History is not always fair to the protagonists who find themselves caught up in it. The history of <a href="https://nepalitimes.com/banner/diary-of-a-nepali-soldier-in-france">Gurkha soldiers</a> is no exception. Brave khukuri-swinging soldiers in combat khakis and hats marching off to battle have been an iconic part of Nepal’s past. Forgotten on the pages of history, however, are their sarong-clad wives in Nepal or abroad, their struggles and their contribution. Lately, there has been an effort to correct this with welcome attempts to document the experience of Gurkha wives. Suzana Thapa Shris’s recent exhibition Gurkha Women: An Echo in the Story helped filled this gap by retelling the stories from the perspective of the wives of soldiers.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231207101232_c2517596a438db1f00d1643815a6c13815cec7d491509e897d9bed8879c5bbd4.jpg" data-media-id="editor_1" data-image-id="20231207101232_c2517596a438db1f00d1643815a6c13815cec7d491509e897d9bed8879c5bbd4" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="Gurkha women 2"> </figure>  “When Gurkha soldiers were fighting wars, it was their women who single-handedly led the households, they were the silent heroes,” explains 29-year-old Thapa Shris. “With limited money and resources, they raised families and boys who grew up to be lahure themselves. Their contribution is immense.” Read also: <a href="https://nepalitimes.com/banner/beginning-of-the-end-of-the-gorkha-empire">Beginning of the end of the Gorkha Empire</a>, Alisha Sijapati After her first exhibition Bharseli Gurkhas: From Stories to Portraits which looked into the lives of Gurkha soldiers from her ancestral village of Bharse of Gulmi district, Thapa Shris felt that she also needed to put the spotlight on the wives.&nbsp; Coming from a Gurkha household herself, where her grandfather was in the Indian Army, Thapa Shris was introduced to her family’s praetorian past from a very young age. She grew up with her grandparents in Butwal, listening to the lore both from the battles as well as the home front.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231207101232_bcce9d8fe47dc7c8ede1cd1f7a6f70e1877f4f9788865cb703f9504a6e205ab2.jpg" data-media-id="editor_3" data-image-id="20231207101232_bcce9d8fe47dc7c8ede1cd1f7a6f70e1877f4f9788865cb703f9504a6e205ab2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Gurkha women 4"> </figure>  Her father Bom Bahadur Thapa, a horticulturist by profession and a writer, wrote a book Bharseli Gorkhagatha ra Serofero about his ancestors. And when Thapa Shris started her project, the father-daughter duo interviewed some 50 women in their 70s and above from Baglung, Gorkha, Gulmi, Kaski, Palpa, Rupandehi, and Sunsari. They were all wives of Nepali soldiers who had served in the UK, India, <a href="https://nepalitimes.com/here-now/the-malayan-rainforest-and-its-rare-flower">Singapore and Malaya</a> (now Malaysia). “The exhibition took shape as we were looking into who these women were, their life stories and their contribution to Gurkha history,” she adds. “Their identity and contribution has been the main objective of this exhibition.” Read also: <a href="https://nepalitimes.com/banner/lest-we-forget">Lest we forget</a>, David Seddon Thapa Shris never formally learnt art, but her raw talent for portraits is there for everyone to see. Also on display at the Nepal Art Council from 25-28 November were sketches, archival pictures, visual footage of interviews, and installation art with traditional music in the background. But the highlight of the event were evocative testimonies with their respective portraits depicting two kinds of women: those left behind in Nepal and those in foreign lands where their husbands were deployed. Most struggled to make ends meet, and that too in a new place where they did not speak the local language.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231207101232_185f09e6839ab5130514dc86ade39257b97b6095f4a8a300f7c7439832624997.jpg" data-media-id="editor_6" data-image-id="20231207101232_185f09e6839ab5130514dc86ade39257b97b6095f4a8a300f7c7439832624997" data-rendition-name="original" width="1500" height="967" loading="lazy" alt="Gurkha women 3"> </figure>  “We automatically assume that Gurkha soldiers are well-off and their lives easy but that is not always the case,” explains Bom Bahadur. “There was no immediate means of communication or any channel to wire money. It was these brave women who made their way.”&nbsp; While archival footage helped the audience peek into their lives in foreign lands, an installation art of a classic Nepali knitted bag filled with envelopes depicted how in those days letters were the only medium of contact between spouses. One section was dedicated to hand photography intended to show the resilience and the kind of lives these women led. All the portraits here had wrinkled hands of the women resting on their patterned lungi. The exhibition also featured traditional dresses and jewellery of the Gurkha women as well as wooden utensils used by these indigenous communities in the past. Lungi, gold beruwa bangles and traditional gold asarfi rings synonymous with Lahureni were also heavily featured.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231207101232_a97971b33334ae0e9ffca90c7feeb83e07c17af8a67753e99b6f29aab65035bd.jpg" data-media-id="editor_7" data-image-id="20231207101232_a97971b33334ae0e9ffca90c7feeb83e07c17af8a67753e99b6f29aab65035bd" data-rendition-name="original" width="1500" height="953" loading="lazy" alt="gurkha women 5"> </figure>  “The gold came much later after the wartime,” adds Suzana.&nbsp; “One thing all the bojus said was that they were happy that they at least got to wear gold.” The father-daughter duo is now planning to transcribe all the testimonies and turn them into a book. Says Bom Bahadur: “I am glad our Gurkha women are highlighted. The fact that my daughter is working on it makes me even prouder.” &nbsp;

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

Review

Retelling Gurkha history

Since the 1950’s Nepalis have dreamt of developing the country’s enormous hydropower potential for industrialisation and export to India.&nbsp; Nepal chose to avoid the path followed by Bhutan of handing over design, financing, and construction of hydropower to India. Policy makers tried instead to maintain control by soliciting assistance from bilateral donors and multilateral development banks to finance power projects using grants and concessionary loans.&nbsp; But as the size of investments increased, it resulted in greater reliance on international aid and technical assistance. Projects were typically designed by global consultants and constructed by international contractors through competitive bidding and once completed were handed over by the government to Nepal Electricity Authority (NEA) to own and operate.&nbsp; By the 1980’s a flaw in this approach had become clear: it had created another kind of dependence and loss of control. The electricity produced was expensive since these projects, although funded through grants or loans on concessionary terms, were transferred to NEA’s books at the full cost of the assets which needed to produce returns.&nbsp; A more debilitating effect was that almost no technical or financing capacity was transferred to NEA for the next power plant without more aid. As international assistance was always in short supply, Nepal’s hydropower development proceeded slowly and the electrification rate lagged at 15% in 2000. There was little prospect for exporting power since it was so expensive, and there was chronic domestic shortage.&nbsp; In his book What Went Right: Sustainability versus Dependence in Nepal’s Hydropower Development, Mark Liechty who is professor of anthropology and history at the University of Illinois at Chicago skillfully narrates the inspirational story of Nepal’s alternative hydropower development. &nbsp; At centre are Norwegian missionary <a href="https://archive.nepalitimes.com/blogs/kundadixit/2009/11/19/norwegian-guru/">Odd Hoftun</a> and his colleagues, who over the course of five decades, did not just build power projects but laid the foundation for a vibrant domestic energy sector with thousands of competent Nepali engineers and technicians, hundreds of independent power producers, and dozens of construction companies, equipment manufacturers and engineering consultancy firms.&nbsp; This book should be required reading for development practitioners and aid agencies interested in critically examining how to get the best returns from international development assistance. Liechty recalls the strategy to develop hydropower that was quietly taking shape in Butwal in parallel with the Kathmandu-centeric public sector-led model funded by the county’s major donors. The ‘Butwal Model’ emphasised vocational training and learning opportunities in the manufacture of components and by building actual power plants.&nbsp; Training of skilled manpower was born out of necessity in a region of the country with no industrial base, very few schools, and certainly none that imparted specialised technical skills required for hydropower development. The second element was the formation of local private companies to design, construct, and operate hydropower projects initially to electrify the training institute and supply nearby urban and rural communities, and eventually to feed surplus power to the NEA grid as the Butwal companies constructed larger power plants.&nbsp; As the companies grew in size and sophistication, they attracted increasing numbers of Nepali engineers, trained at universities and technical colleges in India and Kathmandu, who sought more a challenging professional work environment than at NEA. International experts from over a dozen countries, worked as volunteers alongside Nepalis training technicians, managers and entrepreneurs on the job.&nbsp; The training was as important as the construction of hydropower plants. The power projects were also initially funded with international aid, <a href="https://nepalitimes.com/review/norway-nepal-a-love-story">mainly from the Norwegians</a>, but it was sympathetic to the vision of using project design and construction as an opportunity to build lasting human capacity in Nepal.&nbsp; Hoftun came to Nepal as a Norwegian Christian missionary and was primarily responsible for conceiving and initiating the Butwal hydropower development model. His development philosophy grew organically as a series of practical steps required to meet needs, rather than as a fully thought through answer from the beginning. <a href="https://nepalitimes.com/news/odd-hoftun-missionary-engineer">Hoftun died aged 95</a> earlier this year. Hoftun believed in frugal use of resources, a framework of moral business practices, and a belief that private companies working under ethical principles were the most efficient vehicles for Nepal’s economic development. That philosophy resonated with Hoftun’s Nepali colleagues such as Balaram Pradhan, who may not have shared his religious faith, but found strong overlap with their own commitment to national development.&nbsp; Hoftun first came to Nepal in 1958 to build Tansen Mission Hospital, the only modern medical facility at the time in the region. He had to train masons, carpenters and electricians realising on completion that he had also developed a cadre of technicians.&nbsp; He established the Butwal Technical Institute (BTI) 40km south of Tansen to provide on-the-job training to Nepali teenagers in metal welding, carpentry and electrical vocational skills. Requiring a reliable power source for BTI he invited the skilled workers trained in Tansen to construct, in stages, the 1 MW <a href="https://nepalitimes.com/review/norway-nepal-a-love-story">Tinau project</a> starting in 1965, with the first 50 kW completed in 1970 and the final stage in 1978.&nbsp; The <a href="https://archive.nepalitimes.com/news.php?id=14224#.ZBMygi8RqLc">Butwal Power Company (BPC)</a> was formed in 1965 as an electrical utility to oversee construction as well as to operate the power plant and supply power to BTI along with the residents and small-scale industries of Butwal. This virtuous cycle of building ever larger &nbsp;hydropower projects and training more people went on for 30 years, with the 5MW <a href="https://nepalitimes.com/review/norway-nepal-a-love-story">Andhi Khola</a> (1990) and the 12MW Jhimruk (1994).&nbsp; <a href="https://archive.nepalitimes.com/article/nepali-times-buzz/power-for-nepal-review,2884">Hoftun’s approach</a> of starting with labour intensive technique to dig tunnels and utilising refurbished second-hand hydropower equipment from Norway resulted in Tinau and Andhi Khola being built at a fraction of the cost of power plants being constructed for NEA. Hundred percent construction by Nepali companies meant that even the Jhimruk power plant which used mechanized drilling and all new electro-mechanical equipment was completed at around one third the per MW cost of larger NEA-owned projects.&nbsp; This alternative model came with challenges. Liechty details conflict Hoftun faced with fellow missionaries who believed their commitment was to serve the poor in Nepal through health and education rather than economic development through private companies. Working with government meant getting permissions every step of the way from bureaucrats who did not always Hoftun’s development philosophy.&nbsp; Liechty also documents how the model hits its limits when Hoftun attempted to mobilise financing for the <a href="https://archive.nepalitimes.com/news.php?id=16217">60MW Khimti</a> in partnership with international private companies, the World Bank and Asian Development Bank. As project size grew and international commercial financing was required, the Butwal model also obey diktat of donors. Khimti was eventually financed and constructed after meeting all the requirements of international lenders but at significantly higher cost, and in the process BPC’s ownership &nbsp;came down from an initially planned 50% to just 15%. &nbsp; I was one of the Nepali engineers that joined the Butwal effort after completing my overseas engineering degree and was able to see firsthand how Nepali companies and technicians were able to construct high quality hydropower projects at affordable costs.&nbsp; That experience moved me to form the Alliance for Energy in 1993 with other <a href="https://archive.nepalitimes.com/news.php?id=11082">likeminded activists</a> to oppose the construction of the <a href="https://archive.nepalitimes.com/news.php?id=1864">201MW Arun III</a> being planned by NEA using the conventional model with no prospect for increasing national capacity and reducing aid dependence.&nbsp; Our concern was that at a price tag of $1.1 billion the project was unaffordable for Nepal compared to viable alternatives. Arun III would cost ten times as much per MW as Andhi Khola. We were also concerned that it was overly risky for the country to develop a single, expensive mega project, at one end of the country. It would be wiser to support a dozen smaller projects throughout Nepal to generate the same amount of power, using the Butwal model and in the process augment in-country capacity.&nbsp; The World Bank and other funders withdrew their support to Arun III in 1995, accepting NEA could not satisfactorily meet its environmental, social and management responsibilities. The Alliance had proposed donor-financed alternatives, but even without them Nepal now has a vibrant and competitive hydropower sector with over two hundred <a href="http://www.ippan.org.np/ippan-members">Independent Power Producers</a> with financing from <a href="https://www.martinchautari.org.np/storage/files/sinhas-vol20-no2-lecture-bikash-pandey.pdf">dozens of Nepali banks</a>. Many of the leaders of these companies got their start in hydropower at BPC and its sister companies.&nbsp; Liechty’s book provides important documentation of what it takes to do good development in one of the world’s poorest countries – in contrast with conventional development assistance as practiced by international donors when they prioritise building infrastructure rather than building capacity.&nbsp; It may be slow but building domestic capacity is the only way for countries to develop sustainably. This book will hopefully inspire a new generation of activists, entrepreneurs, engineers, and economists to demand that development aid coming in their name be required to meet a higher bar.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231113051112_a219c653de5332dec6c53f816721fbb6380ff234297a967370bf6b788f83632d.jpg" data-media-id="editor_12" data-image-id="20231113051112_a219c653de5332dec6c53f816721fbb6380ff234297a967370bf6b788f83632d" data-rendition-name="original" width="476" height="532" loading="lazy" alt="What went right book review"> </figure>

Bikash Pandey

Small is bountiful

Besides Dasain-Tihar-Chhath Nepal is known for a fourth annual autumn festival: Jazzmandu. The event has grown since its inception in 2002 with new and prolific artists from across the globe flying into Kathmandu to showcase their talent and experience the unique atmosphere of the Valley. The melange of chosen venues reflect the ethnic and cultural diversity of Nepal as well as the performers from around the world. Surya Nepal Jazzmandu this year encapsulated and perpetuated the power of music and its ability to bring people together. From the pulsating groove of Plurism’s African rhythm and the mellow emotive voice of Lucile Chriqui to the bright tones of Samundra band’s rendition of Nepali folk music, this year’s jazz reflected the diversity of this music genre. A free concert for the students of St Xavier's School gave students exposure to the unique delights of jazz. There were concerts at Jazz Upstairs and the Dutch group Under The Surface performing at Electric Pagoda with experimental electronic sound. Multinational Forro performed at Jazz Upstairs while Swiss South African group Faku took on an intimate set at EDN in Sanepa.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231111031148_0218034eabe8f4742526ba8f477548fc840c797cc3db8c0f603f1f20f0937a97.jpg" data-media-id="editor_0" data-image-id="20231111031148_0218034eabe8f4742526ba8f477548fc840c797cc3db8c0f603f1f20f0937a97" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Jazzmandu"> </figure>  The Jazz Bazaar at Gokarna Forest Resort gave guests a captivating musical showcase with the full Jazzmandu line-up. The historic Baber Mahal heard the rich tradition of Brazilian music. The penultimate evening in Patan was a culmination of the week with both foreign and Nepali artists performing a magical fusion of Nepali classical music and jazz. The festival attracted a diverse audience from Kathmandu residents, tourists and expats. Said deputy EU ambassador Joëlle Hivonnet: “Jazzmandu is getting better every year. Although it does not attract world-renowned artists like Motreux or Marcia, it manages to bring upcoming artists and covers a variety of styles. I particularly enjoy bands that mix Nepali and western Instruments.” The Lucile Chriqui quartet, a formidable new force in French Jazz, ascribed their experience of Jazzmandu and Nepali culture as an experience like no other: “It feels like being on tour in one city.” The band held a charity concert to raise funds for the burn victims at the Sushma Koirala Memorial Hospital. “It was amazing to perform for such an important cause. We realised the power of music as a tool for connection,” said Chriqui.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231109101144_9f276596e90a0c96204f75c1b18f2ecb05cf28c531cbdc22c8c0a3a73109deba.jpg" data-media-id="editor_1" data-image-id="20231109101144_9f276596e90a0c96204f75c1b18f2ecb05cf28c531cbdc22c8c0a3a73109deba" data-rendition-name="original" width="2000" height="1334" loading="lazy" alt="Jazzmandu"> <figcaption>Lucile Chriqui</figcaption> </figure>  The band wants to take back to Paris the special energy and friendliness they experienced from the Nepali volunteers which inspired them to try and connect more with tourists visiting their own country, and the unique pace of life in Kathmandu especially compared to Paris where “one hour feels like a minute”. Chriqui also hopes to continue to experiment sonically, inspired by the timbre of Nepali traditional instruments. “Maybe I’ll also take home a singing bowl too,” she quips. Next year Nepal’s pioneering music event will turn 20. Co-founder Navin Chettri says, “Initially, we were met with some reluctance and confusion regarding jazz but now there is no need to explain, Jazzmandu has put both jazz and Kathmandu on the map.” When asked what’s in store for the special 20th anniversary, Chettri replied gleefully: “No spoilers.” &nbsp; <h2>Jazz at the Gate</h2> In contrast to other Jazzmandu evenings, where the setlist was structured to showcase each act separately, ‘Jazz at Patan’ on 7 November celebrated the cultural exchange between jazz and Nepali classical sounds with musicians from around the world.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231111031148_b06d5c6058914a65a5f1e1a35b7d37eeebafdf149a026b330adbc2774caf8e93.jpg" data-media-id="editor_2" data-image-id="20231111031148_b06d5c6058914a65a5f1e1a35b7d37eeebafdf149a026b330adbc2774caf8e93" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Jazzmandu"> </figure>  The meticulous fusion of repertoires and celebration of cultures abandoned the formulaic composition of ‘mainstream’ music structure, and transgressed genre to create a spiritual and meditative sound described by attendees as “grounding”, “unique” and “irreplicable”. The lantern-lit, well-catered evening at Yala Maya Kendra facilitated an intimate experience for attendees who put stress and hunger aside allowing the technical prowess, professionalism, and self-expression of the bands to remain the focal point of the evening. Artist Sisonke Xonti highlighted the privilege of performing in front of a live crowd again, a crowd that another artist Nick Aggs described as “the best at Jazzmandu”. “In order to celebrate the unique sound of each artist, there needs to be a reciprocated level of intimacy and respect between artist and audience,” added Aggs. Singer Lucile Chriqui was left feeling that the crowd was “truly listening and connected”. She added: “So much energy, so much love represented the very essence of Jazzmandu, which is to connect with people and demonstrate that music is a divine, universal language”. Guests felt transcendental: one concertgoer was in disbelief at the ability of the artists to champion all instruments and voices and extolled the “inexplicable” connection she felt between everyone within the 100-year-old Rana-era courtyard. The evening ended with a standing ovation, and the crowd ambled out of the venue still processing the magic of what they had witnessed. Jazz at Patan had a multicultural audience, and celebrated the oneness of humanity and was an event to be experienced at least once in a lifetime. Uma Dhital

Jazzing up the ‘Mandu for 20 years

What do we call a people without fixed addresses, without land or proof of citizenship? And what do we call a people who have no desire to possess any of these things?’ In 2011, when photographer Kishor Sharma made his first encounter with &nbsp;<a href="https://nt.exposure.co/last-but-not-least">Nepal’s last truly nomadic community</a> in the highlands of Salyan two days walk from the nearest road, he struggled to be accepted and understand their lifestyle. But as he gradually won their trust, and they his respect, the original plan to document in photographs the reclusive forest-dwellers turned into an exercise in visual poetry. Recording the lives and times of the <a href="https://archive.nepalitimes.com/news.php?id=434">Raute </a>cannot just be done in a narrative text or through flat photography. “You are the world, we are the Raute,” they remind the lensman. It is a life of wandering, a culture that predates history and the modern nation state, before healthcare and the need to learn the alphabet, before buses and mobiles.&nbsp; Read Also: <a href="https://nt.exposure.co/last-but-not-least">Last but not least</a>, JAN MØLLER HANSEN Sharma revisits the Raute clan three years later, and shows them a photo on his laptop of tribe member Surendra that he had taken earlier. Surendra had died, but his relatives did not want a printout of his photo.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231019111040_dded3a3a20e2701ee88db1bf18b2341ecaab8615ca52cf5304031ea022fe2205.png" data-media-id="editor_3" data-image-id="20231019111040_dded3a3a20e2701ee88db1bf18b2341ecaab8615ca52cf5304031ea022fe2205" data-rendition-name="original" width="1493" height="848" loading="lazy" alt="Raute map"> </figure>  ‘Photographs contain remembrances of things past, Rautes with their wandering souls, do not like to be stuck with old memories,’ Sharma writes in the evocative bilingual text accompanying the photographs. But globalisation, the modern Nepali nation, its administration and police are never too far away. Rautes have frequent encounters with townspeople who look down upon them, but also fear their wild ways. Raute life is also being rapidly monetised, a process accelerated by a monthly Rs5,000 allowance they receive from the state. But the stipend is always late, and that has now become their greatest complaint.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231019111044_471bf9b8cc775d13f100fc771a72665591e9cf6e33bba7e0d5319fe3f7b8e8c5.jpg" data-media-id="editor_4" data-image-id="20231019111044_471bf9b8cc775d13f100fc771a72665591e9cf6e33bba7e0d5319fe3f7b8e8c5" data-rendition-name="original" width="533" height="800" loading="lazy" alt="Imagine no possessions2"> <figcaption>Samjhana Shahi near a Raute camp in Achham.(Photo: Kishor Sharma)</figcaption> </figure>  Sharma spent six years, off and on, among the Raute in Salyan, Achham and Dailekh, and won their confidence. But one thing they never cared to share with him is their practice of monkey hunting. They do not like outsiders joining in the hunt which they see as a sacred duty to ensure survival. They do not use guns or knives, but net traps, and never kill more than they can eat.&nbsp; Read Also: <a href="https://nepalitimes.com/multimedia/the-last-of-the-kusunda">The last of the Kusunda</a>, Sewa Bhattarai It has been a few weeks, and it is time to change camp. The Raute are bundling up their possessions. Bir Bahadur tells Sharma: “It is time to move again.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231019111044_dca2f1a446666ac761b6ff1e03754f23f4172d91ab19effd8da6846d1755c344.jpg" data-media-id="editor_6" data-image-id="20231019111044_dca2f1a446666ac761b6ff1e03754f23f4172d91ab19effd8da6846d1755c344" data-rendition-name="original" width="533" height="800" loading="lazy" alt="Imagine no possessions"> <figcaption>A Raute man. (Photo: Kishor Sharma)</figcaption> </figure>  Many readers may see in Kishor Sharma’s Living in the Mist, a photographic visual confirmation of an endangered nomadic group with a vastly different lifestyle from ours.&nbsp; But others may find survival lessons for ‘modern’ globalised humans of a frugal, gentle and dignified people who only take from nature what they need. They cannot own land because the land owns them. &nbsp; Instagram: <a href="https://www.instagram.com/kishorksg/">@kishorksg</a>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231019111044_f74be3b6c6dd7d663844211b4f21379565680673c5b5e3f40c51ade081ab7a8a.jpg" data-media-id="editor_8" data-image-id="20231019111044_f74be3b6c6dd7d663844211b4f21379565680673c5b5e3f40c51ade081ab7a8a" data-rendition-name="original" width="1080" height="720" loading="lazy" alt="Exhibition"> </figure>  <a href="https://www.photocircle.com.np/publications/living-in-the-mist-by-kishor-sharma/">Living in the Mist Exhibition</a> Patan House, Dhaugal Till 30 November (Closed 21-30 October and 12-15 November)&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231019111032_4c4d3c90f14c5db68dfb737113d96b705d74e7b73639dc9973d2f3c7ac82ab8e.png" data-media-id="editor_10" data-image-id="20231019111032_4c4d3c90f14c5db68dfb737113d96b705d74e7b73639dc9973d2f3c7ac82ab8e" data-rendition-name="original" width="1121" height="681" loading="lazy" alt="living in the mist"> </figure>

Kunda Dixit

Imagine no possessions

Rajasthan-based miniature painting atelier <a href="https://studiokishangarh.com/">Studio Kishangarh</a> is exhibiting miniatures inspired by historical Mughal artwork to the contemporary reimagining of the tales of Krishna. The miniature painting tradition can be traced back to ancient China, but the genre gained prominence during the Mughal period in India before being banned by Aurangzeb in the early 18th century. The artists dedicated to creating these lavish paintings would sit in the royal court gaining access to the influential and powerful from foreign dignitaries to royalty — their art became microcosms of the rich cultural exchanges that characterised the Mughal court. Read Also: <a href="https://nepalitimes.com/review/a-flowering-artform">A flowering artform</a>, Aïsha MacDougall Once a centrepiece of the Moghul Empire, miniature painting is now a dying art form. Younger artists are into more financially viable pursuits, abandoning artisanal practices like miniature painting skills that are passed down from generation to generation. Unlike modern studios, Studio Kishanagarh is an atelier, a rarity in the modern art world, dedicated to restoring passion for the endangered practice of miniatures.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231014031052_a14a299df6f7a63b8346ba6fd4d22e27fe230088a67f6593341f7d7267b45b37.jpg" data-media-id="editor_2" data-image-id="20231014031052_a14a299df6f7a63b8346ba6fd4d22e27fe230088a67f6593341f7d7267b45b37" data-rendition-name="original" width="731" height="912" loading="lazy" alt="Miniature art1"> </figure>  It is a collaborative space where artists are permanent employees, given a steady, consistent income and work in tandem to create pieces. Some of these are in the Domains of Wonder exhibition at the Siddhartha Art Gallery, and were created by at least three artists each with different specialties. One worked on the borders, another carefully created trees.&nbsp; The Kathmandu exhibit was opened on 8 October by Indian Ambassador Naveen Srivastava (pictured left with Studio Kishanagarh founder Princess Vaishnavi Kumari). Vaishnavi returned to Rajasthan after completing studies in London to preserve the culture of her ancestral home. The masters of miniature paintings are ageing. Vaishnavi hopes the Studio’s artists can reignite interest in the practice, allowing a new generation to take up the mantle and prevent the practice from going extinct.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231014031052_b2f2de1a6a2a7b65f390bc9c0ba909709a71ad906d6c5e45797fec8ee282f15b.jpg" data-media-id="editor_3" data-image-id="20231014031052_b2f2de1a6a2a7b65f390bc9c0ba909709a71ad906d6c5e45797fec8ee282f15b" data-rendition-name="original" width="728" height="915" loading="lazy" alt="Miniature art2"> </figure>  The Kathmandu show is the first time these pieces are being exhibited in public, and it is an acknowledgement that many members of India’s princely states and their descendants are married to Nepal’s aristocracy. The Studio’s next exhibition shall be at the historic Bikaner House in Delhi in December. Vaishnavi eventually wants to open a training centre in Rajasthan where young people can hone the craft of miniature painting, securing the future for this sacred artisanal practice. From extravagant pieces that look like they belong to the royal courts of Shah Jahan to paintings that are reminiscent of Andy Warhol, Studio Kishangarh’s Domains of Wonders is proof that the ancient practice has a future after all. &nbsp; Domains of Wonder Siddhartha Art Gallery, Baber Mahal Until 16 November

Reviving a wondrous past

Botanical art exists in the space between art and science, beyond aesthetics. It predates photography, and the original purpose of the discipline was to capture and document plant life to aid scientific study. Flower drawings were first done in Nepal in 1802 by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/years-of-botanical-art,3222" target="_blank">Francis Buchanan-Hamilton </a>who collected and documented over 1,100 plant varieties mainly in eastern Nepal, taking samples and illustrations back to Edinburgh for further scientific inquiry. Despite occupying only 0.1% of the earth’s surface area, Nepal has 3.2% of the planet’s flora, making it the 27th most bio-diverse country in the world.&nbsp; Now, Studio Petal’s unique exhibition ‘Blissful Nature’ showcases the work of five contemporary artists, each with a brilliant individual skillset but collectively illustrating the intricate beauty of Nepal’s plant life as well as few other exotic species. <a href="https://nepalitimes.com/review/the-anatomy-of-a-flower" target="_blank">Neera Joshi Pradhan</a> of Studio Petals has taken Nepal’s rich botanical art history and expanded it, making the discipline accessible and using her decades of experience to educate and equip the next generation of Botanical Artists to leave their mark. Joshi Pradhan has exhibited her floral work many times since she <a href="https://archive.nepalitimes.com/news.php?id=13501" target="_blank">set up Studio Petal in 2004</a>. However, this is the first time her students are showcasing their work alongside the mentor.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231010121020_069b51e4854f0704f0da4e5daed758146768992175207d613c0ac51cd5cbfe86.jpg" data-media-id="editor_3" data-image-id="20231010121020_069b51e4854f0704f0da4e5daed758146768992175207d613c0ac51cd5cbfe86" data-rendition-name="original" width="4912" height="2407" loading="lazy" alt="Botanical art"> <figcaption>Artworks by Jamyang Wangmo.</figcaption> </figure>  Jamyang Wangmo is a Spanish Buddhist nun who has been painting and documenting Nepali plant life for over 20 years. She originally started out with thangka and depictions of deities, but after noticing the beauty of altar flowers she turned her artistic passion to floral drawings. “I just knew I had to paint it,” Wangmo says simply. Despite botanical art’s proximity to objective science, Wangmo’s art comes from intuitive inspiration. In particular, the bright and joyful depiction of the five holy flowers in her debut exhibition comes directly from the pages of Tibetan texts but it is brought to life by her own imagination, evoking a sense of wonder among viewers. JoAnne Pach Koirala, on the other hand, is an educator who has lived in Nepal for 40 years. Born into a family of artists, she was surrounded by art her entire childhood, but it was only five years ago that she started creating her own work. Initially inspired by the botanical life in her own garden, it is her loved ones that really spark her creative spirit. Working on her watercolours, she often thinks of those closest to her so that they are subtly invoked in her art, giving shape and life to the still images.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231010121024_e1bcafb9f4fb334036b8f26c2a5f87f5572dc190598d78a14ab0e0b739e3df78.jpg" data-media-id="editor_4" data-image-id="20231010121024_e1bcafb9f4fb334036b8f26c2a5f87f5572dc190598d78a14ab0e0b739e3df78" data-rendition-name="original" width="583" height="769" loading="lazy" alt="Botanical art"> </figure>  For Amy Ingham, botanical art is simple and yet calming. “Botanical painting is wonderful in its simplicity, but deceptively so. Its pure observational drawing that requires such a level of precision and accuracy where there isn't really anywhere to hide,” says Amy Ingham, one of the five artists at the exhibition. She adds: “There's something wonderfully calming about that process, as well as the subject matter and end product. And why I started painting with Neera is simple. It's an absolute privilege to be able to do so, I grabbed the opportunity with both hands!"  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231010121020_a06966bdb0acccb2ee3c24eb833468d4c54b70f619d12dd7adcf8342b94c6991.jpg" data-media-id="editor_5" data-image-id="20231010121020_a06966bdb0acccb2ee3c24eb833468d4c54b70f619d12dd7adcf8342b94c6991" data-rendition-name="original" width="4912" height="3264" loading="lazy" alt="Botanical art"> <figcaption>Artworks of Amy Ingham.</figcaption> </figure>  Jari Laukka is a Finnish environmental scientist who originally came to Nepal to work on water and sanitation projects. Biodiversity was always an interest, but it was not until 2020 that Laukka got interested in botanical art. After completing his assignment, Laukka took Joshi Pradhan’s course at Studio Petal which ignited his passion for the discipline. Botanical art is now a full-time pursuit, and Laukka is currently taking courses at <a href="https://www.rbge.org.uk/" target="_blank">Edinburgh’s Royal Botanic Garden</a>, all set to start a new career.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231010121020_0cf139ce53a92cb8dcc1840d3b1a70e75d8ac12ff7ed4207577e007cc623f263.jpg" data-media-id="editor_7" data-image-id="20231010121020_0cf139ce53a92cb8dcc1840d3b1a70e75d8ac12ff7ed4207577e007cc623f263" data-rendition-name="original" width="4912" height="3264" loading="lazy" alt="Botanical art"> <figcaption>Artworks by Jari Laukka.</figcaption> </figure>  Botanical art allows not only for increased attention and visibility for plant life but also for preservation. Threatened flora can be protected in a way that gives hope to preserve the actual plants. In fact, botanical art is more than an art form, it can teach people about evolution and ecology, especially at a time of greater climate consciousness. “I hope botanical art can be used to educate people about the environment and how we can protect and manage Nepal’s rich biodiversity,” says Jari Laukka. The exhibition Blissful Nature is a must-see for students and the next generation of Nepali artists. But hurry, the show is only till Friday. Blissful Nature <a href="https://www.siddharthaartgallery.com/" target="_blank">Siddhartha Art Gallery</a>, Baber Mahal Until 13 October

A flowering artform

A couple enter the third decade of marriage even as their eldest daughter finds herself trapped in a failing one. The son doesn’t want to be hitched, while the youngest daughter is enthusiastic about her upcoming arranged marriage. On the stage of Kausi Theatre this is a microcosm of marriages in contemporary Nepal, acted out in a two-hour play.&nbsp; Bidushi (Ranjana Bhattarai), the youngest daughter of Rukmani (Loonibha Tuladhar) and Krishna Koirala (Aashant Sharma), is getting married to a man based in the US, a person she has never seen before.&nbsp; The family has come together for the wedding, with Hema (Kenipa Singh Pahari) making the trip from Australia to be part of the celebration. Her husband, still in Australia, is not in touch with her.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230927070944_976c38a2cdcdb1e91bc42c946991002f583d9943678fb287d4e11fe4c4a5529f.jpg" data-media-id="editor_0" data-image-id="20230927070944_976c38a2cdcdb1e91bc42c946991002f583d9943678fb287d4e11fe4c4a5529f" data-rendition-name="original" width="960" height="640" loading="lazy" alt="Wedding Album"> </figure>  Amid wedding preparations, their sibling Rohit (Sudam Ck) tries to reconcile his own relationship with his girlfriend to the other marriage proposals coming his way. Meanwhile, Rukmani and Krishna’s own 30-year marriage is tainted by Krishna’s past abuse of his wife.&nbsp; There is added tension in the home because of the strained relationship between Rukmani and Kusum Didi, the Koiralas’ housekeeper. &nbsp; Wedding Album is directed by Katha Ghera co-founder Akanchha Karki, who also adapted the play into Nepali from Indian actor and dramatist Girish Karnad’s 2011 play originally written in Kannada, which Karnad translated into English himself.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230927070916_c512eec6955be86eed0064de5a3cfd944f0ce20a2fc12804421610eb9f2555fc.jpg" data-media-id="editor_1" data-image-id="20230927070916_c512eec6955be86eed0064de5a3cfd944f0ce20a2fc12804421610eb9f2555fc" data-rendition-name="original" width="960" height="959" loading="lazy" alt="Akanchha Karki NT"> <figcaption>Director Akanchha Karki. Photo: AKANCHHA KARKI/FACEBOOK</figcaption> </figure>  Against the backdrop of the various conjugal conflicts, director Karki gets the cast to tackle issues including mental health, misogyny, domestic abuse, sexual violence, self-worth, and the female psyche. As individual stories and hidden truths of each of the family members unfold, Karki weaves these issues through their interaction with each other—showing how each personality constantly contradict itself. &nbsp; For instance, Bidushi is headstrong, outspoken, progressive, sexually liberated. She confronts men who sexually assault her in a cafe. Yet she is ready to be married off to someone she has never met. She is unable to understand why her sister is in an unhappy marriage.&nbsp; Hema lives with her family in Australia but is not more tolerant. She still disapproves of her brother’s Christian girlfriend. She is aware, but silent about her father’s abuse of her mother. Even as she tells her sister that it is okay to leave the relationship if she is not happy with her soon-to-be partner, she struggles to comprehend that she could leave her own crumbling marriage.&nbsp; Middle child Rohit plays the ideal, responsible, long-suffering son fending off unwanted marriage proposals. But his personality is transformed once out of the home. He also agrees that his sister Bidushi should leave her husband if the relationship breaks down, but mistreats his own girlfriend.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230927070944_f35d97f6b552b5698ee333662acce965465e704fb9d1d7463b4ef91dbea739bf.jpg" data-media-id="editor_2" data-image-id="20230927070944_f35d97f6b552b5698ee333662acce965465e704fb9d1d7463b4ef91dbea739bf" data-rendition-name="original" width="960" height="640" loading="lazy" alt="Wedding Album"> </figure>  The Koiralas are educated and ‘liberal’, but still willing to marry off their daughter to someone they have not met before. They are not impervious to the inherent wastefulness and spectacle of extravagant South Asian weddings meant to show off wealth, rather than a contained celebration of love. The strength of the play lies in its cast. LoonibhaTuladhar and Ashanta Sharma are brilliant as Rukmani and Krishna, while Kenipa Singh, Sudam Ck, and RanjanaBhattarai hold their own as the three siblings. The supporting cast is solid, if a bit melodramtic at times.&nbsp; The clever staging and set design enhance the production. Director Karki does not employ unnecessary movement just for the sake of covering the entire stage. A particularly poignant scene sees Rukmani and Krishna at opposite ends of the stage, their anger palpable. Meanwhile, props and music have been used sparingly. As the end of the play approaches, there are a lot of loose ends in the stories of the siblings and parents. Perhaps as in life itself.&nbsp; Wedding Album will play at Kausi Theatre in Teku until 14 October.

Marriage drama

There is a special place for Italian cuisine the world over. Kathmandu is no exception. Pastas and pizzas have become as much of a household name as any Indian or Chinese dish. One of the first few restaurants that introduced Mediterranean cuisine to the Nepali palate was Olive Garden at Hotel Radisson in Lazimpat at a time when the Italian food culture was yet to create a stir in the country. Radisson opened Olive Garden in 1998, the same year it was also set up, making the restaurant only a second of its kind after Fire and Ice pizzeria to specialise in Italian cuisine in Nepal.&nbsp; Read also: <a href="https://www.nepalitimes.com/review/khana-khanu-bho">Khana khanu bho?</a>, Sonia Awale  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230823100820_4cd381ce972b54005b31768d3ca1c0ee83f65356da24c326c5b7cd81a24559e7.jpg" data-media-id="editor_1" data-image-id="20230823100820_4cd381ce972b54005b31768d3ca1c0ee83f65356da24c326c5b7cd81a24559e7" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Olive garden"> <figcaption>Spaghetti con Gamberi. Photo: PINKI SRIS RANA</figcaption> </figure>  Serving guests with an à la carte menu for over two decades, Olive Garden has now reopened after a four-year hiatus following the Covid-19 pandemic but with some delectable changes. Located at the lobby level of Radisson Hotel’s main building, the restaurant now offers a five-course meal with a table d'hôte menu, a fixed menu opening exclusively for dinner time between 6-10:30PM. “We have tailored the menu and timing targeting the family and married couples keeping in mind their work hours,” says Kedar Pandey, director of Food and Beverage at Radisson. “One doesn’t have to spend much time deciding what they want to eat. We have meticulously curated the menu for them.” Read also: <a href="https://www.nepalitimes.com/review/nepali-vegan">Nepali Vegan</a>, Sahina Shrestha  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230823100820_bb6e6aa1f87f15e769b93eb7f938f2983433c501fbfbe444b7be34dd632538e6.jpg" data-media-id="editor_3" data-image-id="20230823100820_bb6e6aa1f87f15e769b93eb7f938f2983433c501fbfbe444b7be34dd632538e6" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Olive garden"> <figcaption>Photo: SHRISTI KARKI</figcaption> </figure>  The restaurant’s soft yellow glow makes for a cosy picture. A lighted candle on each table and a soft melody in the background sets the mood right for an intimate candlelight dinner, especially on a rainy evening. The restaurant can seat 46 people and the management is planning to add a live piano solo to accompany the dining experience. There are two options for the table d'hôte menu. Within each course, there are additional 2-3 options offering both vegetarian and non-vegetarian delicacies as per one's preferences. Either of the two options of the full-course menu is available at a net total of Rs.4,500 per person. The same meal with a bottle of Italian wine is Rs11,000. A single Italian dish from the five-course meal can cost up to Rs2,500. Read also: <a href="https://www.nepalitimes.com/multimedia/exploring-nepal-s-culinary-diversity">Exploring Nepal's culinary diversity</a>, Kedar Sharma and Kiran Sharma  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230823100820_3af39a723e64e0ed5be4df73dc1849f6de0f9c47f89e05285fb61a87be518f14.jpg" data-media-id="editor_5" data-image-id="20230823100820_3af39a723e64e0ed5be4df73dc1849f6de0f9c47f89e05285fb61a87be518f14" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Olive garden"> <figcaption>Classic Tiramisu. Photo: PINKI SRIS RANA</figcaption> </figure>  Providing a five-course meal at that price, is not exorbitant by today's standards and is comparable to any other high-end restaurant in Kathmandu. &nbsp;&nbsp; The full course is packed with elevated flavours: Zuppa soup Minestrone is rich tomato broth with zucchini and carrots. Topped with basil leaves, it was served with a basket of Italian bread. For the Antipasti, there is ‘Gnocchi alla Sorrentina’ which hit all the right spots to whip up the taste buds. Gnocchi made of mashed potatoes, flour and eggs with cherry-like tomato toppings and garlic sauce had a base of green basil pesto sauce. Dip the gnocchi in both sauces for a burst of flavours. Read also: <a href="https://www.nepalitimes.com/review/terrace-garden-brings-mexico-to-nepal">Terrace garden brings Mexico to Nepal</a>, Nepali Times  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230823100820_00a9ee03f95fdf8bb5e57e83a688efc427a572fe6599a8d13aa1a8e3f00fe5bc.jpg" data-media-id="editor_7" data-image-id="20230823100820_00a9ee03f95fdf8bb5e57e83a688efc427a572fe6599a8d13aa1a8e3f00fe5bc" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Olive garden"> <figcaption>Photo: SHRISTI KARKI</figcaption> </figure>  The ‘Spaghetti con Gamberi’ Is &nbsp;served with shrimp in red tomato sauce. The main course Secondi can be the ‘Parmigiana di Pollo’ -- breaded chicken topped with melted cheese and the grana padano layered over it. The dish is served with a base of tomato sauce with broccoli and carrots on the side. Last but not least is the Classic Tiramisu for the Dolci dessert. After every dish with some form of tangy tomato sauce, this sweet and sour creamy dessert with a tinge of lemon was a fresh change to the palate -- just the right way to end one’s hearty meal. Olive Garden sources its ingredients from Italy itself, and Executive Chef Gyanesh Dass has more than 25 years of experience in continental cuisine and says: “We have tweaked the dishes just right to serve the Nepali palate all while staying true to our Italian roots.” Olive Garden Radisson, Lazimpat 01 4511818 Everyday 6-10:30PM Read Also: <a href="https://www.nepalitimes.com/here-now/flavours-from-nepal">Flavours from Nepal</a>, Prashanta Khanal

Radisson's Olive Garden returns

A centuries-old tradition of cultural exchange between northern India and Kathmandu Valley got continuity recently with Nepal Art Council exhibiting ancient and contemporary art at the Bihar Museum Biennale in Patna. Kathmandu Valley, the Mithila Kingdom and Buddhist sacred sites of Bihar have an intertwined history that is reflected in close affinity of their culture and art. Which could be why the 205 artworks by 68 Nepali artists in the Patna biennale have been so popular among visitors here. The arts of Nepal with their multi-fold expressions have blended engineering with art to create structures that incorporate all forms of art holistically. The skill and practice were initially passed down through family traditions, but in time influenced many more than just the core practicing community.&nbsp; Read also: <a href="https://www.nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a>, Aayusha Pokharel  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230817130820_6329c49adc01e457a1b176a23649550171f2cd115a7c723917f3bc250130c3c5.jpg" data-media-id="editor_1" data-image-id="20230817130820_6329c49adc01e457a1b176a23649550171f2cd115a7c723917f3bc250130c3c5" data-rendition-name="original" width="1024" height="768" loading="lazy" alt="Nepal Art Council"> </figure>  Nepal got another opportunity to showcase its art in the largest display outside the country in Patna with an exhibition titled ‘Nepal, Where the Gods Reside’. &nbsp; The focus of the exhibition was the centrally placed colourful Pancha Buddha and Asta Mangala floor Mandala. Many visitors bent down to touch the mandala, thinking it to be a painting.&nbsp; The interest and appreciation of the visitors, established artists and curators from India and abroad was immense. Alka Pande, the chief curator of the Biennale said the Nepal exhibition was a 'show-stopper'.&nbsp; This exhibition encompassed a wide range of genres reflecting Nepali creativity throughout history right to the present day. Artistic production in Nepal is a living heritage, where creators draw inspiration from spiritual, philosophical traditions and iconographic sources before giving free rein to their imagination.&nbsp; Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/">Nepali art going places</a>, Kunda Dixit  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230817130820_7680b4e860fdcdc8bfd7f2f3916c57c19fd012ce69c75a2719b192c5968e7c62.jpg" data-media-id="editor_3" data-image-id="20230817130820_7680b4e860fdcdc8bfd7f2f3916c57c19fd012ce69c75a2719b192c5968e7c62" data-rendition-name="original" width="1024" height="768" loading="lazy" alt="Nepal Art Council"> </figure>  These artworks through their intricate detail evoke a sense of sacred beauty and serve various purposes, including veneration, enhancing spiritual aura, and adding aesthetic value to secular spaces.&nbsp; The exhibition also impressed upon visitors the vastness of Nepal's syncretic spiritual atmosphere, as the abode of deities. The artworks ranged from the formless to myriad incarnations and manifestations of the divine, showcased through traditional and contemporary paintings, straw art, wood and metal statues made using lost wax and repoussé techniques, filigree with semi-precious stone inlay, and ceramics. &nbsp; In the last decade, Nepali art has got an international reach. Many artists have settled abroad and made a name for themselves. Others exhibit their works worldwide. NAC itself has taken Nepali art to three editions of the India Art Fair, and in 2019 it co-curated 'Nepal Art Now' with 100 works at the Weltmuseum, Vienna. This exhibition was equally popular and was extended for two more months.&nbsp; Read also: <a href="https://www.nepalitimes.com/review/deciphering-thangmi">Deciphering Thangmi</a>, Ashish Dhakal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230817130820_62ce18e42dbd92d5dde79ab5ef5cf53a66e792848a0763fd507b38a87c0742a9.jpg" data-media-id="editor_5" data-image-id="20230817130820_62ce18e42dbd92d5dde79ab5ef5cf53a66e792848a0763fd507b38a87c0742a9" data-rendition-name="original" width="768" height="1024" loading="lazy" alt="Nepal Art Council"> </figure>  The city of Patna has a College of Art and Craft established in 1939, and its streets are replete with traditional Madhubani art as well as thematic contemporary drawings and paintings, mostly providing social messages related to environment conservation. &nbsp; This second edition of the Bihar Museum Biennale 2023 was inaugurated by Bihar Chief Minister Nitish Kumar on 7 August and had exhibits from Thailand, Panama, Costa Rica, Italy, Russia and from other Indian museums as well.&nbsp; This generates a two-fold advantage to both the locals, who get acquainted to the artist tends of the world, while the domestic and international visitors witness the glory of the ancient Indian polity as well as the exquisite artforms from the pre-historic times till that of India's independence, in the museum's permanent galleries.&nbsp; The foundation day of Bihar Museum coincided with the inauguration and showcased the folk art of Padma Shree-awarded artists from Bihar and launched ‘Together We Art’, an exhibition of G20 member and guest countries. The exhibition will be in Patna till 7 October. The world class Bihar Museum is the largest museum of central and South-Asia, and the first post-colonial state museum of India, showcasing historical artefacts from the early civilisation up to 1764 as well as folk and contemporary art forms. &nbsp;&nbsp; Read also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal Swosti Rajbhandari Kayastha is Curator of the Nepal Art Council.

Patan in Patna

Nestled within the historic confines of Baber Mahal Revisited, the ‘Amalgam’ art exhibition at Siddhartha Art Gallery is a vibrant tapestry of contemporary expressions of over 40 Nepali artists young and not-so-young.
A staple of Kathmandu’s annual art calendar since 2009, Amalgam aspires to foster &nbsp;connections between artists, art aficionados, writers, and patrons, all converging to celebrate creativity and vitality.
Initially begun as 'Monsoon Moods', the exhibition has evolved over time into Amalgam, but still happens during the wettest part of Nepal’s rainy season, embodying the melding of various viewpoints, concepts, and artistic forms.
The exhibition spans two venues within Baber Mahal Revisited: the main gallery showcases 54 items featuring diverse mediums such as acrylic, polymer clay, oil on canvas, sculpture.
‘Melting Life’ by Min Thapa is a painting meticulously composed of thousands of dots, masterfully capturing the urgency of the climate crisis.
Read also: <a href="https://www.nepalitimes.com/review/deciphering-thangmi">Deciphering Thangmi</a>, Ashish Dhakal
Teesha Shrestha’s ‘Beauty and the Beast II’ poignantly portrays the encroachment of modern cement structures upon the city’s cultural urbanscape.&nbsp;
Sara Koinch’s ‘Parallel Journeys’ is a reflection on a personal odyssey of transitions between traditional and contemporary norms sensitively conveyed evoking both worlds.&nbsp;
The visual diversity of the exhibition becomes remarkably apparent through the vibrant colour palette and the intricate play of textures on the first floor. In contrast, the second floor presents a more subdued tone with sepia and pen and ink hues, gently conjuring a sense of nostalgia and timelessness.
The annexe building has 25 artworks using mediums like knitwork, mixed media, embroidery, digital print, mandala work.
The common theme in both galleries is thoughtful exploration of contemporary societal dynamics with a compelling mix of themes that ranging from culture, religion, and traditionalism to materialism, climate change, and the modern world. Spiritualism and indigeneity are also explored.&nbsp;
Read also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal
The convergence of established and emerging artists adds depth and contrast to the exhibitions. Curator Sangeeta Thapaexplains: “Amalgam is a platform that gives space to artists who have not got a chance to represent their art. Younger artists may feel left out because of the long waiting period to be seen. This is so they do not feel that way.”&nbsp;
Prithvi Shrestha from Bindu who collaborated on amalgam has his own artwork ‘Believe’ that hangs on the first floor of the art gallery.&nbsp;
"Our different cultures are getting lost, but the young generation still has veneration for an invisible force,” says Shrestha, pointing out his display. “The mask signifies that. When we put on the mask, we get the feeling of being god ourselves." &nbsp;
Shrestha adds that the mission of the exhibition is to spotlight the skill and creativity of artists from various backgrounds and experiences. Amalgam is successful in showcasing Nepal’s diversity.&nbsp;
Amalgam
Siddhartha Art Gallery
Till 27 August, 11pm to 5pm&nbsp;
Free entry
Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/">Nepali art going places</a>, Kunda Dixit