Traditional thangka and paubha painters spend months hunched in small rooms making meticulous pieces of <a href="https://nepalitimes.com/review/golden-deities">devotional art </a>that follow ancient canons and style. These are not starving <a href="https://nepalitimes.com/here-now/the-world-of-a-working-artist">artists </a>hoping to make it big, these are professionals who have trained for years under strict rules and masters. They know their level, and know that a piece will take about three months of full-time work. They set a standard price that reflects three months’ wages in Nepal. Local and foreign buyers visit the studios regularly, to acquire the pieces to keep or sell. That is often the last the artists see of their work -- they do not know where in the world it has gone, or how many times it has changed hands and for what prices. This can be a problem because<a href="https://nepalitimes.com/here-now/five-decades-of-lok-chitrakar"> traditional art</a> is often unsigned, so artists go unrecognised. <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Collectors and galleries</a> may also be hesitant to buy or exhibit a piece if they cannot say for sure where it came from. This is an even bigger problem in thangka and paubha because making pristine copies of the works of masters is not seen as forgery or a violation of intellectual property, but as a test of their ability to adhere to sacred tenets.&nbsp; “When senior masters paint a piece, and photos of it get out, it gets copied immediately. I have heard stories of collectors selling these copies as if they were the original,” says Thimi-based artist Sundar Shrestha, who made a switch from <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139">contemporary art to paubha</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140828_00b0ced5e1745c2c168fef4d4124f2165cf1a84a42376da96da2c7b62b00d870.jpg" data-media-id="editor_5" data-image-id="20250810140828_00b0ced5e1745c2c168fef4d4124f2165cf1a84a42376da96da2c7b62b00d870" data-rendition-name="original" width="832" height="1248" loading="lazy" alt="Digital verification of traditional art"> </figure>  The Kathmandu-based <a href="https://himalayanartcouncil.org/">Himalayan Art Council</a> is trying to resolve the issues of ownership and provenance of traditional Nepali art by building a cutting-edge system that issues a tamper-proof digital certificate to each artwork.&nbsp; The system tracks each time there is a transaction involving the piece, and provides a royalty to the artist each time. In doing so, the system also creates a detailed inventory of <a href="https://nepalitimes.com/here-now/unnamed-masters-of-nepal-s-art-identified?mibextid=Zxz2cZ">Nepal’s traditional artforms</a>, which will prove valuable for future scholars or repatriation efforts. THE TEAM Behind this initiative is a team with activist-entrepreneur Sean Howell, curator and museologist Meena Lama, Mercantile CEO Sanjib Rajbhandari, and blockchain expert Bijay Bogati. Howell’s interest in the project started out through a connection to Nepal that began with a love for <a href="https://nepalitimes.com/banner/red-panda-on-the-red-list">red pandas</a>, and an invitation to promote <a href="https://nepalitimes.com/here-now/shrinking-tourism-s-ecological-footprint">eco-tourism</a>. Howell has a diverse background in finance, the tech world and social communication. He has been art commissioner for Seattle, and knows all about blockchains, the technology underpinning this art initiative. “I saw that there were many people working in art preservation in Nepal, and that current, living artists were facing problems,” explains Howell. He &nbsp;recognised that these problems had already been solved elsewhere in the world. “This technology is a low-cost, high-value solution that ensures artists receive fair value for their work while also establishing a <a href="https://nepalitimes.com/news/digital-protection-for-nepal-s-art">digital archive of Nepali art</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140832_65be31ea44d6076462ce36b2d96594a874f42c24915459f23c7f75471e1547ed.jpg" data-media-id="editor_11" data-image-id="20250810140832_65be31ea44d6076462ce36b2d96594a874f42c24915459f23c7f75471e1547ed" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Digital verification of traditional art"> </figure>  "Trust is paramount for collectors," says Howell. "<a href="https://nepalitimes.com/review/the-craft-of-art">Thangka art</a> has high market value globally that is not reflected in local transactions due to the opaque nature of its sales." Building the actual system is a team of software engineers that works out of the Mercantile office in Kathmandu, led by Bijay Bogati. Bogati transitioned to blockchain in 2019 after working with Khalti as a founding engineer, and held remote senior software engineer positions for German and US-based companies. “The most interesting part of this project is how this futuristic technology is being used in Nepal to create a digital ledger of this huge legacy of traditional artists and art,” says the soft-spoken Bogati. Holding together the whole operation is curator Meena Lama, who has an MA in Museology and Buddhist Collections. She says, “While there is undoubtedly a commercial side to this project, the most important thing is that it helps digitally archive traditional Himalayan art and makes it much easier to study. Especially as many of the country’s finest works of art are held in private collections and risk being lost to time, damage, or disappearance. To kickstart the project, Lama and the team selected fifty significant pieces of thangka and paubha from different artists, certified them at no cost, and exhibited them at the Patan Museum last month. Lama’s connection to the art world and Bogati’s expertise in this new technology have also been important to get artists to buy in to the project. “Initially, other artists and I were a little skeptical,” admits Sundar Shrestha. “But I had worked with Meena on exhibits before, and Bijay’s grasp of the tech put me to ease and made me quite excited.” THE TECH In the big picture, blockchain technology is part of a movement in tech referred to as ‘Web3’, which is widely regarded as the next evolution of the internet. Instead of central authorities that control data and user-experience, such as Facebook or Google, Web3 aims to devolve power over many users, giving them more of a say over their identity, online interactions, and transactions. One of the goals is to make digital records as reliable as physical ones, and secure enough for banking or legal transactions. Art and cultural heritage can be protected by the same trusted tools. The Himalayan Art Council’s project follows long-established international standards by adding a secure, centralised digital layer to every record, which safeguards traditional art, gives it global credibility, and connects it to the same trusted systems used by leading institutions around the world. The key concept for Web3 and the Himalayan Art Council’s project is blockchain, a technology without central authority that records transactions in a way that is both secure and transparent. Each transaction is a ‘block’, and is linked mathematically to the transaction that happened before it to create a ‘chain’ of digital records across computers, following the same security protocols used in banking. Altering the details of any one transaction requires all the computers that are linked to agree, making tampering or fraud virtually impossible.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140832_5c4da6fbadb885af81ceab7f223a7ef041fb62d718a1c5543ec9cba5414b9499.png" data-media-id="editor_13" data-image-id="20250810140832_5c4da6fbadb885af81ceab7f223a7ef041fb62d718a1c5543ec9cba5414b9499" data-rendition-name="original" width="1023" height="690" loading="lazy" alt="Digital verification of traditional art"> </figure>  Himalayan Art Council would take varied data about the painting: authorship, high-resolution images, chain of ownership, transaction history and feed it into an algorithm that creates a ‘hash’, or a unique identifier for that particular piece. This hash then is turned into a QR code included on the art. Then anyone can scan the code to check the piece’s history and legitimacy. A key feature is that every time the piece is resold, the original artist can opt to automatically receive royalties worth up to 10% of the value, and can choose whether this money goes directly to their family, a trust, or a monastery. Bogati points out a key caveat: “The word blockchain is strongly associated with cryptocurrency, which is not legal in Nepal, and not what we are doing. We are using the features of blockchain that make it an excellent system of digital registry.” THE ARTISTS As an artist, Sundar Shrestha says the Himalayan Art Council initiative inspires hope especially because it is finally about paying royalties.&nbsp; “This is a new concept in traditional art,” says Shrestha, who notes that his Newari traditional artist forebears painted their whole life, often with no recognition and remuneration.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140840_4103d15ff14d9042063f3ae2ee3ae159cd7a37b11b34f2c9edbe7cdccd5f520f.png" data-media-id="editor_14" data-image-id="20250810140840_4103d15ff14d9042063f3ae2ee3ae159cd7a37b11b34f2c9edbe7cdccd5f520f" data-rendition-name="original" width="1804" height="2014" loading="lazy" alt="Digital verification of traditional art"> </figure>  Over the lifetime of a body of work through multiple re-sales, the royalty system could make traditional art more worthwhile as a profession, and get more Nepali artists to take it up.However, Shrestha admits that the traditional system also has its merits, and will not go away very soon. He says, “Artists are incredibly focused on their work, because they have to be. Collectors and sellers understand art markets in Nepal and abroad much better than we do, and they bring in regular work that gives us an income and keeps us from starving.” Part of the skill of a collector is the exhibitions they hold or the relationships they cultivate in high society, which they want to have some secrecy about, says Shrestha, who plans to use both channels to sell his work. The Himalayan Art Council’s digital initiative would also remove the taboo about talking about the price of traditional art. “Sometimes a student’s painting might sell for higher than the master’s, which can be disrespectful.” Says Shrestha. “And the general sentiment is that paubha are sacred and should be a meditation and a discipline, and that artists are not in it for commercial reasons.”

Vishad Raj Onta

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Digital verification of traditional art

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937a99c7e80680e03fe50jpeg.jpg" alt="" width="1000" height="1014"/>Artificial Intelligence, Blockchain and Machine Learning are buzzwords we are going to hear a lot more in 2019.The Third Revolution in information technology means the country further ahead in AI will be the new global superpower. Competition is fierce between China and the United States, with both using unconventional means to get back at each other – as seen by the arrest of Huawei’s CFO in Canada under American pressure, the allegations that the security of iPhones are compromised by Chinese-made chips.In his new book AI Superpowers: China, Silicon Valley, and the New World Order, Beijing-based technology executive Kai-Fu Lee analyses the background of information technology advances in both counties, but concludes that China is moving faster on AI and could overtake Silicon Valley because of less strict privacy laws in its huge home market.Read also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/it-is-all-about-it-in-nepal,3887" target="_blank" rel="noopener">It's all about IT, Sahina Shrestha</a>Lee warns that AI could entrench global inequalities as well as disparities within countries, taking jobs away from traditional sectors. While these issues are a source of worry because of what it means for humanity’s future, China does not seem to be held back by any such fears. In fact, it is excited about catching up with the US on applications for AI in everyday life.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937ab9c7e80680e03fe51jpeg.jpg" alt="" width="200" height="174"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937ac9c7e80680e03fe52jpeg.jpg" alt="" width="500" height="637"><figcaption> </figcaption></figure>The book starts with the failure of world’s best Go player, Ke Jie, to Google’s AlphaGo in 2017. China’s IT companies fast-tracked development by imitating Silicon Valley’s most successful products and outdid them in expanding user base and profits: Uber to Didi, Google to Baidu, or eBay to Taobao. Once a product was successful, thousands of mimetic companies were spawned in China, and the Americans suspect these companies had government protection.While some argue that restrictions in China stifle creativity, Lee writes that imitation is the first step in generating new ideas and products. In order to compete with many companies with similar products, Chinese entrepreneurs fight fiercely like hungry wolves.They continuously update products to please Chinese users, change marketing strategies to compete with opponents and build the special business models based on the unique user behaviour of the Chinese.China’s central government helps businesses by investing money and provides policy support for AI research. Local governments are encouraged to build industrial parks for AI business, and the state works closely with technology companies to build new intelligent cities. On the other side of the Pacific, however, the US government is reducing its technology budget letting AI adapt to the current infrastructure.Lee says the AI algorithm is to computing what electricity was in the last technological revolution. China has the advantage of combining its huge data sets with AI applications. In the AI era, the country or company with more data can make more information decisions and thereby more profit.China’s digital infrastructure makes it possible to collect every movement of every citizen down to the last detail, erasing the boundary between online and offline. The advantage the Americans have, Lee writes, is that they can apply AI in businesses and the credit market because of its huge cache of structured trading data.Unlike American IT companies which prefer to establish a completely new product and sell it around the world, the Chinese buy local companies and support them with money, technology and marketing experience. Silicon Valley makes sure every product is perfect before launching, while the Chinese fix bugs on the go.Lee says no matter which model wins out in the next IT revolution, it is time to examine the threats to human society from an omnipotent artificial intelligence as it replaces work that needs physical and mental inputs in medicine, accounting, translations, etc.Read also: <a href="http://archive.nepalitimes.com/regular-columns/Cross-Cutting/Start-ups-need-staying-power,439" target="_blank" rel="noopener">Start-ups need staying power</a>, Ashutosh TiwariBut as people are freed up from repetitive chores, AI will also bring new job opportunities just like farmers became factory workers during the Industrial Revolution. Besides, Lee writes from his own experience with battling cancer, there are things like love and friendship that can never be replaced by a machine. Or, can it?

The AI super powers

At the stroke of the midnight hour, it finally came to something everyone in Nepal’s oldest and biggest party had been dreading — a split.
Not that this was anything new. The Nepali Congress (NC) had splintered twice before and the main protagonist both times was five-time prime minister Sher Bahadur Deuba. After the GenZ uprising and being physically mauled and his house looted and set on fire on 9 September Deuba had said he was stepping aside, but it seems old ambitions die hard.
The showdown between the Gagan Thapa-Bishow Prakash Sharma camp and Deuba came to a head on Wednesday as the establishment leadership decided to suspend Thapa, Sharma, and Farmullah Mansoor for five years to punish them for daring to challenge the leadership and hold a special general convention.&nbsp;
Bhrikuti Mandap in the centre of Kathmandu is the venue for trade exhibitions, but this week it was where an exhibition of everything that is wrong with Nepali politics was on full display — lack of internal party democracy and an unaccountable gerontocracy clinging on to power.&nbsp;
Thapa and Sharma had gathered the support of 62% of the NC membership at their convention and chose Gagan Thapa as the new party leader and proposed him as a prime ministerial candidate after the 5 March election.
Deuba’s allies had refused to attend or endorse the special general convention, and were adamant about holding a general convention to choose a new party head after the election. Thapa, Sharma and their supporters argued that the party faced ignominious defeat in the polls if Deuba insisted on being prime minister again.
The events of September 2025 have cast a long shadow over Nepali politics, with many new parties and alliances pledging to represent the aspirations of the GenZ movement. However, that realisation does not seem to have dawned on the tried, tested and failed leadership of the NC, UML and the NCP where the party leaders have held on to power by sidelining all rivals. &nbsp;
Thapa and Sharma were NC general secretaries held multiple rounds of discussions to convince Deuba to accept their eight-point demand that for the party’s and the country’s sake his time was up, and he should cut and cut cleanly. Despite having already handed over the party leadership to Purna Bahadur Khadka in September, Deuba refused to step down.&nbsp;
‘What demands has the Nepali Congress been unable to reconcile that it is headed for a split? There is no ideological dispute, just a proposal to make it easier to go for the election,’ noted journalist and author Narayan Wagle. ‘If those who have been in politics for so many years cannot reach an agreement, what have they learned in life and what hope is there for the country?’
Gagan Thapa was elected unopposed as the new party president on Thursday midnight, with Sharma and Pushpa Bhusal appointed vice-presidents. Thapa has said backroom talks are still ongoing though mediators, but for all intents and purposes the split seems irreconcilable.&nbsp;
The million dollar question now is: who gets to be the real Nepali Congress? Who gets the NC’s tree election symbol at the polls?
Both the Thapa and Deuba factions have written to the Election Commission (EC) laying claim to the party and its symbol. Whatever the EC decides, with less than two months to go for the polls, the dispute over its legitimacy will almost certainly have to be decided in the courts.
Deuba and his counterpart K P Oli in the UML have been unwilling or unable to fathom the level of outrage that young Nepalis feel about their parties. They have shown an inability to heed the call for institutional overhaul within parties and in Nepal’s political culture post-September. Second generation leaders within those parties who have grown old waiting for reform, seem to have better internalised the need for internal restructuring.&nbsp;
Oli has managed to hold on to power after displaying increasing authoritarianism within his UML, while Deuba has shown an unwillingness to bow out of leadership with grace. Both have squandered away their legacy.
For Gagan Thapa, the events of Thursday was a culmination of his long-standing claim for leadership change within the NC coupled with a compulsion to address the demands of the youth movement to maximise gains for his party this election. Just like Deuba, Thapa’s house was also looted and torched during the September protests.
Thapa told Onlinekhabar on Thursday: “Our belief was that we cannot go into elections under the present circumstances under [Sher Bahadur Deuba’s] leadership and with him as the party’s prime ministerial candidate. We would lose.”
The special general convention has taken further steps for reform, endorsing amendments to the party statue, which has set term limits for key leadership positions, including a one-term limit for party president, two-term limit for prime minister, three for a ministerial position, and four terms for a directly elected member of Parliament. Meanwhile, party members are only allowed to become lawmakers through the Proportional Representation system for one term.&nbsp;
If Thapa’s leadership holds legitimacy, this new chapter for the NC might come as a welcome change to young Nepalis who have been calling for leadership overhaul and internal party reforms within the establishment parties. But it may also come at the cost of the NC’s core base. It remains to be seen which side tips the scale at the polls.&nbsp;
The NC’s infighting and institutional shake-up has also posed fresh concerns about how it will affect the election schedule just as it looked as though all the mainstream political parties were finally on board and preparing for the polls. With voting barely weeks away, Nepal’s political parties are still too busy cleaning up their own house to give too much time to work on their platforms, agendas and serious campaigning
Historically, political break-ups and make-ups in Nepal are not set in stone. Even the newest alliance between Rabi Lamichhane’s RSP and Kulman Ghising’s UNP did not even last 12 days. &nbsp;Balen Shah is set to resign from his mayor position in the next and has gotten into the thick of election preparation with the RSP. His next step will be to choose which constituency he is going to contest from.
Meanwhile, in the light of a new day, the two NC factions may still decide that breaking up is hard to do when they are so close to elections, and the political stakes are so high.&nbsp;

Grand split in Nepal’s grand old party

The India Art Fair (IAF) advertises itself as ‘the biggest event in India’s cultural calendar … a leading platform’ for art collectors who can discover modern and contemporary art from South Asia.&nbsp; For this year’s ticketed event on 5-8 February in New Delhi, more than 133 exhibitors from 14 countries will be representing top artists from their networks. Danfe Arts, a touring art space from Kathmandu, will participate in the Galleries Section of IAF’s 17th edition featuring a booth with works by six Nepali artists.&nbsp; One of them is Sanjeep Maharjan, Assistant Professor for Sculpture at Kathmandu University, who will showcase his claywork as part of Danfe Arts’ entourage. In 2024, Maharjan curated a show for Danfe Arts at Takpa Gallery titled, ‘Unfolding the City’. The IAF prefers to showcase skilled artists who have honed their practice over many years. Much like various biennales and residencies that have been popping up increasingly in Asia, the Fair delves into sociopolitical issues of the region such as many comissioned works including <a href="https://indiaartfair.in/exhibitor/yogesh-barve-supported-by-art-charlie" target="_blank">Yogesh Barve</a>’s installation entitled ‘I am not your Dalit’ featured at the feastival last year.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260115110136_13f262546fca46c0fe4d76f758a694afe7c0c1cfee5bf74eb4f257f78734f8f2.jpg" data-media-id="editor_1" data-image-id="20260115110136_13f262546fca46c0fe4d76f758a694afe7c0c1cfee5bf74eb4f257f78734f8f2" data-rendition-name="original" width="989" height="1500" loading="lazy" alt="Nepali artists at India Art Fair"> <figcaption>Anil Shahi's Hand of Hope, Oil on Canvas, 36 x 60 inches. Exhibiting work at IAF.</figcaption> </figure>  As the name implies, it is a grand bazaar where artists and their agents show up, to be seen — a powerful regional platform where creativity merges with commercial interests. This is not necessarily a bad thing. Artists have a reputation for being weak at business.&nbsp; And in Kathmandu, where the contemporary art scene has been steadily expanding since the early aughts, more and more creatives are seeking platforms like IAF and collaborators like Danfe Arts in order to boost their portfolios. A NEW COURSE In 2022, I was invited to participate in a formal group discussion by founder of and curator at Danfe Arts Shivangi Bansal who was preparing to chart a new course with her Danfe Journal. The journal included photos of artworks as well as writings about art and helped bridge the gap between art and the Nepali public’s understanding of associated processes. Contemporary art and literature is considered a niche activity. Proper marketing and outreach is required to make the product accessible to the average consumer. Besides, consistency can also be an issue. Too often, energetic graduates might register organisations and launch initiatives only to burn out within a year or so. Nepali society would benefit more from a sustained effort with a long-term vision rather than trendy initiatives that look bright and shiny. Danfe Arts discontinued the journal but continued to engage with Nepal’s art community, like facilitating a commission for Mini Tamang by the India Art Fair (IAF) in 2025, as part of IAF’s Young Collector’s Program. Tamang’s artwork, ‘Evocative Waves’, was installed at New Delhi’s Stir Art gallery last year. In 2024, Danfe Arts had organised a group exhibition called ‘A Lake That Once Was’ in New Delhi’s Bikaner House to coincide with the India Art Fair, which listed the exhibition as part of its parallel programs. This meant the Nepali artists received more visibility and value among IAF’s much larger audience.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011804014_2a15d57a63c375503965a41396b22c006152368a018450d2617f4c8c076ccc74.jpg" data-media-id="editor_2" data-image-id="2026011804014_2a15d57a63c375503965a41396b22c006152368a018450d2617f4c8c076ccc74" data-rendition-name="original" width="1500" height="998" loading="lazy" alt="arts"> <figcaption>A Lake That Once Was, 2024 at Bikaner House, Delhi.</figcaption> </figure>  Since its inception, Danfe Arts has put out an eclectic mix of programs, demonstrating innovative thinking and effort. With its multi-platform approach, Danfe Arts has collaborated with restaurants like Mezze, putting up an exhibition in November 2025, ‘Bhoye - The Feast’. Danfe Arts is also cultivating relationships with specific artists based on synergies and sensibilities.&nbsp; The history of art practice in Nepal is long and illustrious, but due to political and geographical constraints, esteemed artists have been sheltered and confined within our national borders.&nbsp; By featuring these six artists for the 2026 edition of IAF, Danfe Arts is helping them make regional connections. And as our artists and gallerists show up on global platforms, they might in turn compel Nepalis to view more critically the value of art and how creative practices can contribute positively to society. As technology takes over and AI bots spam the Internet, the issue of originality might become tantamount to survival. We should take risks in our professional pursuits in order to design new communal models of exchange. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; India Art Fair New Delhi 5-8 February&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011804014_f226a31af8a33f8da5e7359886289de3fd1b2db17697b96b909404e582d75124.png" data-media-id="editor_3" data-image-id="2026011804014_f226a31af8a33f8da5e7359886289de3fd1b2db17697b96b909404e582d75124" data-rendition-name="original" width="1500" height="1875" loading="lazy" alt="arts"> </figure>

Nepali artists at India Art Fair

Only a handful of people who witnessed the 1934 megaquake as children are still alive. And the memories of 2015 are fading fast.&nbsp;
We were shaken, but have not stirred into action. We have not even started preparing to be prepared for the inevitable, for it is not a question of ‘if’ but ‘when’.&nbsp;
Thursday 15 January was National Earthquake Safety Day commemorating the 1934 disaster that killed 10,000 people in Kathmandu Valley at a time when its population was barely 100,000.
Nepal is in an active seismic zone, and a really big one is overdue in the seismic gap in western Nepal where there has not been a megaquake for 500 years. The 7.8M quake in 2015 did not completely release the tectonic stress below Central Nepal.
An 8M+ earthquake epicentred in western Nepal will be even more violent than the 2015 one in Kathmandu and will be powerful enough to cause destruction across northern India as well.&nbsp;
We Nepalis are resilient, but we are also complacent and fatalistic. How else does one explain the unsafe and unplanned building construction in Kathmandu, Pokhara and other towns despite frequent reminders of what quakes can do?&nbsp;
Most designs are ad hoc and follow no engineering logic. Reinforced Cement Concrete (RCC) is now widespread across the country since such structures mostly withstood the 2015 event. But structural engineers say most concrete buildings are substandard, and can be death traps. Also, the country lacks equipment and training for search and rescue in cement houses.&nbsp;
FIRE HAZARD
If an earthquake struck Kathmandu on a windy winter evening, there is the added risk of fires from gas cylinders in collapsed buildings spreading across the densely packed city core. Fire trucks will not be able to reach those areas because the streets will be blocked.
Seismic risk is now amplified by climate breakdown. Nepal now needs to factor in the co-hazard of massive avalanches and Glacial Lake Outburst Floods (GLOFs) triggered by future earthquakes. There are 41 potentially dangerous glacial lakes in the region, and 27 of them are in Tibet feeding rivers that flow into Nepal. A megaquake there could cause multiple simultaneous GLOFs.&nbsp;
If the 2015 earthquake had not happened on a Saturday, tens of thousands of children could have been killed in the 7,000 schools that were flattened. More than 2,500 government buildings came down, and would have killed and trapped many if it had not been a weekend.
Schools and health facilities retrofitted before the disaster were unscathed, and served as shelters for survivors. Chhatrapati Free Clinic (CFC) was reinforced three years before the earthquake for Rs5.2 million, and with support from National Society of Earthquake Technology (NSET), 800 community members were trained in search and rescue.
Bhuwaneswori Secondary School in Bhaktapur and Bal Bikas Secondary School in Kathmandu both survived 2015 because they had been retrofitted. Singha Darbar, the Supreme Court and the Department of Roads buildings were also made seismic resistant after 2015 quake, but the arson attacks on 9 September gutted them.
While many private residential homes built after 2015 continue to flout building codes, municipalities are now stricter. New schools and colleges, hospitals and high rises now have to meet stringent requirements for seismic resistance.
Nepal is a hotspot for many types of disasters — earthquakes, floods, droughts, glacial outbursts, wildfires. These are not ‘natural’ disasters, they are human induced. Earthquakes do not kill people, poorly-built buildings do. Climate breakdown is anthropogenic.&nbsp;
Waiting for a disaster to strike means we have waited too long. Search and rescue readiness are well and good, but much more important is preparedness — seismic resistance structures especially of public buildings, strict zoning to establish open spaces, pre-positioning supplies and simulated drills.
We do not know how much time we have before the next one. But it is not too late to start preparing. &nbsp;
Sonia Awale

Shaken, but not stirred

The series <a href="https://nepalitimes.com/multimedia/looking-good-by-doing-good">Nepal Made</a> profiles world-class Nepali products and the people behind them. Deepak Acharya was born and raised in Simara, before his uncle took him to Pokhara when he was only in sixth grade. After class, he helped sell jackets and outdoor gear at his uncle's Lakeside store. &nbsp; Twenty-two years later, &nbsp;Acharya is still selling jackets. Not international brands like he used to, but products of his own outdoor gear company, DOLPO.&nbsp; Acharya and his brother-in-law, Krishna Ammai, started making and selling jackets and gear for international companies out of Thamel. After losing his business partner in the 2015 earthquake, he was done selling imported items. He launched his own line of outerwear, named after Nepal’s rugged and remote district, known for its stunning arid landscape. The careful selection of the name DOLPO paid off. It took off, providing a high-quality, affordable Nepal-made alternative to foreign companies.&nbsp; “A lot of work went into choosing the name Dolpo,” says Acharya, who considered what came into people’s minds when they heard the name of a place with double-O sound. “I wanted a brand that local customers would instantly relate to toughness and mountains.” The elegant logo reflects this as well, made up of two overlapping rounded triangles denoting mountains with a third peak in the middle. Underneath is ‘DOLPO’ in upper case sans serif.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260116120148_968d9354094049265372d851d0e44e16ae4fc86b5631481e365e6e977f13d37d.jpg" data-media-id="editor_1" data-image-id="20260116120148_968d9354094049265372d851d0e44e16ae4fc86b5631481e365e6e977f13d37d" data-rendition-name="original" width="854" height="1280" loading="lazy" alt="Dolpo NT"> <figcaption>Photo: DOLPO</figcaption> </figure>  RIGHT QUALITY, RIGHT PRICE “Our philosophy is Right quality, Right price,” says co-founder Deepak Acharya, adding with a smile that the pricing strategy of a particular competitor has made business easy: “The employees at North Face may sell North Face, but they wear Dolpo.” The rebranding was so successful that Acharya regrets not launching it sooner. The reason for the success is that the outdoor gear market in Nepal has taken off with more and more domestic tourists trekking in the high mountains to share their adventures on social media.&nbsp; Nepalis seem to be consciously choosing sustainable, Nepal made products of international quality. Acharya says: “Of course, there will always be a demographic that only wears North Face, or Sonam. But we have the right design, right price philosophy.”&nbsp; DOLPO uses fabric and material mainly from Japan, and adheres to strict quality control. The reversible down jackets, windcheaters, shorts, fleece-lined pants, trekking trousers, backpacks, and polo shirts can be bought through its website, or two exclusive flagship stores in Sorakhutte and Thamel Chok. “After the rebrand, we slowly made a digital platform, marketed online, and worked with a delivery company to get items directly to buyers,” says Acharya. “We have no brokers or middlemen to keep prices low for the consumer.” DOLPO is a family business with Acharya’s mother and sister also involved, and nephew Nishant Ammai driving digital sales. Acharya points out that there is a lot of business opportunity in Nepal, as there are too many low-quality products being sold at too high a price. &nbsp;“The market is begging for an auto-correction,” he says. For Nepal’s pessimistic youth who are fleeing the country, Acharya urges patience: “The younger generation wants shortcuts. The mindset is to set up a venture and in three years they will be set for life. But this is not how success works.” “Choose a field, put in ten years of effort, really learn about it, and then you will see the vast possibility present in Nepal,” he continues.&nbsp; Last month, the DOLPO logo was seen on the jerseys of the Biratnagar Kings in NPL 2. The company made hats, jackets, and jerseys for star-studded cricket players including Lokesh Bam, Sandeep Lamichhane, Faf Du Plessis, and Martin Guptill. The Kings finished second in the group, and although Acharya is a football fan, he is happy to contribute to the rise of cricket in Nepal. &nbsp;&nbsp;

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Shaken, but not stirred

Proud to wear DOLPO