An invocation is an act in which one appeals to a higher being for support and inspiration. Italian artist Sara Guberti set out to do just that with her ongoing exhibition Invocation to the Goddesses at Siddhartha Art Gallery, exploring themes of womanhood and divine femininity. Guberti trained in the mosaic medium at the Gino Severini School in Ravenna, Italy, before getting a degree in art at the Academy of Fine Arts in Bologna. While her usual medium is Byzantine tile work, she has tried out a new medium, acrylic on canvas, for this exhibition.&nbsp; Guberti explains this choice: “Each piece is a simple invitation, acrylic on canvas using only three colors: red, black, and white.” She has exhibited in both group and solo showcases across Italy, Europe, and India before arriving in Nepal. Guberti traveled across the world seeking inspiration for her work, encountering women from many different cultures. Throughout her journey, she asked the women to write a message, or simply the name of a goddess in their own culture, inviting them to call upon these figures and embrace the power of femininity.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260419060448_adf861918d14dd47f465bdab692f072c91fb0b8a5d63afdc5dc1c8eca4c2e1b4.jpg" data-media-id="editor_0" data-image-id="20260419060448_adf861918d14dd47f465bdab692f072c91fb0b8a5d63afdc5dc1c8eca4c2e1b4" data-rendition-name="original" width="1347" height="1796" loading="lazy" alt="Drawing divine femininity"> </figure>  Spread out across the two floors of the gallery are portraits of different goddesses spanning cultures and religions, surrounded by paintings of flowers. Each goddess’s portrait is paired with a different type of flower, from the lotus to the rose, representing a divine offering.&nbsp; In her titular piece, Guberti incorporated the messages she collected from the women she met along her travels, featuring writing in Newari, Sanskrit, Urdu, French, Italian, English, and Hindi. Many of her portraits are simply titled the name of the goddess depicted: Laxmi, the Virgin Mary, and Saraswati. One portrait, however, has a different title, Mater semper certa est, an ancient Roman principle that directly translates to the phrase ‘the mother is always certain’. The portrait features a powerful female figure with her arms curled inward toward her womb, signifying the undeniable truth of her fertility. A halo radiating around her and a crown above her reinforces her sanctity and power.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260419060452_e20c252b0ba658975c60872389d2c592a80f0f303cf3f67c1866ae263a6c1080.jpg" data-media-id="editor_1" data-image-id="20260419060452_e20c252b0ba658975c60872389d2c592a80f0f303cf3f67c1866ae263a6c1080" data-rendition-name="original" width="721" height="482" loading="lazy" alt="Drawing divine femininity"> <figcaption>Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  WOMEN AND POWER Guberti chose this portrait as the promotional image of the exhibition. It was the right choice because it represents the core message of her work: that women are undeniably powerful. Guberti’s clear celebration of femininity and shared spiritual identity stands out, creating a space that feels both personal and collective. The exhibition invites reflection not only on shared expressions of devotion, but on what it means to celebrate femininity in this modern age.&nbsp; However, this exhibit is not just calling on women to embrace their power, but for men to recognise it too. “This also serves as a call to action for men to embrace femininity in the world,” Guberti explains. For her, this not only means uplifting women, but also embracing what she calls “feminine qualities” such as compassion and empathy. All audiences should feel invited to visit this exhibition, perhaps with their own invocation in mind. &nbsp; Invocation To The Goddesses Siddhartha Art Gallery Baber Mahal Revisited Until 30 April&nbsp; 11AM - 5PM, Sunday to Friday 12PM - 5PM, Saturday &nbsp;

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Review

Drawing divine femininity

‘One early morning, we heard the ambassador’s wife cry out, “Ram, Ram, Ram!” A disaster has befallen Nepal!” She had heard on the radio that a fire had consumed Singha Durbar." This is not about the arson attack on 9 September 2025, but the one on 8 July, 1973. It started in the South Wing of the then single-largest building in all of Nepal. It took two days to bring the blaze under control, requiring the use of explosives to demolish one wing to protect the imposing western facade. As Bhekh Bahadur Thapa recalls in the English translation of his memoir A Life in Public Service: Nepal from Autocracy to Democracy, he was then on leave from the Nepal government serving with the IDRC in Ottawa.&nbsp; He had already served as Nepal’s Finance Secretary at age 25, went on to be Finance Minister and Governor of Nepal Rastra Bank. He was already younger than some of the GenZ ministers in Nepal’s present RSP government. Thapa, now 89, was at the launch of the book in February which was attended by former diplomats and bureaucrats. After speeches by panelists, there was a question from the audience about how Thapa had managed to be the diplomat he was, managing Nepal’s international relations on the world stage.&nbsp; Writer and journalist Akhilesh Upadhyay, who was moderating the panel, responded by going into the section of the book where we see Thapa as an ambassador to the US, playing tennis with White House officials, cultivating a network of contacts to project the identity and welfare of Nepal, and making it possible for a state visit by King Birendra to Ronald Reagan’s America. The book is full of anecdotes that suggest Thapa was a clever and strategic diplomat, always calm and unruffled, easily making friends in high places with his maturity and engaging sense of humour. Thapa’s memoir is heavy on details about Nepal’s administrative history during the years he was active in public service, serving as minister and ambassador under three kings: Mahendra, Birendra and Gyanendra, and alongside five prime ministers.&nbsp; Aside from an insider look on how certain treaties, development deals and research projects in Nepal came into fruition, Thapa goes into great detail about his personal and professional relationships with the kings, ministers, ambassadors, foreign leaders and politicians.&nbsp; As a reader, one is struck by the level of detail around the events that unfolded in Nepal over the years during Thapa’s tenure. Was Thapa recording a journal over the years of the events and the conversations that transpired, or were they committed to his phenomenal memory? Either way, the reader gets a glimpse of Nepal’s recent history from the early days of the Panchayat, through the People’s Movement and the democracy period, the Maoist insurgency, Royal Palace massacre of 2001, and Gyanendra’s coup of 2005.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026041204048_125dc8ae300a1e33124f394abe724d42727f83e067b0201d2008b58d60c459a4.jpg" data-media-id="editor_0" data-image-id="2026041204048_125dc8ae300a1e33124f394abe724d42727f83e067b0201d2008b58d60c459a4" data-rendition-name="original" width="1584" height="1000" loading="lazy" alt="How to win friends and influence nations NT"> </figure>  Not enough is said about the political parties of the time whose presence led to the way Nepal’s multiparty democracy came to be shaped. The book keeps its focus on the administration and the key figures around it, mostly those in the Panchayat era. Towards the second half of the book, we do start to hear about political parties, but not in great depth. Another figure whose presence in the book is conspicuously less prominent is that of his wife, Rita Thapa — the person who seems to have rescued him every time financial quandary or family care became a challenge. Yet, we do not see her as a full person. Perhaps because of the personal tragedies in his life, the children are also barely mentioned.&nbsp; The book is therefore less personal and more technical. Throughout, we learn about Thapa’s thinking as he navigated the world of diplomacy to win him the trust of those who mattered. There are tips here for a new generation of Nepali officials and diplomats about how much commitment and focus is needed to be good at one’s job and serve the national interest. This book adds to tomes that have been written on Nepal’s fragile relationship with India. ‘India has always wished for Nepal to remain dependent on it,’ writes Thapa, who served as Nepal’s ambassador to India and later in the Eminent Persons Group &nbsp;on Indo-Nepal relations that has been allowed to languish. The book has several insights into the Indo-Nepal trysts with diplomacy and agency.&nbsp; China’s role is also recorded, viewed through conversations during a visit to Beijing, but all that was before Nepal’s neighbour to the north emerged as a world economic and military power. The book also has such sudden instances of quirkiness and humour. For instance, we see a young Thapa in America explaining to a government official why he would like to return to Nepal instead of settling down in the US. “Because, Nepal is beautiful,” he said. The text is immaculate and does not read much like a translation, credit for which clearly goes to the team that put the edition together: translator Prawin Adhikari, &nbsp;Anagha Neelakanthan and Bhekh Thapa’s daughter, Manjushree. As Nepal enters a new era of governance and diplomacy, A Life in Public Service: Nepal from Autocracy to Democracy should be essential reading for students of political science, economics and foreign affairs who can gain a fresh perspective on the country’s trajectory.&nbsp; There are dozens of forgotten state secrets recorded in the book, but the reader must also remember this is a story told from one person’s perspective and there may be others.&nbsp; So, what really made Thapa the diplomat he was? I met him in 2004 at the Kantipur TV studio when he was serving as king Gyanendra’s foreign minister. He was there for a studio interview, and I was just done with my English newscast.&nbsp; He surprised me at the door: “Pratibha! I’ve been reading your articles in The Kathmandu Post. You must keep writing.” I thanked him, glad to have been noticed for my work by a stranger. That was perhaps one of the things that set Thapa apart — he excelled at staying close to those in power, while also noticing those who were not.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260412040412_213e706136a038ec9f5e2b8c6d7f7c1e9ceed9479e22fe2884872ad7bd20955f.jpg" data-media-id="editor_1" data-image-id="20260412040412_213e706136a038ec9f5e2b8c6d7f7c1e9ceed9479e22fe2884872ad7bd20955f" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Book details"> </figure>

Pratibha Tuladhar

How to win friends and influence nations

Once a quiet niche in Nepal’s art world, abstract works are gathering a certain following. Art aficionados and collectors have embraced the freedom this art form provides, making the canvas a compelling, unfiltered space for expression and raw energy. Nepal’s transition into modernism and abstract art began in the mid-1900s as the country opened to the world. The pioneer was Lain Singh Bangdel who was exposed to the modern European school while studying in Paris in the 1950s. It was Bangdel who infused abstract styles to modern Nepali art and inspired generations of new talent.&nbsp; Fast forward 65 years. For the first time, 26 abstract Nepali artists are coming together for an extravaganza at Taragaon Next titled ‘Forms of Abstraction’. The exhibition brings the works of Kiran Manandhar, Sangee Shrestha, Sushma Rajbhandari, Bidhata KC, NB Gurung, Jeevan Rajopadhyay, Laya Mainali, Nabendra Limbu, among others.&nbsp; The exhibition explores themes such as motion, emotion, nature, architecture, geometry and culture, but always melding culture and heritage into modern visual themes. “Unlike purely formalist approaches, abstraction often emerges from cultural memory, spiritual philosophy, and lived environments,” explains Roshan Mishra, curator and director at Taragaon Next. “Even in its most non-representational forms, Nepali abstraction retains a connection to tradition by transforming rather than abandoning earlier ways of seeing and making.” The exhibition is supported by the Saraf Foundation for Himalayan Traditions and Culture and also acknowledges the contribution of late artists who helped shape the abstract art scene in modern Nepal.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260408150412_7e9a11ca89bffbb071ea9873a599f51de49ef83ab51893002815f7ac8bef3c47.jpg" data-media-id="editor_0" data-image-id="20260408150412_7e9a11ca89bffbb071ea9873a599f51de49ef83ab51893002815f7ac8bef3c47" data-rendition-name="original" width="1000" height="1024" loading="lazy" alt="Mainstreaming abstract art NT"> </figure>  The exhibition foregrounds abstraction not as a departure, but as a continuum, an evolving language shaped through time, practice, and context. The artworks presented include mixed media, acrylic on canvases and water colour on paper. Jeevan Rajopadhyay has been working with abstract art for 20 years, and his work is distinguished by the vibrant use of colour and fluid forms, often evoking a sense of movement and harmony for viewers.&nbsp; “Abstract art exists beyond what is seen by human eyes ti evoke feelings and emotions,” says Rajopadhyay.&nbsp; Nabendra Limbu’s Samaahit highlights years of deep exploration into abstraction, displaying an emotional interplay of colour and form. “I explore rhythm, repetition, and space, where colour and form engage in an emotional dialogue, unfolding contemplation, movement, and what exists beyond perception,” he explains.&nbsp; But because abstract art resonates at an emotional rather than rational level, the paintings cannot be explained in words. Artists use expressionism precisely because its message exists in a different dimension from language. Laya Mainali has been painting in the abstract for 40 years has two works titled ‘Antaskaran’ and ‘Creation’ on display, both of which come with distinct colour palettes and shapes. He says: “Abstract art is an expression, a mixture of colours and a medium through which feelings can be poured out.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260408150412_1852cac9fd9a2d392a11986dd68dbe88e13ccb4c80e618bbabde32f15796171f.jpg" data-media-id="editor_1" data-image-id="20260408150412_1852cac9fd9a2d392a11986dd68dbe88e13ccb4c80e618bbabde32f15796171f" data-rendition-name="original" width="1000" height="1514" loading="lazy" alt="Mainstreaming abstract art NT"> </figure>  Kiran Manandhar’s ‘Mero Man Ka Kura’ appeals to the eye, as darker shades dominate the foreground fading away to lighter tones. Manandhar has made a name for himself as an artist of repute, and says abstract art is actually more real for him. “The communication through the combination of colours, textures and forms stimulate emotion and evoke memories and moods, and that what gives me the energy to return again and again to this art form,” he adds.&nbsp; Sushma Rajbhandari’s work also blends tradition and modernity while ‘Sacred Landscape’ by Binod Pradhan, ‘Snowy Granulation’ by NB Gurung and ‘Antardwandwa’ by Sangee Shrestha add heft to the exhibition. Forms of Abstraction can be viewed as individual works, or seen as a collective creativity in Nepali modern art. Every artwork on display spread across multiple galleries tells different stories, each speaking differently to different audiences.&nbsp; Roshan Mishra hopes the exhibition will make abstracts more accesisble: “There is minimal discussion around abstract art in Nepal. Paradoxically, the more people do not understand the paintings, the more successful the exhibition will be.” Forms of Abstraction Taragaon Next, Boudha 2 April - 24 May&nbsp; 10am-5:30pm

Mainstreaming abstract art

Emotions are an indispensable part of being human, but in the world of social media networks and the virtual world of augmented reality and AI, people are more connected digitally than they are in their real lives. This creates an emotional distance. The exhibition Antardrishti (Inner Vision) at <a href="https://www.instagram.com/thekalasalon/" target="_blank">The Kalā Salon</a> &nbsp;at the Chhaya Centre in Thames attempts to bridge that widening gap. It encourages visitors to pause, reflect and better understand themselves and their identity. Artist <a href="https://www.instagram.com/sangeeshrestha/" target="_blank">Sangee Shrestha</a>, draws viewers into her own creative world of drawings and paintings on canvases with ample use of red, black, blue, white, grey and green. Each of them features an open or closed eye, signifying the real world and not the make believe one on an Android phone. &nbsp; “One eye is closed so as to push away negative thoughts and bad omens. The other eye is open and drawn wide so as to keep our vision wide and be vigilant,” explains Shrestha, an multiple award-winning artist who has been churning out powerful works since 1993.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026040113044_2392a19f19d11d7abb90b1e880d1935c8c78e816a8636f6cf1ecf2e7409b7aa9.jpg" data-media-id="editor_2" data-image-id="2026040113044_2392a19f19d11d7abb90b1e880d1935c8c78e816a8636f6cf1ecf2e7409b7aa9" data-rendition-name="original" width="3546" height="2130" loading="lazy" alt="art review"> </figure>  Geometric figures are an important aspect of her work, and Shrestha uses them to draw various parts of the human anatomy and adornments. Hand gestures hold special significance and meaning in art which has such a spiritual aura that even viewing them feels like an act of devotion. Shrestha refrains from giving a title or a name to her works, and explains: “I deliberately put up my works without a title so that viewers can interpret my creations in their own way,” she adds. Antardrishti is a labour of love that took two years. The show also includes ceramic masks, pots and Shrestha feels that working with clay is therapeutic not just for the artist but for viewers. Each figurine radiates positivity while also offering us a glimpse of the mind that guided the fingers that shaped these forms. Curator Sophia L Pande says as much: “For this exhibition, Sangee Shrestha set herself a challenge to create multiple sets of art that complement each other in theme and vision.” One of the highlights of the exhibition is a 100m long drawing of Egyptian gods and figures from mythical folklore that Shrestha made during one of her visits to Egypt. &nbsp;“What I found interesting is that the Egyptian gods and their stories are also similar to those of our own gods and goddesses,” says Shrestha.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026040113044_ade8452161b3831e1eacf3f489c7d3ae9d5899a93958d0b24f77e1d726dd2168.jpg" data-media-id="editor_3" data-image-id="2026040113044_ade8452161b3831e1eacf3f489c7d3ae9d5899a93958d0b24f77e1d726dd2168" data-rendition-name="original" width="4032" height="2866" loading="lazy" alt="art review"> </figure>  The death of her mother three years ago changed the trajectory and content of her work, transforming the way she looked at the world and its transience. She was not confident about her own creative process anymore and started a journey to find her own identity and started pouring her thoughts into canvases While many of her works during this phase featured red, black and other dark colours, one was that of white butterflies flying out from a box, symbolising freedom and inner peace. And somehow they all force us to contemplate impermanence. The focal point of the exhibition is a series of devi goddesses as four separate artworks in a composite in grey, black and a dash of yellow. The use of dull colours signifies the clouds of thoughts, Shrestha says.&nbsp; The painting also includes three stages of a flower in a single branch: the bud, a half-open blossom and a flower with fully unfurled petals. “They depict different stages of human life -- childhood, youth and old age,” explains Shrestha. Also on exhibit are sculptures on metal pieces which reflect spirituality and religion. Climate change is another theme depicted in the melting of the Himalaya. Shrestha tells us: “I wanted my creations to be seen as more than just aesthetically pleasing. But to impart the message to make the best of what as we live our lives.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026040113044_6e38db8d89ae52ea47be66560c1ef6900e00b1196afa2a50c440aa9b534959e9.jpg" data-media-id="editor_4" data-image-id="2026040113044_6e38db8d89ae52ea47be66560c1ef6900e00b1196afa2a50c440aa9b534959e9" data-rendition-name="original" width="3139" height="2324" loading="lazy" alt="art review"> </figure>  Antardrishti by Sangee Shrestha <a href="https://www.instagram.com/thekalasalon/" target="_blank">The Kalā Salon</a>,&nbsp; Chhaya Center, Thamel Until 11 April 11 am-5pm

Artist explores her inner self

Along with the Sherpa community, it is perhaps Kathmandu Valley’s Newāh Civilization that has been the most studied by anthropologists, architects, historians and social scientists.&nbsp; Tomes have been written about the built environment of the Valley’s former kingdoms, the influence of Indian culture, and how it in turn inspired the temples, monasteries and monuments in Tibet, through China right up to Korea and Japan. Lately, there has also been an attempt to recognise and preserve not just the brick and mortar landscape of Kathmandu, but also the intangible heritage of the Newāh people. A critical component of the ancient festivals in the streets, alleys and baha of the inner cities are ritual plays and dance. Gérard Toffin is a social anthropologist with the Centre d’Etudes Himalayennes at the Centre National de la Recherche Scientifique (CNRS) in France, and has been researching in the region since the early 1970s, focusing on Newāh society and especially its Jyapu farmers. Lately, his work has focused on indigenous theatrical performances, and how they are evolving with modern influences.&nbsp; RECORDING RITUALS The result of his study is this hefty ethnographic book, Newar Theatrical Performances: Religious, Royal and Comic Aspects, delving into sacred performances. This is the first-ever detailed documentation of the minutest aspects of traditional plays and holy ceremonies of Kathmandu Valley. This book is not for the package tourist on a quick walkabout of Patan, the details and terminology can be daunting even for natives to navigate. But this is what social science research is supposed to do – take a deep dive into cultures that we take for granted either because we are a part of it, or because we have never bothered to find out its meaning.&nbsp; Dance forms with mythological themes, masked processions, gestures, facial expressions of the performers, have all been passed down from one generation to the next, adhering to age-old codes. The world is moving at an accelerated pace because of TikTok-induced globalised connectivity, but traditional gender or caste dynamics and hierarchies are carried over intact in many of these performances. It is as if traditional theatre itself is a time capsule giving us a peep into the past. Some of the performances and dance are in danger of going extinct as the population ages and the young migrate out. However, there has been a cultural renaissance among the Newāh guthi overseeing these ritual plays, dances, or chariot processions. The next generation of apprentices are being trained. This pride in heritage means that Kathmandu Valley civilization is not as endangered as it may appear.&nbsp; Gérard Toffin’s book is an important ethnographic work that will help preserve the Nepal Valley’s unique blend of urban-rural, cosmopolitan-agricultural, Hindu-Buddhist, indigenous-national. The Tantric choreography of Newāh theatre, just as the kama sutra depictions on erotic temple art, show Indian influence, but Toffin says they have been ‘Newarized’.&nbsp; One example is the sexually-explicit shadow play staged every year since 1690 CE by Jhyalcha Guthi in Patan that exposes the infidelity of King Yog Narendra Malla. Toffin devotes a whole last section of his book to irreverent plays (khyalah) that ridiculed the rich and powerful, the royals and upper castes and their shenanigans.&nbsp; He examines the importance of comic relief at a time when death was ever-present in historic Kathmandu with its frequent epidemics. One cholera outbreak in 1885 is estimated to have killed 10,000 people – a fifth of Kathmandu’s population at the time.&nbsp; The Saparu festival in Kathmandu and Mataya in Patan memorialised through street processions those who had died the previous year – and this was institutionalised into Gai Jatra by King Pratap Malla in the 17th century to console his queen after their second son was killed by an elephant. Families were asked to file past the palace to show the queen that she was not the only one grieving.&nbsp; Pratap Malla also allowed clowns, burlesque plays, and satirists to make the queen laugh. The Rana and Shah regimes which suppressed free speech continued the Gai Jatra tradition to allow citizens to let off steam. Rulers were lampooned, and the performances involved scatological jokes, cross-dressing and lewd acts.&nbsp; Interestingly, the Nepal Bhasa word ‘pyakha’ means both ‘dance’ and ‘theatre’ (today also ‘cinema’, as Toffin notes) and so the performances were also a combination of ritual dance, traditional music and a stage play. Stories involve gods, goddesses and mythological characters, and are passed down through generations of performers. (See adjoining article on Pāhāñ Charey.) Street performances by masked dancers, like in the ‘Katti Pyakha’ in Patan, enact divine themes. The moving deities demand as much reverence as their static idols in the inner sanctum of temples. The book devotes a whole section to the importance of cultic masked dances where the performer is possessed by the spirit, and goes into a trembling trance.&nbsp; Some of this is now simplified and secularised into performances for tourists in hotels, but the genuine original masked dance troupes still parade down the streets, proving that ancient and modern are made to co-evolve in ways that only Kathmandu knows how.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260329140352_aace3ece2e2cc577aa478d83de4b34930e6ff9c088d5f5e3f02fa178d124a60d.jpg" data-media-id="editor_0" data-image-id="20260329140352_aace3ece2e2cc577aa478d83de4b34930e6ff9c088d5f5e3f02fa178d124a60d" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Newa theatre book details NT"> </figure>

Kunda Dixit

All the world’s a stage in Kathmandu

The sense of sight is front, centre, and everywhere else as hundreds of eyes follow visitors while they move from one painting to the next at Nikhil Bahadur Shakya’s ongoing exhibition at Siddhartha Art Gallery. Shakya has used blank canvases as well as partially-done thangka and paintings as a base for more than 50 works on display. The exhibit takes visitors beyond the physical world into a surreal spiritual realm. Shakya strips the human body down to muscle, tendon, networks of nerves, and skeleton. But all the while, eyes are a constant presence.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031708034_dddbfedc57433dc528fbf032642abea4ee67e63875091b06a7804cecdc7716cf.jpg" data-media-id="editor_0" data-image-id="2026031708034_dddbfedc57433dc528fbf032642abea4ee67e63875091b06a7804cecdc7716cf" data-rendition-name="original" width="1080" height="720" loading="lazy" alt="Nikhil Bahadur Shakya"> <figcaption>Artist Nikhil Bahadur Shakya with a visitor.</figcaption> </figure>  The central theme is self-reflection and the journey from one’s outward to inward self, and the works offer a glimpse into the artist’s world of mindfulness.&nbsp; Shakya grew up watching his artisan grandfather design jewellery, which he says cultivated in him an interest for art. During the Covid-19 pandemic, confronted by the fragility of life and the stark reality of death, his art took an introspective turn. The paintings have splashes of neon yellow, pink, red, orange, green, and gold, and Shakya combines them with black and white to create the human body, sunflowers, geometrical shapes, and the cosmos — turning these motifs into elements of devotion and spirituality. In Wheel of Life, Shakya adds to an incomplete thangka, contrasting traditional Buddhist devotional imagery with contemporary mosaic art to create a demon holding on to a wheel with a yin and yang symbol.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031708034_f2a8e10c73aa83a67e5de06a3f0acff9aa35c1cda278b36fed76ed03e71a7014.jpg" data-media-id="editor_1" data-image-id="2026031708034_f2a8e10c73aa83a67e5de06a3f0acff9aa35c1cda278b36fed76ed03e71a7014" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nikhil Bahadur Shakya"> <figcaption>Wheel of Life (centre)</figcaption> </figure>  “I wanted to reflect the elements of life and the balance of good and bad in this painting,” explains Shakya. “I took a lot of time to complete this particular piece, but it felt as though my vision flowed out of the brush onto the canvas.” The neon colours used means that visitors can see his artwork under blue light as well, giving viewers a chance to look at a single artwork from two different perspectives. His Sunflower series draws from a field of blossoms, and the eyes stare back at visitors in an almost-hypnotic gaze. In An Ancestral Visit, Shakya goes transcendental to depict the connection of living beings to their forebears.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031708038_0fbe465b3af872d04f699030ba093d97aad182221730aef535dbf7d059fb57cf.jpg" data-media-id="editor_2" data-image-id="2026031708038_0fbe465b3af872d04f699030ba093d97aad182221730aef535dbf7d059fb57cf" data-rendition-name="original" width="1500" height="1431" loading="lazy" alt="sunflower painting"> </figure>  “In my father’s last days, he was unwell and often unable to eat, it left his body very frail,” explains Shakya. “An Ancestral Visit was inspired by a dream in which I saw my father as his former healthy self. That dream made me feel deeply connected to my ancestors.” In another one of his works titled Devotion, a woman prays to a Shivalinga against a background of red-and-white stripes, which was inspired by the tradition of women being at the forefront during religious and spiritual ceremonies.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031708038_75e30a4fd339257fbc108e3a326f732fd33d25af0428add0d305b8b7824c558c.jpg" data-media-id="editor_3" data-image-id="2026031708038_75e30a4fd339257fbc108e3a326f732fd33d25af0428add0d305b8b7824c558c" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="devotion"> <figcaption>Devotion</figcaption> </figure>  In Sunyata, which shows a skeletal figure meditating as they are surrounded by flames, Shakya captures the chaos of the outside world with peace of the inner self. Shakya was compelled to create Sunyata when he saw a monk, his body thin and face gaunt, meditating peacefully. “Many viewers might find the painting frightening, but when they take it home, I think it will give them strength whenever they feel like they need it,” says Shakya. The exhibit also includes a gigantic painting of Masan Bhairav spread across two canvases, capturing the majesty of the original work housed at Banepa’s Chandeswori Temple. Shakya met the artist who painted it, and asked to reproduce it.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031708034_0216eac587827b02982f5addbd67c6f852fd7f9f47b477267ea7430d5f862a9b.jpg" data-media-id="editor_4" data-image-id="2026031708034_0216eac587827b02982f5addbd67c6f852fd7f9f47b477267ea7430d5f862a9b" data-rendition-name="original" width="1500" height="1030" loading="lazy" alt="art review"> </figure>  Geometric figures are another recurring motif on Shakya’s creations, which he says were inspired by mathematics textbooks from his school days. He says, “Art channels the strength of our minds and brings about change in our lives. My paintings reflect the fact that we are all made up of some madness, magic, and love.” Journey to a Visionary Artworld by Nikhil Bahadur Shakya Siddhartha Art Gallery, Baber Mahal Till 6 April 11AM-5PM

In the mind's eye

I was a new mother trying to protect my young family from Covid in 2020, and that was when I first noticed Jacinda Ardern’s leadership. Our own prime minister was spreading misinformation about the strong immune system of Nepalis and our herbal concoctions being antidotes.&nbsp; Later in 2024, Ardern showed up after the mass shooting at mosques in New Zealand with tears in her eyes, and the strong message: “They are us.” It was refreshing to see such empathetic leadership, especially as political news was dominated by elected authoritarians, while Nepal was held hostage by repeat prime ministers.&nbsp; Ardern’s book A Different Kind of Leadership should be essential reading for all Nepalis with political aspirations, especially the new generation that wants real change. The theme that repeats throughout the book is to be human before becoming a politician.&nbsp; The book is not just about Ardern showing up for her people as one of them, it is also about why she decided to show up the way she did, and what brought her to politics to begin with — resolve, a little bit of luck, and stepping up when she had to.&nbsp; Political ambition is not a bad thing. But stepping up to lead when the situation demands it, and knowing when it is time to leave, is what makes a leader. Ardern was given the opportunity to become her party’s deputy leader at a relatively young age, and her party leader resigned — two events uncommon in Nepali politics. Ardern mentions multiple times not thinking of herself as politician material because she has a thin skin, and she talks equally often of her feelings of being intimidated in political spaces, up until she accepted the position of party leader.&nbsp; But she was accountable at a time when we in Nepal were getting used to non-reactions and non-answers from the loud, confident men who played with power. Somehow, somewhere, not least because of the malestream ideas we have been fed about politics and politicians, we imagine that leadership should look a certain way. Strong, macho, loud, confident or even better, overconfident. We imagine that empathetic leadership is soft, is scared to make people angry, is ineffective.&nbsp; LOOKING AFTER PEOPLE Ardern’s leadership was effective. New Zealand had less Covid fatalities than most developed countries, and it went in and out of lockdown with relative ease. Ardern’s approval ratings were high at a very unstable time in politics globally. A significant portion of the chapters that talk about Ardern’s time in office also delve into her struggles being a working mother. But she does not consider herself a supermom who did it all. She portrays herself as simply a working mom, one with lots of support, and discusses how common it is for parents, especially mothers, to juggle work and family. She comes across as one of us. There is a section in the book where Ardern’s daughter asks her the question she has been dreading, and which many of us working moms also face, “Mummy, why do you have to work so much?” Ardern explains that she has a “very important job” and explains it to her three-and-half-year-old as “looking after people”.&nbsp; I put down the book when I reached that sentence. I want the next prime minister of my country to read this book, and then lead. I want the next prime minister of Nepal to think that he (all the top contenders for the job are men, page 9) is looking after people, making sure no Nepali child is undernourished, that people can make a living without risking their lives, hearing the concerns of citizens and solving them.&nbsp; I want him to lead like a woman, like Sushila Karki has been leading for the last six months, with quiet determination and integrity, and without fanfare. I want him to remember that leadership is just service, and that, like Maya Angelou wrote, ‘Your legacy is what you do every day.’ It is not loud speeches and the making of some imagined, glorified history. Karki was picked to lead us back during the black days of early September when the country was in flames. The very first video of her on 9 September, the day after young people and students had been shot by the government that was meant to protect them shows her angry and emotional, her voice shaking.&nbsp; It was Karki’s actions in those days of fragility that showed us, once again, that the leader we deserve gets emotional on our behalf, but also knows how to do the work. After five years of leading her country through a global pandemic, Ardern realised that she is exhausted, that she does not have enough in her anymore to keep leading New Zealand, and she steps down.&nbsp; Towards the end of the book, Ardern tells readers like herself, sensitive and self-doubting, that if we want to be leaders, we should channel our anxieties and sensitivities to humble ourselves, to read more and seek out advice, and prepare ourselves for the challenges. Nepal’s next prime minister has to have these qualities: humility, teamwork, diligence and accountability. Good intention, ambition, university degrees, professional achievements are not enough to change the country’s trajectory.&nbsp; And when they have completed the task, or when they know they cannot do it they must have the courage to step down like Jacinda Ardern.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260308010340_b1c2a873eb640e3f10ab912c368dc9271f12f60d600bf8d5db5d2c13422a317c.jpg" data-media-id="editor_0" data-image-id="20260308010340_b1c2a873eb640e3f10ab912c368dc9271f12f60d600bf8d5db5d2c13422a317c" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Jacinda book details"> </figure>  &nbsp;

Ending Nepal’s malestream politics

If you did not watch the understated movie उनको स्विटर / (The Woolen Sweater) after it was released in May last year, you missed a major turning point in Nepali cinema. Much-hyped films fall short of expectations, but here is an exquisitely acted and directed production with a strong underlying message of tolerance. What a contrast from formulaic melodramatic Kollywood fare — a love story so simple, cinematography so subtle in capturing the beauty of the monsoon on mountain pastures, and a background folk song accompaniment that evokes the flavour and tenor of multi-ethnic eastern Nepal. Since its release, Unko Sweater received praise in Nepal, but it was in multiplexes across Nepaliphone India where the movie became a rage. Positive reviews spread by word of mouth on social media, where the script, performance and camera work were praised for reflecting a genuine and unsullied rural Nepal. The movie is a layered portrayal of caste, ethnicity, gender and culture with the tender romance between the shy Dharanidhar Kafle (Bipin Karki) and Phool Gurung (Miruna Magar) in which the two, despite being soulmates, have to deal with societal norms and gossip. They do this without rebelling, in their own quiet way. In the first scene in a crowded jeep, people are seen discussing an election. An elderly greying Kafle is headed home, and the rest of the movie has back and forth flashbacks revealing the story of his unspoken affection for Phool. But there is an undercurrent of ethnic rigidity. When Kafle’s brother Dambar elopes with Iksha Limbu, the repercussions are borne by both families. Then Kafle’s uncle is banished for being an outcast.&nbsp; Miruna Magar as Phool, as an ebullient woman, is in contrast to the introverted Kafle, who does not say much but has a melodious singing voice. As the plot thickens, Kafle is shown to be bound by circumstances that pose obstacles to his love for Phool. The storyline delicately shows how life and situations constantly force people to shift direction. Despite underlying differences, the various castes and ethnicities in this fictitious village near the Sikkim border get along because they have to. There is an interdependence between highland farmers and other ethnicities living down the valley that is at the heart of Nepal’s ethnic harmony. Despite taboos about interethnic and intercaste relationships, people still have trust and faith amongst each other. There is no time reference to the story, but it does speak of a nostalgic era decades ago when rural Nepal was not yet connected by roads and phones, when people had no choice but to get along. Things have changed now with outmigration, and education has blurred ethnic lines. A QUIET LOVE Director Nabin Chauhan is not in your face with his message, giving viewers a hint of deep rooted traditional values that still govern society. Each character adds to the storyline, validating the way they behave, pushing the plot forward.&nbsp; There are many emotions that are intricately woven into the plot, and the most prominent, of course, is love. Not the showy, lustful way it is shown in flamboyant formula films, but a quiet bond that does not need words, a silence, a glance and a gesture conveying the universe of love. When Phool asks Kafle what he will do if they cannot be together, he says he will build her a house with a beautiful garden of flowers in the meadows where he herds livestock. He builds it awaiting her return, while Phool knits him a sweater, the symbol of their interwoven love. In screenings of the film in Nepal and India, there has not been a dry eye in the audience. The background score and music by Kobid Bazra and the powerful rendition by Jhuma Limbu of the ‘Kafle’ strike a strong chord. The cinematography by Chintan Rajbhandari does not glamourise Nepal’s rural landscape, it is shown in its raw misty beauty as a constant backdrop. The viewer is uplifted by the notion that love transcends social restrictions and orthodoxies.&nbsp; The ending is left deliberately unfinished, possibly to make way for a sequel which we can only hope will be as compelling as उनको स्विटर. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260301060348_42480e8b6934c9a5c518c44c2970748b341bbbf290c2b303b6aa6359d883567b.jpg" data-media-id="editor_0" data-image-id="20260301060348_42480e8b6934c9a5c518c44c2970748b341bbbf290c2b303b6aa6359d883567b" data-rendition-name="original" width="1280" height="560" loading="lazy" alt="Unko Sweater"> </figure>  उनको स्विटर / (The Woolen Sweater) Artmandu Nepal, 2025 Directed by Nabin Chauhan 145 minutes Available now on YouTube <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/lCgtmgiII7M?si=MirwKOwKmxE3jLS6" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>

Now for something completely different

After his critically acclaimed 2023 book of essays सुन्यताको मुल्य on the state of women and children in the <a href="https://nepalitimes.com/banner/the-karnali">Karnali</a>, paediatrician and writer Nawaraj KC has come out with a next one, Swasparsh. The new book is almost a sequel to the first one, with real-life stories drawn from his medical practice and social engagement. Both are powerful accounts of suffering, resilience, and the search for human dignity in Nepal’s most remote and underserved districts. The book opens with deeply disturbing yet real incidents of the suicide of a Grade 2 student. A &nbsp;frantic mother rushes in with a son who had already written a suicide note but was saved at the last moment. There is a desperate call from a young woman threatening to jump into the Karnali River.&nbsp; We meet children carrying immense trauma: a toddler who refuses to eat after losing her mother, and another child who stops speaking after experiencing sexual abuse within the family. The emotional climax comes when KC himself falls into depression after being violently attacked by a drug addict patient, leaving him with a serious head injury.&nbsp; But this is not a book of only sad stories of deprivation and poverty. It is how people who find themselves in the worst circumstances struggle to overcome what life has thrown their way, and triumph in the end. By just surviving against all odds, people emerge stronger, often with a renewed commitment to helping others. As a paediatrician working out of his native Surkhet in Karnali Province, KC's work brings him face-to-face with the human side of what a centralised government’s neglect and apathy can do to communities in <a href="https://nepalitimes.com/banner/no-dasain-in-kalikot">Nepal’s most far-flung region</a>. KC shows empathy not just to human beings in trouble, but also animals and underlines the importance of coexisting with the natural world. By helping others individuals ultimately help themselves. Although a paediatrician by profession, KC demonstrates a deep understanding of structural oppression, gender discrimination, caste hierarchy, class inequality, and regional marginalisation within the Nepali state.&nbsp; He also captures moments of tenderness, such as young couples supporting one another through hardship. How poverty can drive families to take heartbreaking decisions — like a patient forced to discontinue life-saving medicine in order to qualify for disability allowances needed to repay debt.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260217030252_ffd67815063cffe51a0310f10405a554f6094ba05564993f34086fe4b31543f6.jpg" data-media-id="editor_2" data-image-id="20260217030252_ffd67815063cffe51a0310f10405a554f6094ba05564993f34086fe4b31543f6" data-rendition-name="original" width="1646" height="2048" loading="lazy" alt="Swasparsha"> </figure>  A former teacher is forced to beg despite receiving treatment, exposing the failure of conventional development models that ignore sustainable livelihoods.&nbsp; Then there are inspirational stories like the one of Mandire, who ran away at age 12 to work as a labourer in India, suffered severe burns while unloading coal, and lost a hand. Despite this, his infectious smile and fortitude transformed him into a local symbol of hope both in India and Nepal.&nbsp; Even in old age, he is always smiling and helping others less fortunate.&nbsp; Through Mandire’s story, KC explores the science of the healing power of a smile, the positive psychology of a ‘mental gymnasium’ in which optimism is cultivated through conscious practice.&nbsp; For example, a young girl from the historically marginalised Badi community which faces deep social exclusion refuses to accept her circumstances, and grows into an advocate for other disadvantaged children. A devoted foster mother dedicates her life to raising orphans, empowering them despite her own hardships. One of the book’s strengths lies in its accessibility. In Nepali language, KC blends science, philosophy, and lived experience into everyday language that resonates with villagers and ordinary readers. He comes across not only as a doctor and healer, but also as a teacher, nature lover, and social activist. He tries to introduce greenery to a remote school, and how this transformed children’s learning experience. He reflects that his patients are his greatest teachers helping to expand knowledge beyond medicine and technology into the realms of humanity and ethics. I read Swasparsh after witnessing the recent GenZ movement. The book’s recurring calls to youth, appearing at the end of several chapters, has special relevance today. KC reminds young readers that hardship is part of everyday life, but within struggle lies the potential for healing and growth.&nbsp; He encourages self-reflection, self-healing, and cultivating a positive mindset. Above all, he asserts that humanity’s greatest gift is its own human capacity henceforth solutions to all problems lie within oneselves rather than outside forces. The GenZ movement represents an urban youth revolt against traditional political parties and state institutions that have failed to deliver opportunities and accountability. Rising unemployment, widespread corruption, and frustration with stagnant governance have fuelled demands for new political alternatives.&nbsp; With the 5 March election less than three weeks away, many young people hope that new forces will be capable of bringing systemic change. Yet whether these forces can truly meet their aspirations remains uncertain. Established political actors are reluctant to relinquish power, while emerging groups often lack organisational depth and historical experience. In many ways, these new political actors resemble the people of Karnali: resource-poor, And in the periphery of power, yet rich in commitment and determination. Drawing from Buddhist teachings that recognise suffering, understanding its causes, and seeking pathways to overcome it, KC indirectly inspires today’s youth. Every problem contains the seeds of its own solution, provided we learn to know ourselves, care for ourselves, and care for others. Ultimately, the title Swasparsh means self-healing, self-reflection, and self-confidence. At a time of political uncertainty and generational change, this book speaks directly to Nepal’s younger and the emerging alternative forces — reminding them that transformation begins from within.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026021704020_1d2a855730bc14acbea596cce7b3a00b20f85c79c3a7d8ca46274a15eb642f59.jpg" data-media-id="editor_3" data-image-id="2026021704020_1d2a855730bc14acbea596cce7b3a00b20f85c79c3a7d8ca46274a15eb642f59" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Swasparsha"> </figure>  Hisila Yami served as CA member, Minister of Physical Planning &amp; Works, Minister of Tourism &amp; Minister of Land Reform. At present, she is a member of Central Political Council in Pragatishil Loktantrik Party and is a lecturer in IOE Pulchok.

Essays on self-realisation and self-healing

One aspect of colonial cartography of South Asia leaps out in this must-see exhibition – while the coastline of India, Ceylon, Burma are extraordinarily accurate in maps made more than 200 years ago, the Himalayan hinterland is wholly approximate and inexact. The accuracy improves as modern survey techniques are introduced by atlas-makers, but even then formidable terrain and forbidden lands thwart precision. Map aficionados will be fascinated by the 40 antique maps from The Rajbhandari Collection on display at the exhibition ‘Imaging South Asia: Nepal in the Making at Kathmandu Art Gallery’ at Baber Mahal Revisited from 13 February - 17 March.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_0cbeb88674a97c6292e2b43b2135df219257ca641cbd4723e9aabf5541c2b258.jpg" data-media-id="editor_0" data-image-id="20260211090252_0cbeb88674a97c6292e2b43b2135df219257ca641cbd4723e9aabf5541c2b258" data-rendition-name="original" width="4160" height="3485" loading="lazy" alt="Map Land NT"> </figure>  The first maps were made on clay tablets and cave paintings, but maps improved with Chinese maritime charts of Southeast Asia and beyond. Nautical maps created during the European Age of Exploration used geometry, latitude and longitude. Competition for colonial riches rested on the accuracy of these maps. The Portuguese had the lead in the 15th century, but were soon overtaken by the Spanish with Columbus voyaging to India but landing up in the Americas.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_1fb21d20cf29b408119f5279ce666e73dee089356e52277d753a27e3440364eb.jpg" data-media-id="editor_1" data-image-id="20260211090252_1fb21d20cf29b408119f5279ce666e73dee089356e52277d753a27e3440364eb" data-rendition-name="original" width="4030" height="3407" loading="lazy" alt="Map Land NT"> </figure>  European mapping of the coastline of peninsular India &nbsp;began after Vasco de Gama sailed around the Horn of Africa to arrive at what is now Kerala in 1498. The British and French struggled for control of India, and the Carnatic Wars of the 19th century were extensions of their rivalry in Europe.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_0fb0969dc3e07c5a77123b4aa5eb0f11d2ffea73c108077f7e4d1892d6bd4bb6.jpg" data-media-id="editor_2" data-image-id="20260211090252_0fb0969dc3e07c5a77123b4aa5eb0f11d2ffea73c108077f7e4d1892d6bd4bb6" data-rendition-name="original" width="2842" height="4160" loading="lazy" alt="Map Land NT"> </figure>  While most of the maps at this exhibition were commissioned by the East India Company and the Survey of India, there are quite a few made by Parisian cartographers and feature Pondicherry and the Danish trading outpost at Tranquebar. Followed chronologically, the maps show improvements in cartographic techniques. The earliest French map L’Inde of J D Barbié du Bocage from 1760 is a copper engraving with hand painted colours demarcating boundaries. ‘Napaul’, ‘Gorka’ and ‘Catmando’ are depicted. The rivers of India are precisely drawn, as is the Brahmaputra (Yarou Tsanpou) even though locations across the rest of Tibet are rough estimates.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_486dc1b12f391550516be164f27170d4702a69b5125c1b8c4b10f76fdae4c0b1.jpg" data-media-id="editor_3" data-image-id="20260211090252_486dc1b12f391550516be164f27170d4702a69b5125c1b8c4b10f76fdae4c0b1" data-rendition-name="original" width="1675" height="604" loading="lazy" alt="Map Land NT"> </figure>  The 1781 map Carte des Indes en deçà et au-delà du Gange of Rigobert Bonne has slightly more detail about Nepal with even ‘Pattan’ and ‘Bagmally’ river marked. William Darton’s 1802 map has ‘Nogarcot’ and ‘Mocaumpour’ wrongly placed to the east of the valley of ‘Napaul’. Samuel Arrowsmith’s 1828 map ‘India and the Birman Empire’ has Nepal’s rough boundaries demarcated for the first time within a hand-coloured green border, with the mountain ‘Dholagiri’ and ‘Dhunchi’ appearing for the first time. The 1835 map by Boston-based American cartographer Thomas Bradford has a more precise ‘Burrampooter’ river with ‘Sgigatoe’, ‘Lassa’ and ‘Bootan’ marked. In Nepal, ‘Batgan’, ‘Macwampour’ and ‘Lelit Pattan’ appear near ‘Catmandu’.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_5509c8e043a74b3e34e399c0684ca8eef7fc79953ee0dd18aedc738e8189d552.jpg" data-media-id="editor_4" data-image-id="20260211090252_5509c8e043a74b3e34e399c0684ca8eef7fc79953ee0dd18aedc738e8189d552" data-rendition-name="original" width="4094" height="3646" loading="lazy" alt="Map Land NT"> </figure>  One striking landmark appears consistently through a century of map-making from 1760 onwards, and that is the sacred Yamdrok Tso near Lhasa. It is precisely located, although it is drawn as a circular lake called ‘Jamdro or Palto Lake’ till J Bartholomew’s lithographic map in 1893 Constable’s Hand Atlas of India. Bartholomew’s map is also where ‘Mt Everest’ appears for the first time with its altitude ’29,002ft’ after Peak XV was calculated to be the highest mountain in the world by the Survey of India. Meanwhile, ‘Kinchinjunga’ appears in some of the earlier maps from the mid-1800s, north of ‘Dorjeloo’. The maps did not only have locations of towns, rivers and mountains but also other interesting facts about places. History buffs will find much to pore over in these maps.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_8280c979b175946a2ac29e22b7a2b2427f7f36f22093c3456524f1f529311498.jpg" data-media-id="editor_5" data-image-id="20260211090252_8280c979b175946a2ac29e22b7a2b2427f7f36f22093c3456524f1f529311498" data-rendition-name="original" width="4160" height="2762" loading="lazy" alt="Map Land NT"> </figure>  Many have sites of major British battles while conquering India. The ‘British India’ map by J Rapkin has dates and times of the ‘Principle Massacres’ during the Indian Mutiny of 1857. The map also shows India’s growing railway network with completed lines and those ‘in progress’. Narrow gauge lines can be seen in successive maps snaking up to the Nepal border to haul sal logs for sleepers for India’s expanding railway network. Many maps were drawn by British military intelligence. One even has the Kuti route of the Nepal Army while invading Tibet in 1791, and the Chinese Army’s advance in hot pursuit through Kerung to Nuwakot.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_a41ff6a7453f95d1e83c12ed3f831911d65ebd4d2389e0e3b774252dfa037132.jpg" data-media-id="editor_6" data-image-id="20260211090252_a41ff6a7453f95d1e83c12ed3f831911d65ebd4d2389e0e3b774252dfa037132" data-rendition-name="original" width="1173" height="679" loading="lazy" alt="Map Land NT"> </figure>  Pre-1857 maps show the western Tarai as a part of British India, but in later ones the Naya Muluk districts of Banke, Bardia, Kailali and Kanchanpur have reverted back to Nepal. The maps clearly mark Nepal as an independent nation, and represent it differently from Indian princely states. The Atlas of India of 1846 shows the ‘Dominion of the King of Nepal’.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_52132146d9ee8b922560b98e90d866149715d7f53ced408b5f3af8f3b142a07b.jpg" data-media-id="editor_7" data-image-id="20260211090252_52132146d9ee8b922560b98e90d866149715d7f53ced408b5f3af8f3b142a07b" data-rendition-name="original" width="4149" height="3682" loading="lazy" alt="Map Land NT"> </figure>  Visitors will be curious about Nepal's claim to Limpiyadhura and Lipu Lek. A map by Mason &amp; Payne from 1846 clearly shows the ‘Kallee River’ as being the border between Nepal and British India, with Kalapni within Nepal. The Lipu Gad tributary (which India claims is the border) is not marked. Some other maps, however, seem to show the border not following the Kali river to Limpiyadhura but the tributary up to Lipu Lek.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026021112024_9a1b6055a9fbecca7b64c3882c205efb336aac03e64ecf43a2044cb079cd699f.jpg" data-media-id="editor_8" data-image-id="2026021112024_9a1b6055a9fbecca7b64c3882c205efb336aac03e64ecf43a2044cb079cd699f" data-rendition-name="original" width="875" height="1215" loading="lazy" alt="Map Land NT"> </figure>  Imaging South Asia: Nepal in the Making&nbsp; Kathmandu Art Gallery, Baber Mahal Revisited&nbsp; 13 February – 17 March For guided walk-throughs and curatorial tours: +977 1-5318048 Panel discussions: -Cartographic Practices from the &nbsp;Gorkha Polity to the Present with Buddhi Narayan Shrestha and Kanak Mani Dixit&nbsp; Friday, 13 February, 4pm -Mapping Beyond Borders with Akhilesh Upadhyay and Amish Raj Mulmi Wednesday, 25 February, 4pm&nbsp;

Map land

This is the 91st episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab providing a platform to share experiences of living, working and studying abroad. I have still not come to terms with the reality that my daughter Ruby Thakur is now the Deputy Speaker of Nepal’s Parliament. Sometimes, when I am walking, the thought hits me, and I cannot believe it.&nbsp; Things changed for my daughter in a very short time. I had dreamt that the best my daughter could achieve was a good engineering job. Fate had bigger plans for her. She is no longer just my daughter, she is the nation’s daughter. Nepal’s daughter.&nbsp; My children’s education was always my foremost priority. That is the main reason I went overseas for employment. I realised the value of education while working in Saudi Arabia. In my office, colleagues with good education earn $8,000 per month working on computers. Those with low education toil outdoors in the heat for much lower wages. A good education or skills can change everything. I am in Nepal on vacation and will soon return to my job. Ruby is all set now. But I still have to take care of my other children's education. As the eldest son, I myself never got a chance to prioritise my own education. I dropped out in Grade 7 because I had to take care of my ageing parents and younger siblings. I have done all kinds of jobs. I worked in a landlord’s field for a share of the harvest. Even now my wife and I farm for the land owner and have to give away half of what we grow.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260413120444_051b61e01a5189af538aa1e011acd3e2b38d5f42825116b2afd325d93d0c519b.jpg" data-media-id="editor_0" data-image-id="20260413120444_051b61e01a5189af538aa1e011acd3e2b38d5f42825116b2afd325d93d0c519b" data-rendition-name="original" width="4032" height="2268" loading="lazy" alt="DD"> <figcaption>Sogarath Thakur during a break in Nepal with wife tending to his farm.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260413120448_8a1c3ac3fd559026bc6f981cc8dc82cb8ad09a3a4f55fb9f6f7fd5f49c3d5571.jpg" data-media-id="editor_1" data-image-id="20260413120448_8a1c3ac3fd559026bc6f981cc8dc82cb8ad09a3a4f55fb9f6f7fd5f49c3d5571" data-rendition-name="original" width="4032" height="2268" loading="lazy" alt="DD"> </figure>  Then I worked as a barber, my family’s line of occupation. I went door to door cutting people’s hair and later worked in a relative’s saloon. Hairstyles were simple back then, and I got to keep half the fee. I also worked in a brick factory where I was paid weekly. &nbsp; I married when I was 16, and my wife was a year younger. As my family and responsibilities grew, I had to migrate leaving behind my three children including Ruby who was just three months old.&nbsp; I went to Qatar where I continued working as a barber. It was a large saloon and the standards for cleanliness and professionalism were higher. I had to hand over 70% of my daily earnings to the employer. I had to rely on my colleague to translate what the customer wanted. But I slowly became fluent in Arabic. I used to jot down words in Nepali and Arabic and memorise them. In Qatar, customers even came at night for haircuts, and people stayed up late. I would work till 3AM.&nbsp; Communicating with my family was one-way. I would go to Bismillah and ask someone to type out questions to my family about their whereabouts, how the harvest was that season. I would offer very little information about my life in Qatar because it was not easy. What was the point of getting them all worried? What could they do? I never received a letter in return, so throughout my time in Qatar, I never knew how my family was faring. When I appeared in the village after five years without any advance notice, it was a bittersweet reunion, and I had no gifts. I still remember how unfamiliar my village felt when I came home after so many years. I had to ask for directions. When I came home, Ruby was already in school. I had left her in my wife’s arms five years prior. I missed her growing up, and did not even see her pictures. My wife had to introduce her to me as her father. But it took just 15 minutes for her to warm up to me.&nbsp; The Arabic skills I had picked up in Qatar came in handy when I remigrated two years later to Saudi Arabia. I worked as a labourer in the desert heat, but once my company found out I spoke Arabic, I was hired for an indoor job as an office boy. The struggle in Qatar had paid off. I worked in an air conditioned office serving tea or coffee, doing bank runs or getting documents signed and photocopied. I have worked in the same company for the past 20 years, sending money home.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260413120448_f083fa873a6d77b19c8b0bdde623415c643a151fb550c57ff4e52b3c2431355f.jpg" data-media-id="editor_2" data-image-id="20260413120448_f083fa873a6d77b19c8b0bdde623415c643a151fb550c57ff4e52b3c2431355f" data-rendition-name="original" width="5712" height="3213" loading="lazy" alt="DD"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260413120452_5ccd9a01ee05ce26b71381725108215d0f0d3806508b0cb482aabcfea09bbaef.jpg" data-media-id="editor_3" data-image-id="20260413120452_5ccd9a01ee05ce26b71381725108215d0f0d3806508b0cb482aabcfea09bbaef" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="DD"> </figure>  My wife is not just my children’s guardian, but also mine throughout the two decades I was away. I trust her with all my earnings, and she manages our household finances well. She makes sure that the children’s school fees and other expenses are paid on time. These days, with video calls, things have become much easier for me to stay in touch with home.&nbsp; When Ruby told me she wanted to do an engineering diploma, I was happy. Later, her friends inspired her to join politics so she started getting involved with Shram Sanskriti Party. I first found out she got the proportional representation nomination through social media while on my work duty in Saudi Arabia. I was so excited, but even more so when she was elected Deputy Speaker. I was back home in Dhanusha on my vacation at the time.&nbsp; We are overjoyed and waiting for her to come back to the village for a visit when she gets a chance so we can celebrate properly with everyone. I plan to go back to Saudi Arabia as originally planned, I have a good job and will work for maybe five more years. Ruby has taken 75% of the load off my back. She can help take care of her siblings.&nbsp; I sleep at 8PM every day and wake up at 5AM to exercise before my day in Saudi Arabia begins – I have stuck to the same routine for the last two decades and it has worked well for me and my health. I have a good rapport with my boss who is an Egyptian. My requests to resign have often been met with counter-offers to stay on. My honesty and hard work have won me the company's trust. I will go back and resume working as I have, despite my daughter’s huge achievements. I am still a farmer’s son, a simple man who has to fulfil his family responsibilities. My colleagues in Saudi Arabia are aware that Ruby is Deputy Speaker in Nepal’s Parliament, they are all happy for me and have congratulated me. This time, when I go back, I have promised them that I will throw a bakhri party to celebrate my daughter’s achievement.

The nation’s daughter

Nepalis are insured but not covered

This week, discourse in Nepal’s public sphere has been dominated by numbers and net worth of ministers in the new government following their asset-disclosures.
The inventories revealed the considerable wealth of a majority of the new ministers. This unleashed a deluge of comments and opinion — mostly on social media.
Many considered that Nepal just replaced the old rich with a new rich and that nothing has changed.&nbsp;
Others see it as anti-RSP hysteria. Wealth accumulated when the leaders were private citizens should not be the business of the public, that their financial security will make them less inclined to corruption.
The argument is: plutocrats are less likely to be kleptocrats.
For most Nepalis who voted for the RSP, this has been a new reality check. Most had taken to the streets in September in large part due to outrage over the wealth gap between ordinary Nepalis and those who benefitted from and flaunted wealth and privilege gained through corruption, nepotism, and political connections.&nbsp;
Nepalis saw the nation’s new elected officials as a reflection of themselves — identifying with their youth, their social and professional backgrounds, their disillusionment with the entrenched power structure, their shared struggle. Nepal’s leaders finally seemed approachable and accessible.&nbsp;
The fact that most Cabinet members are well-off, in particular the fact that many of them have generational wealth— even though it might be honestly earned— has made them significantly less relatable to most Nepalis now.
This has also served as another reminder that the political hierarchy is still largely dominated by the privileged class.
Home Minister Sudan Gurung's defensive statement on social media which read, in part, ‘It is not your fault if you are born poor, but it is your fault if you die poor’ (a quote by Bill Gates) did not help.&nbsp;
Gurung later deleted this statement. It drew criticism because it framed poverty as a lack of initiative. This was reductive and unfair to the millions of Nepalis who work their entire lives, often venturing far from home in search for better opportunities. Many faced with unemployment and lack of capital, savings do not have the cushion of inherited wealth to fall back on.&nbsp;
This also serves is a reminder that Nepal does not just need competent leadership, it also needs empathetic leaders.
In any case, perhaps, the depth of scrutiny into how the ministers earned their wealth outside of politics might be unwarranted at this early point in many of their careers.&nbsp;
But on the issue of politico-administrative patronage, cronyism, and nepotism on which the RSP built its institutional and electoral platform, the leadership must be answerable to the public.&nbsp;
CONFLICT OF INTEREST
Last week, Prime Minister Balendra Shah relieved Labour Minister Dipak Sah of his portfolio after the RSP found him to have misused his position to ensure his wife’s appointment to the Health Insurance Board, an action for which Health Minister Nisha Mehta was also given an official warning.&nbsp;
But do the same rules apply to other leaders? The newly-appointed Attorney General Narayan Kandel was previously legal counsel to Rabi Lamichhane, and will now have to prosecute Laichhane’s pending cases, representing a clear conflict of interest.&nbsp;
Lamichhane himself has become a member of the State Affairs and Good Governance Committee, which oversees the very law enforcement agencies that are tasked with looking into his cases.&nbsp;
An analysis on Ukaalo this week also exposed how newly-elected RSP lawmakers, many of them influential business owners with direct stakes in the business, finance, tourism, and infrastructure sectors— now sit in Parliamentary Committees that would directly benefit their interests.&nbsp;
Meanwhile, after criticism of its directive that official notices be published or broadcast only on state-run media— police this week arrested a content creator for posting a derogatory video of political leaders including the Prime Minister. &nbsp;
This is the same rule-by-fear tactic thin-skinned leaders of the past have employed to restrict freedom of expression. A Prime Minister who previously publicly criticised the arrest of another rapper over his lyrics as ‘the police having nothing better to do’, who in his own music did not mince his words or shy away from epithets, and who was generous with expletives to lambast legacy parties and neighbouring nations on social media, cannot now countenance similar rhetoric by ordinary citizens.&nbsp;
The Prime Minister is yet to address Parliament let alone the nation. His reputation as a doer-not-a-talker, leader of mystery will only pacify the public for so long.&nbsp;
All this to prove that digital platforms are double-edged swords: the same network that propelled some to power also has the power to speak truth to it.&nbsp;

Drawing divine femininity

How to win friends and influence nations

Mainstreaming abstract art

Artist explores her inner self

All the world’s a stage in Kathmandu

In the mind's eye

Ending Nepal’s malestream politics

Now for something completely different

Essays on self-realisation and self-healing

Map land

How to win friends and influence nations

The nation’s daughter

Nepalis are insured but not covered

Gold standard