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

Kunda Dixit

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Map land

Three incidents in one week: a detained traveller in Shanghai, a revived claim on Sindh, and a currency note from Kathmandu, reveal a South Asia where small symbols now carry the weight of territorial claims. The danger lies not in armies but in imaginations sharpened into weapons.&nbsp;
It began without spectacle, as many troubles in the subcontinent often do: quietly, almost indifferently, as though history were clearing its throat. A week steeped in a kind of comic solemnity, its events unfolding with the grave absurdity of men arguing over shadows cast on an old, uneven map. One could almost hear the creaking of history’s machinery, answering its own summons, as if reluctant to surrender its favourite mischiefs.
The first murmur, faint but unmistakable, came from Shanghai, where a young woman from Arunachal Pradesh found herself <a href="https://www.bbc.com/news/articles/c8e9kz127w0o" target="_blank">detained</a> beneath the cold fluorescence of an airport hall. Chinese officials questioned her not-so-gently, an initiation into that peculiar fraternity of those whose identities are disputed not because of who they are, but because of where the lines on someone else’s map would prefer them to be.
And barely had that echo settled when <a href="https://www.ndtv.com/india-news/sindh-may-return-to-india-rajnath-singhs-borders-may-change-remark-9686581" target="_blank">India’s Defence Minister</a>, with the ease of a man accustomed to speaking into the certainties of a friendly crowd, remarked that “Sindh may return to India one day.” He said it with the offhand confidence of a politician who knows mythic geography plays well at home.&nbsp;
But the remark, dropped into the region’s already crowded pool of dreams, loyalties, and inherited grievances, spread outward in ripples – provoking <a href="https://www.telegraphindia.com/world/islamabad-labels-rajnath-singhs-sindh-remarks-delusional-and-expansionist/cid/2134548#goog_rewarded" target="_blank">denunciations</a>, apprehensions, and that familiar tightening of breath that accompanies any suggestion that the past might yet attempt a resurrection. In Pakistan, the words landed not as rhetoric but as portent, dredging up every anxiety sharpened by partition, war, and the belief that memory in South Asia, once stirred, is never quite satiated.
Then Nepal, with its quiet talent for announcing its displeasures through objects rather than declarations, unveiled its <a href="https://www.business-standard.com/external-affairs-defence-security/news/nepal-issues-100-bank-note-with-revised-map-comprising-disputed-areas-125112700551_1.html" target="_blank">new currency notes</a>: each one bearing the imprint of its 2020 political map.&nbsp;
<a href="https://nepalforeignaffairs.com/authenticity-of-lipulekh-border-pass/" target="_blank">Lipulekh, Kalapani, Limpiyadhura</a> – names that have become ritual incantations in the theatre of Himalayan disputes, contested frontiers now printed in neat, official ink. The release was explained as routine. Nothing in this region is ever routine. The moment a boundary is drawn on money, it becomes more than a border. It becomes an assertion, a reminder, a pre-emptive negotiation.
Three events, scattered like windblown leaves across the subcontinent’s restless topography. None catastrophic, none decisive, yet each carrying the faint odour of things unresolved, things forgotten until the moment they are not.&nbsp;
The humour is thin, the unease is thick. They were small gestures: a passport, a proclamation, a banknote, but in South Asia, small gestures have a way of expanding into quarrels no one quite intended and no one quite knows how to end.
Beneath these small episodes lies the harder truth. The subcontinent has slipped into an era where symbols, not armies, do the fighting. Maps, murals, visas, banknotes, toponyms, remarks: each now carries the weight that artillery once did. The provocations are miniature, the meanings are immense. And the region reacts to each with a suspicion that borders on reflex.
China understands this vulnerability better than anyone and does not need to invent South Asia’s sensitivities. It merely needs to press on the ones that already exist. China’s refusal to accept an Arunachal Pradesh passport is not clerical fussiness, it is a demonstration of a worldview.&nbsp;
By turning a lone traveller into a pawn of territorial narrative, <a href="https://www.newsweek.com/china-india-arunachal-pradesh-zangnan-tibet-territorial-dispute-1884895" target="_blank">Beijing enforces its claim to “South Tibet”</a> without firing a shot, and normalises its cartographic imagination through mundane encounters, where the humiliation is individual but the message is national.
It is sovereignty-by-bureaucracy, a slow, grinding assertion that does not need tanks to leave a bruise. The frontier now lives in the immigration cubicle, not just the mountain pass.
India’s '<a href="https://timesofindia.indiatimes.com/india/sindh-may-return-to-india-rajnath-says-borders-can-change-cites-civilisational-link/articleshow/125520334.cms" target="_blank">Sindh may return</a>' remark sits at the opposite pole. It neither denies the sovereignty of others nor confines itself within current boundaries. Instead, it breathes life into an older geography, one that extends far beyond India’s present outline. For Delhi, this is heritage. For Pakistan, heresy. For the region, it is another sign of a political climate in which myth, memory, and maps are all too easily woven into public rhetoric. And rhetoric, once spoken, becomes the shadow of intent.
Nepal’s cartographic gesture is its own form of resistance. It asserts that <a href="https://dkiapcss.edu/wp-content/uploads/2025/08/CH-09-South-Asias-Strategic-Edge_TEKWANI-SAMPATH_10.71236CSFU4789.pdf" target="_blank">small states</a>, too, possess symbolic weapons. A currency note bearing a disputed frontier is not merely a piece of paper, it is a refusal. And refusal, in South Asia, quickly acquires the density of principle.
To understand why these gestures resonate so forcefully, one must return to the deeper architecture on which they fall. The subcontinent carries not one historical geography but three. There is the civilisational past: epics, empires, pilgrimage routes, whose outlines stretch far beyond the borders of modern sovereignty. There is the colonial cartography layered atop it, drawn hurriedly and indifferently by men who never intended to inhabit the lands they demarcated. And there is the postcolonial state, fragile in identity and jealous of territory, inheriting maps it never drew and histories it cannot fully escape.
GEOGRAPHIES COLLIDE
Where these three geographies collide, symbols expand. A remark becomes a blueprint. A detention becomes a claim. A banknote becomes an argument.&nbsp;
All this might have been manageable had the region built institutions strong enough to absorb the shocks. But South Asia built almost none. SAARC remains an empty frame. Meanwhile, India’s crucial bilateral ties, like those with Nepal and Bangladesh, oscillate wildly with the whims of domestic politics. No mechanism exists to catch the fallout of symbolic friction before it hardens into political posture.
This vulnerability is most pronounced around India, which, as the region’s largest power, sits at the centre of the <a href="https://www.hindustantimes.com/india/rss-calls-akhand-bharat-a-cultural-concept-not-a-political-one/story-EcuzYTNZHpqENlmawbPYYP.html" target="_blank">symbolic storm</a>. New Delhi’s own symbolic gestures, often framed as cultural heritage or historical homage presented with a wink, are increasingly read by its neighbours as strategic ambitions cloaked in the language of civilisational memory.&nbsp;
The recent mural of <a href="https://www.tbsnews.net/features/panorama/akhand-bharat-whats-map-645286" target="_blank">Akhand Bharat</a> in the new Parliament building is a case in point. The mural’s outline, invoking a civilisational geography stretching across today’s neighbouring sovereign states, was never going to remain a cultural gesture alone. Imagined maps, however metaphorical, cast <a href="https://edition.cnn.com/2023/06/13/india/india-akhand-bharat-map-parliament-intl-hnk#:~:text=To%20India's%20neighbors%2C%20%E2%80%9CAkhand%20Bharat,according%20to%20The%20Kathmandu%20Post." target="_blank">real shadows</a>.
And the ripples did not take long to appear. Nepal hardened its cartography. As a smaller state with a long history of negotiating Indian influence, Kathmandu often has to turn to symbolic gestures to assert its autonomy. The idea of ‘Greater Nepal’, referring to <a href="http://www.historyjournal.net/article/42/2-2-17-612.pdf" target="_blank">pre-Sugauli Treaty boundaries</a> that once stretched into what is now Indian territory, surfaces periodically, not necessarily because the government seeks territorial revision, but because symbols offer a way to resist the gravitational pull of an imperious neighbor.
In <a href="https://www.aa.com.tr/en/asia-pacific/bangladesh-seeks-explanation-over-indias-new-parliament-map/2914993#:~:text=In%20late%20May%2C%20Indian%20Prime%20Minister%20Narendra,*%20Bangladesh%20*%20Sri%20Lanka%20*%20Myanmar" target="_blank">Dhaka</a>, where anxieties over the <a href="https://blogs.library.columbia.edu/global-studies/2020/12/10/citizenship-amendment-act-caa-and-national-register-of-citizens-nrc/" target="_blank">National Register of Citizens (NRC)</a>, and <a href="https://www.thehindu.com/news/national/bangladeshi-migrants-are-like-termites-amit-shah/article25017064.ece" target="_blank">recent rhetoric around migration</a> are never far from the surface, the mural was seen by many commentators not as a cultural artefact, but as a visual echo of a political rhetoric that questions the very legitimacy of post-Partition borders.
China, perceptive and opportunistic, seized on the atmosphere to escalate its own symbolic manoeuvres. Every Indian invocation of civilisational memory becomes another opening for Beijing to apply pressure. China, too, draws from its own civilisational memory in framing the border question. Its claim over Arunachal Pradesh rests not only on strategic logic but on a narrative that casts the region as historically tied to Tibet.
The <a href="https://www.scmp.com/news/china/politics/article/3310209/china-reasserts-india-border-claims-fresh-list-standard-place-names" target="_blank">renaming of towns</a>, the issuing of <a href="https://www.deccanherald.com/world/what-are-stapled-visas-that-china-has-been-issuing-to-citizens-of-india-1242356.html" target="_blank">stapled visas</a>, and the symbolic <a href="https://www.bbc.com/news/world-asia-66892705" target="_blank">refusal to stamp Indian passports</a> from the state are all actions that gesture toward a deeper historical claim. Each is designed less to provoke than to remind: a steady drumbeat that keeps the dispute perpetually alive. It is a strategy of perpetual, low-grade friction, one mirrored in different forms by nearly every state in the region. In such an ecosystem, symbols do not travel alone. They accumulate, accrete and attach themselves to <a href="https://frontline.thehindu.com/world-affairs/south-asia-anti-india-sentiments-rise-in-neighbourhood-bangaldesh-sri-lanka-nepal-maldives/article68049487.ece" target="_blank">older injuries.</a> They become the whisper that prefaces the quarrel.
The danger is not a conventional war. The danger is something more insidious: symbolic escalation without restraint, without vocabulary, without exit.
Trust erodes quietly. Diplomacy shrinks to damage control. Domestic politics grows drunk on manufactured outrage. External powers deepen their footholds. Negotiation becomes surrender. The symbolic becomes structural. What begins as an irritant becomes orthodoxy. And orthodoxy, once declared, becomes unalterable.
South Asia has survived wars, partitions, insurgencies, and occupations. What it may not survive is the constant abrasion of its <a href="https://www.sas.upenn.edu/~dludden/Sjoshi04.htm#:~:text=The%20region%20continues%20to%20be%20configured%20through,and%20most%20powerful%20state%20in%20the%20region." target="_blank">own imagination</a>.&nbsp;
A map becomes an accusation. A mural becomes a warning. A passport becomes a verdict. A remark becomes prophecy. The politics of small hurts calcifies into the politics of large anxieties. And every actor, large or small, finds itself boxed in by its own symbols.
Somewhere, in the fluorescence of another airport hall, a young woman stands again before an officer who informs her that her identity belongs elsewhere, that her map is incorrect, that her belonging has been misfiled in the registry of another nation. She does not know that she is the site of a quarrel larger than herself. She does not need to. Her uncertainty is enough to sustain it. She is not the crisis. She is merely its silhouette.
The crisis is the map in his mind. And the larger maps behind him, painted, printed, circulated, applauded, contested, and consecrated across a region that cannot decide whether its borders are memories or mandates. Until the subcontinent learns to treat symbols with discipline rather than indulgence, it will remain at war with itself, not through armies but through shadows.
And shadows, once they begin to move, rarely stop where one expects.
Shyam Tekwani is a professor and columnist specialising in security affairs. This article first appeared in <a href="https://thewire.in/south-asia/when-maps-begin-to-move" target="_blank">The Wire</a>.

When maps move

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d269c7e80680e0b78acjpeg.jpg" alt="" width="4032" height="3024"/><figcaption>Maps as abstraction of geometry — literal 'land measurement', as in the case of these two paintings that show aerial view of Kathmandu Valley. Krishna Manandhar, "Overlapping Series, 1985" and "Overlapping Series,1972". Oil on canvas. Photo: ASHISH DHAKAL.</figcaption></figure>At one of the five <a href="https://www.nepalitimes.com/here-now/redefining-art-at-kathmandu-triennale-2077/">Kathmandu Triennale 2077</a> venues, artists from all over the world have converged with diverse expressions of cartography.Curated by the team of exhibition curators, Sheelasha Rajbhandari, Hit Man Gurung and Cosmin Costinas, this show of map art ranges from the cosmic to the subconscious, literary to abstract, and ties together the themes of roots, kinship, freedom and exploration.On entering the Bahadur Shah Baithak in Patan, the first display is Liu Kuo-Sung’s ink, acrylic and collage on paper, titled The Ring B (pictured below). A section of the world spreads across the bottom half of the frame, over which a rising circle is flanked on both sides by crescent moons. And at the top, like on a banner, is Planet Earth against a black field.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d2a9c7e80680e0b78adjpeg.jpg" alt="" width="4624" height="3472"><figcaption> </figcaption></figure>In 1972, the crew of Apollo 17 took <a href="https://www.nasa.gov/content/blue-marble-image-of-the-earth-from-apollo-17" target="_blank" rel="noopener noreferrer">the famous Blue Marble image of the Earth</a>, which inspired Liu to create The Ring B a year later. This painting juxtaposes the earth shaped by the millennia of human imagination with a photograph taken from 29,000km away in space. Human traditions, myths and history approach the actual image for a cosmic rendezvous.Meanwhile on the wall opposite sits Untitled by Mary Dhapalany, from Ramingining, Northern Territory in Australia (detail pictured below, left). A weaver and an actress, Dhapalany work is rooted in the Yolŋu’s traditional nganiyal (woven mats) that have deep ritual, ceremonial and practical significance.Untitled is an iridescent pandanus mat with five spiralling circles. On the wall, these look like eyes, or waves, upon which travel knowledge and stories from one generation to another, intricately weaving the complex threads of family, relations, territories and bodies. And as each loop joins and encloses another, nothing and no one is left behind.Then comes Urgen Dorje Sherpa’s 100 Peaceful and Wrathful Mahayoga Deities Mandala (detail pictured below, right), a large thanka on the right that is the visual representation of the Bardo – ‘liminal state of existence between death and rebirth’.The mandala rises laterally instead of the usual circular structure, as seen from above, and depicts the tantra concerning life and death.This is a guide for departed souls to a swift and positive rebirth – another ‘map’ that transcends to show us a geography beyond what is tangible. Together, the three artworks set the tone for the rest of the exhibition, punctuated only by changing landscape and styles.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d2e9c7e80680e0b78aejpeg.jpg" alt="" width="2000" height="2664"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d319c7e80680e0b78afjpeg.jpg" alt="" width="2000" height="2664">We are invited to look beyond the contemporary worldview of maps as the affirmation or rejection of<a href="https://www.nepalitimes.com/latest/politics-and-history-of-nepals-kalapani-claim/" target="_blank" rel="noopener noreferrer"> people’s expansionist ambitions</a>. Cartography is borne of the desire for exploration and discovery – turning the pages of an atlas, poring over the colours, running fingers along lines and the words to travel to previously remote and unknown places.At the exhibition, these places fly out of the pages of books (Youdhistir Maharjan’s Without a Map series) and memories (Uma Shankar Shah’s Railway Station of Janakpur and NJJR) and draw attention to the un- and re-learning to understand one’s own culture and contours of geography.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d359c7e80680e0b78b0jpeg.jpg" alt="" width="3472" height="4624">One such piece is Silata (pictured above), an instrument for divination used in Himalayan <a href="https://www.nepalitimes.com/banner/a-future-written-in-the-stars/" target="_blank" rel="noopener noreferrer">astrological practices</a>. The various quadrants are examined to read and calculate an individual’s past, present and future.The practice may now feel obsolete, yet it is strikingly familiar to many Nepalis who most likely had a cheena drawn at birth depicting the dimensions of the universe and their place in it.Silata is among the several pieces in the exhibition that remind us that maps are not limited to the ground beneath our feet. Untitled (WTEIA2) by Daniel Boyd references to the stick-charts of the Marshall Islands used by indigenous communities for seafaring.These depicted the positions of islands, but were never taken on voyages. Instead, they were memorised, creating a vastly different form of knowledge transmission.The pieces by Nikau Hindin represent Māori skymaps based on the positions of celestial bodies. On a more abstract side, Wing Poso’s Interior is a powdered herbs, Styrofoam and steel installation depicting the interconnectedness of the microscopic and macroscopic world, of physics and philosophy, individual lives and the universe.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d389c7e80680e0b78b1jpeg.jpg" alt="" width="2000" height="2664">Nepali Power by Köken Ergun and Tashi Lama (pictured above) is a collaboration between Istanbul, Kathmandu and Bhaktapur, inspired by the <a href="https://www.nepalitimes.com/latest/bri-and-trans-himalayan-connectivity/">Belt and Road Initiative (BRI)</a> set forth by China in 2013 to build global connectivity. The vibrant triptych hangs gloriously in the middle of the room, depicting rich possibilities and precautions.On one panel, water flows from the Himalaya, replenishing South- and Southeast Asia, as electricity travels along transmission lines. Others reference the environmental and political consequences, with scales running along in loops like snares. In the middle hangs ‘Nepali Power’: whether an authentic slogan or heavy propaganda, it is left to interpretation.On the floor below in a room that feels like a railway carriage or a caravan (pictured below), is Nyima Dorjee Bhotia’s Where the Fox Settles. The collection of photographs, archival materials, travel documents, a transistor and an abacus, and other artefacts create a real cabinet of collective history.Based in the village of <a href="http://archive.nepalitimes.com/news.php?id=19241#.YinfCjhByJA" target="_blank" rel="noopener noreferrer">Walung</a> in north-eastern Nepal, this archaeological exploration recounts <a href="https://www.nepalitimes.com/banner/human-face-of-a-himalayan-climate-crisis/" target="_blank" rel="noopener noreferrer">Himalayan stories</a> in a global context – set next to the figurative map of the French Army’s losses in the Russian campaign 1812-13, 1869, and The Man of Commerce by AF McKay. The latter quite literally transposes the human anatomy as a ‘cartographic metaphor’ to describe railway lines and economic exchange across America and to Europe.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d3c9c7e80680e0b78b2jpeg.jpg" alt="" width="3280" height="2464">The theme of decolonisation and anti-imperialism runs deep in the exhibition, re-evaluating the misinterpreted evolutionary principle of the ‘survival of the fittest’ that justifies genocides throughout history.The European worldview that led to enslavement and exploitation, erasing traditions, generations of history and practices is carefully dissected rather than mechanically reiterated. It mirrors Nepal’s own exclusion of <a href="https://www.nepalitimes.com/latest/how-art-empowers-nepals-women/" target="_blank" rel="noopener noreferrer">indigenous communities</a>.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d3f9c7e80680e0b78b3jpeg.jpg" alt="" width="4032" height="3024"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d439c7e80680e0b78b4jpeg.jpg" alt="" width="4032" height="3024"><figcaption> </figcaption></figure>The language of map-making has seen many transformations throughout history, moving from a limited, flat point of view to spherical and colour-coded, with mathematical and imaginary lines criss-crossing.But what is a map, really? How can the limitless expanse of our imagination and experience be bound? And how can fences and walls supersede nature’s rivers and mountains?This exhibition is an expression of a borderless globe, where unique and diverse ideas find companions. Visitors are made startlingly aware that Nepal is no longer isolated, no longer insular. The <a href="https://www.nepalitimes.com/here-now/thamels-new-art-street/" target="_blank" rel="noopener noreferrer">artistic voices</a> here are part of the true Theatrum Orbis Terrarum – ‘Theatre of the Orb of the World.’<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101140/63720d479c7e80680e0b78b5jpeg.jpg" alt="" width="2400" height="1688">Read also:<a href="https://www.nepalitimes.com/here-now/nepal-art-debut-in-venice/"> Nepal art debut in Venice</a>Kathmandu Triennale 207711 February - 31 March 2022All venues open 7 days a week except Sundari Chok in Patan (closes at 2:30PM on Monday, closed on Tuesday)Bahadur Shah Baithak, 10AM - 6 PMPatan Museum, 10:30AM - 4:30PM Nepal Art Council, 10AM - 6PMSiddhartha Art Gallery, 11AM - 5PMTaragaon Museum, 10 AM - 6PMPlease wear masks.

Ashish Dhakal

Atlas of art in a world in motion

Who is accountable for teacher-student relationships?

Of the nearly 19 million eligible voters in next week’s election in Nepal, an estimated 5 million are abroad and cannot cast their ballots. Many others within Nepal must travel to their home districts, and might decide not to because of the cost.
Flights into Kathmandu these days are full of global Nepalis returning just to vote, but almost as many are leaving for overseas jobs. Most of those coming or going are in the 20-40 age group, and a majority want Nepal to see a change in leadership.
Bangladesh held an election this month in which citizens overseas could vote by mail.&nbsp;
“Bangladesh made maximum use of technology not just for campaigning but also for polling itself. We could have also managed this, so people within Nepal did not have to travel to their home districts to vote,” says Mohna Ansari, former head of Nepal’s National Human Rights Commission who was an election observer in Bangladesh.
A 3-day holiday has been declared so people can travel to their home constituencies to cast ballots. Even if there was not enough time to manage ballots for overseas Nepalis, it could have been done for Nepalis within Nepal.
Former Chief Election Commissioner Bhojraj Pokharel reckons that physical voting in countries with a large Nepali diaspora would have been a logistical nightmare, but in the PR system, using electronic voting machines or paper ballot could have been piloted in some places. It is not possible to manage the entire voting process until we introduce the internet voting system.
“First of all, there needs to be political will to bring the policy and be ready to undertake that level of investment and it is not a one-time cost,” Pokharel says. “A government formed by the GenZ could have atr least issed an ordinance ensuring this right, piloted out-of-country voting where possible, which could have built pressure for the future Parliament and the government. It would have given people hope. It is a lost opportunity.”
All major political parties called for voting rights for global Nepalis in their manifestos, but these very leaders blocked legislation allowing it despite a 2017 Supreme Court ruling out of fear that it would be anti-incumbent.&nbsp;
<h2>Why so late?</h2>
Bangladesh delivered election results in just one day, but the final results of Nepal's last local polls in 2022 including that of Kathmandu constituencies took nearly a month.
Acting Chief Election Commissioner Ram Prasad Bhandari said this week that the results of the First-Past-The-Post (FPTP) ballot counting would “likely” be published within 24 hours of the poll closing at 5PM on 5 March. But many are skeptical.
“I wonder if we lack the capacity or know-how to announce results as quickly as possible,” says Mohna Ansari.
Former Chief Election Commissioner Pokharel says manual ballot paper counting in Nepal is inherently slow because of the large numner of political parties and/or candidates on the ballot, the counting mechanism, the political behaviour of the candidates/parties and some managerial issues during counting.
“Our present policy is to count all the ballot papers at the returning officers' officies, located at the district headquarters. It requires collecting ballot boxes safetly first. This takes time, and there have been cases of ballot boxes being damaged or stolen during transport. In a few highly difficult, geographically remote polling centres, we use a helicopter or transport. But sometimes, accommodating the party and candidates' representatives remains challenging,” explains Pokharel. A solution could be counting ballots at the very booths where they are cast.
Another reason for the delay is simply the number of political parties, and the need for each ballot paper to be examined by booth representatives for consensus. In close races, the smallest difference can lead to tense situations, further delaying results, even though counting centres are protected by metal fencing so there is no disruption.
After this, then it is the turn of Proportional Representation (PR) ballots to be counted. Weeks pass by the time the results of candidates and parties are tallied and verified. But the most common delay is because election officers think ballot counting is a nine-to-five job.&nbsp;
“The efficiency of poll station officers is most important, and they are incentivised for this,” says Ansari, adding that counting can even start within an hour after voting closes.
In remote areas, local resources could be mobilised to make counting quicker, but there is a crisis of trust, adds Ansari.&nbsp;
That could be easily solved with electronic voting which the EC implemented in the 2008 polls but discontinued because political parties felt the machines could be hacked or manipulated.

Nepalis Select Who To Elect

On Saturday, Iran retaliated with missile strikes on Abu Dhabi, Dubai, Bahrain and Qatar, a region where there are an estimated 2 million Nepalis working to send money home. In addition, thousands of Nepalis were preparing to board flights to Kathmandu from West Asian cities this weekend to vote in the 5 March election. Many are said to be stranded at various aviation hubs. A Qatar Airways flight from Doha took off just before the air space was closed, while Air Arabia and Kuwait Airways have diverted or cancelled flights. Nepalis in the West Asian region said things were relatively calm where they were, although some heard loud explosions at about noon local time. In Dubai, some thought they were Ramadan fireworks.&nbsp; In Kuwait, nearly 2,000 Nepalis working in the US military base as security guards and cleaners were evacuated before the strikes. In Bahrain where the US Fifth Fleet naval base is located and which was hit by two Iranian missiles, workers contacted by Nepali Times said the situation was under control and the authorities had told everyone to stay indoors and not use highways. The conflict also coincided with the beginning of Nepal’s trekking and mountaineering season, and tourists were either on their way or planning to leave European and North American cities for Himalayan hikes. Most of them transit through Doha, Dubai or Kuwait and all three airports are closed. Turkish Airlines flights via Istanbul are still operating.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260228130212_ab5e132d56da1df6a3fb1b6919648f845a168ad2c51d79f7587fb85a6e913b97.png" data-media-id="editor_0" data-image-id="20260228130212_ab5e132d56da1df6a3fb1b6919648f845a168ad2c51d79f7587fb85a6e913b97" data-rendition-name="original" width="1864" height="826" loading="lazy" alt="Qatar and UAE airspace closed"> <figcaption>Qatar and UAE airspace closed. Credit: Flightradar24</figcaption> </figure>  However, the main impact for the world could be a spike in the price of petroleum products if the strategic Strait of Hormuz is blocked. China relies on Iranian oil for their refineries, and Nepal could be affected indirectly if the economies of its neighbours are hit. Nepal imports all its diesel, petrol, LPG and aviation fuel from India which sources it mainly from the Gulf, and until recently from Russia. Petroleum makes up 25% of the value of all imports, and that is more than Nepal earns from all its exports. Saudi Arabia this year overtook the UAE as the main destination for Nepali workers, with the number now totalling 400,000. There are said to be as many in the UAE, and another 350,000 in Qatar. There are another 100,000 mostly women in Kuwait, and 50,000 each in Oman and Bahrain.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260228130220_d24ae633ff84f283835434becdb2f1351f84c415ce87ca34378bd4e2669661b3.jpg" data-media-id="editor_1" data-image-id="20260228130220_d24ae633ff84f283835434becdb2f1351f84c415ce87ca34378bd4e2669661b3" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="West Asia Iran conflict"> <figcaption>Iran retaliated with missile strikes on Abu Dhabi, Dubai, Bahrain and Qatar on Saturday.</figcaption> </figure>  Nepal receives nearly $11 billion a year in remittances from overseas Nepalis (not counting India) through official channels, although the total is said to be much more. &nbsp;This makes up more than a quarter of Nepal’s GDP equivalent — one of the highest proportions in the world. More than half of the overseas remittances to Nepal comes from its workers in the Gulf, and it is the mainstay of the country’s economy. Nepalis in Saudi Arabia, Qatar and the UAE alone send home more than $3 billion a year, much of that helping support their families back home. An average Nepali worker in the Gulf sends home nearly $2,500 a year, and this is spent mainly for household supplies, children’s education and healthcare. There are also an estimated 7,000 Nepali caregivers and healthcare workers in Israel, and most of them are women. The Nepal Embassy has asked Nepalis in Israel to take caution and move to bomb shelters.

West Asia war and Nepalis

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