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In 2002, Asian Paints acquired a 60% stake in Egyptian paint manufacturer SCIB Chemicals for ₹ 24.5 crore (US$5.04 million). [14] It also acquired a 50.1% stake in the SGX -listed Berger International Singapore, which had operations in 11 countries across Southeast Asia , West Asia , the Caribbean , China and Malta , for US$20.8 million. [ 15 ]
Due to the lack of proper stones for sculptural work in the area of Ai-Khanoum, unbaked clay and stucco modeled on a wooden frame were often used, a technique which would become widespread in Central Asia and the East, especially in Buddhist art. In some cases, only the hands and feet would be made in marble.
Stucco or render is a construction material made of aggregates, a binder, and water. Stucco is applied wet and hardens to a very dense solid. It is used as a decorative coating for walls and ceilings, exterior walls, and as a sculptural and artistic material in architecture.
Stucco marble was an artificial marble made using gypsum (sometimes with lime), pigments, water and glue. Stucco lustro was another a form of imitation marble (sometimes called stucco lucido) where a thin layer of lime or gypsum plaster was applied over a scored support of lime, with pigments scattered on surface of the wet plaster.
There, faux marble columns are made from wood pillars that are covered in a layer of polychrome stucco, a mixture of plaster, lime, and pigment. When these ingredients are mixed, a homogenous-coloured paste is created. To achieve the marble look, thinner batches of darker and lighter paste are made, so that veins begin to appear.
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The wall of the circular central chamber, accessible by the north side, is coated with stucco marble. Monkeys with musical instruments worked in stucco over the French windows, brackets holding porcelain and wall sconces between the windows are all coated with gold leaf. Likewise coated is a richly decorated chandelier which hangs from the cupola.
Trade with India during the Pyu period brought deep cultural contacts heavily influencing many aspects of visual culture in Myanmar. However, scholarship and archaeology on Pyu, Mon and Dvaravati art in neighbouring Thailand were biased by colonial attitudes in the 20th century, placing a greater emphaisis on comparisons to well-documented Gupta art.