийн багш Шинэ Монгол Технологийн Коллеж
Э.Мөнхдалай Барилга, дэд бүтцийн тэнхимийн багш Шинэ Монгол Технологийн Коллеж
Г.Анхсанаа Газрын дарга Соёлын Өвийн Үндэсний Төв
М.Оюунтулга Ерөнхий технологич Соёлын Өвийн Үндэсний Төв
Э.Ганбат Бүртгэл, мэдээллийн санч ЧЛСМ
Н.Саруул Эрдэм шинжилгээний ажилтан Занабазарын музей
Н.Эрдэмбилэг Бурханч лам Дашчойлон хийд
А.Намуун Архитекторын ангийн 5-р курсийн оюутан ШУТИС
Ж.Баясгалан (Барилгын инженер) Бүрэн оролцох боломжгүй

C. STAKEHOLDERS WORKSHOP
The Stakeholders Workshop was held on 10 June 2019 on site in the offices of the Museum Director,
Otgunsuren Dugarsuren. The Workshop was a brainstorming session that was facilitated by translator,
Digge and Arts Council staff member Binderiya Munkbhat. The results of this workshop are presented
in Chapter IV. Along with the staff of the Arts Council of Mongolia and the Choijin Lama Temple
Museum the following persons participated in the Workshop.
D. ACKNOWLEDGMENTS
The following persons and organizations deserve to be acknowledged for their foresight in making
the Conservation Management Plan process a success.
• MCS Group: Project Donor
• The National Center for Cultural Heritage and the Choijin Lama Temple Museum: Organizational
Partners of the Arts Council of Mongolia.
• Training Course participants who made the condition survey a multidisciplinary endeavor and
made it possible to accomplish so much in the space of only two weeks.
• Stakeholders Workshop participants who provided a holistic perspective to the Choijin Lama
Temple Museum as a cultural heritage resource.
• Director Otgonsuren Dugarsuren and her staff at the Choijin Lama Temple Museum who
facilitated our work in a very friendly manner.
• Digge, the translator.
• Odgerel Odonchimed, Executive Director and Bayanmunkh Dorjpalam, Cultural Heritage
Program Director and Binderiya Munkbhat of the Arts Council of Mongolia.
• Bayanmunkh Dorjpalam deserves special recognition for her tireless efforts over an extended
period to make this Conservation Management Plan a reality.
Stakeholders Workshop Participants
Мөнхзул СУГ
Мэндсайхан СУГ
Д.Отгонбаяр Соёлын хяналтын улсын байцаагч Мэргэжлийн хяналтын ерөнхий газар
Гомбосүрэн
Цэцэгбаатар Соёлын өвийн мэргэжилтэн UNESCO,
Энхбат Захирал СӨҮТ
Цэцэнбилэг СӨҮТ
Эрдэнэбаатар Захирал Богд Хааны Ордон Музей
Отгонсүрэн Захирал Чойжин ламын сүм музей

II. Background 4
II. BACKGROUND
A HISTORICAL CONTEXT
1. Dissolution of the Mongol Empire
Twelfth Century Mongolia was characterized
by rivalry between tribes and confederations
known as khanates. In 1206 Genghis Khan was
able to unite and conquer the Mongols, forging
them into a fighting force which went on to
establish the largest contiguous empire in
world history, the Mongol Empire (1206-
1368).1
The subsequent establishment of the Yuan
dynasty (1271–1368) by Kublai Khan, grandson
of Genghis, accelerated the fragmentation of
the Mongol Empire as it fractured into four
khanates. Kublai Khan moved the capital of
the Mongol Empire from Karakorum to
Khanbaliq (modern-day Beijing) in 1264. Kublai
also invited lama Drogön Chögyal Phagpa of
Sakya school of Tibetan Buddhism to spread
Buddhism throughout his realm, and
Buddhism became the de facto state religion of
the Mongol Yuan state.
By 1368 the Mongols had been expelled from
China to Mongolia. After this collapse, the
Mongols returned to their earlier patterns of
internal strife and to their ancient shamanist
traditions. Buddhism began to reemerge after
Abtai Khan established the Erdene Zuu
Monastery in 1585 at the site of the former city
of Karakorum.2
Centuries of internal conflict brought the
Mongolian Empire to fall under the dominion
of the Manchu Qing dynasty. The Manchus
conquered Inner Mongolia in 1636 and Outer
Mongolia in 1691. This dominion lasted until
1911 when Mongolia declared its autonomy
under the Eighth Bogd Jibzundampa Khutugtu
(Holy Venerable Lord), otherwise known as the
Bogd Khan, the spiritual leader of Mongolia’s
Tibetan Buddhism.3
2. Establishment of the Capital of Outer
Mongolia
Ulaanbaatar, was first established in 1639 as a
moveable yurt monastery called Örgöö (Urga).
It was often moved to various places along the
Selenge, Orkhon and Tuul rivers, as supply and
other needs would demand. As the city grew,
it moved less and less. In 1723 Urga had
become the preeminent monastery in
Mongolia in terms of religious authority. In
1778, the city settled for good at its current
location, near the confluence of the Selbe and
Tuul rivers and may have had as many as
10,000 monks. In 1786 a decree was issued in
Peking which gave right to the Urga officials to
make final decisions concerning the
administrative affairs of the Tusheet Khan and
Setsen Khan territories. With this, Urga
became the highest civil authority in the
country (Figure 2-1). The Moscow trade
estimated the population of Urga in the 1870s
at 60,000 based on Nikolay Przhevalsky's
study.4
Figure 2-1 – Detail of 19th
-century painting of Urga
in the center the movable square temple of pot saga
that was constructed in 1654. Source: By
Yastanovog - Own work, CC BY-SA 3.0,
https://commons.wikimedia.org/w/index.php?curi
d=22836396

II. Background 5
3. Bogd Khan and State Oracle Lama for the
Autonomous State
The Dalai Lama recognized an elder son of
Konchok Tsering, a clerk of His court, as the
Eighth reincarnated Bogd Jibzundampa
Khutugtu of Mongolia (Figure 2-2), so the
family migrated from Tibet to Urga in 1874.
The Bogd Khan and Yon-‘dzing Khenpo,
Dharma King Palten Choephel recognized the
Bogd Khan’s younger brother Luvsankhaidav
(Figure 2-3) as “the State Oracle Lama of
Mongolia” in 1883. Shamanistic Bon and
ancient tantrism had been assimilated into
Mongolian Buddhist practice, and the tradition
of using oracles to communicate with certain
Buddhist deities and Dharma protectors had
also been incorporated. 5
A qualiﬁed Oracle
Lama had been invited from Tibet to teach
Luvsankhaidav, and he was trained to perform
the oracle trance as a medium for Dorje Dakten
and Setrab.6
Figure 2-2 - The Bogd Khan as a young man.
Source: Blofeld of SPECTRE at English Wikipedia.
[Public domain]
https://upload.wikimedia.org/wikipedia/commons
/6/60/BogdKhan.jpg
Figure 2-3 – Mongolian State Oracke
Lama”Precious Wisdom, Clear Devotion” Khutuktu
Luvsankhaidov circa 1910. Source: Palace of the
State Oracle.
The ﬁrst Temple for oracle trance activities was
constructed at the site of the Yellow Palace of
the Eastern Monastic District of Urga in 1899-
1901. However, it was consumed by fire in
1903. Consequently, the Choijin Lama Temple
Complex was built as a monastery from 1904
to 1908 by Ombo and other famous Mongolian
architects in honor of the Oracle Lama. Though
it came to be called the Choijin Lama Temple,
its official name was bestowed by the Manchu
Qing’s Guangxu Emperor in 1906 as
“Compassion Perfection Temple.” The site was
chosen by experts as the most suitable site for
an oracle (Figures 2-4 and 2-5). The Choijin
Lama Temple Museum Complex was (and is)
an embodiment of the best architectural
designs of outstanding Mongolian sages, and
contains masterpieces of brilliant artists from
the late 17th to early 20th centuries. The total
expenditure for construction work and the
preparation of holy objects, etc. was equal to
approximately 1.5 million USD, an enormous
sum for the era.7

II. Background 6
Figure 2-4 – Jugder’s 1913 painted panoramic map
of Urga. The large circular compound in the middle
is the Zuun Khuree temple-palace complex. The
Choijin Lama Temple complex is to the south,
below the main square.
Figure 2-5 – Detail of Jugder’s 1913 map showing
the Choijin Lama Temple complex.
Oracle Lama Luvsankhaidav became the Abbot
of the monastery when the temple complex
was completed. Oracle instructions were
issued about the health and long life of the
Bogd Khan and the Empress Sharav
Dondogdulam (Figure 2-6), also known as the
Ekh Dagina (Mother Queen); methods to
remove vague and unintelligable internal and
external obstacles, state activities that may
cause harm, and the like.
Figure 2-6 - Empress Sharav Dondogdulam, also
known as the Ekh Dagina (Mother Queen) shown
later in life. Highly popular with the Mongolian
people she passed away in 1923. Source:
https://artsandculture.google.com/entity/m0hgl_
w_
The Temple initiated its own Cham dance
ceremony in accordance with ‘Merit
Dedication’ canon of the monastic capital in
1916. The Choijin Lama Temple’s Cham dance
was unique due to the particularity of Dharma
activities of the State Oracle.8
Many elements
of the Cham dance have their roots in
Hinduism and the Bon tradition (Figure 2-7).
Sharing its roots with ancient tantra, Cham, a
form of meditation and offering to the gods, is
said to have first originated in the Himalayas
and was a way to cleanse evil forces.9
Mother Dakini Surenkhorloo (Figure 2-8), who
was the tantric partner of the Oracle Lama, was
a qualiﬁed practitioner, diligent and
considered to be beautiful lady for her time.
The Bogd Khan conferred privileges upon her
and gave her the title “Sharp Wisdom” along
with a brown stone top ceremonial hat in 1914.
In 1916 she was recognized as an emanation of
the female deity Tara. These honorifics reveal

II. Background 7
the recognition of her contributions to the
Mongolian state and religious activities.
Figure 2-7 - The main Mongolian deity Begtse in a
cham dance. photo from before 1930. Source:
https://upload.wikimedia.org/wikipedia/commons
/8/8d/The_main_Mongolian_deity_Begtse_in_a_c
ham-dance.jpg
Luvsankhaidav suddenly lost his mind and died
on 28 March 1918. Eventually the status of his
tantric partner would be removed during the
era of political repression, and her properties
would be confiscated. She spent her later life
in internal exile at her home in
Amgalanbaatar.10
Following the Russian Revolution of October
1917, China revived its claims to Outer
Mongolia, aiming at its conversion into a
common Chinese province. In 1919, the
Chinese occupied Urga and forced the Bogd
Khan to sign a document renouncing
Mongolia's independence. Leaders of
Mongolia's national independence movement
were arrested and imprisoned. The Russian
White Guard invaded Mongolia in 1920 and
reinstalled the Bogd Khan on the throne.11
Figure 2-8 – Mother Dakini Surenkhorloo Sanjinjav,
tantric partner of the Oracle Lama. Source: Palace
of the State Oracle.
The Mongolian Revolution of 1921 began
when volunteer troops led by Damdin
Sükhbaatar attacked a Chinese garrison on the
northern frontier of Mongolia. The Mongolian
troops and units of the Soviet Red Army
advanced south, annihilating the remainder of
the defeated Chinese and White Guard troops.
The Mongolian and Red Army troops ocupied
Urga in July of that year. The People’s Republic
of Mongolia, established in 1924 as a Soviet
satellite, became the world’s second Socialist
state and pursued policies in imitation of and
devised by the USSR. The revolutionary
government kept Bogd Khan as nominal head
of state until his death in 1924.12
In that year
Urga was renamed Ulaanbaatar (red hero), at

II. Background 8
the recommendation of T.R. Ryskulov, the
Soviet representative in Mongolia.13
4. The Great Repression and Saving the
Complex
The rise of Stalin would lead to the era of Great
Repression which would accelerate in 1937. In
a spasm of violence that lasted nearly 18
months, over 18,000 counterrevolutionary
lamas were executed. Monks who were not
executed were conscripted into the Mongolian
armed forces or forcibly laicized. More than
700 of the country's monasteries were
destroyed. Thousands of dissident
intellectuals, political and government officials
were labeled "enemies of the revolution," and
along with ethnic Buryats and Kazakhs were
executed.14
The Choisin Lama Temple monastery would
remain active until 1938 when all religious
rituals were banned. While most of the
Buddhist places of worship were being
destroyed, the Choijin Lama Temple and its
artworks survived along with the Green Palace
of the Bogd Khan, Gandantekchenling
Monastery, Janraisig Datsang, Geser
Monastery and the residential structure of
Qing Wang Khanddorj. There were many
reasons for its survival. Significantly, in 1930 a
Russian Architect, Vasilev, and later scholars
from the Institute of Science in Mongolia had
evaluated the Choijin Lama Temple Complex
and declared it an irreplaceable and highly
valuable masterpiece of architecture. Based on
these evaluations and descriptions, Prime
Minister Amar and Deputy Minister Choibalsan
ordered the transfer of the Choijin Lama
Temple complex to the administration of the
Institute of Science for the purpose of research
and exhibition activities in 1938. The
cleverness of those involved saved the temple
complex from destruction during the Stalinist
purges and established a basis for it to become
a museum for cultural heritage preservation,
protection, research and advertisement.15
All furnishings and decorations in the Choijin
Lama Temple complex would be preserved for
interpretation as a religious history museum.
However the temple complex did not come
through this era of repression without loss.
Photos from the early 1940s shows structures
that no longer exist and structures that have
been demolished (Figures 2-9 through 2-11).
The map in Figure 2-12 shows areas where
some of the larger structures that no longer
exist were located. By the time that the
complex came into the possession of the
Institute of science five temples and four gates
remained.
Figure 2-9 – Ceremonial Stone Gate of Honor that
was once located to the south of the Middle Gate
in the 1920s. Source: Palace of the State Oracle.
Figure 2-10 – Children play in the ruins of the
Choijin Lama Temple complex in the late 1930s.
Source: Palace of the State Oracle.

II. Background 9
Figure 2-11 - View of the Yadam Temple from the
southwest in the 1940s. The structures flanking
the Temple are no longer extant and the Pavilion in
the foreground is in ruins. Source: Palace of the
State Oracle.
Figure 2-12 – Schematic Plan of the Choijin Lama
Temple Museum showing structures that remain,
have been reconstructed and that no longer exist.
Source: adapted from дyрсталт барилгад зрсдел
yчүүлж болох нөлөөллийн судалгаа Тайлан
илтгэл, p.13
The Shield Wall of the Choijin Lama Temple
was included on the Parliament of Mongolian
People’s Republic list of historical and cultural
monuments in the first category in 1941
following a proposal by Mongolian scholars for
enforcing “rules for protecting old items“ and
protecting selected historical and cultural
monuments in the territory of the Mongolian
People’s Republic. The political Bureau of the
Mongolian People’s Revolutionary Party’s
Central committee decided to include the
Choijin Lama Temple along with other
monuments in the list of historical and cultural
monuments under state protection in 1960.
Soon after, the Choijin Lama Temple was
included in the list of State protection as
historical and cultural monuments in the ﬁrst
category in 1961.16
5. Establishment as a Museum
The museum functioned as a Religious
Museum for only honorable guests and
delegates from foreign countries and for
domestic visitors with special permission
between 1938 in 1961. After its elevation to
first category, it opened to the public after
renovation work with a budget of 902,000 in
Mongolian national currency. The temple
complex was named “Temple Museum” in
official documents of that period.17
The Museum functioned under the auspices of
the Museum Administration Department from
1965 to 1990, the State Museum from 1990 to
1991, and the Religious History Museum from
1991 to 2000. The Mongolian socialist
government ended in the same era as the
dissolution of the Soviet Union. The first
democratic election was held in July 1990. The
People's Republic of Mongolia officially ceased
to exist in 1992.18
The Choijin Lama Temple
Museum was reestablished as an independent
legal entity by direction of the Minister of
Mongolian Education on 5 January 2000.19
B. RESTORATION CAMPAIGNS
In 1950, measures were taken to seal openings
in the leaking roofs and repair the walls in
order to protect the belongings of the main
museum.20
In accordance with a treaty signed with China
in 1954, Chinese specialists and workers came
to Mongolia to build a number of facilities such
as factories, bridges, stadiums, sports houses,
hotels, department stores and apartments.
The monuments of the Bogd Khan Winter
Palace, the Choijin Lama Temple, and the
Erdene Zuu monastery were measured up and
restoration plans began. In 1956, some
emergency measures were begun at the
museum. The engineer Yu Yin Chen and
craftsman Li Zhu Geo were invited from China
in 1959 to perform the work. In 1961 the
rehabilitation plan was approved, and the
budget was set.21

II. Background 10
In 1960, restoration drawings were developed
for the Choijin Lama Temple Restoration
Design. Yu Yin Chen, worked as chief
engineering engineer and Sh. Nansha was chief
architect. Work was performed on the Zuu
Temple, West Gate and Makharanzs Temple.
The Shield Wall, tile roofs and pant finishes
were restored. Senior Architect, Sh.Nanzad,
said: "I participated in the design and repair of
the Choijin Lama monastery and the
restoration measures on the Main Temple.
From 1960 to 1961, 10 painters led by Yui Min
Chen, engineer from China, worked on the
repair of the Choijin Lama Temple.22
The largest repairs to the Choijin Lama Temple
Museum were the upper floors of the
Machranz Temple, which are the four gods.
The backbone was stubborn. Two of its 4
columns were in place, and 2 were gone. The
upper floor was dilapidated, and the decayed
wood was replaced. Drainage pipes were
installed in some parts of the Temple grounds;
and the Main Temple, Zuu Temple, the Yadam
temple were painted. All work was concluded
circa 1970.23
In 1973, engineer J. Bayasgalan performed
renovation work at the Zuu Temple based on
engineering evaluations. The four interior
columns were slightly deviated to the left, the
four corners were reconstructed, the metal
belts were restored, and the ceilings and
windows were restored.24
In 1974, the painting of the Main Temple and
Zuu Temple was performed by architect
Ts.Tserendorj, engineer J. Bayasgalan and
technician G. Nyamdorj. In 1975 the
restoration included wood flooring
replacement on the ground floor. The new
wood floor was reportedly placed on a
waterproofed concrete slab on grade. Three
layers of the Temple iron roof were replaced
with clay tiles laid in cement-lime paste, and a
concrete apron was placed around the
building.25
In 1982, Russian engineer and electrical
engineer A. Nesselow completed a
comprehensive lightning protection fire alarm
system on the Temple roofs. In 1988, painting
and stuccoing were made at fences, doors and
columns.26
In 1991, architect Ba. Baatarjav, renovated the
roof of the Zuu Temple, the roof of the portico
and zoomorphic decorative roof motifs. In
1992, the columns of the West and East Gates
were replaced and painted with oil paint. In
1995, the roof of the Zuu Temple was
repaired.27
In 2008, all the rest of the Choijin Lama Temple
buildings were surveyed and the measurement
map was completed by the Architecture and its
architects, G.Naymsogt, and worked with the
General Architect. The first step in designing
refurbishment works is the development of
historical and archive surveys, on-site
measurements, color survey surveys and
measurements. On April 14, 2008, Choijin
Lama Museum made a contract with the
Mongolian Art Council as a General Architect.
The Choijin Lama Temple buildings are being
kept in archives of the Mongolian Art Council
archives.28
In 2010-2011, the roof of the Main Hall roof
and the roof of the porch were restored and
the roof of the Zanhui roof was not restored. In
order to restore the original appearance, the
rehabilitation of the roof was carried out with
traditional materials, blue clay tiles,
zoomorphic decorations, white lime and clay
paints; and utilized traditional technology. The
renovation work was performed by architect
G. Nyamtsog, Biziyasuren, I. Dolgorsuren, and
P. Tuvshinjargal.29
In 2011-2012, the walls that surrounded the
Choijin monastery, on either side of the
Maharanz Temple, on either side of the Dund
Gate, the walls north of Yadam Temple and the
Baruun and Zuun Gate entrance doors were
restored.30

II. Background 11
C. DESCRIPTION OF THE REGION, SITE
AND CHOIJIN LAMA TEMPLE MUSEUM
COMPLEX
1. Climate
The continent has a harsh continental climate
with cold winters and hot summers. In addition
to the daily and monthly fluctuations in air
temperature, the annual air temperature is
minuscule, with low precipitation and lack of
moisture, and the winter is characterized by
constant frost and wind. Winds are mostly
from the west and northwest.
2. Geomorphology
Ulaanbaatar is located in the valley of the Tuul
and Selbe rivers, surrounded by low and high
mountains in the Khentii mountainous area.
The territory of the Choijin Lama Temple
Museum belongs to the terrace above the
Selbe River in terms of surface shape and is
topped with alluvial sedimentary deposits.
There is permafrost below the Choijin Lama
Temple Museum site. The topography of the
Choijin Lama Temple Museum site is flat and
varies between 1294.56 meters in the south
and 1295. 01 meters in the north.31
3. Seismicity
Mongolia lies thousands of kilometers away
from the Indian and Eurasian tectonic plate
collision front but could be affected by smaller
events in its vicinity. During the last century,
Mongolia suffered four earthquakes (1905,
1931, 1957 and 1967) with a Moment
Magnitude greater than 8. Given the small slip
rates on these faults, about 1 mm/year, such
events have a return period of about 5000
years. Evidence suggests that during this
interseismic period there is very little activity.32
The Ulaanbaatar area earthquake hazard is
classified as low (Figure 2-13) to very low
according to the information that is currently
available.33
Figure 2-13 – Seismology map showing the seismic
risks in Mongolia. Ulaanbaatar is located with a
black star. Source:
http://thinkhazard.org/en/report/2095-mongolia-
ulaanbaatar/EQ
4. Urban Development
Ulaanbaatar is a city of rapid growth and
change. The growth is mostly outward into
low-density neighborhoods that have emerged
on the fringes of the city, particularly in river
valleys and hillsides north of the city center.
Migrants typically set up gers, the circular,
herder tents that nomadic people have
traditionally used in the Mongolian steppe. In
contrast, the core of the city features Soviet
style architecture—grand neoclassical
government buildings and grids of rectangular,
multi-story apartments that were mostly built
in the 1960s.34
(Figure 2-14)
Migrants from the countryside have been
moving into the city in large numbers since
1992, the year that Mongolia adopted a free-
market system and abandoned central
government control of the economy. Around
that time, lawmakers passed a bill that entitled
every Mongolian citizen to 0.7 hectares of land
within a city for free, a law that helped entice
hundreds of thousands of people to move.35
Urban growth was accelerated in the 21st
Century with highrises being added to the city
that surround the Choijin Lama Temple
Museum (Figure 2-15).

II. Background 12
Figure 2-14 – Aerial view of the Choijin Lama
Temple Museum from the southwest taken in
1984. Source: Palace of the State Oracle.
Temple Museum from the south taken in 2018.
Notice the encroachment highrise buildings
surrounding the site. Source: Palace of the State
Oracle.
D. ARCHITECTURE AND CONSTRUCTION
OF THE CHOIJIN LAMA TEMPLE MUSEUM
The Choijin Lama Temple Complex is designed
and constructed in the Chinese-Mongolian
style and follows traditional Chinese design
concepts. The temple complex layout follows a
bilateral symmetrical axiom: the Main Temple
is located on the north-south axis on the north
side facing southward; and the secondary
buildings were located on two sides in east-
west pairs 36
(Figure 2-16). As the complex
exists today the original secondary buildings
which were monks living quarters, classrooms,
dining halls and the like have been removed.
None of the original landscaping remains, but
traditionally landscaping was natural and did
not follow the precepts of symmetry. This
design arrangement develops courtyards by
the placement of other temples arranged
along subsidiary axes around the Main temple.
Free standing walls within the courtyards are
linked with entry gates to further define the
courtyards.
Temple Museum from the south locating the nine
main structures within the complex.
The remaining original structures
(contemporary structures will not be discussed
further) all have similar design and physical
qualities. They set upon stone bases and their
exterior walls are composed of brick. Good
quality stone, principally granite, can be found
northwest of Ulaanbaatar. Bricks were
historically widely used as construction
material in Mongolia. Mainly two types of
bricks can be identified: sun-dried mud bricks
which were principally used for the enclosing
walls of the compound, and grey baked bricks
known as 'blue bricks' which were used on
most of the Temples.
Doors and windows are composed of wood.
The doors are grand in stature with
panelization and polychromatic painting

II. Background 13
(Figure 2-17). Windows are wood framed with
a large wood to glass ratio. The openings have
intricately and decoratively painted lintels
(Figure 2-18). They do not provide much light
to the interior (Figure 2-19).
Figure 2-17 - The south door of the Main Temple.
Photo: S. Kelley
Figure 2-18 – Window on the east side of the Main
Temple as seen from the exterior. Photo: S. Kelley
Figure 2-19 – Window on the east side of the Main
Temple as seen from the interior. Photo: S. Kelley
There are exterior and interior decorated
wooden posts that support the roof. The wood
appears to be a softwood such as Pine and may
be from the Taiga Forests. One of the most
recognizable features of the wood framework
is the use of dougong (Figure 2-20). Wooden
bracket sets are created by placing a wooden
block (“dou”) atop the post to form a solid
base. Another wooden bracket (“gong”) is then
inserted into the dou to support either a
wooden beam, or another gong. As multiple
dougong brackets are added, the weight of the
roof compresses the joints and distributes the
weight evenly throughout the structure. The
system creates a striking architectural feature
and incredibly robust structure.37
Figure 2-20 – Dougong or bracket type
construction in wood provides a column to beam
connections that distributes the load and offers
flexibility.

II. Background 14
The roof shapes are delineated by upturned
eaves on roof corners and are adaptations of
the xia shan (Figure 2-21) pyramid (Figure 2-
22), hip (Figure 2-23), flush gable (Figure 2-24),
and overhanging gable (Figure 2-25). Roof
shape also defined different levels of hierarchy
for the buildings and that is why the remaining
buildings feature the most complex and
beautiful roofing systems.
Figure 2-21 – The Xia Shan roof structure type that
is quite common at the Choijin Lama Temple
Museum and denotes a greater hierarchy of the
building.
Figure 2-22 – The pyramid roof structure type that
also denotes a greater hierarchy.
Figure 2-23 – The hip roof structure type (above)
and double hip (below).
Figure 2-24 – The flush gable roof structure type.
Figure 2-25 – The overhanging the gable roof
structure type.
The roofs are rendered watertight with the use
of rounded encaustic ceramic tiles with
alternating rows of cupped and arched tiles
with the arched tiles spanning between and
their edges inside the cupped tiles. The clay tile
roofs and the lose clay upon which their set
also served as fireproofing for the structure.
Water runoff is collected at downspouts in the
valleys and are transported to an apron at

II. Background 15
grade which surrounds the building and
protects the masonry walls from capillarity.
Rows of mythical animal figures formed in
painted and glazed ceramic are placed on the
tails of the roof ridges (Figure 2-26). They not
only play a decorative role, but also highlighted
Buddhist beliefs.38
Figure 2-26 – Ceramic tile roofing with semicircular
tiles. Along the roof ridges are mythical animal
figures formed in painted and glazed ceramic.
Photo: S. Kelley
Soil, lime and sand are used in different
combinations for stucco and plaster. Clay
stucco is used on some of the compound walls
and at one temple. It appears that lime mortar
is used to lay up the blue brick walls.
The exposed interior and exterior wooden
elements, stucco surfaces and wood plank
floors are decoratively painted. Pigments used
for religious wall paintings and for decorating
timber frame elements were possibly derived
from semi-precious stones, plants and
minerals. Painting wooden elements slows
weathering and mitigates insect infestation.
A textural technique used on many of the
structural posts entails the buildup of plaster
to smooth the surface and add shallow
decorative flourishes which are then
distinctively painted. Decorative paintings
follow designs and patterns prescribed by
tradition for each different architectural
element. This technique is known as Байтуу
(Baituu) and is typically composed of a mixture
of ashes from dried cow dung mixed with glue
and reinforced with cheese cloth. For exterior
applications oil is also added to the mix.
Зүмбэр (Zumber) is the relief ornamentation
applied on top of Baituu and consists of the
same materials mixed in a workable form that
is applied to the surface of the Baituu using a
bag with a nipple much like a pastry bag. The
application technique is called Зүмбэрдэх
(Zumberdekh).
Papier-mâché is another decorative technique
that appears at the Choijin Lama Temple
Museum. Papier-mâché is a composite
material consisting of paper pulp bound with
an adhesive such as glue or starch that is
formed into three dimensional shapes and
colored with paints or dyes. The technique has
been used in China for more than two
millennia.
The following descriptions of the various
original buildings that remain at the Choijin
Lama Temple Museum are partially adapted
from the chapter entitled “Choijin Lama
Temple Museum Physical Condition Survey”
written by Oyunbileg Z. and published in the
book entitled, Чойжин ламын сүм музейн
дyрсталт барилгад зрсдел yчүүлж болох
нөлөөллийн судалгаа.
1. Yampai Gate (Ямпай хаалга)
Yampai is a Chinese word “影壁-YING BI” that
means “SHADOW WALL”. The Yampai gate is
built in three leaves like a tryptic as a
protective shield in front of the sacred temple
complex that was established at the order of
the Manchurian King (Figure 2-27). It
establishes a north-south Axial Geometry to
the Temple complex.
Figure 2-27 – The Yampai Gate as seen from the
northwest. Photo: S. Kelley

II. Background 16
The gate is constructed with blue bricks,
ornamented with patterns and motifs on the
upper and lower borders. Mongolian
craftsmen using Utai school techniques
created bas-relief sculptures depicting various
events, stories, myths and visions on the
northern and southern six-folder walls. The
top of the wall is protected with overhanging
gable roofs.
The strongest animals in the world - the garuda
(a mythological bird-like creature), lion and
tiger are presented on the center of the south
wall, and five dragons combined in a nature
setting are depicted on the north wall. The
meaning of the iconography is that the temple
complex would be as strong and firm as a
castle while the powerful animals protect the
Temple complex from evil and the devil’s
harm.
2. Makhranz Temple (Махранзын сүм)
The Makhranz Temple is a two-story structure
with the second level being much smaller and
set symmetrically on the first level (Figures 2-
28 and 2-29). The first level is composed of
blue brick with a modified hip roof. The second
story is decorative, inaccessible and has a xie
shan type roof. There is an entry portico to the
south. The Temple maintains the axial
geometry of the Temple complex.
Figure 2-28 – The Makhranz Temple as seen from
the south. Photo: S. Kelley
Figure 2-29 – The Makhranz Temple as seen from
the north. Photo: S. Kelley
Within the Temple Mongolian sculptors and
craftsmen created god-like Makhranz wearing
armor and created using a paper-maché
technique and available paint and dying
materials. According to Buddhist myths and
legends, there are four masters of the
elements four elements (fire, water, earth and
wind) called Yolkhorsuren (Figure 2-30),
Jamiyansan (Figure 2-31), Pagjiibuu (Figure 2-
32) and Namsrai (Figure 2-33) and they protect
Buddhism from evil. In Buddhist teaching there
is a high mountain in the center of the universe
and four continents on each side of the
mountain. The north continent has golden
yellow color, the South is azure blue, the West
is coral red and the East is crystal white.

II. Background 17
Figure 2-30 – Yolkhorsuren, Master of fire.
Photo: S. Kelley
Figure 2-31 – Jamiyansan, Master of water.
Photo: S. Kelley
Figure 2-32 – Pagjiibuu, Master of earth. Photo:
S. Kelley
Figure 2-32 – Pagjiibuu, Master of earth. Photo:
S. Kelley

II. Background 18
3. Dund Gate (Хүндэтгэлийн Асар хаалга)
The Dund Gate is a two-story structure with
the second level being much smaller and set
symmetrically on the first level (Figures 34 and
35). The first level is composed of blue brick
with a flush gable roof. The second story is
decorative, inaccessible and has a xie shan
type roof. There is a portico to the north and
south that have modified hip roofs. With
gilded male and female unicorns on the roof
ridge, the Dund Gate is situated on the south
side of the Main Temple and maintains the
axial geometry of the Temple complex. The
title of the temple, bestowed by the eight Bogd
Jibzundamba “True devotion palace repressing
evil”, was written in three different scripts
including Soyombo, Tibetan and Mongolian.
There were two flag poles on each side of the
south façade, but only the granite bases
remain. There were a pavilion-like granite gate
and granite columns on the path that linked
the Dund Gate and Makhranz Temple, but they
no longer exist. Only two ornaments of the
stone foundation of columns are left and they
have placed near the Dund Gate.
Figure 2-34 – The Dund Gate as seen from the
south. Photo: S. Kelley
Figure 2-35 – The Dund Gate as seen from the
north. Photo: S. Kelley
4. The Main Temple (Гол сүм)
The Main Temple is comprised of 3
components: the freestanding Ceremonial
Portal (Ёслолын асар хаалга) to the south; the
Main Temple; and the Zankhan Temple
(Занхан сүм) to the north of and connected to
the Main Temple (Figure 2-36).
Figure 2-36 – The Main Temple as seen from the
west southwest. From left to right are pictured the
Ceremonial Portal, the Main Temple, and the
Zankhan Temple. Photo: S. Kelley
The ceremonial portal is a traditional
construction. It is composed of two wooden
posts with wooden braces at each post
supporting it from the north and south. The
posts are set within stone peers and support
the roof. The roof is the xie shan type with
large overhangs and accentuated curves
(Figure 2-37).

II. Background 19
Figure 2-37 – The Ceremonial Portal in the
foreground of the Main Temple as seen from the
b. Main Temple
The Main Temple is a two-story structure with
symmetrically on the first level (Figure 2-38).
The first level is composed of blue brick with a
modified hip roof. The second story serves as a
clerestory allowing light into the temple space
and has a xie shan type roof. There is a raised
entry pavilion to the south with a modified xie
shan type roof with a slope for the ridge (Figure
2-39).
The raised entry pavilion is built of stone. Eight
columns on the center of the entrance eaves
are ornamented with dragons and painted in
relief (Figure 2-40). The title of the temple
“Grace Development Temple” is written in
Mongolian, Tibetan, Chinese and Manchurian
scripts on the main doorway of the Main
temple. The entry pavilion has a granite
balustrade on three sides and the railings have
16 granite balusters with stone panels set
between them with carvings of lions,
elephants, tigers, apes and 14-sided dice
(Figure 2-41).
Figure 2-38 – Eastern view of the Main Temple.
Photo: S. Kelley
Figure 2-39 – modified (undulating) roof of the
entry pavilion at the south entrance of the Main
Temple. View from the north northeast. Photo: S.
Kelley
Figure 2-40 – Looking north from the entry pavilion
into the entrance of the Main Temple. Photo: S.
Kelley
Figure 2-41 – Decoratively carved granite
balustrade of the entry pavilion. Photo: S. Kelley
The interior of the Main temple is preserved as
it was used for religious rituals and activities
but is now used for display of artifacts (Figures
2-42 through 2-45). It is beyond the scope of
this report to discuss incredible collection of
immovable heritage that is on display in this
and the other temples. However, the extensive
collection of cham masks are placed in large
class of cases (Figure 2-46). The artifacts on

II. Background 20
display along the walls have protected the
walls that have original decorative painting
that is not part of the display.
Figure 2-42 – Looking northward from the
entrance into the Main Temple. Photo: S. Kelley
Figure 2-43 – Looking northeast from the entrance
of the Main Temple. Various masks are on display
within glass cases. Photo: S. Kelley
Figure 2-44 – Looking northwest from the
southeast corner. Photo: S. Kelley
Figure 2-45 – Looking southeast from the
northwest corner. Photo: S. Kelley
Figure 2-46 – Cham masks within glass cases,
thangkas and other religious artifacts on display in
the Main Temple. Photo: S. Kelley
c. Zankhan Temple
Behind the Main temple for Choijin activities,
is Zankhan temple. The Zankhan Temple is a
two-story structure with the second level
being much smaller and set symmetrically on
the first level (Figures 2-47 and 2-48). The first
level is composed of blue brick with a flush
gable roof. The second story serves as a
clerestory allowing light into the temple space
and also has a flush gable roof. There is a single
story connector building between the Main
Temple and 2nd
Temple is composed of brick
with a flush gable roof.

II. Background 21
Figure 2-47 – The Zankhan Temple located directly
north of and connected to the Main Temple as
seen looking northwest. Photo: S. Kelley
Figure 2-48 – The Zankhan Temple as seen looking
northeast. Photo: S. Kelley
It is believed that this was constructed as an
addition after completion of the Main Temple
but is in strict keeping with the symmetry of
the north-south axis. Luvsankhaidav
performed and carried out specific Choijin
services and religious activities in Zankhan
temple (Figures 2-49 through 2-51).
Figure 2-49 – View inside the Zankhan Temple
looking west. Photo: S. Kelley
Figure 2-50 - View inside the Zankhan Temple
looking northwest. Photo: S. Kelley
Figure 2-51 - View inside the Zankhan Temple
looking east. The brick wall to the right is the Main
Temple. Photo: S. Kelley
5. Zuu Temple (Зуугийн сүм)
The Zuu Temple is located on the right side of
the Main temple. It is a two-story structure
with the second level being much smaller and
set symmetrically on the first level (Figures 2-
52 and 2-53). The first level is composed of
blue brick and stucco and has a flat membrane
roof behind a raised parapet. The second story
is decorative, inaccessible and has a xie shan
type roof. There is a south portico with a
sloped roof.
Figure 2-52 – The Zuu Temple as seen from the
Figure 2-53 – The Zuu Temple as seen from the
east (roof of the Main Temple). Photo: S. Kelley

II. Background 22
This temple was dedicated for Shagjamuni,
founder of Buddhism. Such temples were built
for worship near major temples in countries
that practice Mahayana Buddhism. Craftsmen
of Ikh khuree created scenes with paper-
maché of Buddhist scenes (Figure 2-54).
Figure 2-54 – The interior of the Zuu Temple
looking northeast. Photo: S. Kelley
6. Undur Gegeen Temple (Өндөр гэгээний
сүм)
Undur Gegeen Temple is an eight sided 2-story
temple that is unique. The first level is
composed of blue brick with a sloped and
curving roof and a colonnaded walkway. The
second story serves as a clerestory allowing
light into the temple space and has an eight-
sided pyramid roof (Figures 2-55 and 2-56).
There is a south portico with a sloped roof.
Figure 2-55 – The Undur Gegeen Temple as seen
from the south. Photo: S. Kelley
Figure 2-56 – The Under Gegeen Temple as seen
from the south west (roof of the Main Temple).
Photo: S. Kelley
The Temple is dedicated to the marvelous
artwork of Undur Gegeen (enlightened mind)
G. Zanabazar. Almost all works of Undur
gegeen G.Zanabazar are kept in this temple
(Figures 2-57 through 2-59).
Figure 2-57 – Interior view of the Under Gegeen
Temple looking westward. Photo: S. Kelley

II. Background 23
Temple looking northward from the entrance.
Photo: S. Kelley
Temple looking upward showing the square to
octagon structural framing. Photo: S. Kelley
7. Yadam Temple (Ядамын сүм)
Yadam Temple (hallowed Divinity Temple) is
located north from the main temple. It is a
two-story structure with the second level
being much smaller and set symmetrically on
the first level (Figures 2-60 through 2-62). The
first level is composed of blue brick with a
sloped roof and walkway around the second
level. The second story is decorative,
inaccessible and has a xie shan type roof. There
is a portico to the south that has a sloped roof.
Figure 2-60 – The Yadam Temple as seen from the
southwest. Photo: S. Kelley
Figure 2-61 – The Yadam Temple as seen from the
east. Photo: S. Kelley
Figure 2-62 – The Yadam Temple as seen from
the west. Photo: S. Kelley
This temple was the Choijin Lama’s hallowed
divinity and secret mantra temple. Choijin
lama Luvsankhaidav contemplated his secret
mantra here, and it was not open to ordinary
people (Figure 2-63).

II. Background 24
Figure 2-63 – The interior of the Yadam Temple
looking northward from the entrance. Photo: S.
Kelley
8. Baruun or Western Gate (Баруун асар
хаалга)
The Baruum Gate is a two-story structure with
symmetrically on the first level (Figures 2-64
and 2-65). The first level is composed of blue
brick with a sloped roof and walkway around
the second level. The second story is accessible
by stairway and has a xie shan type roof. The
second story is presently used for storage
(Figure 2-66).
Figure 2-64 – The Baruun Gate as seen from the
west and outside the temple museum walls. Photo:
S. Kelley
Figure 2-65 – The Baruun Gate as seen from the
east (roof of the Main Temple). Photo: S. Kelley
Figure 2-66 – Decorative wood painting of upper
walls and ceiling of the second floor of the Baruun
Gate. Photo: S. Kelley
9. Zuun or Eastern Gate (Зүүн асар хаалга)
The Zuun Gate is almost a mirror image of the
Baruum Gate. It is a two-story structure with
symmetrically on the first level (Figures 2-67
and 2-68). The first level is composed of blue
brick with a sloped roof and walkway around
the second level. The second story is accessible
by stairway and has a xie shan type roof. The
second story is presently used for storage
(Figure 2-69).
Figure 2-67 – The Zuun Gate as seen from the
west. Photo: S. Kelley

II. Background 25
Figure 2-68 – The Zuun Gate as seen from the
north (upper level of the Undur Gegeen Temple).
Photo: S. Kelley
Figure 2-69 – Decorative painted wood dougong
and ceiling panels on second level of the Zuun
Gate. Photo: S. Kelley
E. SIGNIFICANCE ASSESSMENT
The Choijin Lama Temple Complex is a
masterpiece of late 19th and earlier 20th
Century Mongolian architectural art. It was
constructed in 1904-1908 as a place for Oracle
trance activities of “Precious Wisdom and
Clear Devotion” Khutagt Luvsankhaidav. It
miraculously survived the political repression
that started in 1938 because it was recognized
as a highly valuable architectural an artistic
masterpiece, and groundwork was established
to reuse it as a museum rather than destroy it.
1. Authenticity39
A property meets the conditions of
authenticity if its cultural values are credibly
expressed through a variety of attributes.
Documentation should assess the degree to
which authenticity is present in or expressed
by each of these significant attributes,
including:
a. Form and design
The Choijin Lama Temple Museum retains a
high degree of form and design. It is composed
of nine building elements set in symmetry with
the landscape and bounded by the original
exterior walls. There were once more
structures and monuments objects, however
the main gates and temples remain. The
exterior walls and some interior walls have
been reconstructed but retain their original
design, appearance and material. Two single-
story ger-type structures have been added in
the place where original gers were located and
serve administrative functions for the
museum.
b. Material and substance
Choijin Lama Temple Museum retains a high
degree of material and substance. Most
significant are the blue clay tile roofs which
remain on all the temple and gate structures.
Wooden post, lintel and roofing framework
remain in place. The original foundations and
brick exterior walls remain in place as do all
interior partitions. The original flooring
remains intact – in some cases wood planking
and in other cases brick paving. The interior
paint decorations on the walls, ceilings and
roof framing remain in place. In some cases
this decorative paint has been obscured (and
protected) behind display cases that serve the
museum.
c. Use and function
moderate degree of use and function. The
original function of the temple complex would
be an anachronism today, though some
shamanistic traditions remain in Mongolia.
There is a resurgence in religion and religious
traditions following the fall of the Soviet-style
communist governments. There is little
chance that the temple museum would be
converted for religious use as iis present
function is useful. However, the museum now
serves as a splendid reliquary for thousands of
irreplaceable historical, cultural, religious and
art items. Many of these artifacts, such as the
collection of cham masks, were a part of the
temple complex inventory during its short

II. Background 26
tenure as the oracle site for the Bogd Khan
government.
d. Traditions, techniques and
management
moderate degree of traditions, techniques and
management systems. The complex exists
today in its present form because it was left
unmaintained but protected while scores of
religious structures across Mongolia were
destroyed during the great purge. The first
mention of maintenance was in 1950, and it is
assumed that these were emergency
procedures. Though the complex was cared for
during the later communist period, societal
methods of funding and maintaining built
cultural heritage were swept away at the end
of that period. The temple museum is
presently is presently managed by the Choijin
Lama Temple Museum. It is hoped that this
conservation management plan, capacity
building, and the attraction of international
funding sources will aid in this management.
e. Location and setting
high degree of location and setting. It is in
located in its original location with the temple
and gate structures set in a pleasing symmetry.
The complex is enclosed within its original
walls. The softscapes and hardscapes are
tastefully laid out to enhance this symmetry
and to enhance but not detract from the
temples and gates. A threat to the temple
museum complex, discussed further in other
parts of this report, is the encroaching
development of Ulaanbaatar. There are high-
rise and midrise buildings that are beginning to
crowd the site to the north, east and west.
Development has also separated the temple
complex from Sukbaatar Square, the main
square of Ulaanbaatar to the north.
f. Spirit and feeling
Spirit and feeling are attributes that are
important indicators of character and sense of
place. The Choijin Lama Temple Museum
retains a high degree of spirit and feeling
though it is becoming landlocked near the
center of a thriving metropolis. Within the
walls of the temple complex one can find a
serenity and escape from the bustling world
that surrounds it. Passing through the gates
and entering the temples - due to their
authenticity of form, design, material and
substance – one can feel the sense of their
original use and also find escape from the city.
2. Integrity40
Integrity is a measure of the wholeness and
intactness of the natural and/or cultural
heritage and its attributes. Examining the
conditions of integrity requires assessing the
extent to which the property:
a. Outstanding Universal Value
According to UNESCO, “Outstanding Universal
Value (OUV) means cultural and/or natural
significance which is so exceptional as to
transcend national boundaries and to be of
common importance for present and future
generations of all humanity. As such, the
permanent protection of this heritage is of the
highest importance to the international
community as a whole. 41
” In order to be
considered of Outstanding Universal Value, a
cultural site or property must meet one or
more of the following six World Heritage
Criteria:
(i) To represent a masterpiece of
human creative genius;
(ii) To exhibit an important interchange
of human values, over a span of time
or within a cultural area of the
world, on developments in
architecture or technology,
monumental arts, town-planning or
landscape design;
(iii) To bear a unique or at least
exceptional testimony to a cultural
tradition or to a civilization which is
living or which has disappeared;
(iv) To be an outstanding example of a
type of building, architectural or
technological ensemble or
landscape which illustrates (a)
significant stage(s) in human history;
(v) To be an outstanding example of a
traditional human settlement, land-
use, or sea-use which is
representative of a culture (or

II. Background 27
cultures), or human interaction with
the environment especially when it
has become vulnerable under the
impact of irreversible change;
and/or
(vi) To be directly or tangibly associated
with events or living traditions, with
ideas, or with beliefs, with artistic
and literary works of outstanding
Universal significance.
Of these six criteria, the Choijin Lama Temple
Museum meets criteria (iii) and (vi), and it may
be argued that it would meet criteria (i) as well.
b. Adequate Size to ensure
representation
The Choijin Lama Temple Museum is of
adequate size to ensure the complete
representation of the features and processes
which convey the property’s significance due
to its high degree of authenticity. A significant
proportion of the buildings remain to convey
the totality of its value; and dynamic functions
within the cultural landscape are maintained
to preserve its distinctive character.
c. Physical condition
The physical fabric and character defining
features of the Choijin Lama Temple Museum
are in fair to good condition. The development
of the conservation management plan is a tool
to control and manage the deterioration
processes.

II. Background 28
ENDNOTES
1
http://mongolianembassy.us/about-mongolia/history/
2
ibid.
3
ibid.
4
https://en.wikipedia.org/wiki/History_of_Ulaanbaatar#Mongol_Empire
5
https://itibettravel.com/tibet/tibetan-religion/tibetan-buddhism-2/tibetan-cham-dance/
6
Palace of the State Oracle, Editors Otgonsuren Duarsuren and Tsatsralt Sereeter, Ulaanbaatar CLTM (2018).
ISBN 978-99978-3-260-3.
7
Ibid.
8
Ibid.
9
https://itibettravel.com/tibet/tibetan-religion/tibetan-buddhism-2/tibetan-cham-dance/
10
ISBN 978-99978-3-260-3
11
https://en.wikipedia.org/wiki/History_of_Mongolia
12
Ibid.
13
https://en.wikipedia.org/wiki/History_of_Ulaanbaatar#Mongol_Empire
14
https://en.wikipedia.org/wiki/Stalinist_repressions_in_Mongolia
15
ISBN 978-99978-3-260-3
16
Ibid.
17
Ibid.
18
https://en.wikipedia.org/wiki/History_of_Mongolia
19
ISBN 978-99978-3-260-3
20
дyрсталт барилгад зрсдел yчүүлж болох нөлөөллийн судалгаа Тайлан илтгэл, Улаанбаатар (2018)
21
Чойжин ламын сүм музейн дyрсталт барилгад зрсдел yчүүлж болох нөлөөллийн судалгаа Тайлан
илтгэл, Улаанбаатар (2018)
22
Ibid.
23
Ibid.
24
Ibid.
25
Ibid.
26
Ibid.
27
Ibid.
28
Ibid.
29
Ibid.
30
Ibid.
31
Ibid.
32
https://ui.adsabs.harvard.edu/abs/2002AGUFM.S71B1100D/abstract
33
http://thinkhazard.org/en/report/2095-mongolia-ulaanbaatar/EQ
34
https://earthobservatory.nasa.gov/images/145125/the-urbanization-of-ulaanbaatar
35
Ibid.
36
https://www.chinahighlights.com/travelguide/architecture/
37
https://multimedia.scmp.com/culture/article/forbidden-city/architecture/chapter_02.html
38
https://www.chinahighlights.com/travelguide/architecture/
39
World Heritage Operation Guidelines, II.E. p. 82-86
40
Ibid., p. 87-89
41
http://whc.unesco.org/en/criteria/

III. CONDITION ASSESSMENT 29
III. CONDITION ASSESSMENT
We were able to perform a condition
assessment of structures 2 through 9 with the
help of the students who attended the Training
Course. Assessment of the structures was the
field portion of the Training Course. The
condition assessment included all physical
immovable heritage and excluded the artistic
collections and other furnishings.
A. METHODOLOGY
The following investigative methodology was
followed during this assessment and the
physical survey, unless noted otherwise, was
focused on the Main Temple. It was taken for
granted that the other structures in the Choijin
Lama Temple Museum complex were built at
the same time utilizing the same materials and
techniques and would therefore have similar
physiological characteristics and behaviors.
1. Archival Research
Review of archival information included that
numerous publications were provided during
the site visit plus other publications that were
found to be available in the United States.
Archival research should always be the first
step in any condition assessment as it will
inform the path of all investigative work to
follow. Reports prepared by others were
provided and were translated in English.
Internet research was also performed. This
archival information is presented in II.
Background and specific sources utilized can
be found in the endnotes. Below is a list of
these resources:
a. Books
• Encyclopedia of Mongolia and the
Mongolian Empire by Christopher P.
Atwood, Indiana University:
Bloomington (2004).
• Mongolian Arts edited by Otgonsuren
D and Khatanbaatar Choi, Choijin Lama
Temple Museum: Ulaanbaatar (2018).
• Mongolian Architecture by N.
Tsultem, State Publishing House:
Ulaanbaatar (1988).
• Palace of the State Oracle edited by
Otgonsuren Dugarsuren and Tsatsralt
Sereeter, Choijin Lama Temple
Museum: Ulaanbaatar (2018).
b. Reports
• Чойжин ламын сүм музейн дyрсталт
барилгад зрсдел yчүүлж болох
нөлөөллийн судалгаа Тайлан илтгэл,
Улаанбаатар (2018.)
• Чойжин ламын сүм музейн
ЦОГЦОЛБОРЫН НӨХЦӨЛ БАЙДЛЫН
СУДАЛГАА, Төслийн гүйцэтгэгч: МУ-
ын Зөвлөх архитектор
З.ОЮУНБИЛЭГ(PhD), “ХЭРИТЭЙЖ”
ХХК.
• Past intervention at Choijin Lama
Temple, PDF file, Choijin Lama Temple
Museum.
c. Internet sources
• Architecture:
https://www.chinahighlights.com/tra
velguide/architecture/
• Architecture of Mongolia:
https://enacademic.com/dic.nsf/enwi
ki/6782688
• Architecture:
https://www.wikiwand.com/en/Choiji
n_Lama_Temple
• Seismology:
https://ui.adsabs.harvard.edu/abs/20
02AGUFM.S71B1100D/abstract
• Seismology:
http://thinkhazard.org/en/report/209
5-mongolia-ulaanbaatar/EQ
• Historical:
http://madmonarchist.blogspot.com/
2010/06/consort-profile-ekh-
dagina.html

2. Contextual Site Visits
Contextual site visits are a method of placing
the heritage resources being studied into
context geographically, socially, politically, and
culturally. All the site sites that were visited
were originally built as Buddhist monasteries
and were constructed within the timeframe of
the Choijin Lama Temple Museum. Of the four
sites presented below, an analysis with a
separate written report was presented for
three of them excluding the Gandantegchinlen
Monastery.
a. Bogd Khan Palace Museum
The Bogd Khan Palace complex was built near
the Tuul River between 1893 – 1905 for the 8th
Bogd Javzandamba who became the Bogd
Khan when Mongolia declared its
independence in 1911. The Winter Palace
complex was turned into a museum in 1926 in
accordance with orders from the Central
Committee of the People’s Party and thus
survived the systematic destruction of temples
and monasteries that took place in the late
1930s. The Palace is the only one left from the
four residences of the Bogd Khan, and one of
the few Mongolian historical attractions which
were not destroyed during the communist
period. The Bogd Khan Palace Museum that
remains is comprised of two parts, the Summer
and Winter Palaces. The Summer Palaces is
made of seven structures: Maharajas Temple;
Temple of Thangkas; Temple of Appliques;
Temple of Many Deities; Library Temple, and
Labrang Temple. The Winter Residence is a
two-story Russian designed building that was
presented as a gift to the Bogd Khan by the
Russian Tsar. The Museum complex also has
two pagodas, a shield wall and the Peace and
Happiness Gate (Figures 3-1 through 4).
Figure 3-1 – Early print of the Bogd Khan Winter
Palace.
Figure 3-2 - The Peace and Happiness Gate at the
entrance to be Bogd Khan Winter Palace. Photo by
S Kelley.
Figure 3-3 – View of the Bogd Khan Winter Palace.
Photo by S Kelley.

Figure 3-4 – View of the Bogd Khan Winter Palace
with sheet metal roofing meant to mimic clay tile.
Photo by S Kelley.
b. Dashichoiling Monastery
The Dashichoiling Monastery was one of the
monastery complexes of Ikh Khüree, former
name of Ulaanbaatar, and thus has a deep
connection to the history of Ulaanbaatar. Built
in 1890, it is reportedly one of one of the three
remaining Ger-style Mongolian Buddhist
temples in Mongolia. Up until 1939, the
Dashichoiling Monastery was a major religious
and cultural center where learned men and
lamas converged to carry out religious rites
and cultural activities. During the political
purges in the late 1930s, when almost all other
Buddhist temples and monasteries were
destroyed, the Dashichoiling Monastery was
spared destruction with two of its temples
turned into a bazaar and distribution center
and the third into a circus building. In 1990,
after the democratic changes in the country,
the Dashichoiling Monastery was restored as a
Buddhist Temple center, but the third
structure remains a barn for storage of circus
animals (Figures 3-5 through 7).
Figure 3-5 – Early print of the Dashichoiling
Monastery.
Figure 3-6 - Dashichoiling Monastery. Photo by S
Kelley.
Figure 3-7 - Interior view of the Dashichoiling
Monastery. Photo by S Kelley.
c. Gandantegchinlen Monastery
The original monastery was constructed in
1809 and several alterations and additions
were made thereafter. In 1913, the tall
Boddhisattva Avalokiteśvara temple was built
which serves as the landmark for the
monastery. The complex escaped the
destructive purges of the late 1930s but was
closed in 1938. The monastery was reopened
in 1944 and was allowed to continue as the
only functioning Buddhist monastery as a
token homage to traditional Mongolian culture
and religion. With democratization in 1990,
restrictions on worship were lifted (Figures 3-8
and 9).

Figure 3-8 – Gandantegchinlen Monastery. Photo
by S Kelley.
Figure 3-9 – Interior view of the Gandantegchinlen
Monastery. Photo by S Kelley.
d. Geser Sum Monastery
Founded in the late nineteenth century during
the time of Manchu dominance over Mongolia,
the Geser Sum Monastery was built with
donations from Chinese merchants. As a result,
planning of the complex is stylistically Chinese,
but the architecture and sculpture identify the
site as a unique fusion of elements of
Mongolian Buddhism, indigenous shamanism,
Chinese Buddhism, and Taoism. As the
government took possession of Geser Sum in
1933 and used it for the Border Army Song and
Dance Ensemble, it escaped demolition during
the Purge of 1937. It again became a
functioning Buddhist temple with the
cessation of communist rule in 1990 (Figures 3-
10 and 11).
Figure 3-10 – Geser Sum Monastery. Photo by S
Kelley.
Figure 3-11 – Geser Sum Monastery. Photo by S
Kelley.
3. Visual and Non-Intrusive Assessments
The focus of our visual and non-intrusive
assessments was the Main Temple which was
used as a model for all the other buildings as
will be explained below. After we had
completed our diagnostic assessment of the
Main Temple, we turned our attention to the
other temples and gates in the complex.
A visual assessment was performed of all
buildings from accessible areas around the
exterior, interior and roof areas (Figures 3-12
and 3-13). Non-intrusive assessments can be
described as investigative procedures while
not causing any harm to the object being
investigated. This non-intrusive assessment
included the study of the wooden floor, post

and horizontal roof beams using levels (Figure
3-14), laser equipment (Figure 3-15) and
probing devices (Figure 3-16).
Figure 3-12 – Visual assessment of the second
story framing of the Main Temple. Photo by S
Kelley.
Figure 3-13 – Visual assessment of the clay tile
roof of the Zankhan Temple. Photo by S Kelley.
Figure 3-14 – Checking the plumbness of columns
with a level. Photo by S Kelley.
Figure 3-15 – Checking the floor level with the
laser. Photo by S Kelley.

Figure 3-16 - Probing checks in the wood post with
an ice pick. Photo S Kelley.
4. Minimally Intrusive Assessments
Minimally intrusive assessment techniques can
be described as investigative procedures that
will require some damage. These techniques
were employed sparingly and only at locations
that there was already damage or were
obscured from view. Following is a description
of the investigative procedures utilized and
their findings:
a. Resistance drilling of wood
A drill with a long narrow wood bit was utilized
to drill into the wood post at the southeast
corner of the Main Temple. In this location
there was a crack in the masonry wall at the
corner exposing the wood post at the base.
The drill bit that was used was 4 mm in
diameter and long enough to reach through
the crack in drill approximately 15 cm into the
wood. There was a concern about the
condition of the wood where it is buried within
the masonry due to potential fungal growth
(wet or dry rot) or damage from insects. The
resistance of the drill gives an indication of the
condition of the wood - if the wood is decayed
within the post than the resistance will drop in
the drilling will go much faster. The wood post
was drilled in three locations near the base
(Figure 3-17) and the resistance remained high
indicating that the post is in serviceable
condition.
Figure 3-17 – Southeast corner of the Main Temple
where the wood post was exposed making
resistance drilling possible. Photo by S Kelley.
b. RILEM tube testing
The RILEM tube test is an absorption test
method to determine relative water
permeance through masonry and other
materials. The RILEM tube test method device
was developed by the Réunion Internationale
des Laboratoires et Experts des Matériaux,
Systèms de Construction et Ouvrages.
A RILEM tube is composed of a shaft and a
bowl. The bowl is adhered to the surface being
tested with a waterproof material. The shaft,
located above the bowl, is filled with water and
the waterhead caused by the height of the
shaft (about 10 cm) approximates a wind-
driven rain. The amount of water that runs
through the surface being tested over time
gives an indication of the permeance of that
material (Figure 3-18). For our purposes we
wanted to obtain an indication of a
comparative rate of water permeance of the
brick, roof tiles and stucco.

Figure 3-18 – RILEM tube testing of brick masonry.
Photo by S Kelley.
c. Roof work at Main Temple
Due to the roof work that was being performed
at the Main Temple while we are on site, we
were allowed the opportunity to inspect the
details of the traditional roofing system while
it was being disassembled by others (Figure 3-
19).
Figure 3-19 – Roof replacement at the Zankhan
Temple made it possible to see the construction
technology. Photo by S Kelley.
d. Test pit
A large landscaping project was underway
during our site visit. This afforded the
opportunity to dig a test pit adjacent to the
north wall of the Makhranz Temple to the west
of the portal (Figure 3-20). The area that was
chosen was adjacent to one of the wood
structural posts. It is assumed that the
foundation systems uncovered are indicative
of the foundation systems at all the structures.
Figure 3-20 - Creation of a test pit at the Makhranz
Temple. Photo by S Kelley.
e. Previous geotechnical investigation
A geotechnical investigation was performed at
the Choijin Lama Temple Museum in April 2017
to determine the characteristics of the soil and
ground water and permafrost levels. One bore
hole was created approximately 10 meters
deep in the northwest courtyard of the site and
one test pit was dug to the southeast of the
Main Temple. Permafrost soil was known to be
at 5.5 to 5.6 meters below grade.1
The topsoil (or cultural layer) of the Choijin
Lama Temple and Museum site is covered with
large alluviul2
and proluvial3
debris. The subsoil
is composed of sand and loam4
, and the loamy
subsoil with layers of mica. There are large
proluviul fragments of sedimentary and
metamorphic rock fragments within the
subsoil. Groundwater was detected at 6.15
meters below grade. Groundwater is
hydraulically connected to the Tuul and Selbe
rivers. It is fed by water from the above the
rivers and from rainwater. The lowest ground
water levels are typically in January, February
and March, the highest in July, August and
September.5
The geotechnical condition of the Choijin Lama
Temple Museum site is of concern because
there are four contemporary high-rise
buildings in the area and they impact the
behavior of the groundwater. The Choijin Lama
Temple needs a water management design to
protect it from surface and groundwater.6

5. Sample Removal for Evaluation
The following material samples were removed
from the Choijin Lama Temple Museum
confines for initial laboratory studies: mortar
from the Main Temple; decorative finishes
from the woodwork of the Main Temple; a roof
tile from the Main Temple; and a sample of
wood from the structure of the Main Temple;
and adobe brick, clay mortar, stucco rough
coat and stucco finish coat from the north
walls of the confines (Figure 3-21). These
materials were examined either at the hotel in
Ulaanbaatar or at the office of Chicago USA.
The findings are presented later in this
chapter.
Figure 3-21 -Material sample removal for
laboratory analysis. Photo by S Kelley.
B. OBSERVATIONS
In this Chapter general physiological
characteristics and behaviors of the buildings
are first presented, and then specific
pathologies of each building are discussed
based upon our methodology.
1. General Findings
General findings are based on a more
comprehensive assessment that was focused
on the Main Temple assuming that the other
structures, built in the same time and with the
same materials, would have similar
physiological characteristics.
a. Foundations
Based upon the test pit at the Makhranz
Temple, the buildings appear to have stone
masonry foundations made from uncut
limestone, each being 5 to 10 kg in size, that
are light brown in color and not bedded in
mortar (Figure 3-22). The foundations were
constructed by digging a trench beneath the
exterior walls of the building and filling the
trench with rubble stone which was probably
compacted in some manner.
Figure 3-22 -Test pit and north wall of Makhranz
Temple showing loose stones. The sketch is a
schematic representation of the foundation
system. Photo and sketch by S Kelley.
Such a system is more of a soil compaction
technique than a foundation system and some
differential settlement would be expected.
Reportedly there is permafrost about 15 m
below the surface and the water table is about
16 m below the surface and these conditions
could exacerbate settlement or cause frost
heave7
. There are signs of past differential
settlement that can be seen by cracking of the
masonry walls and will be discussed in detail
below. However, there is no issue of concern
at this time that further settlements will occur
as long as existing structural loading weights or
geotechnical conditions are not altered.
b. Wood post and lintel structure
The structure of each building is a simple wood
post and lintel system made from dressed logs
set on carved granite bases (Figure 3-23).
Based on sample analysis, the wood is a
softwood.8
Wood elements are
interconnected using mortise and tenon and
bracketing techniques (Figure 3-24).

Figure 3-23 -Square timber post within the Zuu
Temple set on a carved granite base. Photo by S
Kelley.
Figure 3-24 -Mortised post to lintel connection in
the Main Temple. Photo S Kelley
The wood post and lintel systems are generally
in fair condition, but the posts and beams are
subject to checking. Checks are vertical
separations of the wood that appear as cracks
(Figures 3-25 and 26). They occur across or
through the rings of annual growth. Wood is an
anisotropic material.9
It has different material
properties in axial, radial, and circumferential
directions. Checks occur when the moisture
content of the wood is lowered, and drying
stresses exceed the tensile strength of the
wood perpendicular to the grain. Checking of
wood posts made from dressed logs and
timbers is not uncommon but indicates that
the wood may not have been properly
seasoned before it was installed. This
phenomenon is not presently a structural
concern and should not be expected to worsen
as the wood should now be properly seasoned.
Figure 3-25 -Large check in a dressed logs post.
Photo by Training Course participant.
Figure 3-26 -Checks in a dressed logs beam. Photo
by S Kelley.
The interior wood posts typically carry more of
the roof load than the exterior posts that are
encased in brick masonry. Consequently, the
interior wood posts have greater settlement in
the wood flooring within some of the
structures slope downwards toward the center
of the structure and away from the exterior
walls (Figure 3-27). Wood structural systems,
especially post and lintel systems utilizing
dougong construction techniques, can
accommodate differential settlement without
damage or even little notice.

Figure 3-27 -Study using a laser level of the dishing
of the floor of the Main Temple showing a sloped
downward towards the center and away from the
walls of approximately 3 cm. Sketch by S Kelley.
Where a wood post was completely encased in
a masonry wall at the southeast corner of the
Main Temple the post was exposed by a large
vertical crack (Figure 3-28). In this area
resistance drilling was performed on the post
to determine its relative condition. Where
wood elements are buried within masonry
walls there is a chance of decay from wood rot
due to the possibility of excess moisture. Dry
rot in the form of serpula lacrymans has been
detected on interior wood elements that are
close to the ground by others. Resistance
drilling indicated that the wood post was in
good condition near its base where it was
encased in masonry.
Figure 3-28 -Vertical crack in the wall at the
southwest corner of the Main Temple allowed to
use of resistance drilling of the wood post
embedded in the masonry. Photo by S Kelley.
c. Roofing and water management
The roofs are built in the Chinese manner with
dougong bracketing emanating from the post
and lintel structure with closely spaced rafters
that are either round or rectangular in profile.
In some cases, the rafters become part of the
interior architecture, and in other cases they
are obscured above wood paneling.
The roof structure is composed of compacted
clay laid on top of narrow wood sheeting.
Chinese style unglazed ceramic tiles are laid in
the compacted clay and mortar. There are
normally three types of ceramic tile in the field,
convex, concave, and end pieces. Then there
are other decorative ceramic tile clay pieces at
ends. Highly decorative ridge caps feature
mythical creatures. The field tiles are grey in
color and the ridge tile is painted red. Such a
roofing system has significant weight which
serves as fire protection. Due to the presence
of clay beneath the tile plant growth is
promoted, especially at north slopes where
the climatic conditions are amenable for their
propagation.

Each roof has a lightning protection system
composed of a metallic wire which is carefully
constructed to bend over the mythical
creatures along the ridges and decorative
features at the tops of each roof (Figure 3-29).
Figure 3-29 -The intricate lightning protection
system atop the Makhranz Temple. Photo by S
Kelley.
Each building has a roofing system that is in a
different state of repair, probably based upon
their cycle of maintenance. Tiles become
broken over time due to foot-traffic on the
roof or other impact forces (Figure 3-30). In
addition, the clay underlayment promotes
organic growth most prevalent on north slopes
that do not receive sunlight, and this growth
can undermine the setting of the tiles.
Figure 3-30 -Damaged clay tile roofing from foot
traffic and from plant growth. Photo by is Kelley.
There is valley flashing in areas where different
roof planes meet (Figures 3-31 and 32). This
flashing can be composed of either metal,
asphalt or a combination of these two
materials (Figure 3-33) and they need repair in
some areas (Figure 3-34). Water is collected at
the downspouts which must be kept clean or
else they will overflow (Figures 3-35 and 36). In
some areas water drainage blockages
compounded by electrical service wires.
The buildings typically have concrete aprons
around them at grade to shed water away from
the exterior walls (Figure 3-37).
Figure 3-31 -Valley flashing composed of asphaltic
material at Main Temple. Photo by S Kelley.
Figure 3-32 -Large valley flashing at Main Temple.
Photo by S Kelley.
Figure 3-33 -Valley flashing at Main Temple
composed of sheet metal. Photo by S Kelley.

Figure 3-34 -Corrosion has penetrated through the
sheet-metal flashing. Photo by S Kelley.
Figure 3-35 -Clogged downspout at Main Temple.
Photo by S Kelley.
Figure 3-36 -Electrical wiring that is in conflict with
and will hinder the roof drainage at the Main
Figure 3-37 - Concrete apron that is typically
installed around the age structure. Photo by S
Kelley.
d. Masonry and stucco walls
The exterior masonry walls above the ground
are pressed and fired clay “blue brick” and are
laid in lime mortar. They are typically coated
with a pigmented lime wash (Figures 3-38
through 40). The masonry walls, though
prominent, were not originally envisioned as
loadbearing walls as the wood posts and lintel
framing was meant to carry the significant roof
loads.
Figure 3-38 - Masonry walls of the Makhranz
Temple. The lower walls are painted yellow and
the upper walls, red. Photo by S Kelley.

Figure 3-39 -Masonry walls of the Dund Gate. The
lower walls are painted yellow and the upper
walls, red. Photo by S Kelley.
Figure 3-40 -Masonry walls of the Yadam Temple.
The lower walls are painted blue and the upper,
yellow. Photo by S Kelley.
The masonry walls were constructed around
the exterior wood posts burying the posts
partially or completely within the masonry
wall. There are forged iron ties on the exterior
side of the façade (Figures 3-41 and 42). They
were placed in a pleasing manner and are
related to the wood posts buried in the wall by
creating a horizontal tie through the wall
thickness on either side of the post. These ties
cannot be seen on the interior because of
plasterwork.
Figure 3-41 – Masonry walls with forged iron ties
on the Main Temple. Photo by S Kelley.
Figure 3-42 -One of the forged iron ties. Photo by S
Kelley.
It is my hypothesis that the structures initially
transmitted all gravity loads from the heavy

roof to the wood posts. Over time exterior
masonry walls began to pick up the load from
the posts which they encompass. This is
because differential settlement between the
post and wall foundations and moisture
expansion of the brick masonry over time. The
exterior posts end up carrying little or no load
which is then transferred to the masonry walls.
The wood beams at the top of these walls rests
on the walls by mortar built up between the
masonry and wood (Figure 3-43) which
accentuates this load transfer. Consequently,
there is typically a slight differential settlement
with related cracking at the corners of the
buildings (Figures 3-44). Since the roof load is
transferred from the posts to the masonry
walls, the cracking caused by differential
settlement is not expected to continue.
Figure 3-43 -The wood beams are resting on the
masonry walls of the Zuu Temple thereby
imparting the roof loads on to the masonry wall.
Photo by S Kelley.
Figure 3-44 -Cracking of the masonry wall at the
corner due to settlement of the wood post
embedded within. Photo by S Kelley.
If the wood posts and lintel system easily
accommodate differential settlement,
unreinforced brick masonry walls will not.
Masonry walls will crack with the slightest
differential movement. However, with few
exceptions, no settlement relating cracking of
the masonry walls was observed.
It must be stated that the exterior masonry
walls provide substantial lateral support for
each of the buildings. Seismic forces could
easily topple such structures with heavy
roofing systems without the bracing provided
by these relatively massive walls.
There is also vertical cracking through
weakened areas of the exterior masonry walls
such as at window openings, embedded post
locations and the like where the mass of the
wall is been lessened (Figure 3-45). This is a
typical physiological reaction of fired clay
masonry walls as they go through moisture
expansion over time and expand and contract

due to air temperature and exposure to the
sun. No further moisture expansion is
anticipated but temperature related
movement will continue.
There are instances of capillarity and freeze-
thaw cycling damage10
on bricks near grade on
the north faces of the buildings where the
sunlight is not present to help the bricks dry
out when they become saturated (Figure 3-
46).
Figure 3-45 -Vertical crack in the masonry wall
below the window opening. Photo by S Kelley.
Figure 3-46 -Freeze thaw cycling damage of brick
at the base of the Zuu Temple. Photo by S Kelley.
Walls on the upper stories are composed of
either brick masonry supported directly on the
post and lintel system, stucco, wood paneling
or a combination of these elements (Figures 3-
47 and 48). Second-story walls are typically in
fair to poor condition because they are not
easily accessible for maintenance.
Figure 3-47 -Masonry walls at the second level of
the Yadam Temple, as seen from the west, entirely
supported on the wood post and lintel system.
Photo by S Kelley.
Figure 3-48 -Wood and stucco walls at the second
level of the Yadam Temple, as seen from the south.
Photo by S Kelley.
RILEM tube testing on brick, stonework and
stucco on the Main Temple and Yadam Temple
revealed that the granite was relatively
impermeable but that the brick, ceramic roof
tiles and stucco were partially permeable
(Figures 3-49 and 3-50). The paint on the brick
masonry did not change its permeance
characteristics indicating that the paint is
purely an aesthetic rather than utilitarian
treatment.

Figure 3-49 -RILEM tube testing of painted brick.
Photo by S Kelley.
Figure 3-50 -RILEM tube testing of granite. Photo
by S Kelley.
e. Windows and doors
Windows at the first level are typically in fair to
poor condition. Windows at the second level
are typically in poor condition with decayed
wood, paint, and plaster and missing glazing.
Second-story windows are more prone to
water leakage because they are not easily
accessible nor are they well protected from the
elements. Doorways are typically in fair to poor
condition.
f. Flooring
Flooring at the ground level is of two types:
painted wood planks in most of the temples
(Figure 3-51); and masonry pavers at the gates
(Figure 3-52). Wood planking was observed to
be in fair to good condition. Masonry pavers
were well worn and some of them were
cracked. However, they bring a character to
the interior spaces and should be only
minimally treated so as not to affect that
character.
Figure 3-51 -Painted wood plank floor of the Main
Figure 3-52 -Brick paved floor of the Makhranz
g. Decorative features
Decorative polychromatic painting on fabric is
applied to the interior stucco surfaces on some
interior walls (Figures 3-53 and 54) and are in
various conditions from fair to poor. Those
painted surfaces on the exterior are in

particularly poor condition, especially at the
second level where access poses a challenge.
Baituu and Zumber decorations were observed
to be in various conditions from good to poor
and is well worn where it is exposed to the
weather (Figures 3-55 and 56). Deteriorated
conditions include discoloration, cracking,
erosion and detachment from the wood
substrate. The application is assumed to be
sensitive to exposure to light, which would
causes photodegradation, fading and
discoloration; humidity and water which could
cause whitening of the surface from salt
formation; and high temperatures that can
cause thermochromatic change to the surface.
Previous inappropriate restoration measures
such as fills and overpainting can potentially
damage the original decorations.
Figure 3-53 -Painted wood members in the ceiling
of the Yadam Temple. Photo by S Kelley.
Figure 3-54 -Painted wood doors at the second
level of the Yadam Temple photo by S Kelley.
Figure 3-55 - Baituu ornament on wood post in the
Main Temple that is in good condition. Photo by S
Kelley.
Figure 3-56 – Baituu ornament on a wood post on
the outside of the Yadam Temple that is in
extremely poor condition. Photo by S Kelley
Some of the loose Baituu and Zumber
materials on the ceremonial portal were
removed and examined in the laboratory
(Figure 3-57). The material, through well worn,
was found to be remarkably hard and resilient.
It is composed (from face to back side) of the
following:
• a finished layer of red, insoluble, mildly
permeable but non-wicking material with
insignificant amounts of non-organic
additives such as fine sand that varies in

thickness from .5 to 3 mm (Figure 3-58).
Reportedly the material contains cow dung
ash.11
• a layer of layer of black, insoluble, mildly
permeable but non-wicking material with
additives with a thickness of about 3 mm.
• an initial layer of brownish gray, insoluble,
permeable and wicking material with
additives that varies in thickness from 2 to
5 mm (Figure 3-59). Within this layer is a
non-woven reinforcing fiber that is plant-
based such as jute, cotton or flax (Figure 3-
60). The fiber is very strong and is
combustible.
Figure 3-57 -Samples of baituu ornament removed
from a damaged area on the West Lake of the
Ceremonial Portal. Photo by S Kelley.
Figure 3-58 -Red layer on the exposed (upper) side
of the sample with the black layer beneath. Photo
by S Kelley.
Figure 3-59 -Brown layer beneath the black layer
(shown as white in the microscope). Photo by S
Kelley.
Figure 3-60 -View of the plant-based reinforcing
fiber within the ground layer. Photo by S Kelley.
The materials examined are remarkably similar
to traditional Asian lacquerwork that has been
used for centuries with the sap from the
Chinese lacquer tree (toxicodendron
vernicifluum) that is found throughout China,
India, Japan and Korea. The sap contains
urushiol oil that hardens when exposed to
humidity. The application involves a process of
applying a ground layer, oftentimes lacquer
mixed with other substances such as clay and
a layer of fabric to a substrate such as wood,
followed by thin layers of processed black
lacquer, and completed with a lacquer with a
red pigment, and allowing them to dry
completely before polishing. Lacquer finishes
are very durable substance, both waterproof
and insoluble.
Papier-mâché decorative techniques are in fair
to poor condition as these materials are quite
fragile.

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