1The research represents a comprehensive fusion of art history and conservation efforts. It documents and uncovers the history of a now reconstructed Buddhist monument, the Tango utse (central tower) and invaluable artworks within it. It is a piece of work that aims to address the challenges of conservation practices in the Himalayas and show the inherent fragilities and susceptibilities of wall painting.

2While regarded as an auspicious and well-respected site by the local community, Tango’s actual physical history is little known, and most of the paintings in the utse have been completely lost from records or are now of an ambiguous nature. The research consists in a multidisciplinary approach that involves an analysis of classic literature, painting iconography, architecture and painting technology (1) to reconstruct the history of the utse, (2) to establish the chronology of the paintings within it and (3) to determine the religio-political status of Tango during the development of the State of Bhutan. The study of Tango serves not only as a record of the monastery’s own history but also as a mirror reflecting the broader development of the nation.

3After the construction of Tango utse in the late 17th century, sixteen sophisticated wall paintings were gradually and unceasingly executed in the structure until the end of the 20th century. These paintings showcase the development of Bhutanese wall paintings since the country’s beginnings. Painting samples are studied scientifically, revealing the coherent yet diversified techniques in the use of painting materials and application methods. Thereafter, these technical characteristics are examined chronologically within the context of the transformation of wall painting technology that has spanned centuries. The research underlines a crucial revelation: Bhutanese wall painting went from painting on plaster to marouflage, and from a water-sensitive and brittle type to a water-stable but heat- and fire-sensitive type. This highlights the critical necessity to preserve paintings crafted using traditional techniques and the importance of targeted approaches based on the painting technology used and of careful planning while conducting conservation work.

4One of the core concerns of the research is that even though successful conservation projects have been undertaken in the past, many others have in fact caused irreversible damage to the heritage due to improper and/or excessive remedial intervention. For wall painting in particular, much of this irreversible damage is a consequence of the lack of knowledge about painting technology. An in-depth examination of Tango painting techniques holds great value for future conservation practices by contributing to the overall understanding of the painting technology in the region.

5Although the primary focus of the research lies in the transformation of Bhutanese wall painting technology, its scope goes beyond this particular country. The study sheds light on compelling discoveries that offer insights into the transmission pathways of painting technology and materials across the Himalayas and in nearby regions, such as China and India and as far away as Europe. The study of trade in materials and of technology exchanges bears relevance not only to the interest in conservation and art history but also to a broader spectrum of disciplines within the Arts and Humanities, an entry point for exploring the social, cultural, religious, political and economic development over time.