<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe113c9c7e80680e0da4cfjpeg.jpg" alt="" width="3000" height="1688"/><figcaption>Photos: SURESH L YONJAN</figcaption></figure>Taragaon Next’s ‘Object in Focus’ is a unique series that brings one object by one artist addressing one big idea.Envisioned by curator Roshan Mishra to invite contemplation of contemporary art in Nepal, the series also featured the works of visual artists Koka Vashakidze from Georgia and Alicia Junissaliyeva from Kazakhstan about the origins of Boudhanath next door in a symbolic reprise.Now, Kathmandu’s own Bidhata KC takes centre stage to depict the interconnectedness between daily life, consumerism, globalisation and spirituality.A single installation connects heaven and earth through a metallic pole, like a bridge for elementary particles to commute. Two circular bars spread out, between which are the unmistakable mani prayer wheels.Auspiciously and coincidentally 21 in number, something is different about these wheels – they in fact look like tin cans, with corrugated bands an abstraction for the mantra that traditionally decorate the wheels. For support, oblique rods slant out from the circumference to the base of the pole.‘Object in Focus #6: Out of emptiness’ has a myriad of figures in addition to the mani wheels: a slightly open upside down umbrella, a downward arrow, or maybe a funnel. Such inversion may come naturally, especially with the overall and immediate image of things pointing towards the ground. Yet, the longer one looks, there is a sense of calm, an echo or reflection of shifting perspectives.The viewer may even rotate the wheels and reproduce for themselves the feeling of walking through a sacred shrine, participating in the great cosmic churning of consciousness. One of the many theories behind the mani wheel, after all, is that rotating mantra relate to yogic or Tantric practices whereby practitioners visualise the mantra revolving around their nadi. It is doubly symbolic to consider that the rotations also indicate reading or chanting.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe11409c7e80680e0da4d0jpeg.jpg" alt="" width="1500" height="1000">The exercise in abstraction does not end there. When we consider the material design of KC’s artwork, it opens several other cans of worms (as it were). The use of tinplate cans, steel coated with a thin layer of tin, is climate-conscious art since steel cans are the most recycled closed-loop packaging material. These increase the shelf-lives of products, protect them from damage by light, oxidation, extremes of temperature and contamination, safeguarding flavour, appearance and quality from factory to consumer.Now, transform this thought on to KC’s artwork: this striking marriage of generations-long spiritual traditions and a corrosion-resistant symbol of consumerism with an ecological meaning gives one pause. What is KC trying to say here? One does not arrive at a conclusion, and that may be KC’s intention.Instead, the viewer is asked to think outside the box – or cans. The tug-of-war between history and traditional values, practices, and modern politics, luxury, hunger, etc is often indispensable in Nepali contemporary art. Aptly so, considering the unique position of the country’s many living cultures.KC’s work gives this a little spin: not so much of a tug-of-war here, but something more fluid. Rather than being at opposing ends, KC invites us to consider how culture and modern life may in fact be informing each other, especially among the Himalaya, and people are not so much rejecting one in favour of another, but building practices and lifestyles that incorporate both ideas.“The artwork is inspired by my own experience as a traveller, through my observations and memories,” says KC, who also wanted to see what reaction would bringing a mani wheel to a gallery space evoke. “How does a wheel embossed with prayers compare to a simple tin can?”KC believes that adding embellishment and confounding jargon would limit the art experience. Viewers also take a leap of faith when engaging with the piece, which itself necessitates the act of letting go, without which the boundlessness of a prayer wheel may never be reckoned with.Object in Focus #6: Out of emptinessby Bidhata KCCurated by Roshan MishraWith support from Aakar Kalaghar and Contemporary Art of Nepal FoundationTaragaon Next, BoudhaTill 15 February 2023, 10:00am – 5:00pm

Ashish Dhakal

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Giving prayer wheels an arty spin

<figure><img width="3072" height="2048" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410114/6372048a9c7e80680e0b2869jpeg.jpg" alt=""/><figcaption>All photos: MONIKA DEUPALA</figcaption></figure>Under a canopy of prayer flags and electrical wires, a quiet backstreet of Thamel is reinventing itself to be the new epicentre for Nepali art.Away from the bustling main roads of this tourist quarter of Kathmandu, along a narrow winding alley is Kathmandu Art House, a four-storeyed block with large lower-case letters on the facade: ‘art st’. Art Street is not an immediately obvious facelift, the building has been around for years. Nevertheless, it aims to provide Nepali artists with a platform to work and showcase their creativity in a one-stop shop.It is perhaps fitting that Art Street is adjacent to Kathmandu Guest House which became a catalyst in the 1970s for the evolution of Thamel as a backpacker destination, replacing Jhonchhe which was known in the Hippie era as ‘Freak Street’.Thamel got branded as a place for budget travellers, and with the renovated Kathmandu Guest House and Art St is reinventing itself to be more upmarket. <img width="3072" height="2048" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410114/6372048d9c7e80680e0b286ajpeg.jpg" alt="">“This side of Thamel lacked identity, which is why I came up with this idea,” explains <a href="https://www.nepalitimes.com/opinion/dipesh-nepalis-dark-light/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/opinion/dipesh-nepalis-dark-light/&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw0TfezBaSHqvzymsqrV8uqz">Rajan Sakya</a> of <a href="https://archive.nepalitimes.com/news.php?id=19686#.YeTpxy8RqLc" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/news.php?id%3D19686%23.YeTpxy8RqLc&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw1zMHnSd00FWtHrrRnDzb5p">Kathmandu Guest House </a>who also established the nearby <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/banner/nepals-first-private-art-museum/&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw1lNXYRgoQYKXs7PaZFa6Jp">Museum of Nepali Art (MoNA)</a> and turned the courtyard of Kathmandu Guest House into a permanent exhibition space for sculptures. Showing a visitor around, Sakya says, “We have plenty of malls in Kathmandu but we lack an avenue for intellectual entertainment. Art is as much a part of our identity as mountaineering and trekking, which is why I wanted to create an environment rich with artistic expression.”Each room at the Kathmandu Art House is rented out at up to Rs25,000, a dozen prominent Nepali artists like <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Erina-tamrakar-returns,3560" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Erina-tamrakar-returns,3560&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw2R_gswiHJ1Byhsie3Cjoky">Erina Tamrakar</a>, <a href="https://www.nepalitimes.com/banner/between-the-lines-with-sujan-dangol/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/banner/between-the-lines-with-sujan-dangol/&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw1k2zprQsEFI0vS5q5cDV4V">Sujan Dangol</a>, <a href="https://www.nepalitimes.com/review/between-an-ancient-past-and-anxious-future/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/between-an-ancient-past-and-anxious-future/&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw07RF3Jpz3ZuNjkwqvqElD2">SC Suman</a>, Roshan Dangol, Raj Prakash Man Tuladhar have set up shop here. The names of the artists are emblazoned on the street-side facade next to the ‘art st’ sign. <img width="3072" height="2048" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410114/637204909c7e80680e0b286bjpeg.jpg" alt="">The artists all have their very own private atelier where visitors can browse through their works, talk to them about their craft, and even purchase their favourite pieces.Artists in Nepal often complain that not many people buy Nepali art, let alone go to exhibitions and view paintings on show. “This is not indicative of a low volume of output, as it is of a smaller market,” he says. “To say Nepali art is not appreciated enough is directly related to how few galleries there are in Nepal at present and platforms.”Raj Prakash Man Tuladhar, a traditionally trained painter of paubha, completes only 2-3 paintings each year, given the meticulous detail that goes into creating them, and yet he does not have space at home to display them. <img width="3072" height="2048" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410114/637204949c7e80680e0b286cjpeg.jpg" alt="">“Thanks to the art house, I have a studio that is also my exhibition space,” Tuladhar says, gesturing to walls lined with vibrant paubha depicting fierce and benevolent deities. “Earlier, I could only tell people about progress in paintings, now they get to see me at work, and my entire collection in one place. This allows me to develop a closer connection with art lovers.”This is a feeling shared by Roshan Dangol, another artist-in-residence at Kathmandu Art House. “I was first introduced to this place by fellow artist <a href="https://www.nepalitimes.com/opinion/the-compassionate-white-tara/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/opinion/the-compassionate-white-tara/&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw3LwdyBsFdvuQO2K2oHT8P1">Samundra Man Singh Shrestha</a>, and it was a good move,” he says. Two windows in his studio frame trees and buildings outside in a canvas of their own, letting in ample sunlight and birdsong. An easel stands in the middle of the room with a work-in-progress spread. “There is a creative environment here,” Dangol says, “I find the greenery outside and engagement with other artists encouraging and inspiring.” <img width="3072" height="2048" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410114/637204979c7e80680e0b286djpeg.jpg" alt="">Dangol,30, was recently commissioned by <a href="https://www.nepalitimes.com/here-now/what-next-for-reinhold-messner/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/here-now/what-next-for-reinhold-messner/&amp;source=gmail&amp;ust=1642485493170000&amp;usg=AOvVaw0CCP8BZGlfI8JdgtjLirK6">mountaineer Reinhold Messner</a> during his recent visit to create two artworks for the Messner Mountain Museum in Italy. Dangol credits the exposure to Kathmandu Art House: “I probably would not have found the same level of national and international recognition otherwise.”Earlier, Dangol’s charcoal drawings would often lie rolled-up or stacked in his home studio, gathering dust. Here, many have found room on the walls, all framed as in an exhibition. “When people come to look at my art,” he adds, “I no longer have to try and explain them with words. Here, I can show my different styles and experiments, and my paintings are right in front of them to view in one space.” <img width="3072" height="2048" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410114/6372049a9c7e80680e0b286ejpeg.jpg" alt="">Thamel was chosen for this new initiative primarily because of the large footfall of tourists, both domestic and international, that it receives annually, making it a prime location for people to be acquainted with the artists and their works. “We cannot wait for the government to come along and declare this spot as an art zone,” says Rajan Shakya. “We have to take the initiative ourselves and help reach Nepali art new heights and gain widespread recognition.”Read Also<a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/" target="_blank" rel="noopener noreferrer">Nepali art finds  new home</a>, Shristi Karki

Thamel’s new Art Street

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14ae9c7e80680e0a998cjpeg.jpg" alt="" width="3210" height="3156"/><figcaption>The Dark Light by Dipesh Nepali.</figcaption></figure>At first glance, it screams utter sorrow. It projects out-and-out unhappiness of the mind, body and soul, a feeling of having given up on life itself. It is dark, it is lonely, it is sad.But do not dismiss <a href="https://www.mona.com.np/art/v/the-dark-light" target="_blank" rel="noopener noreferrer">the painting</a>, give it some time to grow on you. The painting may fleetingly transport viewers to painful periods of their lives, long repressed. Most of us have experienced such 'dark' moments, where we struggled and persevered only to emerge elatedly on the other side.This painting is the work of 16-year-old Dipesh Nepali who is from a village in Jumla district, in the isolated mountains of north-western Nepal. An ordinary school student, Dipesh has had a difficult life in a harsh environment where food is often scarce, winters are long and dreary, and access to <a href="https://www.nepalitimes.com/here-now/saving-one-nepali-mother-at-a-time/" target="_blank" rel="noopener noreferrer">basic healthcare and education is minimal</a>.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14b19c7e80680e0a998djpeg.jpg" alt="" width="640" height="961"><figcaption> </figcaption></figure>In his spare time, after finishing his household chores, Dipesh likes to draw and paint. It is his escape from the daily grind, a chance to express himself and bare his soul."Art was my escape from the world, and from myself,” Dipesh told me recently. “It is a way to be truly free from the chains of family and society. It is where the chaos of my mind and soul find rest, art is a medium to bring it all out."Talking to the young artist in Kathmandu recently helped me understand the written and unwritten rules of society, not least materialism and the desperate search for instant, superficial gratification which ultimately led him to seek solitude, go into hiding, and retreat into himself.Yet, in his work, Dipesh has retained the curiosity of his childhood, the questioning and seeking, and in doing so he has discovered that art resided within him. It only needed to be kindled gently to become a powerful tool.At first glance, this painting does not seem to inspire much, it looks ordinary and is not pleasing to the eye, either. But give it time and space to incubate, and it radiates a quiet energy, like an inner applause for a battle won ove<a name="m_1340593093098604498__GoBack"></a>r negative emotions. Proof that the artist has been at a low point in his life, and is back up to show us how it felt.If we reflect on the painting long enough, it may bring back our own dark moments, reminding some of us of the process of recovery, how we emerged stronger, determined and self-reliant. No matter what our struggle, there is always more ahead to look forward to. But evoking and honouring these memories empowers us to meet adversity head-on and overcome themDipesh was confused about himself and about his passion for art. So, he travelled to Kathmandu seeking skill and exposure. Luckily, his older brother was in the city and took care of him.Read also: <a href="https://www.nepalitimes.com/opinion/i-m-a-g-i-n-a-t-i-o-n-by-uttam-nepali/" target="_blank" rel="noopener noreferrer">IMAGINATION by Uttam Nepali</a>, Rajan Sakya"Yet, internally I found no relief, being weighed down with my own thoughts, feelings and emotions. I submerged myself in my work, as an escape. Hard work became a form of a band-aid, but it never really healed the wounds,” Dipesh relates.As a teenager, I too had issues like Dipesh. And as a way to escape them, I travelled to the United States at age 17. My band-aid was enrolling as an exchange student, my senior year in high school. Folks in Nepal covered my costs, and I lived with an American family for a year.Unfortunately, I had developed vitiligo, a depigmentation of skin colour. For a teenager trying to adapt to a new society, this was disheartening. With no relatives or friends, I felt totally isolated, not because I was bullied, but due to the turmoil inside me.My horror at my own appearance and how people would view me was unbearble. I lacked confidence, kept away from people, afraid of how they would react. It got to the point where for four months I ate my lunch in the school bathroom, and then went straight to class. There was a sense of achievement in just avoiding people.Today, I no longer feel embarrassed or inferior. I believe those hard years gave me a solid foundation to face anything and everything that life throws at me.Dipesh Nepali’s art transports me back to that time of my own life: the sadness, the loneliness, the anxiety, the feeling of being trapped by powers beyond my control. Yet it also reminds me of a personal battle that I waged and won over myself. I would not be who I am today if it was not for that ordeal.Dipesh’s mind has travelled further than his young body. With an incredibly mature and unique vision of the world, one finds in his work expressions of anguish and a yearning to be free. Painting has become an outlet to bring out his repressed emotions and feelings.The depth in his art is there for everyone to see, but less obvious are numerous and varied technical skills he has improvised to create his painting -- his choice of oils to achieve a unique blend and shades of colours. The painting is now on exhibit at the Museum of Nepali Art (MoNA) in Kathmandu.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/the-compassionate-white-tara/" target="_blank" rel="noopener noreferrer">A work of art</a> can mean a different thing for different people, response is by definition subjective. Dipesh Nepali's art touched the deepest and darkest parts of my own past, and reminded me of my own struggles. But I also found contentment and peace in the darkest reaches of this canvas.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14b49c7e80680e0a998ejpeg.jpg" alt="" width="640" height="853"><figcaption> </figcaption></figure>Rajan Sakya is the founder of the <a href="https://www.mona.com.np/" data-saferedirecturl="https://www.google.com/url?q=https://www.mona.com.np/&amp;source=gmail&amp;ust=1636885001579000&amp;usg=AOvVaw3ALJGKdDeixs8GvIU7FLGG">Museum of Nepali Art</a> at Kathmandu Guest House, Thamel and contributes this monthly column For Art’s Sake in Nepali Times.

Rajan Sakya

Dipesh Nepali’s dark light

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00a69c7e80680e0a35ecjpeg.jpg" alt="" width="4096" height="2730"/><figcaption>All photos: MONIKA DEUPALA</figcaption></figure>In the centre of the room of the ground floor at Siddhartha Art Gallery, tattooed ceramic female figures stretch languidly astride grazing horses.The 12 blue and white raku ware pieces are part of a collection of ceramic artwork by noted sculptors <a href="https://www.nepalitimes.com/banner/melding-expressions/" target="_blank" rel="noopener noreferrer">Gopal Kalapremi Shrestha</a>, Yamuna Shrestha, and Shushank Shrestha. The exhibition features four-year-long work of a family of artists — Gopal and Yamuna are husband and wife, and Shushank is their son.Gopal founded the <a href="https://www.facebook.com/kalapremiceramic/" target="_blank" rel="noopener noreferrer">Kalapremi Studio</a> to teach and promote clay art forms in Nepal in 2006. Yamuna and Shushank’s artworks also feature prominently in the studio.Much of Kalapremi’s artwork included in the exhibition is an attempt to explore gender dynamics in post-modern Nepali society.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00a99c7e80680e0a35edjpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>One of his more notable collections titled gaali features a series of anthropomorphised female figures with their arms outstretched in a peace sign. The animals (monkey, dog, sheep, donkey) are a physical manifestation of some derogatory terms women are addressed by like bandarni, kukurni, and gadhaini.In another collection of intricate blue and white raku sculptures titled Basti basti bata uthne haru, Kalapremi has reimagined the sacrificial pawns in a chess piece as women with purpose. Anthropomorphised mares dressed in bukhu, lehenga and other traditional dresses represent various professions including a doctor, performers, and sportswomen.Read also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/" target="_blank" rel="noopener noreferrer">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00ad9c7e80680e0a35eejpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Some of his other collections include a series of 15 ceramic paintings titled Silent Scream II, which feature fragmented human forms meant to depict the angst and pain of recent crises in the country.“The element of fantasy, playfulness, the very tongue-in-cheek way of expressing things is what is most striking about Gopal’s work,” says <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/sangeeta-thapa-siddhartha-art-gallery,1999" target="_blank" rel="noopener noreferrer">Sangeeta Thapa</a> of the Siddhartha Gallery about Kalapremi’s artwork.Meanwhile, Yamuna Shrestha, having watched Gopal and Shushank build their careers as artists, had found her own medium in origami work. But eventually, she too forayed into ceramic artwork, where she began infusing Mithila motifs in her clay earthenware.Colourful flowers, birds, and other nature motifs adorn her ceramic plates, bowls, and cups on display at the gallery. Some of her blue and white raku fired vases, however, while incorporating <a href="http://archive.nepalitimes.com/news.php?id=3697" target="_blank" rel="noopener noreferrer">Mithila animal motifs</a>, also serve as a thematic companion to Kalapremi’s work.Upstairs, Shushank Shrestha’s artworks are showcased through a variety of mediums from watercolour to acrylics to ceramic work. His pieces offer a marked tonal shift from deliberate, commentary-infused artwork displayed on the floor below, and are as vividly imaginative as they are nostalgic.His 39-piece Jutta series of ceramic shoes traces his imagined evolution of his grandfather’s old footwear, which he took inspiration from. The shoes hung in the wall begin from muted, masked, three-eyed beings — emblematic of the times we are living in.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00b09c7e80680e0a35efjpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Shushank, who is currently pursuing a Masters in Fine Arts degree overseas, has stacked two styles of ceramic artwork, showcasing the depth of knowledge in his craft. While the shoes themselves are glazed, the masks and bandannas have cloth textures.The shoes move on to become richly patterned, grinning faces and creatures with their lips peeled back in grotesque laughter, a homage to the fictional monoliths of popular culture.Read also: <a href="https://www.nepalitimes.com/review/riding-on-the-waves-of-colours/" target="_blank" rel="noopener noreferrer">Riding on the wave of colours</a>, Shristi KarkiThey also take a living, breathing form on canvas and in sculptures, as the grinning, three-eyed shoe gods sit cross-legged, adorned with the golden headgear of our culture’s mythic heroes and gods, melding tradition with the absurd.Shushank’s next collection is a series of shimmering, lustrous glazed cups done in rich blue and soft pearl. This glaze technique has been used by an artist for the first time in Nepal.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00b49c7e80680e0a35f0jpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Another one of his collections pays homage to his family’s dog, reimagining it as a three-eyed, lion-dog creature. Shushank has captured the animal’s playfulness and love in the tilted heads and the wide grins of the creature, imbuing the works with enough personality that one would almost expect the creatures to come to life and wag their tails if they were to reach out and touch them.Alien creatures, a concept he has been working with since the beginning of his artwork, also feature on canvas as one-eyed ceramic creatures standing solemnly alongside the cheerful lion-dogs, and as pastel coloured vases covered in eyes, bearing sharp teeth.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00b79c7e80680e0a35f1jpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Although Gopal and Yamuna have shown at the gallery previously, Thapa suggested the three artists show as a family after she saw Shushank’s work in 2016 and eventually convinced Yamuna, who had previously not ventured into painting and ceramics, to try her hand at the new medium.“This is a very painstaking process,” Thapa says of ceramic artwork, “It’s simultaneously cost-intensive and work-intensive”Indeed, it would take one LPG cylinder on average to cast one of the artwork on display at the exhibition. Each piece needs to go through four processes, getting cast in fire, painted, then cast in fire again before the glaze is finally applied.But the time and effort that the family has poured into their craft shine in each of the artwork, Thapa notes about the three artists’ four-year process, saying: “They have managed to create such a diverse body of work.”‘Where the wild things are’ will run until 3 September at Siddhartha Art Gallery

Shristi Karki

The house of Kalapremi

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbe89c7e80680e0a0b5ajpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Artist Mukti Singh Thapa at his studio this week. Photo: MUSEUM OF NEPALI ART</figcaption></figure>“Your paintings are as unique as my chips,” Bill Gates said to Mukti Singh Thapa during a lunch conversation back in 1992 in the canteen of his Microsoft office in Redmond, Washington. Gates had acquired seven of this Nepali artist’s paintings at an exhibition.Besides Microsoft, Thapa’s paintings also adorn walls at Boeing headquarters in Seattle and other corporate offices around the world. Thapa’s other masterpieces are prominently displayed at the Nicholas Roerich Museum in New York, Oglethorpe University Museum in Atlanta, Vienna’s Welt Museum and as a <a href="https://www.mona.com.np/art/v/naari" target="_blank" rel="noopener noreferrer">permanent collection at our very own Museum of Nepali Art</a> (MoNA) in Kathmandu.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbeb9c7e80680e0a0b5bjpeg.jpg" alt="" width="1500" height="969"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbee9c7e80680e0a0b5cjpeg.jpg" alt="" width="1500" height="1041"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf19c7e80680e0a0b5djpeg.jpg" alt="" width="1500" height="1032"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf49c7e80680e0a0b5ejpeg.jpg" alt="" width="1500" height="1019"><figcaption> </figcaption></figure>Despite his international acclaim and being one of the most sought-after artists for <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener noreferrer">paubha</a> and contemporary art, Thapa is a modest man who yearns to share his skill and knowledge with a younger generation of aspiring artists and art enthusiasts. Nepali art in the 21st century will be incomplete without his mention, yet only a handful of people here know about him, or have seen his work. This is unfortunate.Thapa is also the youngest artist ever to receive National Award from NAFA (Nepal Academy of Fine Arts) at the age of 20.The time has come to <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">take pride in our art</a> and recognise ourselves as a nation of great artists and artisans. Nepali art has thrived for over 2,500 years, but we are yet to truly acknowledge and appreciate our past and present masters.Read also: <a href="https://www.nepalitimes.com/opinion/lain-singh-bangdels-sigh/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel's 'Sigh'</a>, Rajan Sakya<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf89c7e80680e0a0b5fjpeg.jpg" alt="" width="1500" height="1032"><figcaption> </figcaption></figure>The streets of Kathmandu Valley are consecrated with temples and monuments, which are also exemplary, exquisite works of devotional art. We worship these sculptures, scroll paintings and murals, but do not acknowledge the anonymous artists who create them. The <a href="https://www.nepalitimes.com/banner/sacred-survival/" target="_blank" rel="noopener noreferrer">paubha and thangka artforms</a> represent illustrated spiritual and religious teachings, and their makers deserve more recognition.Contemporary art, on the other hand, gives expression to creativity, crying out with suppressed emotions, opinions, aggressions and love. Thapa is one of Nepal’s most disciplined adherents of traditional art forms, and his works in the genre are some of the most prolific.However, he is also a <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener noreferrer">contemporary</a> artist who stays within the bounds of traditional iconography to unleash human emotions, desires and deliberations, providing a searing commentary on modern human existence.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbfb9c7e80680e0a0b60jpeg.jpg" alt="" width="768" height="1378"><figcaption> </figcaption></figure>This Mukti Singh Thapa masterpiece at <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/" target="_blank" rel="noopener noreferrer">MoNA</a> is titled “NARÌ” (Female) and is an exposé of present-day Nepali society. Provocative and perceptive, it consists of 47 figures of deities and humans in distinctive forms that express various aspects of female characteristics.The 54cm x 104cm canvas brims with activity, there are so many things happening here. But one is instinctively drawn by the central singular female figure. Red-bodied, eyes wide-opened, five pairs of hands holding attributes ranging from a book to a gun, and everything in between.Miss World Beauty Pageant sash in particular stands out. No matter how resilient, determined and dedicated a woman may be, is society always judging her only by her physical attributes? Despite the inner strength and vigour of womanhood, a patriarchal world still judges and appraises women through their exterior appearance and youthfulness.Thapa is known for his aggressive and free-flowing use of nudity in both his traditional and contemporary artwork, even though he is skilfully subtle in this one. His representation of raw phantasmagoria stands out among today’s artists.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbfe9c7e80680e0a0b61jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfc009c7e80680e0a0b62jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfc049c7e80680e0a0b63jpeg.jpg" alt="" width="1500" height="1000">The five-headed central character brushed with explosive colours denotes the vivid and varied expressions of a woman. We see her physically subduing underfoot a man, who is strangely content. Could this be an interpretation that patriarchy is just a pretentious mirage of male consciousness, and ultimately men are the suppressed gender? A pictorial dichotomy between male physical domination and female emotional domination.As we delve deeper into the artwork, the background can be divvied into upper and lower levels. The top part seems to consist of all the female deities, in their original form, shape and colour with traits of traditional iconography.However, the lower half is disillusioned, chaotic and frenzied. The images of people worshipping lifeless and colourless statues, blindly attributing faith and beliefs onto objects seem to indicate a society blinded by hypocrisy. The artist has captured both Hinduism and Buddhism in this work to also depict the inter-religious and interdependent culture of Nepal.“NARÌ” can have various subjective connotations for different people from different walks of life. To decipher a specific interpretation is impossible, which is what masterpieces do to you. Every time you look at her you discover yourself, and a different you.Rajan Sakya is the founder of the Museum of Nepali Art at Kathmandu Guest House, Thamel and contributes this monthly column For Arts Sake in Nepali Times.

N A R Ì by Mukti Singh Thapa

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111156/636cd8e69c7e80680e092e6ajpeg.jpg" alt="" width="1500" height="1000"/><figcaption>All photos: ROSE SCHWIETZ</figcaption></figure>When a woman carries herself around in the streets or even at her workplace or her home, she is constantly hounded by the anxiety of protecting herself. The fear for safety has been heightened with the series of cases of rape reported over the years, not to mention impunity of the assailants.Actors’ Studio’s performance of Rapemachine offered a final sobering note at Fine Print Fever Literature Festival at the Unnati Cultural Village last week.Directed by Suraj Malla, the play is stirred by the rape and murder of Nirmala Panta. It begins with three women in white kurta onstage, gazing silently outward. Suddenly, three men appear from the audience, stalk through the crowd, and shine flashlights at their faces.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111156/636cd8e99c7e80680e092e6bjpeg.jpg" alt="" width="1500" height="1000">The women begin a movement sequence representing youth, learning, and beauty, presenting  a repeat of their innocence, over and over. Ranjana Bhattarai plays hopscotch, Hena Nagarkoti practices her alphabet, while Anu Dahal admires herself in a mirror.The men join the sequence, bringing actions of machinery, brute force, and vice: Suraj Malla operates a large vehicle. Pranav ­­­­­­­­­­­­KC digs piles of dirt, and Aashish Shrestha blows cigarette smoke at the audience. This codified mirror of society recycles itself until someone discovers an abandoned shoe – evidence of an assault.The individual characters become a village chorus and shout in unison: “छोटो छोटो लुगा लाएपछि यस्तै हुन्छ, यस्तै हुन्छ”, this is what happens when you wear short skirts. Accusations abound, but mirroring a real society, everyone returns to their individual cyclical actions— we protest, investigate, and accuse, then we return to ‘normal’.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111156/636cd8ec9c7e80680e092e6cjpeg.jpg" alt="" width="1500" height="1000">Rapemachine pushes this idea further. When the performers settle into their repetitive actions, another piece of clothing is found. Another. And another. Each time, the onstage society reacts with accusations, and each time they attempt to return to normal.The repetitive actions lull the audience into uncomfortable resignation: What can be done when the cycle seems bound to repeat itself indefinitely?Rather than offer solutions, Rapemachine emphasises that lack of action leads to continued devolvement. The male characters become a team of senseless monsters, cleverly staging violence that represents rape and murder to the audience.Effective use of items like tika vermillion powder, lollipops, and confetti, create a sense of affinity and loss we experience when reading about Nirmala’s case. Although it is clearly symbolic, watching the violence unfold leaves the audience in pin-drop, the silence speaking volumes about the impact.What the performance lacks in solutions, it makes up for in conversation opportunities. The performers’ intensity and vulnerability – particularly the women’s – leaves the audience in shock, stirring them towards dialogue. With sexual violence and victim-blaming in every corner of our world, these artistic conversations continue to be necessary.The Fine Print Fever Literature Festival was held at the Unnati Cultural Village on 12-13 March in Nawalparasi. The event, hosted by the Chaudhary Group stirred conversations around Nepal’s culture and art.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111156/636cd8ee9c7e80680e092e6djpeg.jpg" alt="" width="640" height="960"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111156/636cd8f19c7e80680e092e6ejpeg.jpg" alt="" width="640" height="960">The FinePrint Fever Festival also featured conversations around books, with Amar Neupane, Asim Sagar, and political conversations with the likes of Gagan Thapa, Rabindra Mishra. Actors Rajesh Hamal and Manisha Koirala were crowd pullers, with Koirala discussing Jijibisa, a translation of her book Healed, which maps her life’s journey as she batted and beat cancer.The authors gave well-attended talks about their work and relevant life experiences. The event also provided space for conversation with Niranjan Kunwar of Between Queens and the Cities, fame, a frank discussion of LGBTQ+ experiences, a pressing but under-discussed current issue.Unnati Cultural Village is a Chaudhary Foundation initiative, which has been captioned as ‘the prospect of the multi-ethnic, multi-linguistic and diverse geography of Nepal’. The venue is a resort-cum-art center, featuring low-hanging mango trees and meandering footpaths.The design, inspired by Tharu architecture, motifs, and sketches, crafted by the expert hands of local Tharu artisans Nanu Maya Mahato, Khem Kumari Mahato, Sundar Kumari Chaudhary and Durga Mahato. Ceramicist, Gopal Kalapremi, also provided training to local artists under a community initiative at the centre.The venue is also home to a Craft Museum and an artifact museum called Sampada Art Gallery, featuring contemporary Nepali artists, Rangmanch Amphitheatre, an open-air performance space and Atelier, artist studio spaces.Anusuya Gurung, one of the curators of the craft museum describes the centre as an educational opportunity to showcase the historical evolution of Nepal through craft and artisans. The museum begins with mythological references, and the times when craft existed as utility for agriculture, weaponry and ritual.It then moves into the medieval age, when craft transitions into art and architecture, with evidence of new materials like stone and metal. The third section shows modern and contemporary artifacts, and like the present time, is a ‘living work-in-progress’ with contemporary art pieces from pioneers in their artistry.

New venue showcasing Nepali society, literature and art

<figure><img width="486" height="651" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111011110/636ccc659c7e80680e08bc1djpeg.jpg" alt=""/><figcaption>Photos: TULIKAA</figcaption></figure>Inside Dhokaima Cafe’s Van Gogh room, Aakash Pradhan’s photo collages are like splashes of colour on black walls of a dark room.They form part of an online art platform, Tulikaa Kala’s solo exhibition series, Kholo 2.0. It makes him the first artist-of-the-week among the 28 classic and contemporary Nepali artists whose works are set to be on display in this unique show spanning seven genres in as many months, showcasing photography, ceramics, printmaking, contemporary, Paubha, sculpture, and new media art.Visitors to the one-room gallery are immediately captured by 'Building Dreams', a collage of two men reconstructing ruins floating on clouds, with a fiery sun and the blankness of the night sky looming in the background. Pradhan makes his smaller framed photographs on his phone with a photo-editing mobile application.His collages are a mix of social media posts, pictures sent by friends. Sunflowers are a recurrent motif and seem steeped in personal meaning. They loom like the sun over pictures of those displaced by the earthquake, or like a compass, show the way to a traveller on a motorcycle, or create a juxtaposition of a young woman’s life in London and her roots in Nepal.Clouds and the night sky also feature prominently, which he muses might be a subconscious reflection of his name on his art.Pradhan’s collages are vibrant, vivid and hold personal meaning and anecdotes. “That picture,” he points to one photo, laughing as he talks to visitors, “will always remind me of veg-momo.”  <figure><img width="800" height="533" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111011110/636ccc679c7e80680e08bc1ejpeg.jpg" alt=""><figcaption> </figcaption></figure>A series of four simple, intact photographs titled ‘Buju’, features an elderly woman and the ruins of her home in Sindhupalchok, a striking contrast to the rest of his work on display. An aspiring filmmaker, Pradhan took the photos while working on an earthquake documentary.Buju stares solemnly into the camera, hands placed carefully on her knees, barefoot. “We bought her a new pair of chappals, she promptly threw them away,” recalls Pradhan. “I knew I had to photograph her."Tulikaa co-founder and curator, Ujen Norbu Gurung says the gallery wanted to show that art is not stagnant, it is constantly evolving."Art should be really powerful, but the curation, layout, and space have to sync with the art, to accentuate it,” Gurung says.Indeed, much attention has been paid to the displays here, from the muted lighting to the back walls.Sunniv Shanker Rajbhandry at Dhokaima says his Van Gogh room was an ideal place to showcase Nepali art. “I had been to some of Ujen’s other exhibitions and thought the way he presents the artwork itself was unique. His vision is different, and he uses the space as much as the art itself,” Rajbhandary adds. <img width="800" height="533" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111011110/636ccc699c7e80680e08bc1fjpeg.jpg" alt=""><img width="800" height="533" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111011110/636ccc6c9c7e80680e08bc20jpeg.jpg" alt="">Tulikaa is not only organising the exhibition series for the next seven months, but providing an online platform to connect Nepal's art community.Gurung entered the art scene as a collector, but realised that Nepalis had barely scratched the surface of talent, and the art scene had untapped potential.“We knew we had to come up with something radical to promote art to the masses,” he says. “We thought that it might be the time for an online platform.” Thus began the years-long process of research.“The digital space offers more possibility for curating—we can experiment, and play around with the design and layout,” Gurung explains.He also realises how instrumental social media has been for artists to showcase their work and for audiences to discover it. “Platforms like Instagram are helping artists make money and build a brand,” he says. And as if to evidence his point, a visitor comes over to introduce himself to Pradhan as one of his followers on social media.The team planned to launch Tulikaa in early 2020 when the pandemic hit. “What we thought would be detrimental turned out to be quite helpful because everyone was home and on the internet,” says Gurung, who did 27 online shows during the lockdown.Co-curator Samikshya Shrestha is optimistic about how platforms like Tulikaa, new art festivals and museums will help propagate Nepali art and artists.Ujen Norbu Gurung adds, “We need a lot more institutions and lots of fresh ideas. We will catch up with the rest of the art world, we just need to ride on the right wave.”Kholo 2.0 - A Cycle of Life is ongoing at Dhokaima Cafe until 27 August.

Riding on the waves of colours

<figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2dd9c7e80680e08f938jpeg.jpg" alt="Jagdish Moktan exhibition"/><figcaption>Jagdish Moktan works with soil to paint his memory.</figcaption></figure>After nearly a year of closure, Siddhartha Art Gallery is putting up two new shows. Jagdish Moktan’s <a href="http://www.siddharthaartgallery.com/cms/index.php?option=com_content&amp;view=category&amp;layout=blog&amp;id=42&amp;Itemid=73" target="_blank" rel="noopener noreferrer">The Way Home is Away from Home and Priyanka Singh Maharjan’s In the Realm of Recollections </a>showcase art they worked on during the pandemic.The artists received the Himalayan Light Art Scholarship Awards, a joint grant created by Chinese artist Zhao Jianqui and Siddhartha Art Gallery’s Director, <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/sangeeta-thapa-siddhartha-art-gallery,1999" target="_blank" rel="noopener noreferrer">Sangeeta Thapa</a>.Although both Moktan and Maharjan have taken part in group shows at their university’s  <a href="http://kuart.edu.np/bfa-show-at-art-council/" target="_blank" rel="noopener noreferrer">BFA exhibitions</a>, <a href="https://angkor-photo.com/apf-programme/the-passage-of-time-and-what-remains/" target="_blank" rel="noopener noreferrer">Angkor Photo Festival and</a> <a href="http://www.kochimuzirisbiennale.org/" target="_blank" rel="noopener noreferrer">Kochi Biennale</a>, they were very anxious about the reception they would receive in Nepal. “When you work on your own, you have to be your own judge. But when the work gets on display for viewers, the anticipation is somewhat different,” Moktan said after the inauguration at Baber Mahal Revisited last week.There is an array of Moktan’s 108 frames of charcoal on paper along the walls at the Siddhartha Art Gallery. The series is called ‘Fragmented Clouds’, and depict skies hemmed in by densely-packed buildings where the clouds are reflected on window panes. <figure><img width="1447" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2e09c7e80680e08f939jpeg.jpg" alt="Jagdish Moktan's reflection of clouds"><figcaption> </figcaption></figure>“Crammed in my room in Bhaktapur during the lockdown, looking from one window to another, I often wondered how it might be to see beautiful clouds from my ancestral hometown in Ramechhap,” he says. “Although I was born and brought up in Kathmandu, my sense of belonging has always been associated with Ramechhap.”Moktan calls his work an attempt to explore his feelings of alienation, and finding the road home. The art is unrestricted in form of medium, and consists of realistic portraits in oils and coloured soil—faces he paints from memory, exploring his relation to his ancestral home.While Moktan's works on the ground floor showcase his hyper-realistic vision, the first floor of the gallery also carries the theme of ‘home’, but to a polar opposite level. Maharjan’s exhibit, ‘In the Realms of Recollection’, is grounded in nostalgia out of which she weaves patterns.Maharjan creates art out of memory, scanning old family images, and transferring them on to fabric. She picks a set of black and white images, and embroiders on them, the variations of different stitches amplifying her own experiences of those memories.   “I learned hand embroidery from my grandmother. My father, who was working in Hong Kong then, often sent pictures via posts. Those photos and my grandmother’s embroidery skills have always been close to my heart,” says Maharjan.Her work transforms the ceiling into an amalgamation of images and colourful stitches that instantly embrace the visitor in the warmth, associated with the idea of home. She was studying chartered accountancy and increasingly unsure about her career path, when a friend suggested applying to Kathmandu University.  <figure><img width="750" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2e49c7e80680e08f93ajpeg.jpg" alt="Priyanka Maharjan exhibition"><figcaption> </figcaption></figure>While the two exhibitions are juxtapositions in terms of projection, thematically, they converge in their sense of belonging. While Maharjan accumulates an abundance of family memories, Moktan pursues the idea of a distant home.  <figure><img width="942" height="1291" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2e79c7e80680e08f93bjpeg.jpg" alt="Priyanka Maharjan exhibition Siddhartha Art Gallery"><figcaption> </figcaption></figure>Himalayan Light Art Award tries to give space to emerging artists in Nepal with the potential to go big with an original personal style. Prithvi Shrestha, Lavakant Chaudhary, Man Gurung and Subhas Tamang are artists who have been recipients of the scholarship in the past.The Foundation’s Justin Zhao says, “Through this scholarship, we want the artists to hone their skills and help them organise exhibitions.”Sangeeta Thapa of Siddhartha Art Gallery wishes there were platforms like the Himalayan Lights Scholarships when she was an aspiring artist herself.  “As an art curator, my job is to see the potential in the artists and display their work. It is about promoting these budding artists and making them known to the viewers,” Thapa told Nepali Times. She adds that Maharjan and Moktan’s works are representations of how the two artists worked through the lockdown and amidst the uncertainty of the pandemic.  Being sequestered at home for such a long period may have inspired them to create new versions of ‘home’.  The Way Home is Away from Home and In the Realm of Recollections will be on exhibit at Siddhartha Art Gallery, Baber Mahal Revisited, till 15 February 2021.

Memories of home

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a19c7e80680e08f924jpeg.jpg" alt="" width="1000" height="1781"/><figcaption>Museum of Nepali Art (MoNA), a private museum, opened to the public in February 2020. MoNA has traditional and contemporary art on display. Photos: DRISHNA STHAPIT</figcaption></figure>Just entering into the basement museum inside one of the new blocks at the <a href="http://archive.nepalitimes.com/news.php?id=3761#.YAGk8y2B3R0" target="_blank" rel="noopener noreferrer">Kathmandu Guest House</a> complex in Thamel, visitors may feel their eyes are playing tricks.Is this the Rubin Museum in New York? Visitors can be forgiven for doubting if they are still in Nepal--the subdued lighting, elegant interior exude a perfectionist attention to detail, a place where modern melds seamlessly into traditional.Right away on entry, there are paintings of Ganesh, the auspicious elephant deity, and right after that the eyes are arrested by Raj Prakash Tuladhar’s Five Yoginis, a depiction of the Buddhist guardian deities of Kathmandu.The <a href="http://www.mona.com.np" target="_blank" rel="noopener noreferrer">Museum of Nepali Art</a> (MoNA) was set up by Rajan Shakya (pictured below), the CEO and scion of the <a href="https://ktmgh.com/kathmandu-guest-house/" target="_blank" rel="noopener noreferrer">Kathmandu Guest House (KGH) group</a>, who believes strongly that contemporary Nepali art compares to the best the world has to offer.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a39c7e80680e08f925jpeg.jpg" alt="" width="1500" height="844"><figcaption> </figcaption></figure>“Religion and art are interwoven so deeply in Nepali society. Yet most people here do not know about art even as they worship idols and temples,” says Shakya. “Think about the hands of those artists, and the talent it takes to be able to invoke <a href="https://www.nepalitimes.com/banner/new-newa-art/" target="_blank" rel="noopener noreferrer">gods in idols</a>, and inspire such deep faith in another human being.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a69c7e80680e08f926jpeg.jpg" alt="" width="606" height="580">Shakya’s passion shows in the museum that he has helped create. He has long known that <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">Nepali art makes the rounds in international exhibitions</a>, and that buyers wait in line to snap up work by Nepali artists.“I wanted Nepalis to know that there is a place in Nepal for Nepali art, and be proud of our artists, whether they construct temples, make paubha, or sculpt statues,” says Shakya whose MoNA houses contemporary and traditional art by living Nepali artists, around 85% of which is from Shakya’s private collection.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a79c7e80680e08f927jpeg.jpg" alt="" width="1500" height="947"><figcaption> </figcaption></figure>“There is nothing more meaningful to Nepali artists than having a permanent space in Nepal itself,” says Raj Prakash Tuladhar, whose paintings have been exhibited internationally.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2ac9c7e80680e08f928jpeg.jpg" alt="" width="225" height="225">MoNA’s walls are dedicated to <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener noreferrer">contemporary art</a> that spans styles and methods, from golden prints of Kathmandu’s temples to vibrant acrylic abstracts. Up-and-coming artist Rashana Bajracharya’s reimagination of Mona Lisa as a cancer survivor—serenely smiling, without hair—hangs front and centre, one frame away from <a href="https://www.nepalitimes.com/here-now/lain-singh-bangdels-legacy-lives-on/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel</a>'s painting of casually geometrical, multi-coloured roofs, titled Huts of Kathmandu. <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2ad9c7e80680e08f929jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Sarada Man Shrestha’s In Quest of Water, a murky mixed media piece portraying a woman at a ढुङ्गे धारा stone spout done in earthy browns and greens, hangs close to a pencil sketch of Queen Aishwarya.“The museum was created for present-day artist, they should be able to enjoy fame in their lifetime,” says Shakya. But some of the paintings span generations of artists. Indeed, four out of six paintings from Manik Man Chitrakar’s Buddha’s Life series are on display at the museum.Three paintings hang on the Arya Tara Wall of the museum, two among them completed decades apart by Anandamuni Shakya, the Nepali pioneer of 3D sketches, in 1938 and his grandson Surendra Man Shakya, in 2017.The third Arya Tara painting, Samundra Man Singh Shrestha’s oil on canvas, compared with Anandamuni Shakya’s mineral pigment on canvas serves as historical documentation of how the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener noreferrer">traditional Nepali art-form</a>, and 3D art, has evolved.Shrestha’s Green Tara is so detailed, the gold ornaments against her skin so intricately painted, that one almost expects to feel the ridges of gold and gemstones should they reach out and touch the painting.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2b09c7e80680e08f92ajpeg.jpg" alt="" width="1500" height="842"><figcaption> </figcaption></figure>The museum is dedicated not just to showcasing art, but also to the work and resources that go into the process. Purna P Hyoju’s mineral paints are staged along with one of his incomplete paintings, as are Anandamuni Shakya’s paintbrushes, Surya Bahadur Chitrakar’s inkwell, and Raj Prakash Man Tuladhar’s eyeglasses, a way of connecting the art to the artist, and the artist to the viewer.The museum also has sculptures ranging from floor to ceiling bronzes to black stone busts. Besides curated artwork, attention is also paid to the interior, the deep red walls providing a textured backdrop to some of the exhibits. There are carved wooden columns salvaged from a building destroyed by the earthquake.Gold frames, sleek and streamlined, hold the contemporary artwork, while the ones that display the traditional paintings are ornate and detailed. The ambient conditions also need to be just right, and MoNA has humidifiers, air purifiers and temperature control.https://www.youtube.com/watch?v=pTNHpYk4ZvwMoNA opened in February 2020, but <a href="https://www.nepalitimes.com/review/a-single-brushstroke/" target="_blank" rel="noopener noreferrer">could not welcome visitors because of the pandemic</a>. It did hold two online exhibitions during the lockdown: a virtual 360° Covid-themed show titled tangential stress 2020 was the first of its kind in Asia.The year of isolation gave Shakya and his team the time to iron out the kinks for the <a href="https://www.nepalitimes.com/banner/nepal-museums-reopen-after-8-months/" target="_blank" rel="noopener noreferrer">physical opening after the lockdown</a>. Shakya hopes to eventually set up different museums for contemporary and traditional art, and hopes to expand to Patan and Pokhara, while collaborating with museums internationally.“Art is at the forefront of the preservation of our culture and heritage,” says heritage conservationist Alok Tuladhar. “But Nepali art is only accessible to the über elite, and we need to expand that circle so that more people appreciate the artwork and the artist.”For people who are unable to visit the museum, all the artwork is available for free perusal online. Says Shakya, “In Nepal, visiting museums has never been an activity like shopping, or going to the movies or restaurants. Nepalis also need entertainment that is more stimulating and meaningful.”

Nepali art finds a new home

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be68a9c7e80680e0877adjpeg.jpg" alt="" width="1500" height="965"/><figcaption>HA Oldfield's 1850 painting of the British Residency in Kathmandu (now the Indian Embassy) showing the empty, barren landscape of Nagarjun in the mid-nineteenth century. Collection: BRITISH LIBRARY</figcaption></figure>Back in the day when my walls were empty, I used to buy old paintings and photos with whatever cash I had, rummaging around in Darbar Marg antique shops and Thamel bookstores. Particularly fruitful were the exhibitions at the then-newly created Vajra Hotel.I picked up several pictures from some of the whacky international cast of characters with strange names like Firefly and Tango who congregated in the roof-top meditation pagoda with its aspirational view of Swayambhunath.The <a href="https://www.nepalitimes.com/nepali-times-search/?q=vajra+naga+theatre" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/nepali-times-search/?q%3Dvajra%2Bnaga%2Btheatre&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNG1eRsvJ_zlmKiKQ_VRkQMrnxybVw">Vajra’s Naga Theatre</a> troupe is still going strong, led by the indefatigable <a href="http://archive.nepalitimes.com/news.php?id=11646#.XBcsidIza70" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D11646%23.XBcsidIza70&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNGPdeFJtQtUF3bQyi0ji--7_YsW8w">Sabine</a> Lehman and <a href="http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%2520G%25C3%25B6tz%2520Hagm%25C3%25BCller,3352&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNG8TcmWZr3jgm0XyRMXnyP4tvkM2Q">Ludmilla</a> Hungerhuber, but long gone are the ‘scientists’ from the US Institute of Ecotechnics, paid for by a visionary Texan squillionaire who funded marine research vessels and a futurist biosphere experiment to save the planet.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be68d9c7e80680e0877aejpeg.jpg" alt="" width="2027" height="2628"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be6909c7e80680e0877afjpeg.jpg" alt="" width="2194" height="3008"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be6939c7e80680e0877b0jpeg.jpg" alt="" width="3561" height="2415"><figcaption> </figcaption></figure>Several of our <a href="https://www.nepalitimes.com/business/no-tiger-no-mountain/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/business/no-tiger-no-mountain/&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNFORa7G-RfxHMaCyQzw3lpHZfvN9A">Tiger Mountain</a> staff, including a Sherpa and a Tharu, travelled to the US to be sealed into the massive biodiversity dome as part of their mysterious innovations, surviving to tell the tale. ‘Pursuing the harmony between ecology and technology since 1973’ - I never could fully grasp what they were all about. ‘If you are too stupid to understand, than you don’t deserve to know’ pronounced <a href="http://publications.americanalpineclub.org/articles/12199947000/Luther-Gerald-Jerstad-1936-1998" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://publications.americanalpineclub.org/articles/12199947000/Luther-Gerald-Jerstad-1936-1998&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNFsCcB-VDBjniIZFGkZCYvYYD3Xrw">Lute Jerstad</a>, America’s first Everest summiteer, giving up on me.But they were an entertaining bunch, and in the early 1980s the Vajra art enthusiasts sold me wondrous works by M M Poon and <a href="https://www.nepalitimes.com/nepali-times-search/?q=chandra+man+maskey" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/nepali-times-search/?q%3Dchandra%2Bman%2Bmaskey&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNH4im6nKtksdazCFrl4Y4tr6_xLQw">Chandra Man Maskey</a> for what seems today like an embarrassingly small amount of rupees. I also acquired a couple of contemporary portraits of Jung Bahadur, one with three of his many wives, but perhaps my most precious find was a watercolour of Bhadgoan Darbar showing Nepal’s first glass window pane, beneath which red-jacketed troops paraded on inspection.It was allegedly painted around 1850 by pioneer Nepali artist, <a href="https://www.nepalitimes.com/nepali-times-search/?q=rajman+chitrakar" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/nepali-times-search/?q%3Drajman%2Bchitrakar&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNGeQTJPbOpenoUoupvlRLEe4eQ5YA">Rajman Singh Chitrakar</a>, pupil of the series of artistically inclined Brits based in the British Residency in Lainchaur - <a href="https://www.nepalitimes.com/nepali-times-search/?q=Brian+Houghton+Hodgson" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/nepali-times-search/?q%3DBrian%2BHoughton%2BHodgson&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNERq84lvDzeUcLI2_TF9zCE2FL9Yg">Brian Houghton Hodgson</a>, Henry Montgomery Lawrence and <a href="https://www.nepalitimes.com/nepali-times-search/?q=Henry+Ambrose+Oldfield" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/nepali-times-search/?q%3DHenry%2BAmbrose%2BOldfield&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNEazMGNa0GHAznAiS8DiYLXKGEydw">Henry Ambrose Oldfield</a>.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be6979c7e80680e0877b1jpeg.jpg" alt="" width="1325" height="1500"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be69a9c7e80680e0877b2jpeg.jpg" alt="" width="1200" height="868"><figcaption> </figcaption></figure>Captivated by the historical insights that these early English-style pictures promised, my investigations took me to musty London archives and basement reading rooms where the collections are now stored. With the Royal Geographical Society, we selected four from amongst their collection of H A Oldfield treasures to be printed as postcards sold in Kathmandu in the early 1980s. My favourites were the ones of the Nepal army marching through the <a href="https://www.wikigallery.org/wiki/painting_245279/Dr.-H.A.-Oldfield/Soldiers-invading-Tibet-from-Nepal-entrance-to-the-Keerung-Pass.-The-plain-is-part-of-the-Town-of-Keerung-with-the-Valley-of-Pauring-Tiar-and-the-Buoria-Gondu-river-May-1855" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.wikigallery.org/wiki/painting_245279/Dr.-H.A.-Oldfield/Soldiers-invading-Tibet-from-Nepal-entrance-to-the-Keerung-Pass.-The-plain-is-part-of-the-Town-of-Keerung-with-the-Valley-of-Pauring-Tiar-and-the-Buoria-Gondu-river-May-1855&amp;source=gmail&amp;ust=1607323622265000&amp;usg=AFQjCNEKkTG-AfL2kfB3Ex4Y6CaUQUfavg">‘Keerung Pass’</a>, invading Tibet under cobalt blue skies and fanciful white peaks.This era of Western realism paintings started with the polymath Brian Hodgson, an East India Company official who served in Kathmandu for over 20 years from the time of Bhimsen Thapa in 1820 until 1843. Hodgson used the extensive leisure time afforded by his job to make the first systematic study of Nepal’s <a href="https://www.nepalitimes.com/here-now/an-antelope-and-an-artist/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/here-now/an-antelope-and-an-artist/&amp;source=gmail&amp;ust=1607323622266000&amp;usg=AFQjCNFpGG6E0Svx0dU2jXaGZ6TkK0iD8A">fauna, flora, religions</a>, culture and languages. In order to illustrate his findings, he trained the artist Rajman Singh Chitrakar, introducing him to the European principles of camera lucida, ‘light and shade and perspectives’.For someone steeped in Nepal’s rich heritage and the traditions of <a href="https://archive.nepalitimes.com/news.php?id=14649" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/news.php?id%3D14649&amp;source=gmail&amp;ust=1607323622266000&amp;usg=AFQjCNG5AQA4vLkLgnHwPTmyej_Vowu1mw">poubha</a> art, Rajman’s drawings indicate a major shift in style. Kanak Mani Dixit, curator of the influential 1999 Oldfield exhibition in Yala Maya Kendra at Patan Dhoka, credits Rajman as being Nepal’s first ever landscape and architectural painter, and his work was recognised by the world of art and science in Europe at a time when photography was in its infancy.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be69e9c7e80680e0877b3jpeg.jpg" alt="" width="1500" height="1082"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be6a29c7e80680e0877b4jpeg.jpg" alt="" width="1500" height="1082"><figcaption> </figcaption></figure>Rajman Singh was part of the extensive Chitrakar clan (meaning ‘painter’ in Nepali) whose successive generations since the Malla reign had recorded royal and Rana court activities, firstly in the form of paintings and drawings, and then in a vast collection of photographs, many engraved onto delicate glass plates.This wide array of images includes diplomatic missions, cultural events, portraiture of the elite and everyday ordinary life, capturing an era of extravagant autocratic Rana rule whose state policy of ‘implacable xenophobia’ prevented foreign penetration and influence. As a direct descendent, Cristeena Chitrakar explains: “My ancestors’ images explore visual narratives and historical accounts. The photographs create memories and preserve the past.”Kanak Dixit writes: ‘It was Hodgson who provided Rajman with the graphite pencil, probably also coaching him on the novel techniques required to realistically illustrate landscapes, architecture and objects of natural history… If it were not for Rajman, we would have had to rely only on the arriving Westerners who happened to paint, including the doctor in the British Residency, Henry Ambrose Oldfield, whose watercolours have been useful in reconstructing several lost structures.’Referring to him as ‘my Bauddha citrakar’, British Resident Brian Hodgson drafted Rajman Singh and his kinsmen to illustrate the broad range of disciplines which absorbed him. On departure he bequeathed Rajman and his team to work on drawings for his successor Henry Lawrence, then to Dr H A Oldfield, the Residency surgeon who lived in Kathmandu from 1850 until 1863.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be6a69c7e80680e0877b5jpeg.jpg" alt="" width="1500" height="1094"><figcaption> </figcaption></figure>Like his predecessors in their isolated outpost beyond the empire and forbidden to venture outside the Valley rim, Dr Oldfield developed an interest in all things Nepali, spending his time on Buddhism, Nepali history, ethnography and the caste system. He and his wife Margaret were accomplished amateur artists in their own right, their valuable contribution consisting of hundreds of watercolours that shed light in meticulous detail on the architecture, landscape and people of the Kathmandu Valley at that time.These pictures chronicle the comparatively dilapidated state of historic buildings, temples and stupas in the nineteenth century Valley, and the surrounding hills are startlingly naked and denuded in comparison to the thick cover on today’s reforested slopes.Dr Mark Watson, Himalayan botanical historian, writes: ‘Henry Oldfield is well-known to students of Nepali history for his 1880 posthumously published, richly illustrated, two-volume classic: Sketches from Nipal. Oldfield got on well with Maharaja Jung Bahadur, so much so that in 1855 he was allowed to accompany the Nepali army to the northern Rasuwa Gadhi frontier when Nepal declared war on Tibet – a remarkable privilege for a foreigner. The British Library and Royal Geographical Society hold significant collections of their work, including pictures by Nepali master artist Rajman Singh Chitrakar who worked closely with them.’<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181140/636be6a99c7e80680e0877b6jpeg.jpg" alt="" width="1500" height="1155"><figcaption> </figcaption></figure>The dazzling November weather accentuated the scarlet poinsettia and orange marigolds in the British Cemetery last month when I visited with a red poppy in my lapel, wandering amongst the headstones on immaculately manicured grass beneath an Oldfield-blue sky. One of their six children is buried here, and I found the small, square column with a white marble plaque marking the grave of Philip Henry Oldfield, toddler son aged only 17 months when he died in August 1861.The site is protected within a low, rectangular, stone wall along with an identical monument for Alice Irwin, the new-born baby daughter of the British Commandant of the Escort who in 1859 had lasted only 13 days. It is said that the Maharaja Jung Bahadur Rana himself was so touched by the tragic loss of life so young that he requested the surrounding walls be built to provide shelter for the babies’ graves.

nepali-art