<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111412118/637221b09c7e80680e0c02ccjpeg.jpg" alt="" width="1682" height="1158"/><figcaption>Photos: LITTLEBIG</figcaption></figure>A painting of Mt Everest could have only been unveiled on Everest Day 29 May at the iconic <a href="https://www.nepalitimes.com/banner/a-himalayan-high/" target="_blank" rel="noopener noreferrer">Hotel Everest View</a> in Syangboche.The triptych by British visual artist Sacha Jafri shows the panorama of a discoloured mountain range, the black of the rocks seeping into the fluid snow, against a sky progressively deeper the higher it goes.Below are reddish-brown hills gathered for a conference of sorts, their heads ever so slightly bent as if they are listening and thinking. At the centre lies a pool of water so blue it seems to be collecting the whole sky above.The painting appears as an almost abstract expression of the mountain rather than its reflection. It is Jafri's subconscious journey to the Himalaya, and there can be found immediately something childlike, innocence without pretense - a theme recurrent in his other artworks as well.The Everest painting is one of 50 Jafri is creating for <a href="https://www.theartmaze.com/" target="_blank" rel="noopener noreferrer">the Art Maze project</a> in partnership with UNESCO, and commemorates the 50th anniversary of the UNESCO <a href="https://whc.unesco.org/en/convention/">Convention concerning the Protection of the World's Cultural and Natural Heritage</a> signed on 16 November 1972. The Convention then came into force on 17 December three years later.“This comes at a time in the world, with <a href="https://www.nepalitimes.com/banner/here-today-gone-tomorrow/" target="_blank" rel="noopener noreferrer">climate change</a>, the pandemic, the geopolitical flux, to reflect on the next 50 years and ask ourselves what we truly value as individual, societies and countries, and what should be passed down to the future generations,” says UNESCO Representative to Nepal Michael Croft.As such, the UNESCO’s <a href="https://whc.unesco.org/en/next50/">The Next 50 campaign</a> forms the foundation for the Art Maze, and 34 of the paintings of World Heritage Sites, including the Acropolis in Greece, Angkor Wat in Cambodia, the Hyrcanian Forests in Iran, the Saint-Sophia Cathedral in Kyiv, the Pyramids of Egypt, and <a href="https://www.nepalitimes.com/here-now/telling-the-story-of-buddhas-lumbini/" target="_blank" rel="noopener noreferrer">Lumbini in Nepal</a> have been completed.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111412118/637221b39c7e80680e0c02cdjpeg.jpg" alt="" width="1313" height="1969"><figcaption> </figcaption></figure>The paintings are characterised by their unique assortment of colours, which is reminiscent of lively crayons from childhood. Textbook realism has no place in these canvases, as the paintings are stripped to their essence.“We over analyse, become pompous and over-intellectualise art,” Jafri explains. “But all art, at the end of the day, is rubbish and superb.”This apparent contradiction finds reconciliation in the artist’s intent with which they create. “And I think if you focus on your intentions, then everything you create will be perfect,” Jafri adds.There is a sublime simplicity to Jafri’s method and work, enabling viewers to be more conscious in their world, their lives, and be open to love and compassion.The Art Maze curated by Marcus Schaefer is a 12x12m steel labyrinth gallery with Jafri’s paintings, giving visitors the opportunity to choose which path to take and create an experience where “the journey is the destination”.For over 25 years, Jafri’s work has been about reconnecting with the soul of the earth. His Journey of Humanity (2020) is dubbed the world’s largest and took him a year to create during the pandemic.That is the process of being an artist, Jafri believes – a journey where things continue to evolve, and one eventually creates something. “It is not about the moment of creation,” he adds. “It is the journey that has allowed it.”Journey of Humanity is a striking play of bold, vibrant colours, incorporating artworks by children from 140 countries, and spread over 1,700 square metres – roughly the size of two football pitches – and it’s aim as profound as its span: to raise around $11 million – it ended up raising $62 million – to help children across the world in need of education, health care and digital connectivity.The idea behind the painting was re-connectivity, which then expanded into the Art Maze. When Schaefer approached him with the concept, Jafri found it resonated with his own. Jafri then thought perhaps the project would be even more poignant if it was about the World Heritage Sites.The Maze was then launched on 23 March at the Burj Al Arab Jumeirah Helipad in Dubai with 30 works, and will be travelling around the world with plans for a Nepal stopover next year.“I thought if I represent these World Heritage sites in an art maze we could reconnect humanity to our natural and cultural heritage, to our ancestral past, to the custodians of our cultures, and we could start communicating again on a deeper level,” Jafri says.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111412118/637221b79c7e80680e0c02cejpeg.jpg" alt="" width="1979" height="763"><figcaption> </figcaption></figure>The Maze and the Next 50 campaign also come at a time when Nepal is changing rapidly, trying to balance development with nature. Everest itself continues to be affected by the climate crisis and mass mountaineering.At the unveiling, Bishnu Rokaya of the Sagarmatha National Park said: “While Mt Everest and the park are already well-known, the painting will help us reach even more people, share our stories, and promote tourism and conservation efforts.”According to <a href="https://www.nepalitimes.com/latest/leverage-lumbinis-soft-power/" target="_blank" rel="noopener noreferrer">Michael Croft</a>, the campaign and Art Maze represent a strategic exercise to work with youths and Indigenous communities, not just in Nepal but around the world, to have discussions on sustainable living, successfully adapting to climate change, and hopefully push back against environmental degradation.“Nepal is an intensely diverse country and people with different identities and languages and experiences are able to identify themselves as Nepali, and that gives hope. If all this can exist and work, it is a positive story for the world,” remarks Croft.Raza Beig, executive advisor to ArtFi Chairman of BoredPuma has bought the Everest painting and plans to house its three panels in a museum and share it with the world. The profits from the sale of Jafri’s paintings will help communities living in the Heritage Sites they represent.His son Aly wrote to Nepali Times: “We feel Mt Everest and Sagarmatha National Park to be one of the most spiritual places on our planet, and now we get to look at it every day and share it with the world.”

Ashish Dhakal

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

Everest's natural heritage on canvas

<figure><img width="3000" height="1998" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721da99c7e80680e0bd4fejpeg.jpg" alt=""/><figcaption>The Taleju Temple of Patan with the Mulchok courtyard in 2019. Photo: NHDP.</figcaption></figure>Seven years ago, on a particularly gloomy Saturday, the ground groaned as an earthquake shook Central Nepal, flattening villages and killing thousands.<a href="http://archive.nepalitimes.com/article/nation/Monumental-loss,2215">Many historical monuments</a> of Kathmandu Valley were reduced to rubble in just 50 seconds. Photos of the ruins crossed the world: a broken Dharara, toppled houses leaning on each other over darkened streets, piles of bricks and timber covered in yellow dust. Seven years later, monuments are coming out of their scaffolds, while others still have cracks that run the length of their walls.Kathmandu <a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/">has rebuilt itself</a> every century after a major earthquake. The decision on how to rebuild is determined by the resources and sensibilites of the ruler at the time. What constitutes '<a href="https://archive.nepalitimes.com/news.php?id=18013#.YmN0LtNBxH0">heritage</a>' also changes with time. <img width="412" height="198" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dac9c7e80680e0bd4ffjpeg.jpg" alt=""><figure><img width="2080" height="2080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dad9c7e80680e0bd500jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><figcaption>The temple after the 2015 earthquake which toppled the cupola representing Krishna Mandir. Photo: KVPT.</figcaption></figure><figure><img width="3000" height="2002" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721db39c7e80680e0bd502jpeg.jpg" alt=""><figcaption> </figcaption></figure>“A family tree and heritage are almost synonymous,” says conservationist Alok Siddhi Tuladhar. “Because what we get from our ancestors is our heritage.” Our parents and grandparents pass on heirlooms to us, Tuladhar explains, and this gives ‘heritage’ an immediate tangible tone, evidenced by the temples, monuments,<a href="https://www.nepalitimes.com/latest/saving-nepals-hiti-heritage/"> hiti spouts</a> that form the cultural legacy of Nepal spanning centuries of artistic and socio-political expression.  “Heritage also goes beyond just the physical monuments,” he adds. “The concept of heritage beyond just an object or artefact is especially true in the case of Nepal, where <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/saving-the-intangible,3303">traditional and Indigenous practices are still living</a> and breathing.” This is different than, for example, the Colosseum in Rome which has archaeological significance, but in the absence of gladiators, that is now recontextualised. “But here in Kasthamandap, it is a vastly different feeling to interact with Ganesh and Gorakhnath, who are still worshipped,” Tuladhar says. "The very manner of interaction is also part of Nepal’s unique heritage." <figure><img width="2592" height="1924" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721db69c7e80680e0bd503jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="3000" height="2167" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dba9c7e80680e0bd504jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="2589" height="2056" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dbd9c7e80680e0bd505jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="6720" height="4480" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dc19c7e80680e0bd506jpeg.jpg" alt=""><figcaption> </figcaption></figure>Bharat Maharjan of Nepal Heritage Documentation Project agrees: “All human acts, including fashion, cuisine, agriculture and architecture, are heritage, evidence for which can be found in everything around us.”For instance toponyms give us a glimpse into the age-old practices of a certain place and community.“In Kirtipur, there is a place called कांफ्वंद्वं which is now part of the university,” he says, “there used to be a funeral mound and people would go during the time of pandemic to pacify the spirits with wind instruments. Now the practice is obsolete, but the name of the place helps us trace that part of our history and culture.” The Kathmandu Valley is remarkable because this ethnically and religiously diverse bowl-shaped valley of only 665 sq km has at least 130 important monuments, and lies at the crossroads of ancient civilisations of the subcontinent.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/saving-the-intangible,3303">Preserving the intangible</a>, Chandani KC“Another uniqueness of the Valley is that human civilisation has flourished here continuously since ancient times without interruption, as can be found in the inscriptions, monuments and historical records,” adds Maharjan. <a href="https://www.nepalitimes.com/banner/the-tug-of-tradition/">Continuity is integral to heritage</a>, as without it there is no sense of inheritance. In fact, the word ‘heritage’ is related to Latin heres, meaning ‘heir’, and <a href="https://www.nepalitimes.com/banner/the-tug-of-tradition/">relies on practices and monuments being kept alive through people</a>.This is closely related to the <a href="https://www.nepalitimes.com/banner/culture-revolution/">Guthi in Newa communities</a>, the membership to which is also almost always hereditary.Tuladhar explains that the <a href="https://www.nepalitimes.com/here-now/bhaktapur-shows-the-way-by-rebuilding-itself/">core value of building a monument revolves around the Guthi</a>, a unique aspect of the Nepal Mandala’s culture, which oversees the upkeep, jatra, puja associated with the monument through community participation and income from the land allocated to it. “This is an important part of our heritage, because the practice brings together people to form the rich socio-cultural fabric of our society,” Tuladhar adds. “All of which, while intangible practices, help conserve the physical monuments. This way, both tangible and intangible heritage can be kept alive.” <figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dc69c7e80680e0bd507jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="2106" height="1404" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dc99c7e80680e0bd508jpeg.jpg" alt=""><figcaption> </figcaption></figure>SHAKING THINGS UPWhen the 2015 Gorkha earthquake struck, the Valley had not experienced a natural disaster of such magnitude for 81 years. Many monuments that came down had also been <a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/">destroyed in the 1934</a> earthquake, and had been hastily rebuilt. While some temples and palace complexes were restored to their original Newa style of architecture, others were rebuilt in the Rana-era Mughal flourish. Bharat Maharjan thinks this was because of the strict restrictions on importing wood during the Rana-era. “When Jang Bahadur built the Kalmochan Temple with the Mughul-style dome, it quickly became a popular style,” he adds, “The use of brick and stucco plaster was much cheaper and less time-consuming than that of wood, which also included carving.”Read also: <a href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">Nepal’s traditional seismic resistant designs</a>, Sheilin TeoThe <a href="https://www.nepalitimes.com/banner/restoring-a-piece-of-nepals-history/">Bhaidega Temple in Patan</a> used to be an impressive three-tiered structure built in 1678 by Bharo Bhagirath Bhaiya before it collapsed in 1934. It was then quickly rebuilt in the Mughal stucco dome style, which itself collapsed in 2015. It is now being restored to its pre-1934 design.   The <a href="https://www.nepalitimes.com/here-now/bhaktapur-shows-the-way-by-rebuilding-itself/">conservation response of communities and activist groups</a> after the 2015 earthquake was in many ways similar to the age-old traditions of the Valley, just like how their ancestors did after every previous disaster.“Our ancestors were building these monuments knowing there would be earthquakes,” says Tuladhar, “Plans were in place to repair, restore and conserve the structure from time to time.”Such outlook <a href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">appears to have been affected by building materials</a> as well, such as the use of stone in the Lichhavi era versus bricks and wood in the Malla era.  <figure><img width="1500" height="1132" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dcc9c7e80680e0bd509jpeg.jpg" alt=""><figcaption> </figcaption></figure>Conservation architect Sudarshan Raj Tiwari suggests in his 2009 paper <a href="https://www.researchgate.net/publication/305876762_Material_Authenticity_and_Conservation_Traditions_in_Nepal">Material Authenticity in Tradition of Conservation of Nepal</a> that the difference in the terms used – pratisamskar (‘near to handed down from respected tradition’) in the Lichhavi inscriptions and jirnoddhar (‘renovation’) or navakam vara (‘new cover’) in the Malla period – may be because ‘the later conservation involved less of repair and reconsecration of images and more of restoration, repair and reconstruction of buildings and building parts.’He goes on to write: ‘This also substantiates that the material nature of the <a href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">ensemble of architecture had changed</a> with development of comparatively tall temples in brick and wood and construction and reconstruction methods informed with a greater empirical understanding of the action of deteriorating agents of climate, earthquake and fire.’Countries and communities have different understanding of heritage and its conservation. “The dictionary definition and umbrella practices may not relate to each and every place,” explains Tuladhar. “Nepal has its own rituals, practices, materials and climate, which affects how heritage can be protected and restored.” <figure><img width="900" height="600" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dcf9c7e80680e0bd50ajpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="1024" height="683" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721dd29c7e80680e0bd50bjpeg.jpg" alt=""><figcaption> </figcaption></figure>At the same time, restoring these cultural sites go beyond replacing the broken pieces. Heritage is intrinsic to the polis, history and cultural activity.Tiwari suggests that is what King Anshuvarma must have been thinking 1,500 years ago when he inscribed after the restoration of the wood and brick Devkula Temple in Kathmandu,“having repaired carefully so as to keep it in good condition for longer into future”.Heritage, says Bharat Maharjan, incorporates the different aspects of society – political, economic and cultural – into one common identity. And every age has its own identity. Palaces and monuments that once looked out of place in Kathmandu have now become a part of Nepal's heritage.Ram Bahadur Kunwar of the Department of Archaeology says: “Each building style and cultural practice mirrors a particular time and society.”  <img width="1500" height="1023" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721dd49c7e80680e0bd50cjpeg.jpg" alt=""><figure><img width="1500" height="976" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721dd79c7e80680e0bd50djpeg.jpg" alt=""><figcaption> </figcaption></figure>The stark contrast between the Malla-era buildings and the European neo-classical <a href="https://www.nepalitimes.com/here-now/inside-story-of-nepals-rana-dynasty/">Rana</a> architecture that favoured wide walls and tall windows with Greco-Roman columns tells us that different historical periods developed their own distinct heritage in Kathmandu Valley, often determined by the availability of both materials and craftspeople, and influenced by exchanges with other regions.For example, UNESCO regards the architecture of the Valley as having developed with particular attention to traditional values, cultures and norms to create a harmonious urban landscape through the prohibition of  infrastructure taller than temples in an area. At present, the scenario is quite different. ‘City by-laws have often <a href="https://www.nepalitimes.com/editorial/lessons-unlearnt/">neglected height restrictions</a> and related measures to protect the immediate surroundings of palace squares and other important sites, which can impact the quality and integrity of the sites,’ UNESCO Nepal wrote in a response to a Nepali Times query.‘Conservation processes need to be informed by traditional practices, skills and knowledge, for without safeguarding the living heritage and the link to the community, it is difficult for the conservation of such monuments and sites to be meaningful.’ <figure><img width="4208" height="2368" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721ddb9c7e80680e0bd50ejpeg.jpg" alt=""><figcaption> </figcaption></figure>Alok Siddhi Tuladhar sees that in the <a href="https://nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">tiered-roof temples and shikhara-style shrines</a> complementing each other in the Valley.“Imagine, in the past, the temple roofs with the mountains behind them, against the blue sky, like twins, side-by-side. It is the urban landscape taken together in harmony with nature.”In contrast to this image are the <a href="https://www.nepalitimes.com/here-now/tall-order/">highrise steel structures</a> towering over the ancient towns. The skywalk in-progress in Kamaladi, for example, if seen at the right angle, breaks out behind the Ghanta Ghar like a glitzy attraction in a travelling fair.But then that is probably how residents of Kathmandu regarded the alien design and dimension of the Ghanta Ghar when it was built. Will the Kamaladi stucture and the <a href="https://www.nepalitimes.com/latest/nepals-shortsighted-view-tower-craze/">many view-towers across the country</a> also one day become a part of our heritage? Read more: <a href="https://www.nepalitimes.com/editorial/lessons-still-not-learnt/">Lessons still not learnt</a>, Editorial

The history of heritage

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c779c7e80680e0bd493jpeg.jpg" alt="" width="4096" height="2731"/><figcaption>Photos: AMIT MACHAMASI.</figcaption></figure>Prem Lal Shilpakar of in Bhaktapur was eleven when he first worked on the chariot for the ancient <a href="https://www.nepalitimes.com/banner/the-tug-of-tradition/">Biska Jatra</a>. The chariot, which is one of the main attractions of the festival worshipping the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-boy-gods-of-kathmandu,4158">gods Bhairav</a> and Bhadrakali, is an engineering marvel.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c7b9c7e80680e0bd494jpeg.jpg" alt="" width="960" height="720"><figcaption>Prem Lal Shilpakar. Photo: HIMAL KHABAR.</figcaption></figure>The <a href="http://archive.nepalitimes.com/news.php?id=9445#.YlOL8tNBxH0">three-storey pagoda style chariot</a> stands 10m tall, and is supported by four wooden wheels 2.5m in diameter, all fastened together without any nails or metal hooks.“I used to come with my father and grandfather every day and help,” recalls Shilpakar who has been involved in the construction of the chariot for over 50 years.Bisket Jatra begins every year in the month of Chaitra. The first day of the jatra, known as Dhwo kwabijyaigu or ‘the god carried downwards’, this year was on 10 April, and saw <a href="https://www.nepalitimes.com/banner/biska-celebrations-begin-in-bhaktapur/">throngs of devotees</a> gather in Bhaktapur to join in the festivities.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">Makers of Machhindranath</a>, Cynthia CooTaking place over nine days and attended by devotees from the three cities of the Valley, the celebrations start four days before 1 Baisakh, which is Nepali New Year, and end four days after, with the chariot, Bhailakha, being pulled by locals in front of the <a href="https://www.nepalitimes.com/banner/a-new-nyatapola/">Nyatapola Temple</a> on both days.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c7f9c7e80680e0bd495jpeg.jpg" alt="" width="4096" height="2731"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c839c7e80680e0bd496jpeg.jpg" alt="" width="4096" height="2731"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c879c7e80680e0bd497jpeg.jpg" alt="" width="2250" height="1892">Shilpakar has been in charge of the construction of the Bhailakha for the past couple of years, which begins two months before the jatra and involves all castes, with Shilpakars building the structures, Chitrakars adding colour and paints, Nakarmis installing the roof, and Manandhars tying the ropes of the chariot.This year six artisans over the age of 40 built the Bhailakha. One of them was the 75-year-old Lal Bahadur Tamakhu, who is a farmer for ten months in a year and spends the remaining two building the chariot.“It is God's work,” he says. “Doing it gives me great pleasure and enjoyment, and we also get to make some money.”Prem Lal Shilpakar used to be paid 60 paisa a day when he started working on the chariot. Last year workers were paid Rs1,500 a day. But chariot-making is no walk in the park.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c8a9c7e80680e0bd498jpeg.jpg" alt="" width="960" height="720"><figcaption>Lal Bahadur Tamakhu. Photo: HIMAL KHABAR.</figcaption></figure>“Since the chariot is <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">built with wood</a> which was already part of the construction in previous years, it is difficult to find people with the right experience,” he says. There is much care and attention involved, Shilpakar adds, as new wood is only used to replace decayed or damaged pieces. The current Bhailakha has timber that is more than 65 years old in its structure.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c8d9c7e80680e0bd499jpeg.jpg" alt="" width="960" height="720"><figcaption></figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c909c7e80680e0bd49ajpeg.jpg" alt="" width="960" height="720">Lal Bahadur Tamakhu shows the ropes for the Bhailakha. Photo: HIMAL KHABAR.But an increasing number of <a href="https://www.nepalitimes.com/banner/who-looted-nepals-gods/">younger people are moving away</a> from this ancestral craft. At present, few artisans are as experienced as Prem Lal Shilpakar in the construction, but his own sons do not share his passion or enthusiasm.“I worry what will happen when I cannot work anymore,” he laments. “If the younger generation does not step up, this craft, this knowledge will disappear with me.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c939c7e80680e0bd49bjpeg.jpg" alt="" width="4096" height="2731"><figcaption></figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c979c7e80680e0bd49cjpeg.jpg" alt="" width="4096" height="2731">Many local traditions and heritage in Kathmandu now risk facing the same fate with the <a href="https://www.nepalitimes.com/banner/no-country-for-young-men/">younger generation moving overseas</a> for studies and work. But Aash Bahadur Lakhey Ghising Deu, who joined the Bhailakha artisans three years ago, is rather hopeful and says it is up to the people to keep them thriving.He adds: “It is a tradition <a href="http://archive.nepalitimes.com/news.php?id=15607#.YlON8tNBxH0">passed down through generations</a>. If we don’t do it, who will?”Translated from the <a href="https://www.himalkhabar.com/news/129169">Himal Khabar original</a> by Aria Parasai.Read more: <a href="http://archive.nepalitimes.com/news.php?id=18013#.YlOKbdNBxH0">Whose heritage is it  anyway?</a> Marit Bakke

The tug of tradition

<figure><img width="1232" height="587" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720dc69c7e80680e0b78dfjpeg.jpg" alt=""/><figcaption>The chiva in Bare Chuka, Pyapha was missing its finial and was in a poor condition. Last September, the Chiva Chaitya Organisation restored the stupa adding a finial and raising it to an appropriate height. All Photos: CHIVA CHAITYA ORGANISATION</figcaption></figure>Kathmandu’s skyline used to be outlined by slanting tile roofs and gilded temple spires, the towns were surrounded by gold and green terrace fields.All this is now a thing of the past. The Valley is a vast concrete maze of apartment blocks and haphazard highrises under a perpetual miasma of pollution.There was an age when the very name ‘Kathmandu’ evoked a tranquil townscape trapped in time, nestled in an emerald valley amidst a backdrop of icy Himalayan peaks shining against an azure sky. How different from the chaotic, noisy and dirty Kathmandu of today.Amidst the Valley’s famous temples and monasteries were lesser known <a href="http://archive.nepalitimes.com/news.php?id=1678#.YjG0jjXBWUk" target="_blank" rel="noopener noreferrer">chiva shrines</a> that dotted just about every neighbourhood of the towns. Also known as chaitya, these small sacred stupa were also an important part of the Kathmandu Valley civilisation.While most of the temples and monuments have been preserved and restored, the chiva have slowly disappeared — devoured by relentless urban expansion, road widening projects, privatisation of communal land, as well as human greed and neglect.Now a group of heritage conservationist is making an inventory of votive structures that were once so ubiquitous in the semi-public and public spaces of the Valley so that they can be restored and protected from further destruction.“One of the problems is that people and the government do not recognise the chiva as part of our heritage,” explains Amar Tuladhar of the <a href="https://chivachaitya.org.np/" target="_blank" rel="noopener noreferrer">Chiva Chaitya Organisation</a>. “If a temple is damaged, it will be restored, but a chiva most likely will not. These votive structures are an integral part of our identity.”Call them chiva, chaitya or stupa, they all represent Buddhist altars that serve as a network of shrines that were indispensable features of Kathmandu’s ancient courtyards. The shrines are still worshipped everyday and are the focal point of many rituals.Sumati Bajracharya, Buddhist scholar and author of the book Stupa ra Chaitya (The Origin of Buddhist Art and Architecture), explains that during the time of Buddha, a place of rest or meditation was referred to as chaitya. Later they became memorials for deceased family members.“Before Buddha achieved nirvana, he instructed his corporal relics to be buried in stupa or earthen mounds,” she says. “Buddhist scriptures also mention that building a chaitya accures merit to donors. So people built them wherever they migrated."Chaitya are not exclusively funerary monuments, but represent dharmakaya, the transcendental form and hence are the focus of public worship. “Chaitya can be built anywhere whether a private, a semi-public or a public space, but it has to be accessible so that people can circumambulate them,” says Bajracharya.https://youtu.be/w6oor-FChfsGrowing up in Bhindyo at the historic heart of Kathmandu, Aprila Sthapit had heard that her ancestors had built a chiva near their neighbourhood Bhimsen temple. When her father was still alive, he maintained the stupa. But over time, it fell into disrepair. As the city expanded, the chiva somehow ended up next to a road. Careless drivers often bumped into it, chipping away bits of the structure.  Like other residents of the area, Sthapit would offer prayers every morning at the shrine but did not think much about repairing it.Last month, Chiva Chaitya offered to restore the stupa. “When they approached us, we did not think they would actually restore it,” says Sthapit. “But they did all the work and did not even ask for money.”It was while they were on a walk one day that Pramodh Kasaa, Prabin Shakya and Amar Tuladhar stumbled upon a chaitya at the Shobha Bhagwati neighbourhood that was missing a finial. Something had to be done, so they decided to form Chiva Chaitya and began first by conducting a stupa census, counting the shrines, and even recording details like who built it and when. <figure><img width="640" height="481" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720dc89c7e80680e0b78e0jpeg.jpg" alt=""><figcaption> </figcaption></figure><img width="640" height="481" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720dcb9c7e80680e0b78e1jpeg.jpg" alt="">The restoration work at Bhindyo.For the next few years along with two other team members, Suban Tuladhar and Ashish Manandhar, they dedicated their holidays and free time photographing chaitya in different parts of the Valley. They also tried to make locals aware of the value of these structures.Soon, they started receiving requests to restore damaged stupa. In December 2020, Chiva Chaitya completed the first restoration in Swayambhu. By now, they have completed minor and major restorations on 25 chiva, and have drawn up an inventory of over 1,200 stupa which they are geolocating on an interactive online map.In the initial days, team members put their own money into this important work. Then they started crowdfunding. Now, as their work became better known, local communities pitched in. In 2020, the group got support from the <a href="https://www.wmf.org/" target="_blank" rel="noopener noreferrer">World Monument Fund</a> which also included the chiva and chaitya of Kathmandu on its 2020 watchlist.“We noticed that even when people were aware of the importance of chiva and wanted to repair it, they did not have the budget or did not know whom to approach, so we simplified the process for them. We did not want the work to stop because of money,” says Prabin Shakya of Chiva Chaitya Organisation.When Ishwar Man Dangol of Pyapha wanted to restore the chiva in his chuka, he realised that the local ward office did not have a dedicated fund allocated for it, he did not even know where to find the right artisans to work on it.The family which built the chaitya had long since moved away, and the property surrounding the courtyard was inherited by eight others. After he found out about Chiva Chaitya through a friend, he got in touch with them. The team surveyed the site, held a meeting with the locals and restored it.“We were worried about the cost but they did not even bring it up. After the restoration, we locals felt that we needed to do something to support them so we talked to the ward office to compensate them,” says Dangol.But it has not been easy for the team. Some projects had to be abandoned because of lack of local support.“Engaging the community is very important to us,” says Amar Tuladhar. “In the long run, it is imperative that they understand the importance of chiva in their locality and work to conserve it. We want to pass the baton on to local groups eventually.”In future, the team wants to work on a visitor’s centre dedicated to chiva, where children and adults alike can learn more about these stone structures, their meaning, history and cultural relevance.Says Tuladhar, “Kathmandu Valley is still a museum where you can not only see but touch and worship centuries old artefacts. They are a part of our identity and we need to look after them for the coming generation.” Read Also:<a href="https://www.nepalitimes.com/here-now/the-stupa-of-a-million-dewdrops/" target="_blank" rel="noopener noreferrer">The stupa of a million dewdrops</a>, Sewa Bhattarai <a href="https://www.nepalitimes.com/banner/a-temple-by-another-name/" target="_blank" rel="noopener noreferrer">A temple by another name</a>, Aashish Mishra

Sahina Shrestha

Neighbourhoods save their shrines

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637204489c7e80680e0b2853jpeg.jpg" alt="" width="3072" height="2048"/><figcaption>Photo: AMIT MACHAMSI</figcaption></figure>In late December 2021, social and mainstream media in Nepal was abuzz with news of the discovery of a stone slab in Patan Darbar Square area that contained ancient inscriptions.Labourers working on the sewage system in front of the Bhimsen Temple came across the 1.5m high shilalekh in a layer of clay below cement pipes.At the top of the inscription were two deer facing a Dharma Chakra, indicating it to be a Buddhist engraving. A team led by epigraphists Shyam Sundar Rajbanshi and archeologist Prakash Darnal studied the inscription and the area, and have determined it to be around 1,400 years old. Rajbanshi says, the inscription mentions the date Licchavi Sambat 536, which corresponds to 613 CE.“It talks about a bihar built by Brish Dev and renovated by Amshuvarma,” explains Rajbanshi, taking the names of the Lichhavi-era kings. “Normally, inscriptions are kept in the periphery of the monuments, so it is probable that the structure was in that area.”When the inscription was unearthed, the glaze over it was gone and parts of the inscriptions were damaged by mud and cement, rendering it difficult to read. What is surprising is that it was installed using cement, meaning that there must have been an intervention in recent years.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372044c9c7e80680e0b2854jpeg.jpg" alt="" width="800" height="600"><figcaption> </figcaption></figure>“Whoever did it must have known about its existence and yet chose to bury it under the ground. This is also an important part of our history, and it was buried for so long because of past carelessness,” says Rajbanshi.While studying the area, Darnal also found a wall that may be of archeological interest just 1.4m below the recently dug site. “Whether it is of the bihar or not is difficult to say without proper study but we have noted that it is of interest,” he says.Over the centuries, successive dynasties that ruled Kathmandu Valley left behind a legacy of palace complexes and temples, of which many from the Malla era are still standing. But very little is known about the earlier phases of Kathmandu’s history, especially subsurface archeological heritage.Recent <a href="https://www.nepalitimes.com/banner/buddhas-birthday-in-his-birthplace/" target="_blank" rel="noopener noreferrer">excavations in Lumbini</a> have uncovered pre-brick structures below standing remains, which suggest that before the development of non-durable buildings there were already structures with non-fired bricks present.Experts say that is also likely in Kathmandu Valley with its historical settlements and the presence of inscriptions dating back to the 4th century CE. Historical chronicles also state that sites like Pashupati were built as far back as the 3rd century, suggesting that there may be more to uncover below these ancient sites. But unplanned and haphazard urbanisation in Kathmandu, and the lack of political and community will are destroying our past.Read Also: <a href="https://www.nepalitimes.com/banner/buddhas-birthday-in-his-birthplace/" target="_blank" rel="noopener noreferrer">Buddha's birthday in his birthplace</a>, Nepali TimesIn his travelogue,<a href="https://books.google.fr/books?id=EzIDSAdG-wgC&amp;printsec=frontcover&amp;hl=fr&amp;source=gbs_ge_summary_r&amp;cad=0#v=onepage&amp;q&amp;f=false" target="_blank" rel="noopener noreferrer"> An Account of Tibet The Travels of Ippolito Desideri of Pistoia, S.J. 1712- 1727</a>, Italian Jesuit Ippolito Desideri who visited Kathmandu in 1721, mentions a plain stretching two miles (believed to be Tundikhel) near a pond. He writes, ‘There are many pyramids, or towers … dedicated to their Gods.’If it is indeed Tundikhel that Desideri describes, there are only two of the ‘many’ temples remaining in the vicinity, the Bhadrakali temple in the eastern side and the Mahankal temple on the western edge. Others may have been destroyed or buried over the years,  the remains of which may still be around.“Ground levels in cities rise overtime as new structures are built over the rubble of older ones that have collapsed or been abandoned  due to various reasons like fire or in case of Kathmandu Valley, earthquakes,” explains Rohit Ranjitkar of the Kathmandu Valley Preservation Trust (KVPT), who did his PhD in heritage restoration.The Pantheon in Rome was built on the site of another structure built around 27 BCE, but was destroyed in a fire. It was restored around 80 CE, but was again burnt to the ground after being struck by lightning 30 years later. It was later restored in 128 CE. Much of this information is found through painstaking archaeological work and historical records.The centres of other European cities like Athens and Pompeii also have carefully preserved sites for archaeological digs.In Kathmandu, the dabali across the Nautale Darbar, Basantapur has two chaitya more than 1m below current ground level. In front of the Kumari Ghar in Kathmandu Darbar Square, workers came across the finial of a <a href="https://youtu.be/w6oor-FChfs" target="_blank" rel="noopener noreferrer">chiba</a> while building a road 15 years ago. This finial is still visible and the area has been encased in metal bars. These sites have also shown how the ground level has risen in Kathmandu over the centuries after being built over.Ranjitkar says the dabali was actually a part of the palace before the 1934 earthquake. The houses there were damaged, but instead of repairing them, the palace complex was restructured, leaving the area open to make it easier for Prime Minister Judda Shamsher to manoeuvre his car. There were other <a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/" target="_blank" rel="noopener noreferrer">subtle and not-so-subtle changes to the Darbar Squares</a> after the 1934 earthquake.Read Also: <a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/" target="_blank" rel="noopener noreferrer">Kathmandu's temple restoration after 1934 quake</a>, Sahina ShresthaKathmandu Valley has a history of earthquakes every 60-70 years. Early history of the Valley has been known from textual sources like inscriptions from 4th century CE onwards, manuscript colophons after 8th century CE, and archives like the <a href="https://archive.org/details/GopalarajaVamsavaliDhanavajraVajracaryaAndKamalP..Malla/page/n7/mode/2up">Gopālarājavaṃśāvalī</a>.  These chronicles provide a regular recording of earthquakes including those in 1224, 1255, 1260, 1344, 1408, 1618, 1767, 1823, 1833, 1834, 1869, 1916 and 1934 – and prove the contention of seismologists about the Himalayan tectonics. While the accounts of earlier earthquakes are generalised, there are more details available for the earthquakes of 1833 and 1934.After the 1934 earthquake, the Bhandarkhal garden in the backyard of Patan Darbar was used to deposit debris from the palace complex and nearby areas. For years, no one cared to clean up the rubble and the garden lay dilapidated as the palace itself was used for government offices.When <a href="http://archive.nepalitimes.com/blogs/kundadixit/2011/04/05/797/" target="_blank" rel="noopener noreferrer">KVPT was working to restore the Bhandarkhal pond</a> in Patan Darbar Square in 2009, it discovered that the ground level of the area before the 1934 earthquake was much lower. The pond was in a dilapidated condition. There was a brick wall on the upper level that was built after the 1934 earthquake to contain the debris deposited in the garden. While working on the pond the team discovered the original base of the outer wall of the pond.“This gave us an idea of the historic pre-1934 ground level, so we cleared up the entire garden to preserve that,” says Ranjitkar. One can see how high the ground was after the 1934 earthquake by looking at the trees. The team built a substructure to support and preserve the trees that had grown over the raised area. While clearing up the debris, they also discovered ancient stone artefacts currently kept in the Patan Museum garden.Even after the restoration of pre-1934 level, one can see more layers underneath which could contain relics of debris from previous earthquakes. Says Ranjitkar: “When we excavated in Bhandarkhal garden, we found pockets of structure made of stone that were bigger than the ones that were in use at the time. This shows that there is a lot to learn about Kathmandu’s subsurface heritage.”After the 2015 earthquake, a team from Durham University in coordination with UNESCO and the Nepal government, conducted Ground Penetrating Radar Survey and geo-archaeological analysis of the three Darbar Square areas of Kathmandu Valley. It was determined that Kasthamandap which was thought to be a 12th century structure was actually built in the 7th century. The team also found that in all three palaces the subsurface level had been intruded by modern utilities like water, sewage and electric cables.The team has produced a provisional risk map of all three palace complexes highlighting possible archeological sites. The report has highlighted some areas in red as High Risk where there should be no intrusive development whatsoever.  Yellow areas are Moderate Risk where construction  should be avoided if possible, and Low Risk where development can take place but should be as non-intrusive as possible and fully reversible (see box).After the 2015 earthquake, UNESCO and the Department of Archaeology (DoA) also made an <a href="https://youtu.be/PstfEuTJmUA" target="_blank" rel="noopener noreferrer">emergency intervention at the Tashi Gomang Stupa (Mangal Bahudwar Chaitya) in Swayambhu</a>, where they found that inside the stucco stupa was another stupa with sculptures and terracotta closely resembling those found at Mahabouddha in Patan. This could indicate that the inner stupa could be from a similar timeframe.The discovery of the hidden chaitya could also prove that the practice of adding layers, creating a multi-shell structure – something characteristic of the larger mahachaitya – also occurred in smaller stupas.Kathmandu’s Handigaon is perhaps the best known site related to the Lichhavi era, and is considered to be the capital of the dynasty. The area has been studied a few times since the 1960s and many 1,300 year old terracotta figures and pottery have been found here, including an inscription dating back to King Amshuvarma.In 1989, an Italian team from ISMEO conducted an excavation at Satya Narayan temple in Handigaun which indicated that the earliest habitation activity in Kathmandu was in the 1st century BCE. Along with other archeological artefacts, a stone conduit dating back to 726 CE in the time of King Priya Varman was also discovered. A life-size stone statue of Jaya Varma was also discovered with an inscription dating back to the 2nd century CE from nearby Maligaun.Many scholars including conservation architect Sudarshan Raj Tiwari believe that the fabled Kailashkut Bhawan was in this area. This was Lichhavi King Amshuverma’s palace built in 598 CE, and so big that Chinese monk Xuanzang who visited Kathmandu at the time chronicled that its upper chamber could hold 1,000 people.“When we were looking for Kailashkut Bhawan, we found traces of archeological deposits inside the Balmandir complex. We are not sure if it is indeed the historical structure, but we also do not know if it is not,” says Tiwari. "Archeologists think that small traces aren't enough proof of anything, they need an entire wall to say that a building was there. But that is not the case because a lot of these places have been disturbed."However, Handigaun is being rapidly built up with residential houses and office blocks. The DoA has said there are traces of the ancient palace in Handigaun but has not moved to protect the site.Adds Tiwari: “The first thing that needs to be done is building restrictions in archaeological sites. We have been telling the government to control construction in Handigaun for years but nothing has happened. When we did the ground radar survey recently, we had to do it on the road.”Even there, the team discovered that the areas under the ground had been disturbed with water pipes and other cable conduits.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372044e9c7e80680e0b2855jpeg.jpg" alt="" width="900" height="574"><figcaption> </figcaption></figure>Handigaun is not an isolated case. In 1984, while constructing the subway at <a href="https://www.nepalitimes.com/here-now/water-of-the-ages/" target="_blank" rel="noopener noreferrer">Bhotahiti</a>, an ancient system with four water conduits was discovered. One of the conduits which was facing east had an inscription dating back to 596 CE saying it was constructed by Bibhu Varman during the rule of King Amshuvarma. The other three facing west and north were from the Malla era. Water was still flowing from the spouts when they were unearthed.But instead of preserving them, the municipality extracted the stone water spouts and stored them in the National Museum in Chhauni. The area was build over with an underpass that no one uses, but water is still seeping out through the concrete from this ancient system.Bhotahiti was among the seven water spouts in the area, and locals say it was first buried during the expansion of Tundikhel by the Ranas in the 1880s.Some 80m north from Bhotahiti towards Jamal is another sunken water spout called Jhanga Hiti which was covered over in 1981 after a local football team got permission to build its clubhouse over the historic site. The lower levels of the building now have shops while the football club has offices and meeting halls on the upper floors.Locals also say that another sunken water spout lies buried under the Nepal Electricity Authority (NEA) building east of Ratna Park.“History is layered, both metaphorically and literally,” says heritage documentarian and activist Alok Siddhi Tuladhar. “While it is understandable that things were destroyed during the Rana regime, it is sad that the same happened and continues to happen when we have people’s representatives running the government.”Read Also: <a href="https://www.nepalitimes.com/here-now/water-of-the-ages/" target="_blank" rel="noopener noreferrer">Water of the ages</a>, Alok Siddhi TuladharWhen it comes to conservation of these sites, ownership also plays an important role. Ancient pottery and terracotta have been found when digging foundations of buildings in Handigaun. Tiwari says that because people do not want to be bothered with delays in construction, they never report the finds.In 1989, an inscription dating 536 of the Licchavi era was discovered in Baluwagaun near Gokarna which mentioned the presence of a Rajbihar as well as a village, making the area of archeological significance.Archaeologist Prakash Darnal remembers that a house was being built over the find, and when the Village Development Committee was asked to stop construction, officials said nothing could be done because it was private property. A stone water conduit was found while digging the foundation of a private house in Hattisar, and that construction also could not be stopped.Heritage experts say public awareness as well as political will is necessary to save Kathmandu’s historical sites both beneath the ground as much as above the ground.“We explore and excavate to see if there is anything in the subsurface. But once it is done, it doesn’t mean the job is finished,” says Sudarshan Tiwari. “The reports have to be accessible, and in a language that is understandable by general public. This way people will become more aware about the value of protection.“The government then has to implement the recommendations and specify the limitations. Everyone needs to take the conservation of these sites seriously,” he adds.Read Also: <a href="https://www.nepalitimes.com/opinion/where-siddhartha-gautam-walked/" target="_blank" rel="noopener noreferrer">Where Siddhartha Gautam walked</a>, Robin Coningham<h2>What is beneath Kathmandu's Darbar Squares?</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637204519c7e80680e0b2856jpeg.jpg" alt="" width="640" height="458"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637204549c7e80680e0b2857jpeg.jpg" alt="" width="640" height="476">Provisional risk map for Kathmandu Darbar Square (left) and Bhaktapur Darbar Square (right). Source: POST-DISASTER URBAN ARCHAEOLOGICAL INVESTIGATION, EVALUATION AND INTERPRETATION IN THE KATHMANDU VALLEY WORLD HERITAGE PROPERTYArchaeological investigation of the Kathmandu Darbar Square area by UNESCO, Durham University and the Nepal government after the 2015 earthquake classified the World Heritage Site into three zones for protection of subsurface relics of archaeological significance. It recommended:Red ‘High Risk’ areas contain the most important archaeological remains at the site and are of significance not only to understand the development of a specific Darbar Square, but also the wider Kathmandu Valley and beyond. There should be no further development in these areas, and any existing modern structures should wherever possible be removed.Yellow ‘Moderate Risk’ areas contain (or may contain) archaeological remains that can inform us about the development of a specific Darbar Square. Development in these areas should be kept to a minimum, in accordance with an Archaeological Watching Brief.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637204569c7e80680e0b2858jpeg.jpg" alt="" width="609" height="860"><figcaption> </figcaption></figure>Green ‘Low Risk’ areas contain minor or no archaeological remains, which may be able to inform us about the development of a specific Darbar Square. Development in these areas is possible, but should be undertaken in accordance with an Archaeological Watching Brief.

The historic Kathmandu beneath our feet

The <a href="https://www.nepalitimes.com/banner/ancient-panautis-french-connection/">ancient town of Panauti</a> is preparing for its once-in-12-years Makar Mela this month, a festival that dates back 1,000 years. Despite the Omicron scare, the town 40km east of Kathmandu expects 6 million pilgrims from Nepal and India during the month of Magh.  Although it is among the better preserved historic <a href="https://www.nepalitimes.com/here-now/khokana-and-bungamati-strive-to-save-heritage/">Newa towns</a>, even here the sloping tile roofline is being replaced by flat-top concrete blocks that dwarf the temples and shrines. But the town is preserving its past, not just by restoring its monuments but also reviving its many festivals like the Makar Mela. The recent release of the bilingual book Panauti: Passé– Présent Panauti Past- Present (1976-2020) is perfectly timed not just for the 12-year festival which starts on 15 January, but also to draw attention to the town’s many other festivals.<img class="alignnone size-full wp-image-84494" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203819c7e80680e0b2812jpeg.jpg" alt="" width="3072" height="2048"/><img class="alignnone size-full wp-image-84495" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203859c7e80680e0b2813jpeg.jpg" alt="" width="3072" height="2048">Indreswor Mahadev Temple. Photos: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)With French and English text by Gérard Toffin of the French National Center for Scientific Research (CNRS), and illustrated with before and after photographs by Toffin, the ethnologist Corneille Jest and Panauti-based photographer Prasant Shrestha, the book is a must-have guide to anyone interested in exploring the history of this unique town.Toffin and Shrestha met in 2010 during the last Makar Mela and were both struck by the changes that Panauti was undergoing, mostly for the worse, and decided to make a photographic documentation before it was too late.‘This book is a testimony to the mutations in Panauti,’ writes Toffin in the Introduction. ‘It gives a real importance to photography, aims at highlighting the local cultural heritage and how the current uncontrolled urbanisation threatens it.’ <img class="alignnone size-full wp-image-84489" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203889c7e80680e0b2814jpeg.jpg" alt="" width="1528" height="1036"><img class="alignnone size-full wp-image-84490" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/6372038c9c7e80680e0b2815jpeg.jpg" alt="" width="3072" height="2048">Panauti. While the town's roofline has changed, the surrounding hills have more forest. Photos by Gerard Toffin, 1976 (left) and Prasant Shrestha, 2011 (right). For Shrestha, it was a matter of using his profession to further the cause of the preservation of the heritage of his beloved hometown, and this passion shows in the meticulous care he has taken in repeat photography of shrines and landscapes. Just as the German government undertook to <a href="https://www.nepalitimes.com/here-now/saving-kathmandus-past-for-the-future/">restore Bhaktapur</a> as a coronation gift to King Birendra, the French chose the out-of-the-way town of Panauti. Legend has it, Panauti was given by the king of Bhaktapur as dowry to his newly-married sister.  Panauti is located in the sacred tri-junction of the Punyamati, Lilawati (Rosi Khola) and the mythical underground river, Rudrawati – a miniature replica of the holy confluence of the Ganga, Jamuna and Saraswati at Prayag in India. Which is why the Makar Mela is also called Nepal's own Kumbha Mela.<img class="alignnone size-full wp-image-84488" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203909c7e80680e0b2816jpeg.jpg" alt="" width="3077" height="2048"><img class="alignnone size-full wp-image-84493" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203959c7e80680e0b2817jpeg.jpg" alt="" width="3072" height="2048">Tribeni Ghat as photographed by Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)Panauti’s Tribeni was so revered that it was among the sources from which holy water was poured into the Rani Pokhari by Pratap Malla when he consecrated the royal pond in Kathmandu in 1669.Archaeological evidence points to Panauti having been settled from the early Kirat period 1,500 years ago. It escaped being conquered by Prithvi Narayan Shah, and was annexed when <a href="http://archive.nepalitimes.com/news.php?id=15468">Bhaktapur</a> fell in 1769.  The town was on a ancient trade route to the Tarai, and with its Indreswar Mahadev, Bhadrakali and Unmatta Bhairav shrines it is <a>predominantly Hindu</a>. However, there are Buddhist influences.<img class="alignnone size-full wp-image-84502" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203999c7e80680e0b2818jpeg.jpg" alt="" width="4096" height="2777"><img class="alignnone size-full wp-image-84559" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372039d9c7e80680e0b2819jpeg.jpg" alt="" width="3252" height="2068">Panauti Layaku Area. While the traditional houses have been replaced with concrete blocks, the temple appear to be in a better state.   Photos by: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right). Panauti was the <a href="http://archive.nepalitimes.com/news.php?id=10973#.YdPsrMlBypo">scene of a battle</a> during the insurgency in 2006, and suffered damage in the 2015 earthquake. But now, its glorious past is threatened by modernisation, which is why this book by Toffin and Shrestha is so important. It does not just show us the changes in the past 40 years, but also encouraging signs of how its monuments and festivals are being restored.The Makar Mela itself is a celebration of Panauti’s proud heritage during which there is a vigil for the king of the serpents, Vasuki Nag. (This is the reason the Shah kings never attended the Mela because they would have to compete with another ‘king’.)Other examples of revival are the Devi Pyakhan masked dance which used to be performed in the past to ward off cholera, and the Jya Punhi full moon festival which is only celebrated here. And in 2015, Panauti also reinstated its own <a href="https://www.nepalitimes.com/here-now/a-goddess-among-people/">Kumari Living Goddess</a> tradition.The book reprints a scroll dating back to 1635 that depicts the sacred Tribeni confluence which we learn is now in the Virginia Museum of Fine Art in the United States. To draw attention to the stolen holy objects from Nepal, Bhaktapur-based architect Rabindra Puri has set up the Museum of Stolen Arts in Panauti with replicas of the statuary from this town, and other parts of the Valley.<img class="alignnone size-full wp-image-84505" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a09c7e80680e0b281ajpeg.jpg" alt="" width="4096" height="2797"><img class="alignnone size-full wp-image-84506" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a49c7e80680e0b281bjpeg.jpg" alt="" width="3072" height="2048">Panauti with Gorakhnath Hill in the backdrop. Photos: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)Under federalism, Panauti became a municipality that includes some of the surrounding villages. Mayor Bhim Neupane was elected in 2017, and says preparations are complete to manage the influx of pilgrims from 15 January – 12 February.“Despite the pandemic, we are expecting about 200,000 people a day,” says Neupane. “We are directing everyone to take health precautions seriously, and have cleared the Tribeni area to make space. There is a bypass road and extra bus parks.” Panauti: Passé– Présent Panauti Past- Present (1976-2020) is a book that proves to other towns in Nepal that it is indeed possible to save what is left of the country’s unique cultural heritage and diversity.<img class="alignnone size-full wp-image-84532" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a89c7e80680e0b281cjpeg.jpg" alt="" width="1550" height="594">Panauti: Passé– Présent Panauti Past- Present (1976-2020)Text:Gérard Toffin Photos: Prasant ShresthaAmbassade de France Népal and Alliance Française,2021ISBN 978-9937-0-8212-9114 pages

Kunda Dixit

Creation to destruction, then revival

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19c69c7e80680e0ac83bjpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Niels Gutschow next to the 17th century wooden door added to the guest house. All photos: MONIKA DEUPALA</figcaption></figure>"Welcome to my playground,” calls Niels Gutschow from the brick-laid front yard of his home in Bhaktapur. At the centre stands the single-storey house, with a narrow door in the middle of the vast brick façade, bracketed by two lattice windows. The house originally had three floors, but the 2015 earthquake brought much of the structure down.Cool breeze rushes in from all sides, filling the air with a polyphonic rustle of leaves. Here is a world unto itself, far from the hustle and bustle of this historic city. The sky is blue, the landscape is crisp, absent of dust, and butterflies flutter about. The nearest road is a 7-minute walk away, whatever trace of the mechanical city life beyond filtered by the willow trees that line the narrow trail leading up to the house.Gutschow’s wife Wau sits on the plinth next to the door, knitting. “A sweater for Niels,” she says, holding it up. “I knitted a red one before, did I not?”Gutschow nods. It is a white sweater this time.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19cb9c7e80680e0ac83cjpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Every year for the last 30 years (although, Nepal has been his home for nearly 50 years now), Niels and Wau would leave Nepal for Germany in November where they live near Heidelberg amidst landscape much like their Tahaja Hill home in Bhaktapur, secluded and peaceful.But this November, the Gutschows are making the trip back for the last time, leaving behind an extensive bibliography on the architectural anthropology of Nepal as well as an invaluable contribution to the conservation of the country’s tangible and intangible heritage.A striking example of this can be found in the <a href="https://www.nepalitimes.com/business/hyatt-performs-its-annual-chaitya-puja/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/business/hyatt-performs-its-annual-chaitya-puja/&amp;source=gmail&amp;ust=1635599145453000&amp;usg=AFQjCNGKse0tTwL-gkaxdbdj7U6diiE7Xw">chaitya-studded lobby</a> of the Hyatt Regency in Bouddha which Gutschow designed. These are the exact replica of shrines built between the 7th and 19th centuries around Kathmandu Valley.Even as the Valley’s cityscape turns to cement and steel, spreading like tumour devouring the countless quarters of historical and cultural significance, visiting the stone archive in Hyatt lobby presents some consolation and even a chance to return to our architectural roots.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19ce9c7e80680e0ac83djpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><a href="https://www.asia-europe.uni-heidelberg.de/en/people/person/persdetail/gutschow.html" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.asia-europe.uni-heidelberg.de/en/people/person/persdetail/gutschow.html&amp;source=gmail&amp;ust=1635599145453000&amp;usg=AFQjCNEzu69uTKZOvGSr0pRp7f2IrReWOA">Gutschow</a> was born in 1941 in Hamburg. His father was an architect, to whom he credits his entry into the visual 3-D world. He studied Latin and Greek in school, and in 1958 attended Buddhist Sunday classes. Educated not just in the Western classical canon but also Buddhist philosophy, he first came to Nepal in 1962 en route to Burma.In May of the same year, he witnessed the Machindranath Jatra in Lalitpur which had a profound impact on him, and made him decide this was something he would like to study. An architectural anthropologist by profession, he returned to Nepal in 1970, sponsored by the German Research Council to study the villages of Marpha and Tukche in lower Mustang.It was around this time that he met a German diplomat who wanted Gutschow involved in a project to restore the historic Pujari Math priestly residence in Bhaktapur. He prepared a plan for its restoration after surveying the badly ruined building complex with the help of Krishna Shrestha, the director of the National Art Gallery.The project was a precursor to what was to follow: an ambitious bilateral initiative between Nepal and Germany for the <a href="https://archive.nepalitimes.com/news.php?id=19496#.YXqErFVByJA" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/news.php?id%3D19496%23.YXqErFVByJA&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNFaE5KX7Au_TkhfxlIGyc6fP4fKeA">conservation of the architectural heritage of Bhaktapur</a>. He returned to Nepal on 22 August 1971 to organise the site visit, and took up residence at Bhaktapur in the ‘Rana House’ – now a homeopathic clinic – near Nag Pokhari.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19d29c7e80680e0ac83ejpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Walking around Bhaktapur even today is like stepping back in time. Its unique charm is preserved intact in the folds of its buildings and heritage – still largely untouched by the haphazard westernisation that has destroyed other towns in the Valley.Back in the 1970s, Bhaktapur was dilapidated, but had its historic urbanscape even more pristine. The Arniko Highway was just being built, and there were only a couple of buses a day to and from Kathmandu. Gutschow fully immerse himself in the life and happenings of this little city. He witnessed Indra Jatra and Dasain, and experienced communities get together during the Bisket Jatra and during the procession of the Navadurga.“It was fascinating to see Newars use their space as a stage,” he recalls.Read also: <a href="https://www.nepalitimes.com/review/remembering-robert-powell/" target="_blank" rel="noopener noreferrer">Remembering Robert Powell</a>, Ashish Dhakal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19d59c7e80680e0ac83fjpeg.jpg" alt="" width="1500" height="1000">Gutschow returned in 1974 with a scholarship to study Bhaktapur, which was also the year the German-supported Bhaktapur Development Project (BDP) got a start. Although many consider that Gutschow himself was part of the project, he says it is a misunderstanding.“I only wrote the first paper to initiate the project,” he adds. “The project went through a tender and we were young people then, we did not compete.”That paper is only a small part of Gutschow’s vast scholarship on Nepal. One of the many people who have <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/remembering-the-kathmandu-we-have-lost,3804" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/remembering-the-kathmandu-we-have-lost,3804&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNGh8sMM2TUnfH-Rq-sLC9OGLvfVBQ">introduced Nepal to Nepalis</a>, he conducted architectural surveys of Gorkha and Nuwakot, Kag and Khyinga (in Mustang) from 1980 to 1988 and from 1990 to 1995. He also studied in greater detail the 19th century temples of Patan, <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNFeD3US2WS_CdO-jWiHXfT2UZgC6w">Kathmandu</a> and Deopatan, and Buddhist chaitya to develop a chronology based on stylistic evidence.Further, his documentation and analysis of the urban space and rituals of Bhaktapur, his mapping of the city’s religious and social topography, and his architectural and anthropological research are unparalleled in their significance and impact.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19d89c7e80680e0ac840jpeg.jpg" alt="" width="947" height="369"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19da9c7e80680e0ac841jpeg.jpg" alt="" width="1200" height="1017"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19dd9c7e80680e0ac842jpeg.jpg" alt="" width="1629" height="1373">He has written three detailed volumes on death rituals (Handling Death), initiation rituals (Growing Up) and marriage rituals (Getting Married) of Newars, with special focus on Bhaktapur. The 3-volume encyclopædic opus Architecture of the Newars, spans the early, Malla and modern times. Another book, The Sky Face studies Kirtimukha – a recurrent iconography of a fierce monster face with huge fangs and gaping mouth – and related creatures in Nepal, South- and Southeast Asian art and architecture.In the 50 years that he has spent in Nepal, Gutschow has also witnessed the steady change and decline of the Valley’s pristine <a href="https://www.nepalitimes.com/here-now/protecting-kathmandus-historic-roofscape/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/here-now/protecting-kathmandus-historic-roofscape/&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNH3ZS3m3pvF94PuKiF7OAnSi81f9g">landscape</a> into an ugly concrete jungle, which he also documented in his 2012 book, <a href="http://archive.nepalitimes.com/news.php?id=19765#.YXqB4VVByJA" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D19765%23.YXqB4VVByJA&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNGRu8irEABYxHUEsLPvoFzWllq58g">The Kathmandu Valley</a>.A meticulous chronicler of change, Gutschow held a deliberately dispassionate tone in the book – subdued and impartial, despite the sadness, telling Nepali Times: “The curiosity I feel about this ongoing development has nothing denunciatory about it. The documentation of the construction sites does reveal a certain crudity, not to say brutality. Its aim is to achieve a largely unemotional presentation of one aspect of reality.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19e09c7e80680e0ac843jpeg.jpg" alt="" width="2048" height="1343"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19e39c7e80680e0ac844jpeg.jpg" alt="" width="1250" height="1194">Gutschow’s <a href="http://archive.nepalitimes.com/article/review/towers-in-stone-niels-gutschow,1762" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/article/review/towers-in-stone-niels-gutschow,1762&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNG4O0PgeSv0XMLeOypVaA1ErzV7Iw">passion and dedication to documentation</a> can also be seen in his house in Bhaktapur – an integral part of his œuvre, a historical record of three decades in bricks and beams, where his research, scholarship and life spent among the people, the rituals, and the festivals of the Newa communities of Bhaktapur culminate, and which he is leaving behind when he returns to Germany.The house stands atop Tajaha Hill (literally ‘a net of snakes’) where snakes are indeed a common feature to this day. Gutschow remembers several large snakes basking in the sun, and some smaller ones in the lotus pond, especially in the monsoon or winter afternoons.Unlike most mythologies in the West, snakes represent strength and rebirth in Buddhism and Hinduism. This feels like an apt analogy, adding to the serene, mythical quality of the house, which itself was rebuilt and reconfigured in 1989 and lived in for 30 years.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19e79c7e80680e0ac845jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Narrow bricked steps lead the visitor away from the trail and towards the house, flanked on both sides by a small forest of monkey grass, isicha, willow trees, mugwort and persimmon among others. A small round lotus pool on the right and a kuwa, or a wellspring, on the left are near the entrance.A stone pikhalakhu sits on the ground before the steps leading to the courtyard where a long arcade has been reconfigured after the earthquake. The columns and capital-brackets on top Gutschow bought for the price of firewood. “No one wanted these,” Gutschow says, shaking his head. The carvings depict buffalo eyes, lotus leaves, snake virgins under snake hoods, and the mythical makara aquatic beings.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19eb9c7e80680e0ac846jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19ee9c7e80680e0ac847jpeg.jpg" alt="" width="767" height="1500">Behind the house stands the Kadam Chörten, a chaitya completed in 2002 to commemorate the passing of the Buddha, and further up is the tall guest house, its roof peeking from behind the fan palm and lapsi. Two giant vermillion circles look ahead from under the roof like eyes keeping watch over the hill, the neighbouring houses and fields.“The earthquake affected this building too, the base twisted,” Gutschow says, demonstrating the jerk and twist with his own body. The door had to be removed and replaced with a wall upon which another giant red circle was plastered with a smaller yellow circle painted inside. When asked about its meaning, Gutschow smiles slyly: “I cannot tell you that, you should come up with your own interpretation.”From the guest house, one can see another tower up ahead which looks as though it is simply a decorative piece. The bricks are of singular styles not seen elsewhere in the house, which were designed by students from Frankfurt.“It was an experiment,” Gutschow says, moving his hand across the jagged motif. The traditional Newa bricks are arranged at the bottom, with a layer of modern rough bricks above, followed by a single line of traditional bricks, above which the Frankfurt-designed bricks sit, and the pattern continues.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19f29c7e80680e0ac848jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Three columns stand in the tower – two on one side and one inside a narrow opening opposite. These are unique columns, which came from Pondicherry in India, wide at the base, and tapered rather sharply at the top. The lonely column on the other side is painted red, as is the top of the wall inside. This colour is a recurring motif with Gutschow. “Red is an important colour, almost like my trademark. It is the colour of blood, and especially associated with life and death,” he adds.Red also has ritualistic significance in Hinduism and Buddhism, and is the colour of the sun in mornings and evenings. Gutschow would not reveal the mystery of the coloured circles in the guest house, but perhaps they too represent the same sense of duality: of life and death, of dawn and dusk, of Nepal and Germany.However, Gutschow is cautious with hasty interpretations, since in art they can often allude to a notion of functionality, and an object is reduced simply to its utility. “But form does not need to follow function,” he says as we walk away from the tower towards the house.“The lonely pillar stands in the space as an aesthetic choice, an object to be appreciated as itself,” he says.It is the same with the anthropomorphic façade of his study tower, where two window panels that function as eyes are separated in the middle by a wooden arch which is the nose. Above the eyes, the cornice serves as eyebrows and there in the central axis sits a small block carved into a third eye. This is a prime example of the “impulse to adorn” which features heavily in the architectural practice of Bhaktapur, where decorations serve a pure aesthetic purpose.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19f79c7e80680e0ac849jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>After the tour, sitting inside the arcade, Gutschow recounts the Navadurga ritual, which he has been attending for the past 50 years not as a tourist but as an inhabitant of Bhaktapur, belonging to the community. Even then, despite his work, projects and involvement all these years, Gutschow has been coming to Nepal on a tourist visa which covers about five months at a time, and he still has to buy a $15 entry ticket every time he visits Bhaktapur Durbar Square.But, he shrugs: “Now it does not matter anymore.”Gutschow laughs when asked about how he balanced being in Nepal and Germany. “I enjoyed being in two worlds, and being able to work and write in Germany as well as in Nepal meant that when I returned to one of the places, I always returned with new questions.”

Niels Gutschow leaves home

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d17369c7e80680e0ac754jpeg.jpg" alt="" width="1200" height="800"/><figcaption>Patan's Bhaidega temple was destroyed in the 1934 megaquake, and had just started to be rebuilt 82 years later when the 2015 diaster struck and resources were diverted to other restoration. The three-storey shrine (in scaffolding) is now being reconstructed in the original design. Photo: AMIT MACHAMASI</figcaption></figure>When an 8.3 magnitude earthquake hit Kathmandu in 1934, a three-storey temple in Patan collapsed. Eighty-two years later, just as work had officially started to rebuild it, the 2015 earthquake hit central Nepal.The Bhaidega temple dedicated to Lord Shiva was built more than 350 years ago, but after it was destroyed in 1934, it was rebuilt with a much smaller Moghul style dome. Two months after work began in February 2015 to rebuild it in the original style, the earthquake destroyed much of <a href="http://archive.nepalitimes.com/page/Patan-town-as-a-museum-piece" target="_blank" rel="noopener noreferrer">Patan Darbar Square</a>.The 2015 quake killed nearly 10,000 people, and many of the temple, monuments, and homes of Kathmandu Valley’s historic towns were destroyed. For the following two years, as priorities shifted, the reconstruction of Bhaidega was suspended so that the other temples could be restored first.“When the earthquake struck, the focus and priorities changed. There was an urgent need to rebuild the temples and monuments brought down by the earthquake,” recalls Rohit Ranjitkar of <a href="https://kvptnepal.org" target="_blank" rel="noopener noreferrer">Kathmandu Valley Preservation Trust (KVPT)</a>, which was leading the restoration of the temple. “So, Bhaidega took a back seat.”Six years after the 2015 quake, while the temples around it have come out of their scaffolding, the work on the Bhaidega is stalled because money has run out.The timeline for the <a href="https://www.nepalitimes.com/here-now/good-as-old-after-two-earthquakes/" target="_blank" rel="noopener noreferrer">reconstruction of Bhaidega</a> is proof that restoration of quake-damaged monuments take a long time in Nepal, and tend to overlap each other.But earthquakes in Nepal also provide an opportunity to rediscover traditional seismic resistant construction methods, so they can be built back better, and revive ancient craftsmanship.What sets Bhaidega apart is that unlike the other temples of the Patan Darbar which were built by the Malla kings, it was put up by a commoner, Bharo Bhagirath Bhaiya in 1678. Historians believe Bhagirath Bhaiya was probably the first person in the Subcontinent to dedicate a temple to Vishweshwar after the desecration of the original shrine in Banaras nine years earlier.The Kashi Vishwanath temple in Banaras was destroyed on orders of Moghul emperor Aurangezeb. Ironically, after the 1934 earthquake, Bhaidega was rebuilt in the Moghul stucco dome architectural style that the rulers of Nepal copied.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d17389c7e80680e0ac755jpeg.jpg" alt="" width="1400" height="534"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d173b9c7e80680e0ac756jpeg.jpg" alt="" width="1400" height="547"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d173d9c7e80680e0ac757jpeg.jpg" alt="" width="1200" height="800"><figcaption> </figcaption></figure>“In the past, people did not really have a concept of conservation. The priority was to have a roof over the idol of the deity,” says Ranjitkar. “So, they rebuilt it anyhow, but it was important to rebuild in the original form.”<a style="font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/norway-restoration-project-patan-durbar-square-bhaidegah,2179" target="_blank" rel="noopener noreferrer">Restoration work</a> actually had begun early as 2011 when well-wishers, conservation architects, historians, and community activists started to collect photos of Bhaidega taken eighty years before and traced to the collection of Felix Brandt in Germany. The photos show only partial facets of the original Bhaidega but was vital in estimating the size and outline of the temple.Detailed watercolour of the woodwork of the first-floor struts, cornices, and pillars made by Henry Ambrose Oldfield in 1853 were discovered in the British Museum. More importantly, carved wooden struts 4m tall, subsidiary struts, and pillars of the temple were discovered in the Patan Museum storeroom.All these provide clues for the reconstruction and designs for the missing wood carvings. With additional research, restoration architects could then draw up sketches of what the restored temple would look like.“When you look at the photos that are available, you can see that the carvings in Bhaidega are one of the best in the city if not the country,” says Indra Prasad Shilpakar, one of the master carvers working on the temple. “It showed us that we were on the right track, and it makes us proud that we are helping revive a part of Nepali art and history that was almost forgotten.”Rebuilding slowed after the 2015 earthquake because <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/saving-the-intangible,3303" target="_blank" rel="noopener noreferrer">other temples were also destroyed or damaged</a>, but the interruption was also an <a href="https://www.nepalitimes.com/banner/learning-from-nepals-past-to-rebuild-its-future/" target="_blank" rel="noopener noreferrer">opportunity to build back better</a>.“The earthquake gave us a chance to look at the foundation of Bhaidega which would not have happened if the earthquake had not hit,” says Ranjitkar.The plan was to rebuild on the original plinth, but upon inspection the team found that the foundation of the temple was weaker than what they had anticipated. Not only was it shallower but some of the stones used were round.“Rounder uncarved stones move around easily and are not structurally safe. This meant that we had to spend a lot of time and money to reinforce the foundation and make it stronger,” explains Ranjitkar.After 2015, funds and expertise were diverted to other monuments in the Valley as the country went into an emergency response mode. On the heritage front, Nepal faced a crisis of <a href="https://www.nepalitimes.com/featured-videos/out-with-the-old-in-with-the-new/" target="_blank" rel="noopener noreferrer">skilled artisans</a> to rebuild and restore collapsed and damaged monuments. This led to an increase in the cost of workers’ wages, timber, bricks, and other building materials.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d17419c7e80680e0ac758jpeg.jpg" alt="" width="995" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d17449c7e80680e0ac759jpeg.jpg" alt="" width="995" height="1000"><figcaption> </figcaption></figure>In 2012, the preliminary cost estimate for the Bhaidega restoration was about Rs40 million. Within seven years, it had more than doubled to Rs90 million.Another temple in the Patan Darbar Square, the Harishankar shrine, similar in size to the original Bhaidega did not cost as much to restore because 80% of its carved wooden columns, struts, eaves were retrieved after the temple collapsed.In the case of Bhaidega, much of the wood carvings need to be replicated and built anew, which takes up the bulk of the expense, expertise, and time. Additionally, Bhaidega also needs extensive bricklaying, roof tiles, terracotta, and repairs and gilding of the original pinnacle.Because of the overwhelming need to <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/In-perfect-harmony,3251" target="_blank" rel="noopener noreferrer">rebuild other temples and monuments</a> destroyed in 2015, Bhaidega was not a priority for donors and the government.“We approached the government for timber at the official rate, but the Forest Ministry did not even grant us that,” says Prithvi Pande, who is the chair of the Cultural Heritage Preservation Group, a citizen’s group. “The government talks about importance of heritage and tourism but can’t even provide wood to rebuild our temples.”A big part of the rebuilding cost has been borne by Pande and his colleagues.  Before the earthquake, the Norwegian Embassy contributed to the shortfall in the initial cost estimate. After the earthquake, other private citizens and the Lalitpur Municipality also supported the cause. But funds have now dried up, while prices have skyrocketed.Ranjitkar of KVPT says the work on restoration has slowed, and there is a budget shortfall of more than Rs30 million.To ensure that the restoration makes up for lost time, the KVPT team worked through the pandemic, following safety protocols. Only the first floor has so far been completed and work is ongoing on the second tier.Most of the wood carving work for the doors, windows, columns, including the lower cornices have been completed.Says Ranjitkar, “If we get the required amount, we can finish rebuilding in 10-12 months. But it is going to get more expensive the longer it takes.”To Donate:Bank Account name: Sanskritik Sampada Samrakshan SamuhaBank and Account no: 040-0103-0250856, Nepal Investment Bank, Lagankhel Branch, Lalitpur<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161120/636d17479c7e80680e0ac75ajpeg.jpg" alt="" width="1200" height="800"><figcaption> </figcaption></figure>_________________<h2>Who was Bhagirath Bhaiya?</h2>Bhagirath Bhaiya was a commoner who served as prime minister of the kingdom of Patan for 16 years during the reign of King Srinivas Malla. Known for his philanthropy, he was a reputed military commander and fought in battles in Makwanpur and elsewhere.He donated much land, upgraded the town’s facilities, and repaired temples in Patan and Pharping. In 1678, he built the Bhaidega temple replicating a Shiva lingam at the Kashi Vishwanath in Banaras which was destroyed nine years earlier.For the inauguration of the temple, he also built the pavilion of Lampati that still stands today across the street south of Bhaidega. It was from here that invited Kings and nobility watched the consecration of the temple. The guests included the royalty of Patan, Bhaktapur King Jitamitra and his brother Ugra Malla, King of Kathmandu Nripendra Malla and his brothers Mahipatindra and Parthivendra. Even the king of Tanahu Bhaiya Rudra Sen was invited.King Srinivas held Bhagirath Bhaiya in great esteem, and this is evident in an inscription dating 1674 at Matsyendranāth Temple, where he asks the public ‘to make no distinction between him and me’.But the elevation of Bhagirath Bhaiya did not sit well with some members of the nobility, especially Yoganarendra Malla who was envious of the former. Having consolidated power in the court, they stripped him of his position in 1685. There are written records that Bhagirath Bhaiya was ‘dragged all the way from his residence (to the palace)’.A year later, King Yoganarendra Malla usurped power from his father, and had Bhagirath Bhaiya killed.

Restoring a piece of Nepal’s history

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141156/636d02fd9c7e80680e0a36adjpeg.jpg" alt="" width="6720" height="4480"/><figcaption>Photos: MONIKA DEUPALA</figcaption></figure>Ratna Man Shrestha has spent his entire life in Kirtipur, the ancient hilltop town overlooking Kathmandu Valley. Year after year, the 78-year-old has seen his neighbourhood change.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/" target="_blank" rel="noopener noreferrer">Traditional narrow houses</a> with exposed brick, carved <a href="https://www.nepalitimes.com/banner/coming-out-of-the-woodwork/?preview_nonce=9d7ef77938" target="_blank" rel="noopener noreferrer">wooden windows</a> and tile roofs have given way to high rise concrete boxes, rented by recently arrived residents. On the streets, the friendly Newa “jwajalapa” greeting is now interspersed with “lhasso” and “fyafulla” of the new arrivals.Even the humble falcha rest stop in front of his house, where he grew up playing as a child, hanging out with friends as he got older, and even took refuge after the 2015 <a href="https://www.nepalitimes.com/banner/building-back-cheaper-and-stronger/" target="_blank" rel="noopener noreferrer">earthquake</a>, has changed."It was all wood when we were young, then they tore it down and rebuilt it using concrete,” says Ratna Man.Falcha are not just a part of Kathmandu Valley’s architectural heritage, but buildings around which much of the life of a neighbourhood took place. They used to be where pilgrims and traders could spend the night free of cost, or where the community came together during <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/kathmandu-festivals-muted-amidst-coronavirus-lockdown/" target="_blank" rel="noopener noreferrer">festivals and jatra.</a>https://youtu.be/X__-y8ZPvqMRecently, Ratna Man noticed that his neighbourhood falcha was being renovated again, but this time being restored to its quaint original design with carved wooden columns, beams, tile roof and traditional brick masonry and even a stone Ganesh figure in an alcove.Many of the rest stops here were damaged or demolished over time. Others lost their traditional design, and were replaced with soulless concrete structures housing various community clubs.But Kirtipur is now leading the way in reviving the humble falcha so that it will also bring back not just their traditional architecture, but stimulate the culture and community spirit associated with them.“This is what it used to look like in the old days,” Ratna Man tells us. ‘I hope it stays this way.”Walking down the lanes of Kirtipur, or indeed any of the other old towns of Kathmandu Valley, it is easy to visualise what the old Newa settlements looked like: narrow stone-paved alleys lined with houses leading to <a href="https://www.nepalitimes.com/here-now/kathmandu-loses-its-open-spaces/" target="_blank" rel="noopener noreferrer">open courtyards</a> and the ubiquitous falcha meant for travelers and locals alike.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141156/636d03019c7e80680e0a36aejpeg.jpg" alt="" width="6720" height="4480">The open rest stops were located near wells or <a href="https://www.nepalitimes.com/banner/a-temple-by-another-name/" target="_blank" rel="noopener noreferrer">temples,</a> along busy thoroughfares or tucked in the alleys, often built by the nobility as a part of their community responsibility. But with haphazard urbanisation, road expansion and changing lifestyles, the Valley’s architecture and street life has been transformed.Many of the rest stops here were damaged or demolished over time. Others lost their traditional design, and were replaced with soulless concrete structures housing various community clubs.Since taking office, Kirtipur Mayor Ramesh Maharjan and his team have renovated and rebuilt more than 20 falcha in the Municipality, which has a population of 70,000.“A <a href="https://www.nepalitimes.com/here-now/crafting-a-heritage/" target="_blank" rel="noopener noreferrer">tangible heritage</a> like falcha is an integral part of our identity,” says Maharjan. “It was important to restore them to their original style, but they are also a part of our intangible heritage, providing a place for the community to gather, especially for older residents to relax.”Architects and engineers from the municipality were involved in the study and design of the rest stops, with a particular focus on maintaining the traditional look and ambience of the falcha.“In the past, many of the falcha were turned into concrete structures and the essence was lost, we wanted to make sure that was not the case this time,” adds Maharjan.As Kirtipur’s falcha are restored, the rest stops are once more filled with people, mostly senior citizens from the neighbourhood, to chat, or watch passersby and children play nearby.Come evening, the historic town resonates with the sound of Dafa Bhajan as old and young gather in neighbourhood falcha to perform devotional songs accompanied by traditional instruments.“Without falcha, it would not be possible to continue this tradition,” says Badri Lal Shrestha, who on a recent Saturday evening was busy playing madal on the ground floor of a renovated falcha for an impromptu performance.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141156/636d03069c7e80680e0a36afjpeg.jpg" alt="" width="6720" height="4480">“This gives us not only a space to come together but a place to store our musical instruments. It would be inconvenient to sing and play out in the open,” he adds. This falcha is built in the sattal style, with the ground floor is used for bhajan, and the first floor as storage.There are now 17 dafa groups active in Kirtipur, up from 11 from a few years back, and Mayor Maharjan says it was because restoring the falcha has also brought back the traditional activities that used to happen in them.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141156/636d030a9c7e80680e0a36b0jpeg.jpg" alt="" width="6720" height="4480">Buddhi Kumari Shrestha is happy that the rest stop in his Bahiri Gaun neighbourhood is finally being renovated. “This is the route for the Gaijatra procession takes place, so now we will have a space to watch it from. After all what is a jatra without viewers,” she says.To make the rest stops pay for their own maintenance, the municipality plans to generate income from them. “We can display and sell traditional arts and crafts, as well as traditional Newa food during festivals,” says the mayor. “The idea is to make the falcha pay for itself.”

Restoring rest houses to revive culture

<figure><img width="1926" height="1168" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d02749c7e80680e0a3680jpeg.jpg" alt=""/><figcaption>Nepali and international activists have begun the process of repatriating this 700-year-old wooden carving of a flying gandharva (divine singer) which was stolen from Itum Bahal in Kathmandu in the 1980s, and is now in the collection of The Rubin Museum of Art in New York. Photo: THE RUBIN MUSEUM OF ART</figcaption></figure>As the return by Western museums and private collectors of Nepal’s stolen antiquities gathers pace, two more religious objects from Kathmandu Valley shrines have been located at <a href="https://rubinmuseum.org/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://rubinmuseum.org&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNFJML5V4C5UeNEQo5QB_2Kw1R46GQ">The Rubin Museum of Art</a> in New York.The wooden artefacts between 400-700 years old were tracked down at The Rubin by the group <a href="https://www.facebook.com/lostartsofnepal/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.facebook.com/lostartsofnepal/&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNHEyMVhw6GCFja2dBYxds74EIUajA">Lost Arts of Nepal</a> which has been investigating sacred objects so that they can be returned to the shrines from where they were stolen in Kathmandu.One of the items is a 14th century carved wooden architectural element of a flying gandharva (divine singer) that was stolen from Itum Bahal in the 1980s. The other is a wooden torana (frieze) that is 500 years old and was wrenched out of a doorway in I Bahi in Patan. <figure><img width="2528" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d02789c7e80680e0a3681jpeg.jpg" alt=""><figcaption>Also at the Rubin Museum of Art’s collection is this 17th century wooden frieze stolen from I Baha in Patan. Photo: THE RUBIN MUSEUM OF ART</figcaption></figure>Both objects are exquisite examples of Newa devotional art and photographs in art and architecture publications in the 1970s of the objects in situ in Kathmandu shrines prove their provenance. It is not known who stole them, and how they came to be in possession of The Rubin, which has now been withdrawn from view.Announcement about the two objects was made at the official launch on Friday at the Patan Museum of <a href="https://nepalheritagerecoverycampaign.org/press-release/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://nepalheritagerecoverycampaign.org/press-release/&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNHHoxtesx7a7tmcvW1niQu6UmUZ0w">The Nepal Heritage Recovery Campaign</a> by Lalitpur Mayor Chiribabu Maharjan. The Campaign aims to work for the return of sacred objects to the temples and monuments from where they were stolen, or to museums in Nepal. The Campaign has informed the Nepal consulate in New York about the objects in possession of The Rubin, and says it will start working immediately to facilitate the restitution of these and other antiquities. Lost Arts of Nepal is based in the US and has tracked down numerous other stolen Nepali antiquities, some of which have already been returned or handed over to Nepali authorities.Just last week, a <a href="https://www.nepalitimes.com/here-now/bringing-our-gods-home/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/here-now/bringing-our-gods-home/&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNHpY421ywbOOFgXapmjt2QoYD1A4w">10th century stone figure of Uma Maheswar</a>, stolen from Gaa Hiti in Patan 50 years ago was <a href="https://www.nepalitimes.com/latest/us-returns-another-antiquity-to-nepal/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/latest/us-returns-another-antiquity-to-nepal/&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNHofehW3gN0MX0rnba9alweFOgclw">handed over to the Nepal Embassy</a> in Washington DC by the Denver Art Museum.In the past year, six stolen stone and bronze sacred statuary have been handed back to Nepal. They include the <a href="https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNHBcDXUFKcudpLqRBWzHkKPj58j9A">12th-century Laxmi-Narayan statue</a> from <a href="https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNHBcDXUFKcudpLqRBWzHkKPj58j9A">Patko Tole</a> in Patan returned by the <a href="https://dma.org/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://dma.org&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNEyvfIGtfey7dDxWS0dWVmmp0nDwg">Dallas Museum of Art</a>, a 13th century carved wooden Apsara from a temple eave, and a 700 year old Buddha. A 15th century Ganesh was also recently returned by the Manhattan District Attorney’s Office, and a 13th century Shivalinga stolen from Kathmandu was returned to the Nepal Embassy in Washington by the Art Institute of Chicago.These objects are temporarily stored at the Patan Museum or National Museum in Chhauni before being returned and consecrated at their original shrines.“We are committed to restore the sacred statues that have been returned to the temples from which they were stolen,” Mayor Maharjan said at the launch of the Nepal Heritage Recovery Campaign.The Campaign’s patron is historian Satyamohan Joshi and is chaired by Riddhi Baba Pradhan, former Director General of the Department of Archaeology. Other members include Dilendra Shrestha of Patan Museum, lawyer Sanjay Adhikari, Rohit Ranjitkar of the Kathmandu Valley Preservation Trust, Roshan Mishra of Taragaon Museum and journalist Kanak Mani Dixit.  <figure><img width="1650" height="1004" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d027b9c7e80680e0a3682jpeg.jpg" alt=""><figcaption>Members of the newly formed Nepal Heritage Recovery Campaign pose after the launch at Patan Museum on 17 September. Photo: MONIKA DEUPALA</figcaption></figure>The anonymous investigator of the Lost Arts of Nepal is in the Advisory Council with other international art restitution activists, including Art Crime professor at the City University of New York Erin L Thompson.  After news broke of the gandharva and torana at The Rubin, <a href="https://twitter.com/artcrimeprof" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://twitter.com/artcrimeprof&amp;source=gmail&amp;ust=1632102454748000&amp;usg=AFQjCNEySdWnWn2Alxdod01IO8SqF3ET4A">Thompson tweeted</a> on 17 September: ‘What do you say, Rubin Museum - will you join the Denver Art Museum and Dallas Museum of Fine Arts in repatriating stolen sacred artwork from Nepal?’  ,The Rubin Museum of Art was founded by <a href="https://rubinmuseum.org/about/founders" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://rubinmuseum.org/about/founders&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNEEs_YsnrZlTHmlp_5GwuiHpR5u4w">Shelley and Donald Rubin</a> who began collecting Himalayan 'art' in the 1970s, and has as its main mission, ‘inspiring personal connections to the ideas, cultures, and art of Himalayan regions’. After the 2015 earthquake, The Rubin held a <a href="https://www.wsj.com/articles/honoring-nepal-review-at-the-rubin-museum-of-art-1430950668" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.wsj.com/articles/honoring-nepal-review-at-the-rubin-museum-of-art-1430950668&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNEfmqxKKWmCmbeclfZJYb7WLZG2vg">special exhibition</a> of some of the  Nepali antiquities in its collection, including a gilded Durga statue from the 13th century, of which the museum says it is confident about its provenance. Last week on Ganesh Chaturthi, it highlighted a copper alloy <a href="https://rubinmuseum.org/collection/artwork/ganesha-2004-22-2" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://rubinmuseum.org/collection/artwork/ganesha-2004-22-2&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNFEfUBpYwxRF9LJmYoDHCnub1UOCQ" style="font-size: 16px; letter-spacing: 0.01em;">Ganesha figure</a> from Nepal in its collection. An <a href="https://www.youtube.com/watch?v=n0yKxj3KS3E" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.youtube.com/watch?v%3Dn0yKxj3KS3E&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNH27kpp8fD26ZsGfaw2h1K0Z51qXQ">Al Jazeera investigation</a> in 2018 of sacred antiquities stolen from Mustang titled ‘The Great Plunder’ led to police raids and probes of antique shops in Kathmandu and museums.  In a <a href="https://rubinmuseum.org/images/content/Response_to_Al_Jazeera.pdf" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://rubinmuseum.org/images/content/Response_to_Al_Jazeera.pdf&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNHTiuK4ypPt0Ub8oVqTh4-k5IPVIw">statement</a> at the time, The Rubin said that it ‘vehemently opposes the trafficking of stolen or looted cultural items and does not acquire any material known or suspected to be stolen or looted’.   <figure><img width="640" height="755" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d027e9c7e80680e0a3683jpeg.jpg" alt=""><figcaption></figcaption></figure>The Nepal Heritage Recovery Campaign is chasing up 15 other stolen Nepali antiquities in the possession of collectors and museums in the US, UK, Australia, Germany, <a href="https://www.nepalitimes.com/here-now/nepal-wants-stolen-antiquities-returned-from-france/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/here-now/nepal-wants-stolen-antiquities-returned-from-france/&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNEcYNd1BoBLQqSnySau9lPcpODW3g">France</a> and other countries. It has started work on investigating the provenance of the stolen objects to provide proof for their repatriation to Nepal.<a href="https://www.manhattanda.org/manhattan-d-a-s-office-returns-three-antiquities-to-nepal/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.manhattanda.org/manhattan-d-a-s-office-returns-three-antiquities-to-nepal/&amp;source=gmail&amp;ust=1632102454749000&amp;usg=AFQjCNFGsELjGlBwkHqPiGWMDoDtu7qMAg">The District Attorney Office</a> in Manhattan has been involved in an investigation of a $143 million antiquities smuggling ring that stole and sold artefacts from Nepal, India, Cambodia, Thailand and other countries. It seized some of them from the collection of art dealer Subhash Kapoor, who was arrested in 2012.  <figure><img width="640" height="327" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d02819c7e80680e0a3684jpeg.jpg" alt=""><figcaption>Statement from the Rubin Museum of Art in response to this report.</figcaption></figure>In July, the DA’s office arraigned 58-year-old British art restorer Neil Perry Smith after extraditing him from Britain. He is accused of preparing 22 stolen antiquities valued at $32 million for sale to Kapoor’s clients at his gallery, Art of the Past. Some of those objects were from Nepal, the indictment says.

2 more Nepali antiquities traced to US museum

Born in Khandbari in eastern Nepal, Parashuram Pathak helped his family around the farm, sold what they grew in the market and lent a hand in the kitchen.&nbsp; After working as a chef in Dubai, San Francisco, Denmark, Australia, and on cruise ships, Pathak has now brought back what he has learnt to the Tusa Restaurant in Bhaktapur that opened on Nepali New Year on 13 April. Tusa uses fresh indigenous ingredients from various parts of Nepal, and fuses them with international methods to produce unique dishes. Pathak is a global Nepali, and is introducing global Nepali cuisine to his homeland. Pathak left an executive chef job to intern at three-Michelin-starred Noma in Denmark, named the best restaurant in the world five times. Noma runs on a philosophy of foraging to rediscover wild local ingredients, and Tusa’s mission is similarly noble: preparing dishes with Nepali ingredients using modern techniques and equipment. “We are taking Nepali food beyond dal-bhat and momo, we are taking it international,” Pathak said on the phone from Sydney. Read also: <a href="https://nepalitimes.com/here-now/nepali-baker-rises-to-the-top-in-denmark">Denmark’s best baker is a Nepali</a>, Vishad Onta  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240419180424_1312bc016cbb2fe59c6d4a78d1f8b463af4a10b3f79559a2405fd54ea5b3197a.jpg" data-media-id="editor_1" data-image-id="20240419180424_1312bc016cbb2fe59c6d4a78d1f8b463af4a10b3f79559a2405fd54ea5b3197a" data-rendition-name="original" width="801" height="802" loading="lazy" alt="The return of the natives Page 12 NT #1208"> <figcaption>Photo: PARASHURAM PATHAK/FACEBOOK</figcaption> </figure>  Pathak’s team in Nepal includes chefs Rupesh Bohara and Sagar Shrestha who have also worked extensively in Dubai and Australia, and share his vision. The three realised they shared the same dream, and over the past five years have travelled across Nepal to research their menu, collecting ingredients and ideas from homestays, food carts, and nature. The team then scouted for Nepal’s best architect, and zeroed in on Bhaktapur-based heritage conservationist Rabindra Puri who designed the Malla-era house for Tusa in the Nag Pokhari neighbourhood. Bohara and Shrestha have moved back to Nepal for good, and Pathak arrives in September. “I made dishes from all over the world, but when someone asked what Nepali food was like, I had no answer,” says Bohara, “I came back to find out.” &nbsp;“You can get citizenship, a green card, big houses and cars, but where is the self-satisfaction?” asks Shrestha, who has a red-and-blue chef’s knife with the sun and moon of the Nepali flag tattooed on his right forearm.&nbsp; Read also:<a href="https://nepalitimes.com/diaspora-diaries/the-return-of-a-master-baker"> The return of a master baker</a>, Raju Pakhrin  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240419180424_c601264463e5a28d4e71a46781f340a53619a08d00949a7aaebfef84e75a319d.jpg" data-media-id="editor_3" data-image-id="20240419180424_c601264463e5a28d4e71a46781f340a53619a08d00949a7aaebfef84e75a319d" data-rendition-name="original" width="6000" height="4000" loading="lazy" alt="The return of the natives Page 12 NT #1208"> <figcaption>Photos: TUSA</figcaption> </figure>  Bohara and Shrestha passionately recount stories of their trips across Nepal, speaking of generous lodge owners who introduced them to local ingredients. Tusa can seat 28, and dining here is a sensory experience with a live kitchen. The chefs cook and place dishes on a large granite countertop with induction sections built in. Behind the counter is a grill on an indoor fire with pulley control to adjust the fire. Everything that can be made in Nepal — chairs and tables, ceramic dishes, the grill — is locally sourced. The executive kitchen/laboratory is downstairs. It is spacious, spotless, and contains appliances rarely seen in restaurants here: a sous vide machine that cooks vacuum-sealed packets at consistent temperatures, and a dehydrator for sisnu nettles. A fresh batch of deep purple kimbu (mulberry) muffins has just come out of the oven. Fridges have dry-aged fish and marigold kombucha. Fermentation seems to be the theme at Tusa, and Pathak explained: “Fermentation takes away the natural sugars in food, leaving behind a true, umami taste.”&nbsp; Read also: <a href="https://nepalitimes.com/here-now/vikings-khukri-passion">Viking's khukri passion</a>, Alisha Sijapati  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240419180424_c59e2b4230864f646bc36108adb951e95ec85da6156740294b1ec715b86acf89.jpg" data-media-id="editor_5" data-image-id="20240419180424_c59e2b4230864f646bc36108adb951e95ec85da6156740294b1ec715b86acf89" data-rendition-name="original" width="5895" height="3930" loading="lazy" alt="The return of the natives Page 12 NT #1208"> </figure>  Tusa itself means ‘shoot’ in Nepali, and can be a dish of fermented bamboo shoots. The restaurant serves a tasting menu with six courses, plus surprises. It starts with a fermented potato and millet roti with charred green garlic and tomato chutney. The bread tastes like a mix of alu paratha and kodoko roti with a satisfying, mild flavour. The chefs do not show off, and overdo it. Dishes are tastefully simple and faithful, a theme that runs through the meal. The second course is a filet of fish charred on one side and placed in a broth. It is delicate and smokey, and does not mask the character of the fish.&nbsp; The next is Batuk Chukauni, a Magar dish with a lentil snack and a yoghurt-based potato achar. The batuk, made of lentil batter, is light and the chukauni has potatoes and peas. Read also: <a href="https://nepalitimes.com/here-now/money-is-not-everything-but-you-need-money-for-everything">"Money is not everything, but you need money for everything"</a>, Rohit Shrestha  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240419180424_e3f51228ff792e8d4297f81f8e67d138584e922ae035d131977494219e5e85c5.jpg" data-media-id="editor_7" data-image-id="20240419180424_e3f51228ff792e8d4297f81f8e67d138584e922ae035d131977494219e5e85c5" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="The return of the natives Page 12 NT #1208"> <figcaption>Batuk Chukauni. Photo: VISHAD ONTA</figcaption> </figure>  Next is a skewer of jackfruit with a tamarind and mustard glaze that has the texture of a slice of sausage and melts in the mouth. Then comes the first off-menu item: a steak of watermelon, glazed and grilled, tasting sweet, sour and smokey. After that a palate cleanser sorbet made with laligurans syrup adorned with a frozen candied rhododendron petal. Finally the main course: barbeque chicken and chyakla coarse corn grits. The chicken has been brined, marinated, cooked sous-vide and seared on the grill. The delicate consistency of the chicken stands out. Desert is a smooth, creamy cheesecake that uses the local juju-dhau yoghurt. And the last course is a moist, moss-green sisnu cake laced with mulberry jam and cream.&nbsp; There is nothing gimmicky about Tusa. It is the coming together of skilled Nepalis with international exposure who have mixed what they have learnt abroad with the flavours of home.&nbsp; The tasting menu is Rs3,500, and it may take some time before Nepalis develop a predilection for some of its items. The chefs are excited, vindicated, and relieved. Coming back to Nepal, uprooting successful careers abroad to take a chance on Nepal must not have been easy.&nbsp; Tusa had a soft launch on New Year’s day with Kathmandu-based diplomats. Australian Ambassador Felicity Volk was one of them, and wrote on a Facebook post: ‘Chefs who honed their skills in Australia and returned to Nepal to give back. We call it fine dining, they call it #cominghome.’ Read also: <a href="https://nepalitimes.com/multimedia/the-baker-of-barpak">The baker of Barpak</a>, Tara Aryal Pandey

The return of the natives

For a year or two after the 25 April 2015 earthquake, the residents of Kathmandu were too terrified to return to their high-rise apartments. None of them collapsed in the 7.8 disaster, but many sustained serious structural damage. &nbsp;
Fast forward nine years, and they have all but forgotten that frightful day. Kathmandu is back to building substandard structures, even as land prices drive developers to build taller.&nbsp;
With no more space to spread horizontally, Kathmandu is going vertical. But structural engineers say most of the high rises do not take into account seismicity, soil condition, construction methods, quality of raw materials, fire hazard, and search and rescue in collapsed concrete structures.
“Much of our focus since the 2015 earthquake has been on building and construction, but not as much on where we are building,” warns Sangeeta Singh, Professor of Urban Planning and Deputy Director of Centre for Disaster Studies at the Institute of Engineering.
Read also: <a href="https://nepalitimes.com/banner/in-a-disastrous-state">In a disastrous state</a>, Sonia Awale
She adds: “Kathmandu is not really suited for high-rises. We have to first test the condition of the soil, but building permits are being issued without this fundamental step.”
Kathmandu Valley is a former lakebed with soft topsoil prone to liquefaction and excessive shaking, as seen during the 1934 megaquake. Many ruptures tore up the surface in 2015. &nbsp;
During an earthquake, the rock layers below Kathmandu ring like a bell and the vibrations on the surface take between 0.5 to 2 seconds for one oscillation. Buildings also vibrate, but at different frequencies depending on their height, construction material, and arrangement of their structural components.
At five floors, the vibration period of a building is 0.5 seconds, which is the same as that for Kathmandu Valley, and this could cause more damage, says structural engineer Surya Narayan Shrestha at the National Society for Earthquake Technology - Nepal (NSET).
“Building anything that is five storeys or higher in Kathmandu needs special design and structural considerations,” says Shrestha.
Read also: <a href="https://nepalitimes.com/editorial/shaking-things-up">Shaking things up</a>, Editorial
Technologies exist to reduce seismic risk in high-rises, and these are used in earthquake-prone cities like Tokyo, Los Angeles, Jakarta or Mexico City.&nbsp;
Base isolation, for example, separates the vibration of the land and the building, reducing damage from soil-building resonance. Base isolators move and stretch under pressure, absorbing much of an earthquake's impact by reducing swaying and shaking. &nbsp;
Seismic dampers change the pattern of vibration altogether, dissipating energy as vibrations move across a structure. But these are all expensive technologies, and none of the high-rises in Kathmandu use them.
However, Nepali engineers who can help with technology transfer are working in the field in Nepal and overseas. Kathmandu’s high-rises are already very expensive, and making them seismic-resistant would be an incremental cost.
Read also: <a href="https://nepalitimes.com/opinion/comment/learning-from-jajarkot-what-we-didnt-after-2015-695vpzle">Learning from Jajarkot what we didn't after 2015</a>, Sushil Gyewali
The shape of high-rises also matters. Reinforced concrete buildings with asymmetric designs of the kind that are seen in newer structures in Kathmandu experience more torsion and shear during quakes. High-rises with regular geometry are stronger. &nbsp;&nbsp;
An even bigger concern is that of emergency evacuation and rescue in case of fire or earthquake. Kathmandu fire services do not have ladders that reach the higher floors of most new structures.
“High-rises mean more people and potentially higher casualties,” explains Shrestha. “We need immediate evacuation routes, fire escapes, emergency ladders, and fire trucks that can reach higher. Right now, safety features are voluntary and not mandatory.”
The street access, shelters, open spaces, and evacuation routes are integral to disaster preparedness and the safety of neighbourhoods and not just buildings. Most new high-rises in Kathmandu have narrow access roads.
Read also: <a href="https://nepalitimes.com/opinion/rebuilding-resilience-7-years-later">Rebuilding resilience 7 years later</a>, Anil Pokhrel
Since most of the buildings that survived the 2015 disaster were reinforced concrete structures, it fed the misconception that they are safer. But Himalayan seismologists say that if the intensity and duration of the shaking had been just a little higher, many substandard concrete structures would have collapsed.&nbsp;
And that is the final gap: Nepal’s limited expertise and equipment for search and rescue inside collapsed concrete structures. Kathmandu’s high-rises need to be better prepared for the next Big One.
“Structural safety and design were at the front and the centre after the 2015 earthquake, we also revised some building codes but we are back to square one with contractor-driven construction, especially in peri-urban areas,” says Sangeeta Singh, who is also with the National Planning Commission. “We need to monitor construction as much as design.”&nbsp;
Shrestha at NSET agrees there have been improvements in building practices in the past nine years, but adds, “We have both learnt and unlearnt lessons from 2015. The awareness hasn’t yet translated into action on safety.”
Read also: <a href="https://nepalitimes.com/here-now/lessons-not-learned-from-2015-o2etq6zu">Lessons not learned from 2015</a>, Sonia Awale

The rise of high-rises

Midway along the stretch of the ancient trade route between Tibet and India lies the Kel Tol neighbourhood. The name is derived from the original Koligrām, and it is believed the Koli people, who were originally from Rāmagrām in present-day southern Nepal near the Indian border, settled here. The Koli were the maternal ancestors of none other than the Buddha. Kel Tol is famous for the Buddhist monastic complex of Kanak Chaitya Mahāvihar, featuring the majestic two-tiered gilded temple of the white god Karunāmaya.&nbsp; This elaborately decorated courtyard is a bustling centre of the Vajrayāna sect of Buddhism, practised widely by the indigenous Newā people of Kathmandu Valley. Karunāmaya, also known as Ārya Avalokiteshwor, is defined in great detail in the 1st century CE Buddhist text Sadharmapundarikā where he liberates all sentient beings from suffering. He helps rid the eight external fears metaphorically equated with their equivalent internal states of mind: lions (pride), wild elephants (ignorance), fire (anger), snakes (jealousy), floods (attachment), imprisonment (miserliness), thieves (wrong views) and cannibals (doubt).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_fe370cbee75003cd3eb5dccc7c3b2671630da193b0744db2aeac1bab3ff4a85c.jpg" data-media-id="editor_0" data-image-id="20240418130432_fe370cbee75003cd3eb5dccc7c3b2671630da193b0744db2aeac1bab3ff4a85c" data-rendition-name="original" width="1338" height="2000" loading="lazy" alt="Seto Machhindranath"> </figure>  In the Pancha Rakshyā Sutra, a Buddhist scripture from 200 CE, Ārya Avalokiteshwor was counted among the eight major deities. Followers of the Brāhminical god Shiva worship Ārya Avalokiteshwor as Seto Machhindranāth. For Shaivites, Machhindranāth is the Indian saint who founded the Nāth cult in the 10th century CE. He is the guru of saint Gorakhnāth. During the reign of Yakshya Malla (1428–1482 CE), a beautiful image of Ārya Avalokiteshwor was dug up by a farmer in present-day Jamal, which was then a cultivated area outside the city. The farmer, known as a Jamami (meaning the one from Jamal) took the image home for safekeeping. That night, Ārya Avalokiteshwor appeared in the farmer’s dream and told him that the proper place for him to reside is at the confluence of two rivers. The nearest confluence was at present-day Wongha (Indrachok) and the image was installed in the Kanak Chaitya Mahāvihar complex in Kel Tol near Wongha. This made it easier for city residents to pay homage to Ārya Avalokiteshwor and spread compassion. Soon, the deity came to be revered highly as Jamaleshwor, the one found in Jamal. Eventually, the name got corrupted, as happens often in Nepāl Bhāsā, to Janabahā Dyo. The courtyard where his temple is located is now popularly known as Janabahā.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_5c9b219530e400445ef4e7f64856b43e7cdb756be26d9ed4565c84044c178a7e.jpg" data-media-id="editor_1" data-image-id="20240418130432_5c9b219530e400445ef4e7f64856b43e7cdb756be26d9ed4565c84044c178a7e" data-rendition-name="original" width="2500" height="1668" loading="lazy" alt="Seto Machhindranath"> </figure>  The gilded temple of Janabahā Dyo, first built in the early 16th century CE, is adorned with wooden and metal artefacts that symbolise 108 forms of Ārya Avalokiteshwor. It stands out as the most decorated temple of its kind in Kathmandu. Today, Janabahā is a living heritage site where many ancient customs and rituals are widely practised as per Vajrayāna Buddhist tradition. Devotees throng the Janabahā Dyo shrine for daily worship and to receive Karunāmaya’s blessings. Being the compassionate one, Ārya Avalokiteshwor goes around town every year in his tall wooden chariot to allow sick and physically disabled devotees to pay homage to him from the comfort of their homes. One could say it is a door-to-door visit by the Compassionate One.&nbsp; For the pragmatic minded, the chariot festival is an annual renewal of communal harmony, validation of our ancient mathematical supremacy and demonstration of the need to keep practical skills alive, including the craft of building earthquake resilient houses.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_fc8b234ceca87dee4b99e897a485cef121fb953857fb61492a413fbfcc48360c.jpg" data-media-id="editor_2" data-image-id="20240418130432_fc8b234ceca87dee4b99e897a485cef121fb953857fb61492a413fbfcc48360c" data-rendition-name="original" width="2500" height="1667" loading="lazy" alt="Seto Machhindranath"> </figure>  The Janabahā Dyo chariot is pulled from Jamal, where his image was found by the farmer, through the historic heart of Kathmandu in a gala parade every year. The procession, accompanied by folk music ensembles and revellers, starts on the eighth day of the bright half of the month of Chaitra, and lasts up to a week (ending on Saturday this year). Hundreds of devotees pull the chariot along the streets as a way of expressing their gratitude to lord Karunāmaya for blessing them with compassion and well-being. Purna Ratna Vajrāchārya is an ordained priest who belongs to the clan responsible for taking care of Janabahā Dyo. He has been studying the design and architecture of the chariot for the past 40 years, and overseeing its construction for the past 15. He has learnt that the engineering principles of building the chariot are based on the mathematical system in which Buddhism is taught. For example, 365 pieces of wood are used in the chariot, each representing a day of the year. Each of the four wheels consist of 25 pieces of wood, totalling 100, representing completeness or fulfilment. The chariot is vertically divided into 13 sections, a parallel to the Buddhist concept of Trayodashi Bhuvana that describes the 13 steps that one must take to achieve the state of Nirvana.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_36d9964c9845f6d9a074786361fc5ab7d49138503ad162086998b731349b0ec0.jpg" data-media-id="editor_3" data-image-id="20240418130432_36d9964c9845f6d9a074786361fc5ab7d49138503ad162086998b731349b0ec0" data-rendition-name="original" width="2500" height="1668" loading="lazy" alt="Seto Machhindranath"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_2662753a9514a682ccdfd17bf05e2be3771183a68dc86b717ab67d9aad894563.jpg" data-media-id="editor_4" data-image-id="20240418130432_2662753a9514a682ccdfd17bf05e2be3771183a68dc86b717ab67d9aad894563" data-rendition-name="original" width="1668" height="2500" loading="lazy" alt="Seto Machhindranath"> </figure>  &nbsp;Exactly nine types of wood are used, which is the sum of the four base elements that make up the universe (earth, water, fire and air) and the five human senses. The height and length of the chariot is 32 arm’s length (hāt in Sanskrit), 14.8m. The number 32 represents the maximum number of auspicious and physical qualities one could possess to be considered an outstanding human being.&nbsp; Says Vajrācharya, “Observing how the chariot is built helps one learn the fundamental pillars of the Buddha’s teachings, and find an easier path to Nirvana.” The structural design of the nearly 15m wooden chariot is not only awe-inspiring but also gravity-defying. It leverages the pliancy of the materials used in its construction -- flexible joints tied with cane soaked in water for several days. The precise proportions of the chariot ensure great manoeuverability in the narrow streets along the route of the chariot procession that include some 90° bends, without colliding into houses.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_9f5c2943f5d6b3f0010d3d5213697549945e87a6f7d3d8cbadd69f0dea6c6e2c.jpg" data-media-id="editor_5" data-image-id="20240418130432_9f5c2943f5d6b3f0010d3d5213697549945e87a6f7d3d8cbadd69f0dea6c6e2c" data-rendition-name="original" width="2500" height="3750" loading="lazy" alt="Seto Machhindranath"> </figure>  Driving and steering the chariot with brute muscle power of the mirthful crowd is a seemingly impossible task. But this has been achieved year after year, despite the fact that the devotees who tug wildly at the ropes lassoed to the two front wheels, are most likely in high-spirits (pun intended). Sanjay Manandhar, a US-based technology entrepreneur, recounts how his high school physics teacher from Canada asked his students to go observe the locals build the chariots of Karunāmaya if they were interested in becoming engineers in the future.&nbsp; “That made no sense to me then, but, after all these decades, I now see clearly how the structural design of the chariot, adopted early on by our ancestors is full of earthquake-resilient properties that need to be applied in building houses in an earthquake-prone zone like Nepal,” says Manandhar. A highlight of the chariot festival is that human goddess Kumari makes an appearance at the final destination in Lagan, usually on the third day. This is only one of the 13 times that people get to see the Kumari outside her temple abode.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_08aa39f3f004a212b33c60a2840d6013110de15dd34a0288f699dd5fda8957ab.jpg" data-media-id="editor_6" data-image-id="20240418130432_08aa39f3f004a212b33c60a2840d6013110de15dd34a0288f699dd5fda8957ab" data-rendition-name="original" width="2500" height="1667" loading="lazy" alt="Seto Machhindranath"> </figure>  On the last day of the festival (Saturday), the image of lord Karunāmaya is carried on a palanquin by priests from Janabahā in a gala procession and brought back to his permanent residence at the temple in Kel Tol.&nbsp; The chariot festival is thought to have started during the reign of King Pratap Malla of Kantipur in the 17th century CE. For close to four centuries, the construction of the chariot and its operation has proven to be a phenomenal engineering feat, and the people’s faith in divinity means the tradition is alive.&nbsp; The essence of the colourful rituals and the religious beliefs of this ancient chariot festival is now all but lost. The logic, technology and practicality must be brought back to light, as they reflect the high civilisation and wisdom of our ancestors that we can leverage in modern times and into the future. &nbsp; Alok Tuladhar is a culture and heritage documentarian.

Kathmandu’s gravity-defying chariot festival

In the run-up to the third Nepal Investment Summit this weekend, there have been seminars, conferences and workshops where the discourse has revolved around the economy and the investment climate.
The consensus that Nepal needs foreign direct investments (FDI) to grow was repeated, and the familiar litany of reasons about why it has not been able to was discussed.&nbsp;
Policy advocates and regulators have understood that the lack of urgency is compounded by procedural inconsistencies, on top of the already deficient investment environment in the country.
It is a welcome change from what used to be flippantly accepting matters as given. There now seems to be a sense of urgency, with procedural inconsistencies and lack of harmonisation between various Acts and regulations openly discussed.&nbsp;
Government stakeholders also appear more willing to learn and attempt to be part of the solution. Whatever policy changes have been introduced in the past have been piecemeal and address the few rather than the entire industry. This left dual regulatory approaches aimed at similar players.&nbsp;
Read also: <a href="https://nepalitimes.com/opinion/killing-investment-in-nepal-in-10-easy-steps">Killing investment in Nepal in 10 easy steps</a>, Dibesh Karmacharya
This time, unlike in the past two Summits, the government seems to be committed to amending 9 Acts, a positive step towards showing commitment to change. However, the deadline to do so during the winter session of Parliament is over. The option mooted has been to have it passed through ordinance, a lesser appealing step; albeit, a positive one moving forward.&nbsp;
To attract FDI in a competitive global market means that Nepal has to demonstrate that it is serious about bringing in investments with a more consultative and collaborative approach with investors. A departure from procedural to a result-oriented focus is needed.&nbsp;
To put issues in perspective, Nepal needs US$20 billion in investments to meet the UN’s Sustainable Development Goals (SDG) targets by 2030. If net-zero decarbonisation targets are to be met by 2045, another US$7 billion will be required annually.&nbsp;
Looking at our investment history and poor government capital expenditure, the gap is long and wide. In fiscal year 2022-23 Nepal booked a lamentable ~$59 million in FDI (equity). Nepal is in fact the lowest market in South Asia for FDI with 0.3% of the regional average.&nbsp;
What is it that we can do to fill the gap?&nbsp;
First, we need to move away from the notion that Nepal only needs large investments. This has proven to be a mistake, and time series data have proven that smaller investments, in aggregate, make a larger impact on economies.&nbsp;
Read also: <a href="https://nepalitimes.com/news/poor-cash-rich-nepal">Poor cash-rich Nepal</a>, Sonia Awale
We talk about an ‘enabling environment’ but without the right tools. We place restrictions on interest on debt ceiling (SOFR +5.5), without risk premium adjustments, we do not have an active secondary market for bond trading, nor do we have a yield curve, an integral part of the bond market, which is inhibiting us from tapping into the trillion dollar green bond market.&nbsp;
In order to attract green financing, Nepal needs to develop its bond market. Sovereign risk rating has been mooted and was expected to be operationalised before the Investment Summit.&nbsp;
However, to be rated in an adverse economic environment could further deteriorate investment potential due to a lesser-than-expected rating.&nbsp;
Hedging is another instrument that needs further research on. A commercial bank last year showcased the first risk-hedging mechanism for an investment of $8 million. This can be the beginning to expand on its modality. &nbsp;
Subordinated debt instruments have been introduced, but on a special nod basis, this now needs to be institutionalised as it is the most applicable form of investment after equity in a market that has volatile forex reserves.&nbsp;
Read also: <a href="https://nepalitimes.com/editorial/invest-in-investment">Invest in investment</a>, Nepali Times
Viability Gap Funding has been introduced by multilateral development agencies implemented in solar installations. It is a tool to incentivise the private sector to invest in projects that are not financially lucrative initially, but have potential for profitability in the long run. This needs to be scaled up and replicated in sectors like infrastructure, where returns may not be immediate.
Moving forward, to attract FDI, Nepal needs to tap into the funds that are available for the growth of small and medium enterprises (SMEs) and climate change. Alternative investments such as Private Equity Venture Capital (PEVC) have been around in a structured manner in Nepal for nearly a decade now.
These funds have blended finance components and have attracted climate funding as well. PEVC is a new asset class and can address the issues of penetrating into SME financing by incorporating environment, social and governance issues into their investment process.&nbsp;
SMEs are the backbone of any economy, PEVC comes with the ability not only to scale up the enterprise with risk capital, but with the ability to bring technical knowhow to enhance not only the enterprise but also the entrepreneur.&nbsp;
Read also: <a href="https://nepalitimes.com/opinion/success-in-nepal-means-not-having-to-work">Success in Nepal means not having to work</a>, Anil Chitrakar
A differentiator from all other forms of financing available till date in Nepal. Blended finance is a way of de-risking investments, especially in frontier markets. Business Oxygen (BO2) is an example of blended finance with subordinated debt investments of IFC (World Bank Group) taking the lead and Climate Investment Funds along with FCDO as co-investors.&nbsp;
On a larger scale, the 216MW Upper Trisuli 1 is another example of blended finance with IFC, a Korean consortium and local investments. So far, we see that development finance Institutions have been taking the lead in Nepal as their risk appetite is greater than commercial investors and they are eager to help develop the financial markets.&nbsp;
In order to be sustainable, we need to step on this and attract commercial capital from all over the world. To do this there has to be political will to make that pivot.&nbsp;
Instead of being a means to an end, the two previous Investment Summits turned out to be intermittent and cosmetic, providing hardly any results. The third one’s success will depend on how the event will be implemented as a platform for continuous marketing for the country and facilitation for investors in future.&nbsp;
Nepal has outdone many countries in its macro-economic indicators, with sound forex reserves and a stellar history of debt payments to its creditors. This story needs to be propagated along with the drive for change to attract potential investors.
Read also: <a href="https://nepalitimes.com/opinion/comment/alternative-investments-to-attract-fdi">Alternative investments to attract FDI</a>, Siddhant Raj Pandey

heritage