The Golden Gate in Bhaktapur Darbar Square is dedicated to Taleju, the ancestral goddess of the <a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">Malla kings</a>. The temple was built 271 years ago during the reign of Ranjit Malla, and serves as the entryway to the inner courtyard of the palace. The frame of the gilded copper pagoda-style gateway carries intricately carved deities that glint in the sunlight as thousands of visitors run their hands through the structure on their way into the World Heritage Site.&nbsp; Among them are the much-revered statues of goddess Bhagwati on the right and Bhairab on the left of the gate. But where their foreheads should be are two gaping holes, corroded by abrasion and <a href="https://nepalitimes.com/banner/un-holi-colours">chemical dyes</a> devotees have smeared on the statues over the centuries.&nbsp; Whereas previously, most offerings were vegetable-based dyes, these are being replaced with brightly coloured chemicals that corrode the stone and bronze of the idols.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250729130716_e2fe90b1cc6e7d056fcb8ace2b52d7e011952eb9fcd853984c782137d772b571.jpg" data-media-id="editor_2" data-image-id="20250729130716_e2fe90b1cc6e7d056fcb8ace2b52d7e011952eb9fcd853984c782137d772b571" data-rendition-name="original" width="1400" height="782" loading="lazy" alt="Offerings corrode Kathmandu’s gods"> </figure>  Chemical dyes have also eroded idols in <a href="https://nepalitimes.com/banner/painted-walls-and-pieces-of-history?%2F=">Bhaktapur Darbar,</a> and damaged stone inscriptions at their pedestals. Historian Purushottam Lochan Shrestha says: “It is interesting that idols and statues that are not worshipped as much have remained intact.”&nbsp; Examples are the Hanuman Bhairav and Narasimha stone idols that flank the entrance to Bhaktapur’s National Art Museum. The inscriptions at their base say both statues were commissioned by King Bhupatindra Malla in 1689 and placed at the entry in the belief that they would ward off disease and disaster, and grant victory in battles with enemy states.&nbsp; Today, the inscription on the lesser-worshipped Hanuman Bhairav retains much of its original form. But the etchings on the Narasimha — revered as the god who protects people from calamity and epidemics — have crumbled because of continuous contact over the decades.&nbsp; “The idols we have are sacred and rare, we will never create statues like these again. So, it is crucial that we stop touching and using chemical offerings in ways that damage them,” adds Shrestha. “We need to change our behaviour and express our faith with our hearts, not with our hands. What good does it do to light lamps that burn the faces of <a href="https://nepalitimes.com/news/nepal-s-diaspora-helps-return-stolen-gods?trk=public_post_comment-text">our gods</a>?” While much of the focus in Nepal has rightly been on the repatriation of<a href="https://nepalitimes.com/here-now/bringing-our-gods-home"> stolen artefacts, &nbsp;images and idols</a> being worshipped at home face rapid deterioration in other ways. It is not just idols, historians are also finding it difficult to decipher inscriptions on stones which contain vital cultural, socio-economic and linguistic documentation because they have been smeared with offerings for so long. &nbsp; An 11th century stone engraving in Bhaktapur Darbar Square that dates back to the Nirbhaya Dev has worn away because it was used as a stepping stone to draw water from a nearby well. The historically significant inscription documents the king gifting Aradhya Dev some land, and identifies Bhaktapur as श्री खोप्पु.&nbsp; In <a href="https://nepalitimes.com/news/a-thousand-sadhus-and-a-hanuman">Pashupati</a>, one of the four holiest sites in Hinduism, near the temple’s western gate is a Shivalinga of Bishwamitreswor holding a rudraksha necklace in one hand and a kamandalu on the other which have been completely eroded by daily worship, while more inaccessible idols are intact. &nbsp; Sushil Kumar Gautam, archaeological officer at the Pashupati Area Development Trust, told us that the statue’s features were clearly distinguishable until 50 years ago, but the accoutrements in Bishwamitreshwar’s hands are now just bare stumps.&nbsp; “The deterioration of the shivalinga is quite recent, perhaps due to the increasing use of chemical-laden dyes and incense lamps,” Gautam told us.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250729130724_7bd719ce070efc1137c1819bfa08b7ab06dfbdecfe0659e5ccc20dc1bd74ca81.jpg" data-media-id="editor_7" data-image-id="20250729130724_7bd719ce070efc1137c1819bfa08b7ab06dfbdecfe0659e5ccc20dc1bd74ca81" data-rendition-name="original" width="1280" height="720" loading="lazy" alt="Offerings corrode Kathmandu’s gods"> </figure>  Another sixth-century statue of a bull located in the courtyard of Pashupati remains intact because the public has been prohibited from touching the antiquity for the past 20 years. The nearby Bankali temple houses a Lichchhavi-era statue of the goddess, armed with a sword and dancing over the prone form of the deity Betal. The stone idol is painted in hues of yellows and purples, and the inscription on the base of the idol has faded, rendering the words unreadable. Luckily, the original text and translation of the valuable inscription was recorded in 1973 by historian Dhana Bajra Bajracharya in his book Licchavi Kaal ka Abhilekh. Other religious artefacts around the Chabahil and Jayabageshwari area are similarly buried underneath the weight of daily religious offerings of vermilion, flowers, fruits, sweets.&nbsp; “We have been called anti-religion when we pointed out that the dyes and offerings have damaged our idols,” says Gautam. &nbsp;“Devotees should be made more aware of the damage they inflict on the gods and goddesses they worship.”&nbsp; Many artefacts have been damaged so badly that they have had to be replaced multiple times, like the 16th century copper idol of a prone Betal on the main gate of the Maitidevi temple. The idol was replaced with a new one six months ago after constant contact with offerings corroded its mouth, forehead, and feet, says temple priest Tirtha Jyoti Bajracharya.&nbsp; Burning of incense inside the temple was banned as the statues were coated in thick layers of corrosive soot. He says: “We cannot tell people not to worship, but we have to do what we can to preserve our gods. Some devotees understand us, others do not.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250729130720_f27539197496569ec143be8c758abffe9263c9f5a0deaafe5c1591319cd7e587.jpg" data-media-id="editor_8" data-image-id="20250729130720_f27539197496569ec143be8c758abffe9263c9f5a0deaafe5c1591319cd7e587" data-rendition-name="original" width="1000" height="750" loading="lazy" alt="Offerings corrode Kathmandu’s gods"> </figure>  Chemist Rajesh Prasad Singh of the Department of Archaeology confirms that offerings are the primary reason for the deterioration of religious artefacts. Vermilion is made from a mineral called cinnabar (mercury sulphide) and synthetic saffron corrodes stone and metal. Chemicals in processed milk and sweets offered to deities also damage the faces of idols, while oil from lamps contributes to discolouration.&nbsp; “There is also natural weathering at work, but most of the damage is from touching or materials used for worship,” adds Singh.&nbsp; Cultural expert Govinda Tandon agrees that deterioration of Nepal’s religious artefacts has accelerated in recent years because traditional organic dyes have been replaced with chemicals. Vermilion used to be made by mixing dried red sandalwood with pomegranate, rose, and rhododendron flowers, while henna, pine leaves or spinach were combined to make green dyes. Yellow was extracted from dried turmeric, and purple from beetroot. Coloured powders available in the market, which are used for festivals like Tihar and Holi, are also toxic to humans because they contain compounds of lead (Pb), chromium (Cr), cadmium (Cd) and even mercury (Hg). The Nepal government in 2015 set the maximum amount of lead allowed in colours and paints at 90 ppm (parts per million). But a 2021 study into 62 enamel paints currently sold in Nepal found that at least 30 contained more than the prescribed amount of lead.&nbsp; Distance Worship Meanwhile, the application of chemical-based paints and enamels on centuries-old woodcarvings across the city’s temples have also caused many to splinter.&nbsp; “Most wood carvings are so damaged that we can no longer restore them,” says Singh. In India authorities have designated alternative places of worship, only allowing visitors to observe the world heritage sites from a distance.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250729130724_f2b20062f421ced307323f0f08a4739ede71ce98f3116adfbd66a10d99c47c30.jpg" data-media-id="editor_9" data-image-id="20250729130724_f2b20062f421ced307323f0f08a4739ede71ce98f3116adfbd66a10d99c47c30" data-rendition-name="original" width="1000" height="750" loading="lazy" alt="Offerings corrode Kathmandu’s gods"> </figure>  Saubhagya Pradhananga, Director General of the Department of Archaeology, worships regularly at the feet of the reclining Vishnu at Budhanilkantha. Vermilion powder is no longer allowed on the main statue, and devotees have to worship from afar. &nbsp; “What we can do is ban chemical-based worship material, and create separate spaces for religious offerings,” she says. “For this we need extensive public awareness efforts. Besides temples and idols we also have the intangible heritage of ritual worship linked to our faith, so completely stopping this practice is neither possible, nor the appropriate solution.” &nbsp;

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

thumbnail

viewImage

Offerings corrode Kathmandu’s gods

Israel’s ongoing war of annihilation in Gaza has wiped out hospitals, schools, homes, water, and food, reducing the Palestinian territory to a wasteland and leaving a death toll of more than 53,000 people. But an equally lethal campaign has been unleashed against the foundations of Palestinian society and identity.
The Israeli Defense Force (IDF) has targeted libraries, repositories, and institutions of Palestinian culture and heritage in a mission to eradicate the history, literary accomplishments, and political and social existence of Palestine as a place and people.
“The losses in Gaza are vast, incalculable, as we are still in the throes of a genocidal war that has already destroyed 70% of the Gaza Strip and killed or maimed 10% of its embattled population,” says Raja Khalidi, Co-Administrator of the Khalidi Library, an Arab public library founded by the Khalidi family in East Jerusalem more than a century ago. “So has the Israeli war machine in Gaza and the West Bank wrought indiscriminate destruction that threatens erasure of Palestinian written, architectural, and archaeological cultural heritage.”
In a recent report on the destruction of libraries, archives, and museums in Gaza since the conflict erupted in 2023, the solidarity organisation <a href="https://librarianswithpalestine.org/wp-content/uploads/2024/02/LAP-Gaza-Report-2024.pdf">Librarians and Archivists with Palestine</a> (LAP) stated that “the destruction of cultural heritage in Gaza impoverishes the collective identity of the Palestinian people, irrevocably denies them their history, and violates their sovereignty.”
“The greatest loss remains the normalisation of the daily massacres of Gazans, including children. Every Palestinian life is a record, a history. The Zionist war machine realises this and the targeting of children, in particular, is an attempt at destroying the future narrative of Palestine,” says Ahmad Almallah, a Palestinian poet who grew up in Bethlehem and now lives in Philadelphia in the United States.
Bordered by Israel to the east and the Mediterranean Sea to the west, Gaza comprises 365 square kilometers of land that is home to about 2.1 million Muslim and Christian Palestinians who have lived under siege for more than half a century. Many Palestinians fled to Gaza following Israeli dispossession of their villages and homes during the Al-Nakba, or the ‘Catastrophe,’ in 1948. Then the territory was part of Egypt. Israel subsequently seized Gaza during the Six-Day War of 1967 until 1993, when the Oslo Accords made way for it to be administered by the Palestinian Authority.
The Islamic resistance organisation, Hamas, then took power in 2005. Its launching of a <a href="https://nepalitimes.com/news/nepalis-confirmed-killed-in-hamas-attack">raid and attack within Israel in October 2023</a>, which resulted in the death of 1,200 Israelis with 251 taken hostage, triggered the current Gaza war. Since then, the IDF has sustained a relentless military onslaught leading to the obliteration of every facility for human habitation in Gaza and the escalation of a <a href="https://apnews.com/article/hamas-israel-gaza-crisis-hunger-palestinians-war-9caf8f6eb19efe038c1fd50aa1d2d8ec">humanitarian crisis</a> due to lack of food, water, shelter, and medical services.
While a ceasefire began on 19 January, disputes between Israel and Hamas about progress in hostage and prisoner exchanges led to the <a href="https://www.bbc.com/news/articles/cq6yp5d5v9jo">ceasefire fracturing on 18 March</a>. The IDF resumed its offensive with Israeli Prime Minister Benjamin Netanyahu further threatening to <a href="https://www.nbcnews.com/news/world/israel-gaza-hamas-katz-annex-idf-palestinian-witkoff-rcna197434">annex parts of Gaza</a>.
This month <a href="https://www.unesco.org/en/gaza/assessment">UNESCO</a> reported that Israel had destroyed 107 important cultural sites in the Palestinian enclave, including historic buildings, mosques, churches, and museums. And last year, LAP detailed the damage and destruction of <a href="https://librarianswithpalestine.org/wp-content/uploads/2024/02/LAP-Gaza-Report-2024.pdf">22 libraries and archives</a>, including Gaza’s Central Archives, which contained valuable documentation of the enclave’s 150-year history. 
The Diana Tamari Sabbagh Library, which held tens of thousands of books, was also destroyed, as was the Omari Mosque and Library, which was built in the 7th century and held a major collection of rare books dating to the 14th century. Four university libraries in Gaza also suffered damage, including the Al-Quds Open University Library and the Jawaharlal Nehru Library of Gaza’s Al-Azhar University. Historical records destroyed in Gaza include those that proved Palestinian land and property ownership.‘
Several years ago, the occupation destroyed the National Library in Gaza, razing its towering structure to the ground. With its destruction, the dream of creating a repository for both ancient and modern Palestinian works was obliterated. The site that once promised to preserve a rich cultural heritage became little more than a platform for displaying political party flags and leaders’ portraits,’ Palestinian novelist <a href="https://internationaleonline.org/contributions/the-library-and-the-massacre-a-novelists-testimony-on-the-destruction-of-libraries-in-the-gaza-strip/">Yousri al-Ghoul</a> wrote in January.
The current conflict continues attempts to erase Palestinian history and identity that began during the <a href="https://theconversation.com/the-nakba-how-the-palestinians-were-expelled-from-israel-205151">Al-Nakba</a> when Palestinian homes and their contents were looted and destroyed.
“As a child of the first intifada in Palestine, even words, the raw material for books, were very dangerous toys to play with. The Israeli occupation banned using the word ‘Palestine,’ and children and teenagers caught inscribing the word on a wall were either shot dead or arrested and subjected to torture. But that didn’t stop Palestinians from writing the word and piling on it poems, literature, and personal and natural history,” adds Almallah.
Together with this loss, Palestinian writers, intellectuals, artists, and journalists have been killed, putting in jeopardy the continuity of knowledge and culture within society and its transmission to the next generation. Those who have lost their lives since 2023 include the writer <a href="https://www.all4palestine.org/ModelDetails.aspx?gid=7&amp;mid=121099&amp;lang=en">Abdul Karim Hashash</a>, who has written many books on Palestinian poetry and culture, and <a href="https://madisonrafah.org/meca-colleague-and-friend-doaa-al-masri-killed-in-gaza/">Doaa Al-Masri</a>, Librarian at Gaza’s Edward Said Library.
In 2016 the International Criminal Court identified the desecration of a people’s cultural heritage as a <a href="https://news.un.org/en/story/2016/09/541172">war crime</a> in a case about Islamist attacks on UNESCO-protected monuments in Timbuktu in Mali. Subsequently, in 1954, <a href="https://www.unesco.org/en/heritage-armed-conflicts/1954-convention">the Hague Convention</a>, an international treaty stipulating the protection of cultural property in armed conflicts, was established and has now been signed by 136 countries.
More recently, <a href="https://www.bbc.com/news/world-middle-east-67922346">South Africa</a> included allegations of cultural dispossession in the case it launched in 2023 of genocide by Israel in Gaza in the International Court of Justice (ICJ). It will likely take the court years to reach a ruling. But in January last year, it issued initial orders to Israel to prevent and punish acts and public incitement to commit genocide by its military, an order that Israel continues to ignore.
“The international community has failed Palestinians, it has failed Gaza now. It has not done anything to stop the genocide and the massacring of children. I don’t expect they will do anything to save our books. But despite all Zionist attempts to silence them, we are witnessing Palestine becoming part of world heritage; Palestine is now everywhere,” says Almallah.
In the meantime, there are important institutions in the region taking action to ensure the tactics of erasure will not succeed. In Jerusalem, the <a href="https://www.khalidilibrary.org/en">Khalidi Library</a>, which is home to a rich collection of thousands of books and Islamic manuscripts representing an Arab literary heritage over many centuries, is a testament to cultural resilience. It also conducts extensive manuscript conservation, restoration, and digitization work and has been a pillar of vibrant Palestinian scholarship, thought, and writing since the early 20th century.
Khalidi emphasised that, looking ahead, in any reconstruction plan for post-war Gaza, “the first task will be for competent organisations, such as UNESCO, to launch a proper survey of the destruction of cultural heritage in Gaza… then ensure the future preservation and restoration or digitisation of salvaged collections.”
<a href="https://www.ipsnews.net/2025/05/palestinians-call-out-israels-mission-to-destroy-their-history-and-cultural-heritage-in-gaza/">Republished</a> under an arrangement with Inter Press Service (IPS).

The loss of an identity

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111148/636cd7699c7e80680e092dd9jpeg.jpg" alt="" width="1955" height="1304"/><figcaption>The US Ambassador to Nepal, Randy Berry. Photo: US EMBASSY IN NEPAL</figcaption></figure>T<a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/">he figure of Laxmi-Narayan</a>, stolen from a shrine in Patan’s Patko Tole in 1984 and recently traced to the Dallas Museum of Art, US, is to be returned to Nepal. The US Federal Bureau of Investigation (FBI) has taken possession of the 70kg figure and will deliver it to the Nepal Embassy in Washington on 5 March. The holy androgynous composite of the two deities had been worshipped for 800 years before it disappeared, and the local people had replaced it with a replica. The image of the 15th-century deity was first published in Indian historian Krishna Deva’s book, Images of Nepal in 1984, followed by Nepal’s art historian <a href="https://www.nepalitimes.com/here-now/lain-singh-bangdels-legacy-lives-on/">Lain Singh Bangdel</a>’s book, Stolen Images of Nepal.  On the sidelines of the handover of the Lakshmi-Narayan statue Nepali Times spoke to the US Ambassador to Nepal, Randy Berry about the US government’s role in supporting Nepal to protect its cultural heritage and art. Excerpts:https://www.youtube.com/watch?v=kJNecZPPyVUNepali Times: What is the role of US Embassy in repatriating stolen arts?In this case, our Regional Security Office – staffed with special agents from the Bureau of Diplomatic Security – played a critical liaison role between the Nepal Police and the US Federal Bureau of Investigation, which was conducting the investigation in Texas. Being able to bridge the communication gap between Nepal and American law enforcement agencies and ensuring harmony in the efforts of all involved in the recovery of the Lakshmi-Narayan statue are key strengths of our Regional Security Officers.Overall, helping to protect cultural heritage is an important and unique aspect of our foreign policy. For more than 50 years, the US Department of State has had a Bureau dedicated to education and cultural affairs. Its mission is to foster mutual understanding between Americans and the people of other countries through people-to people exchanges, such as the Fulbright and IVLP programs, and through sports, arts, and cultural programs.One of the programs which I am most proud of is our Ambassador’s Fund for Cultural Preservation (AFCP). This is a US government program that provides direct grants for preserving cultural heritage by enlisting community members and local and federal governments in partner countries. Since 2003, there have been 25 AFCP projects just in Nepal, including Kathmandu’s Gaddi Baithak, investing more than $3.8 million. That’s incredible. Even more so, as part of our AFCP projects, our grantees also ensure artisan training to transfer knowledge and job skills to younger generations. So it is not just a program that ends when the work on a particular project is complete.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111148/636cd76c9c7e80680e092ddajpeg.jpg" alt="" width="1500" height="1002"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111148/636cd76e9c7e80680e092ddbjpeg.jpg" alt="" width="640" height="428"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111148/636cd76f9c7e80680e092ddcjpeg.jpg" alt="" width="640" height="428">How important of a precedent is the homecoming of Lakshmi-Narayan statue? It has huge importance. First, this is an idol that dates back to between the 12th and 15th  centuries, and it speaks to Nepal’s rich cultural heritage. The homecoming also reflects the unique friendship between Nepal and the United States. It is a collective effort of the Dallas Museum of Art, the Embassy of Nepal in the United States, and the Federal Bureau of Investigation. I’m thrilled the Laxmi-Narayana will finally be back where it belongs – in the hands of Nepalis.<a href="https://www.nepalitimes.com/banner/nepals-gods-return-from-exile/">Nepal's gods return from exile</a>, Alisha SijapatiThere are thousands of Nepali artifacts in the United States, will the Embassy help in identifying them and cooperate with the Nepal government in the future?Whenever possible, we intend to collaborate with the concerned stakeholders to identify the artifacts and facilitate their return. I hope that this is the beginning of these pieces coming back to Nepal. They are not only in the United States, but in many places around the world.  I hope other governments and museums follow suit.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111148/636cd7719c7e80680e092dddjpeg.jpg" alt="" width="1554" height="954"><figcaption> </figcaption></figure>What are America’s policies on restoration of antiquities of Greece, Italy, Egypt, and Cambodia?I can’t speak to a broad policy for those pieces from those countries. However, the Department of State has incredible programs that demonstrate the United States’ commitment to art and cultural preservation as I discussed above.To my knowledge, we are one of the few foreign affairs ministries that has an entire bureau that is in part dedicated to the art and culture of our diplomatic partners. That is because we consider cultural heritage vitally important – not only as a matter of foreign policy, but because we recognise the commonality in wanting to preserve cultural and historical pieces, art, and property for future generations.<a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/">Replicating Nepal's stolen gods</a>, Alisha Sijapati<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111148/636cd7739c7e80680e092ddejpeg.jpg" alt="" width="4096" height="2663"><figcaption> </figcaption></figure>How can the US Embassy help Nepal in restoring it cultural heritage and idols?The US Embassy in Nepal has been promoting the conservation of cultural heritage for a long time. A recent example is the restoration of Gaddi Baithak of Basantapur, which was damaged by the 2015 earthquake. We feel honoured that we were able to help restore it to its original grandeur. We also support preservation of Nepal’s temples and monasteries through the Ambassadors Fund for Cultural Preservation, as I’ve just mentioned.Could you tell us something about your personal interest in preserving art?I’ve had an enduring interest in art as a means of communication, art history, and art preservation throughout my life, and my Masters’ level studies focused on Art History. I also had the opportunity as a young man to live and work in North Africa, and study the ancient architecture, statuary, and hieroglyphs from Cairo (in Egypt) to Meroe (in Sudan) and all points in-between. Art has been a vital form of human communication since prehistoric times. It is a reflection of who we were, what we believed, and how we lived. When we preserve historic art, we embrace and conserve history, and honor those ancient storytellers who used form and texture, rather than words, to express cultural value.<a href="https://www.nepalitimes.com/here-now/bringing-our-gods-home/">Bringing our gods home</a>, Sahina Shrestha

US support to restore stolen Nepal gods

Earthquakes wreck lives, and destroy towns. And when they are rebuilt, nothing is the same again.Five years after the ancient Newa towns of Khokana and Bungamati were nearly razed to the ground in the 2015 earthquake, amidst new concrete pillars are still piles of bricks of collapsed buildings.Because most of the temples and homes collapsed and reinforced concrete buildings survived, there is a belief in Kathmandu Valley that cement is stronger and will withstand the next quake. Khokana and Bungamati wards tried to protect the urban ambience of the town by issuing guidelines about how even homes rebuilt with concrete beams should have brick facades, tile roofs and reflect traditional design elements.Alas, these guidelines have rarely been followed. The gradual destruction of the traditional silhouettes of Kathmandu Valley began long before the earthquake, but the disaster hastened the process. Pressure of urbanisation, the demand for rental rooms, and a quest for safety have forced families to build box-like concrete high rises.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8daf9c7e80680e06b35fjpeg.jpg" alt="" width="252" height="128"/><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8db09c7e80680e06b360jpeg.jpg" alt="" width="2592" height="1456"><figcaption> </figcaption></figure>Ironically, the town that protested the alignment of the Kathmandu-Tarai expressway construction because it destroyed the town’s heritage, has not been able to preserve the traditional architecture that gave Bungamati its uniqueness.“The rebuilding guidelines say houses should be made in traditional style with sloped tile roof and should not be more than 10 metres high,” explained Krishna Gopal Maharjan, junior engineer at Bungmati’s ward office. “If a house is made without following the guidelines we do not issue the construction completion certificate. But the rule has been flouted.”There is pressure from local families to rebuild damaged or destroyed homes in any way they see fit, since it is their property. “People have ignored the ward’s guideline because they think it is impractical, they believe a three-story house cannot accommodate the whole family hence they tend to build a four-story or even a five-story house,” explains Jay Krishna Maharjan, 35.The most contentious issue seems to be the height limitation. In both Khokana and Bungamati, a majority of the homes that have been rebuilt has traditional brick facades, but they say limiting homes to two floors is unrealistic.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8db39c7e80680e06b361jpeg.jpg" alt="" width="640" height="480"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8db69c7e80680e06b362jpeg.jpg" alt="" width="2592" height="1728"><figcaption> </figcaption></figure>“At first they were even unwilling to use bricks in outside walls, but at least they agreed to that,” says Chandra Shobha Dangol, social mobiliser at Khokana’s ward office who admits that the height limit has been difficult to enforce.To be sure, a house with traditional design is costlier to build than a cement house, and this is why many of the families have not even started rebuilding even five years after the earthquake.The house of 77-year-old Asta Maya Maharjan was completely destroyed by the earthquake, and she has been living in her relative’s house for the past five years. She says: “Those who have money build houses, we do not have enough money to build a house, let alone a house in the traditional style.”The government’s Rs300,000 grant does not pay for even a room, and this is why rubble from the earthquake five years ago still lies strewn across both towns. Those who can afford it, have built gleaming 5-6 storey buildings that dwarf nearby shrines. “People who have money are building homes, people without money cannot build them. It is just the way it is,” says Gyan Bahadur Maharjan, 81, in a tone of resignation as he basked in the sun in front of his family’s new house.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dba9c7e80680e06b363jpeg.jpg" alt="" width="2664" height="2000"><figcaption> </figcaption></figure>Ashakaji Shakya, 64, whose house in Bungmati was damaged in 2015 agrees that the guidelines are too rigid, and although he admits that saving the culture is important, a safe shelter is even more important. Indeed, it seems the older generation of these twin towns have made peace with the fact that the towns of their childhood can never be brought back.Shakya asks: “Say I have a family of five sons, each son would need at least one flat for himself, and on top of that if there is an old mother the house goes up to six floors. How can one accommodate such family in a three-storey house?”Bungamati also lost its most important temple, the shrine of Rato Machindranath from where the god of rain is transported in a chariot every year through the streets of Patan. Once in 12 years the chariot is taken from Bungamati itself, an event that draws devotees from all over the Valley.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dbd9c7e80680e06b364jpeg.jpg" alt="" width="5184" height="2912"><figcaption> </figcaption></figure>This year, the chariot festival has been scaled down to just worshipping at the shrine. Restoration of the temple was given to a construction company with the financial support from the Sri Lankan government. But after delays, the contract was dismissed by the National Reconstruction Authority (NRA) which then handed over the project to a local committee.Jit Bahadur Maharjan, 74, of Khokana remembers growing up as a little boy. Things were simpler then, he says, houses had thatch roofs, there was always the smell of mustard from the town famous for its oil presses. He says: “The word ‘culture’ exists, but no one knows what it means anymore. We are trying to save our culture, but if you look around, there is nothing left to save.”Indeed, the transformation of the architectural grammar of a town seems to change everything: its festivals, its traditional trade, craftsmanship, and the lifestyle of the inhabitants.Says Suresh Suras Shrestha at Department of Archaeology: “When the look of the houses along a street changes, a town loses its identity. Khokana no longer remains Khokana,”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dc19c7e80680e06b365jpeg.jpg" alt="" width="5328" height="4000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dc59c7e80680e06b366jpeg.jpg" alt="" width="6000" height="3368"><figcaption> </figcaption></figure><h2 style="font-weight: 400; letter-spacing: 0.15px;">Mixing old with new</h2>Jaa Dangol’s ancestral home was destroyed by the 2015 earthquake, he decided to build back better. He wanted not just a home, but a source of income as well.At a time when his neighbours were moving away from traditional occupations and homes after the earthquake, Dangol saw an opportunity in going back to Newa cuisine, craftsmanship and restore his building into a traditional homestay that would give visitors an authentic experience.Indeed, until the coronavirus lockdown destroyed business, Dangol was providing tourists with local food in a traditional ambience in his restaurant called ‘Laachi’, which means a place for local foods and products. “I reused 70% of the traditional materials from the house that brought down by the earthquake,” says Dangol, who says that if others in Khokana were to follow the same model they would not just augment family income, but also protect the town’s heritage.Indeed, despite the destruction and the changes of the past five years, Khokana still retains its old world charm with a pervasive smell of the mustard oil presses, women spinning cotton and weaving carpets in sidewalk shops.

Khokana and Bungamati strive to save heritage

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>

culture-and-heritage