By Claudio Margottini

This paintings stories on a true experience in earth technology and conservation, facing the UNESCO’s emergency actions applied in Bamiyan (Central Afghanistan) for the restoration and rehabilitation of the cliff and niches after the destruction of the 2 well-known mammoth Statues in 2001.
Since 2002 a global attempt has been made to appreciate the geological features of the realm, the mechanical houses of neighborhood fabrics, petro-geophysical and sedimentological info in addition to the historic and geological evolution of the Statues and cliff. Taken jointly, this knowledge serves as a foundation for the restoration and rehabilitation of the cliff and niches and is gifted in detail.

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Additional resources for After the Destruction of Giant Buddha Statues in Bamiyan (Afghanistan) in 2001: A UNESCO's Emergency Activity for the Recovering and Rehabilitation of Cliff and Niches

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The use of early photographic equipment and the rapidity of duplication and publication of his photographs rapidly replaced the use of drawings in its descriptive function of objects and landscapes. In this way a perfect likeness of the real image was afforded by photography, and cameras became indispensable for travelers, especially in countries such as Africa and Asia, which up to then were not well known. With their artistic value and mystical fascination, the Bamiyan colossi and the entire valley became a preferred destination for travelers crossing Afghanistan in that period.

Their arrival in Kabul, and the following rest stop, were used to visit the Valley of Bamiyan, as testified by the usual souvenir photos (Fig. 37) (Hackin 1934). 36 G. Martini and S. Paolini Fig. 17 Graphic, January 6, 1894, p. 9 (Courtesy of D. Bukerer) A few years before World War II, an Italian traveler visited the Bamiyan Valley. Arnaldo Cipolla, a writer and reporter for the Italian newspaper La Stampa, together with his friend Conte Barbellini Amidei, made a grand tour of the Afghan tracks between the spring and summer of 1934 (Fig.

G. , The Rock-Cut Caves and Statues of Bamian, in The Journal of the Royal Asiatic Society, XVIII, 1886 shade technique, the view in perspective, the attention in details, the vegetation and the small village at the feet of the statue. Moreover in the drawings are well represented the cliff, the debris accumulation area at its feet and the entrance to the caves, with an accuracy nearly photographic. The ancient rock-cut temples in the cliff (caverns hollowed out by the side of the colossal figures), had been turned into storehouses, and were full of grain and military stores, while groups of tents and long lines of horses were visible in every direction, and large new barracks have been built (Fig.

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