<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5009c7e80680e0966e0jpeg.jpg" alt="" width="1500" height="1002"/><figcaption>The Laxmi-Narayan upon arrival in Nepal Embassy in Washington DC on 6 March. Photo: AMITABHA JOSHI</figcaption></figure>Nearly 40 years after it was stolen from Patan, a rare stone statue of Laxmi-Narayan is finally landing at Kathmandu airport this week, raising hopes for the return of thousands of other religious objects from Nepal.The 800-year-old androgynous idol was wrenched out of its shrine in July 1984 from Patan’s Pakto Tole where it was being worshipped till the day it was stolen. The figure surfaced briefly in 1990 at a Sotheby’s auction, disappeared again, and was later spotted at the Dallas Museum of Art where it was an ‘exhibit’ since 2007.The US Federal Bureau of Investigation (FBI) handed over the statue to the <a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/" target="_blank" rel="noopener noreferrer">Nepal Embassy in Washington on 6 March</a>, and it took some time for the documents to be processed and the transport costs to be raised, before the gods could finally be returned to Nepal.“The deity will now be handed over to the Patan Museum, and we are preparing all the needed logistics here before it can be restored to its original temple,” says Damodar Gautam, Director-General of the Department of Archaeology.<a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/">US museum returns stolen Nepal god</a>, Alisha Sijapati<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5039c7e80680e0966e1jpeg.jpg" alt="" width="1400" height="1050"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5079c7e80680e0966e2jpeg.jpg" alt="" width="1536" height="1024"><figcaption> </figcaption></figure>Locals had made a <a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/">replica of the statue</a> that they worshipped after the original was stolen and installed it in the original place. Other religious objects that have been returned to Nepal have also been sent to the Patan Museum for safe-keeping so they will not be stolen again.The process for the deity to be restored to its original space is lengthy. Community members have to reach out to the District Office in Lalitpur for paperwork for security purposes. While the bureaucratic wheels grind on, priests at Pakto Tole are already working to set an auspicious date for the special chamma puja reinstatement of the idol.“When we bring back our God, there will be a celebration and a procession so that the world knows and understands that items from our living heritage is not to be stored and exhibited in their museums or private collections,” says Chiribabu Maharjan, Mayor of Lalitpur Metropolitan City.<a href="http://archive.nepalitimes.com/news.php?id=11342#.YHQptugzbIV">Return of the gods</a>, Sujata Tuladhar<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce50a9c7e80680e0966e3jpeg.jpg" alt="" width="3982" height="1635"><figcaption> </figcaption></figure>Although overjoyed by the Laxmi-Narayan homecoming, community members are in a dilemma about what to do with the replica they have been worshipping since 1993.Dilendra Shrestha, a board member of Patan Museum and himself from Patko Tole, says,  “Even if it's a replica, it is still our god, and we will make arrangements to house both our gods.”Shrestha says that for cultural and religious reasons, the original Laxmi-Narayan may not be kept as the central god anymore, as one of its hands was broken during transportation across the world. Gods that are damaged cannot be kept as the central idol in the temple even though they are worshipped, according to local belief.“Most likely, both the original and replica will be kept next to one another, however, the decision will be made by the community,” Shrestha says.<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/20221110121148/636ce50d9c7e80680e0966e4jpeg.jpg" alt="" width="1422" height="942"><figcaption> </figcaption></figure>A photograph of the 15th-century deity was first published in Images of Nepal, a 1984 book by Indian historian Krishna Deva. Later, it was included by Nepal’s art historian Lain Singh Bangdel in his book Stolen Images of Nepal.The collective effort of bringing Laxmi-Narayan home has set a remarkable precedent in repatriating stolen gods of Nepal, and has been a collective effort of historians, academics, activists, investigation agencies and the government of Nepal and the United States.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5109c7e80680e0966e5jpeg.jpg" alt="" width="1610" height="1130"><figcaption> </figcaption></figure>American artist Joy Lynn Davis who has documented stolen religious objects through her art is glad the Laxmi-Narayan is back to where it belongs. She had painted the Patko shrine with the missing deity depicted in gold.“The day the Laxmi Narayan arrives in Nepal, I will be the happiest person—so many people and organisations have worked on this. The only way to protect them is to increase awareness about their significance. We have a lot of work to do, Laxmi-Narayan is just the beginning,” Davis told this paper earlier this year.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5149c7e80680e0966e6jpeg.jpg" alt="" width="1425" height="1080"><figcaption> </figcaption></figure>Indeed, an investigation by the Nepali Times tracked another deity stolen from Gahiti in Patan in the 1960s to the Denver Art Museum.That figure of Uma-Maheswar has been cited in several books by art historians, including The Art of Nepal by Pratapaditya Pal in 1974, Stella Kramrish’s Manifestations of Shiva, Philadelphia Museum of Art in 1981, Krishna Deva’s Images of Nepal in 1984 and most notably, in Lain Singh Bangdel’s book Stolen Images of Nepal in 1987.According to its website, the <a href="https://www.denverartmuseum.org/en">Denver Art Museum</a> has mentioned the ‘known’ provenance of this <a href="https://www.denverartmuseum.org/en/object/1980.231">Uma-Maheswar</a> idol dating back to 1968 from Sundaram Works of Art and Handicrafts in India, till it acquired the statue in 1980 as a gift from the private collection of Jane F Ullman and Edwin F Ullman.<a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/">Nepal's gods return from exile</a>, Alisha Sijapati<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5169c7e80680e0966e7jpeg.jpg" alt="" width="2560" height="1600"><figcaption> </figcaption></figure>Sanukaji Maharjan, now 80, recalls how the deity had been stolen in the 1960s, was found and stolen again from Patan’s Bhandarkhal Garden.“The first time it was stolen we fixed the statue firmly to the wall so that thieves couldn’t take it away again, but we were wrong,” says Maharjan. Since it was stolen 60 years ago, he is one of few people in Patan who remember the statue and its importance to the community."I am already in my 50s and the statue was stolen even before I was born. With time, the Uma-Maheswar has been more like a bedtime story for us, and we will do our best and work on giving it a permanent space in its home,” says Dinesh Maharjan of the Gahiti Tole Committee.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce51a9c7e80680e0966e8jpeg.jpg" alt="" width="640" height="480"><figcaption> </figcaption></figure>Slok Gyawali, founder of <a href="https://twitter.com/PrideNepal">Nepal Pride Project</a> based in Portland, Oregon who has worked persistently on repatriating the Uma-Maheswar, has been in touch with the Denver Art Museum.In one e-mail exchange acquired by Nepali Times, the Museum wrote: ‘We continue to have confidence in the propriety of the provenance of the piece. Though we had been aware of the Stolen Images of Nepal publication, we are unaware of any substantiated claims of theft of this piece; indeed, other publications discuss the piece without reference to a theft.’Gyawali then got in touch with 90-year-old Ted Ullman, scion of Jane and Edwin Ullman. He told Gyawali that his parents are not to blame, and after hearing from the Denver Art Museum he will be happy to write a letter of support for Nepal's efforts to repatriate this and other religion objects from Asia.However, the 90-year-old in another e-mail wrote, "I remain very conflicted and have decided that I should not bring this up with the Museum which has already made their policy clear to me."The Nepal Embassy in Washington DC told Nepali Times it is in touch ‘informally’ with the Denver Art Museum. It added that the Department of Archaeology had finished its forensic archaeological report and submitted it to the Ministry of Culture. The Ministry of Foreign Affairs in Kathmandu is waiting for the report to begin official correspondence with the Denver museum.<a href="https://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986">Back where they belong</a>, Bhrikuti Rai<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce51d9c7e80680e0966e9jpeg.jpg" alt="" width="1450" height="632"><figcaption> </figcaption></figure>After the Laxmi-Narayan that arrived in Kathmandu this week was handed over to the Nepal Embassy in Washington last month, the Manhattan’s District Attorney’s Office transferred three other artifacts to the Nepal Consulate in New York: a 13th century carved temple eave depicting an Apsara, a 14th century gold seated Buddha in Bhumisparsa Mudra, and a 15th century seated Ganesh.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.manhattanda.org/manhattan-d-a-s-office-returns-three-antiquities-to-nepal/" target="_blank" rel="noopener noreferrer">The District Attorney Office</a> said the repatriation was part of its ongoing effort to return stolen and looted antiquities seized from the illicit collection of Subhash Kapoor, who was arrested in 2012. Along with heritage activists, Nepal government agencies are also stepping up efforts to bring back the stolen gods from museums and private collectors all over the world.<a href="https://www.facebook.com/lostartsofnepal">Lost Arts of Nepal</a> in its Facebook page published two statues from Nepal that are in possession of the <a href="https://www.metmuseum.org/">Metropolitan Museum of Art (‘The Met’) in New York</a>. They include a 9th century <a href="https://www.metmuseum.org/art/collection/search/38641">‘Shiva in Himalayan Abode with Ascetics’</a> which was originally a part of Kankeswori Temple at Shobha Bhagwati in Kathmandu, and a 16th century <a href="https://www.metmuseum.org/art/collection/search/697340">Goddess Nrityadevi</a> originally from I-baha bahi in Patan.<a href="https://www.nepalitimes.com/here-now/bringing-our-gods-home/">Bringing our gods home</a>, Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5209c7e80680e0966eajpeg.jpg" alt="" width="640" height="1008"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5239c7e80680e0966ebjpeg.jpg" alt="" width="341" height="508"><figcaption> </figcaption></figure>The religious objects appear to have been stolen so long ago that people in those neighbourhoods have no recollection of the gods that once resided in their temples.‘Since <a href="https://www.nepalitimes.com/here-now/bringing-our-gods-home/">The Met previously has sent two statues back to Nepal voluntarily</a>, I am confident they can do the same this time too,’ the anonymous Facebook page admin of Lost Arts of Nepal wrote back in response to a Nepali Times query. Activists who have reached The Met have been told that the museum’s legal team is investigating the matter.These images can be found mentioned in <a href="https://www.nepalitimes.com/here-now/lain-singh-bangdels-legacy-lives-on/">Lain Singh Bangdel</a>'s Inventory of Stone Sculptures of the Kathmandu Valley and Mary Slusser's Arts and Images of Nepal.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110121148/636ce5249c7e80680e0966ecjpeg.jpg" alt="" width="397" height="463"><figcaption> </figcaption></figure>There are indications that the repatriation of Nepal’s stolen statues will now gather pace. Government officials say the <a href="https://www.artic.edu/">Art Institute of Chicago</a> has said it is ready to return an 8th-century <a href="https://ekantipur.com/news/2020/12/10/160756300522996474.html">Chaturmukhi Shivalinga</a> on 16 April.

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The homecoming of Nepal’s gods

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd4079c7e80680e08f99ejpeg.jpg" alt="" width="2560" height="1600"/><figcaption>(from left to right) The original 12th-century Laxmi-Narayan stolen in 1984. Photo : LAIN SINGH BANGDEL In Sotheby’s catalogue in 1990. Photo : ERIN L. THOMPSON The deity in the Dallas Art Museum in 2014. Photo : ERIN L. THOMPSON</figcaption></figure>One day in 1984, the residents of a Patan neighbourhood woke up in the morning to notice that the Laxmi-Narayan they had been worshipping, was missing from the shrine.The rare, androgynous composite deity of the two deities had been in the temple in Patko Tole for 800 years, where it had been venerated by generations. Having lost all hope of finding it, the community established a poor replica of Laxmi-Narayan and placed it in the shrine in 1993.Six years after its theft, in 1990, <a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/">the 12th-century statue, which is also known as Vasudeva-Kamala </a>surfaced briefly at Sotheby’s auction house based in New York. But it vanished again after that.Two years ago, American artist <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">Joy Lynn Davis</a>, who had documented Kathmandu’s stolen deities through her unique paintings, was doing a Google search of lost idols from Nepal, when she came across a grainy image of the familiar Laxmi-Narayan that she had painted (see interview).While the Laxmi-Narayan statue is on its way back home, another deity, a 10th century Uma Maheswar, sits at the Denver Art Museum. The Museum has also put out the ‘known’ provenance of the statue that has been in the collection of the museum since the 1980s given by Jane F. Ullman and Edwin F. Ullman.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd40a9c7e80680e08f99fjpeg.jpg" alt="" width="990" height="695"><figcaption> </figcaption></figure>Patan to DenverUma-Maheswar statues usually follow the same iconographic tradition, but the one that was stolen from Gahiti in the 1960s is distinct because of its unique structure.Babulal Maharjan, 82, looks frail and does not have many memories of his youth, but remembers the deity because of his community’s reverence for this beautiful deity. Fifty years after it was stolen, Gahiti residents still preserve its base below a graffiti-scrawled wall, hoping for its eventual return.When Nepali Times showed Babulal and his 78-year-old neighbour Babukaji Maharjan a photograph of their Uma-Mahesvar which is now in the <a href="https://www.denverartmuseum.org/en/object/1980.231">Denver Art Museum</a>, both immediately recognised the familiar figure.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd40d9c7e80680e08f9a0jpeg.jpg" alt="" width="2560" height="1600"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111136/636cd4109c7e80680e08f9a1jpeg.jpg" alt="" width="2304" height="1728"><figcaption> </figcaption></figure>“With Patan’s Laxmi-Narayan now making its way back home, and with rising awareness and the pressure, someday the Uma-Maheswar will also find its way back like other gods," says Suresh Lakhey of Patan Museum.More than 30 stolen gods have been returned to Nepal from various museums and private collections in the past years, and although it is only a small percentage of the stolen images, it does represent a trend. Museums and collectors are now ashamed to exhibit stolen artifacts.Another activist has been trying to draw attention to Nepal’s stolen gods, but in a slightly different way. In Bhaktapur, architect <a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/">Rabindra Puri</a> is setting up a museum with replicas of trafficked cultural heritage, including Patan’s Laxmi-Narayan.https://youtu.be/auqKrJDcqj8Puri’s Museum of Stolen Gods at the Toni Hagen House in Bhaktapur is set to open in 2022, and already has duplicates made of 36 stolen stone statues. He says: “Our gods are merely an art object in the international market to be auctioned for thousands of dollars. But for us, all of these artefacts hold cultural and religious significance that represents our values.”During the peak of the plunder of Kathmandu Valley’s cultural heritage in the 1980s, many had given up hope of the bronze deities, wooden friezes, and stone carvings ever finding their way home. But moral pressure is growing on Western collectors and museums because of the naming and shaming.Much of the awareness about the thefts were due to the painstaking work of two art historians <a href="https://www.nepalitimes.com/here-now/bringing-our-gods-home/">Jürgen Schick and Lain Singh Bangdel </a>who in the 1980s and 90s recorded images and information of over 200 missing deities in their books The Gods are Leaving the Country: Art Theft from Nepal and Stolen Images of Nepal, respectively.Pharping’s SaraswatiOne of those is the juxtaposed images of Veendharini Saraswati from Pharping. In 1984,  thieves decapitated the Goddess of Learning because the rest of the stone figure was too heavy to transport. It has been replaced by a poor replica that appears as a prosthetic to the beheaded body.But the Saraswati was located and returned to Nepal in 1999 by an anonymous person from USA, Los Angeles, and is now an exhibit at the National Museum in Chhauni.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111136/636cd4139c7e80680e08f9a2jpeg.jpg" alt="" width="2560" height="1600"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111136/636cd4169c7e80680e08f9a3jpeg.jpg" alt="" width="1111" height="629">The most popular deity for smugglers appears to be figures of <a href="http://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986">Uma Maheswar, </a>which depict Shiva and Parbati in embrace. Since the 1950s, over 26 statues of the conjugal deities have been stolen from Kathmandu Valley, some of them dating back to 11th century. Most are in museums or warehouses abroad, and only a handful have been returned to their original shrines.Once deities are returned, they are sent to the National Museum which then works with local communities where the gods were stolen from, to determine if it is safe to send them back and there is no danger of them being stolen again.For example, the exquisite bronze water spout depicting Laxmi-Narayan and Garuda was stolen from Sundari Chok in Patan Darbar Square 50 years ago, but was retrieved by police before it could be smuggled abroad. It has been replaced with the duplicate, while the original is in Chhauni.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111136/636cd4199c7e80680e08f9a4jpeg.jpg" alt="" width="1500" height="754"><figcaption> </figcaption></figure>“Our Ancient Monument Act requires us to help communities install the gods back to their rightful places,” says Jayaram Shrestha, Director of the National Museum.Roshan Mishra, curator at Taragaon Museum, has set up a <a href="https://globalnepalimuseum.com/">Global Nepali Museum</a> database says that because of public awareness in Nepal, stolen stone statues are easy to locate because they were lifted from public places and some continue to have vermillion marks on them even after continuous polishing.“International museums and auction houses have started becoming aware about the trafficking of cultural heritage items which makes it more difficult for thieves to steal and sell them,” Mishra explains. However, the market for stolen antiquities has shifted from the West to museums and private collectors in West Asia, China and Hong Kong.Mishra gives full credit to Jürgen Schick and Lain Singh Bangdel for their early effort in documenting stolen gods: “If it wasn’t for them, I don’t think we would have had the community awareness we have now.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111136/636cd41c9c7e80680e08f9a5jpeg.jpg" alt="" width="452" height="600"><figcaption> </figcaption></figure>Another <a href="http://archive.nepalitimes.com/news.php?id=11342#.YBBWKugzbIV">12th-century statue of Uma-Maheswar</a> which was stolen from Dhulikhel’s Wo Tole in 1982 was retrieved from the Museum für Indische Kunst in Berlin in 2000, and is now placed in its temporary home at Patan Museum. Twenty years later, the youth of Wo Tole and the Dhulikhel mayor are preparing to restore the statue to its original location, and a shrine has been reconstructed to house it.Sun Prasad Shrestha, 70, who lives on the street from where the figure was stolen, says “It’ll be an exciting moment to have the familiar gods back again.  But what will happen if the thieves steal it again? How will we protect it?"<h3>Holy homecomings</h3><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111136/636cd41e9c7e80680e08f9a6jpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>American artist Joy Lynn Davis talks about her famous 2015 exhibition, ‘Remembering the Lost Sculptures of Kathmandu’ and her unique method of commemorating Nepal’s stolen idols through paintings. She spoke to Kanak Mani Dixit on the Saglo Samaj tv magazine program. Excerpts: Kanak Mani Dixit: You painted Patan’s stolen Laxmi-Narayan idol. Why that particular idol and how did you ultimately locate it at the Dallas Art Museum? Joy Lynn Davis: I painted the Laxmi Narayan murti based on its replica in 2013 when I was living in Patan as an artist resident at Kathmandu Contemporary Art Centre. At that time, we knew that the idol had been stolen in 1984 and sold by Sotheby’s in New York in 1989. After that, no one knew its whereabouts as the sale information was private.I was looking at a Google image, and came across a blurry image of a Laxmi-Narayan and my heart just jumped. I knew immediately that it was the same murti from Patan. The image was on a blog operated by a Nepali in Dallas, who didn't know that the idol in the Dallas Museum was stolen.Had you not painted it, would you have recognised it?It was particularly extraordinary to have found the image online. The other co-incidence is my parents live right outside of Dallas. I was so close to it without even realising it.Where are we on the return of the Laxmi-Narayan statue to Nepal?It’s been a great privilege to be able to collaborate with the FBI and share the information I had collected. The Dallas Museum was not immediately open to returning the murti and the FBI was able to make a very strong case against them. It has now been seized and will soon be returned to Nepal. The day it arrives in Nepal, I will be the happiest person—so many people and organisations have worked on this.But if we put out information about the theft, wouldn’t museums and collectors hide the statues, making their return even more difficult?I absolutely agree. There are many sculptures around the world from Nepal. They are now housed in museum storage facilities. It is unfortunate. We need to get the word out there that Nepal is ready to accept them back. It would be ideal if the museums worked on it voluntarily, and we could help facilitate that. We can make replicas for them, document stories of the sculptures returned and their cultural significance. Museum visitors would find that much more interesting.Why did you paint the stolen idols the way you did?The goal of the project was to increase public awareness of the problem of illicit trafficking of Nepal’s cultural heritage. The other goal was to re-contextualise the stolen sculptures. As a Westerner visiting a museum, if I had not worked on the project, I would glare at the art knowing little about it, besides reading the information on the label. Visitors believe these sculptures were dug out of the ground and have no idea about their religious, cultural and spiritual significance. Through my paintings, I wanted to put back the stolen gods in their rightful places.Why did you choose to use gold in your work?First, gold becomes an easy visual language for viewers when they look at the painting and they understand that they are from these sacred sites. One painting of gold that I worked on was of Saraswati. The thieves had chopped off the head, and just the head was painted in gold—the collector returned it in 1990. Gold represents the commodification of the sacred. We are used to seeing gold in art and temples. Gold also symbolises wealth. Gold has the value of spirituality, and when sold, it turns to cold hard cash. The original Laxmi-Narayan statue is covered in tika, but under the museum spotlight, it is a shiny black rock.To see the sculptures in places where they were touched and conversed with, has more significance. For Nepalis, these aren’t just statues, they embody religious and cultural sentiments. In the West, these values are transformed. This murti will always have more value in its original place.The reason statues are stolen is their market value. What should we do to ensure they cannot be stolen?Nepalis should not feel bad that they were not able to protect their gods. These problems come from bidesi foreigners. The gods were saved for hundreds of years in their shrines, and then outsiders wanted to own them. I think the only way to protect them is to increase the awareness about their significance. We have a lot of work to do, Laxmi-Narayan is just the beginning.(This interview with Joy Lynn Davis is based on the fifth episode of Saglo Samaj, a tv magazine program produced by Himalmedia which is broadcast every Monday, at 8:30 pm on Dish Home Channel 130. Go online to watch a trailer of the program.)

Nepal’s gods return from exile

https://www.youtube.com/watch?v=i_v2WvLvdGE&amp;feature=youtu.beThe discovery that the 12th-century deity stolen from his neighbourhood had turned up in Dallas, Texas, was a bittersweet one for Bhai Raja Shrestha.The statue of Laxmi-Narayan was stolen 30 years ago at a time when Kathmandu Valley was being plundered of gods and goddesses by western art collectors. It was recently tracked to the Dallas Museum of Art by American artist <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987" target="_blank" rel="noopener">Joy Lynn Davis</a>, who has documented Kathmandu’s missing deities through striking works of visual art.The 700-year-old stone figure was once an integral part of the intangible heritage of Patan’s Patkutole neighbourhood. After it was stolen in 1984 Shrestha says the community also started falling apart.Read also: <a href="https://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986">Back where they belong</a>, Bhrikuti Rai<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101136/636b75219c7e80680e0623d3jpeg.jpg" alt="" width="1500" height="787"/><figcaption>The original 12th-century Laxmi-Narayan stolen in 1984. Photo : LAIN SINGH BANGDEL In Sotheby's catalogue in 1990. Photo : ERIN L. THOMPSON The deity in the Dallas Art Museum in 2014. Photo : ERIN L. THOMPSON</figcaption></figure>“We are glad our god has been located in Dallas. We will try our best to bring it back, but we must also ask ourselves whether we are up to taking good care of it,” says Shrestha, 77, a social activist in the Patkutole neighbourhood of Patan.Shrestha recalls that the theft was a heart-wrenching moment for the community and especially for those for whom Laxmi-Narayan is a patron deity. “People used to come in large numbers every day to this temple for puja, but after the god was stolen this changed. Now it is a whole generation later and the temple has suffered from the god’s absence.”Even though the figure was replaced by a poor replica in 1993, and the temple itself renovated in 2006, the neighbourhood does not attach the same importance to it. “God is god regardless of it being a replica or not. However, it does pinch you that the original piece is among foreigners who could not care less about its religious significance,” Shrestha adds.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101136/636b75249c7e80680e0623d4jpeg.jpg" alt="" width="1500" height="1125"><figcaption> </figcaption></figure>After it was stolen, the rare androgynous composite deity was sold by the Sotheby's auction house (it was sighted in the Sotheby's catalogue in 1990), and it was later loaned for 30 years to the Dallas Museum of Art by a collector named David T Owsley. After the figure on display at the museum was found to be the stolen Laxmi-Narayan, this was pointed out to the museum by art crime scholar <a href="https://hyperallergic.com/author/erin-l-thompson/" target="_blank" rel="noopener">Erin L. Thompson</a>. In response, the <a href="https://twitter.com/DallasMuseumArt/status/1197212359003197441" target="_blank" rel="noopener">Dallas Museum of Art tweeted on 20 November 2019</a>, “The Dallas Museum of Art takes these matters very seriously and we are currently looking into this.” The deity has since been removed from display.The figure, also called Vasudeva-Kamala, is one of those many Kathmandu Valley deities that find themselves in museums or at <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987" target="_blank" rel="noopener">auction houses</a> in Europe and the United States. Although the government abides by UNESCO’s international laws on import and export of cultural properties, and has its own Ancient Monument Preservation Act, the process of repatriating stolen antiquities is legally cumbersome.“The Dallas Museum has to return our cultural property. It is proven that it’s ours, and we are working to get it back,” acting director of the Department of Archaeology Damodar Gautam, told Nepali Times. He admitted the process is tedious: his department has to write to the Ministry of Culture, which will forward the request to the Ministry of Foreign Affairs, the US Embassy and the Nepal Embassy in Washington, DC, the last of which will take it up with the US government and finally the Dallas Museum of Art.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101136/636b75289c7e80680e0623d5jpeg.jpg" alt="" width="1500" height="1083"><figcaption> </figcaption></figure>The Department of Archaeology has a scanty inventory of stolen deities, and does not keep a record of <a href="http://archive.nepalitimes.com/news.php?id=5021#.Xkz2vhoza70" target="_blank" rel="noopener">artifacts that have been returned</a>. Its records of the latter say merely that 32 stolen <a href="archive.nepalitimes.com/blogs/thebrief/2017/06/18/religious-figures-returned/" target="_blank" rel="noopener">figures have been returned since 1996</a> (mainly from <a href="archive.nepalitimes.com/blogs/thebrief/2017/06/18/religious-figures-returned/" target="_blank" rel="noopener">museums in Europe</a>), from the thousands that have been trafficked by art thieves.The government’s responsibility to protect Nepal’s living heritage is being filled by people like Roshan Mishra, curator of the Taragaon Museum, who has documented many of the stolen artefacts on his website, <a href="https://globalnepalimuseum.com/" target="_blank" rel="noopener">Global Nepali Museums</a>. Mishra’s data shows that most of the smuggling has occurred since the 1970s, and <a href="http://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986" target="_blank" rel="noopener">41 museums all over the world</a> exhibit stolen stone, bronze, terracotta and wooden religious artefacts from Kathmandu. These institutions include the <a href="http://collections.vam.ac.uk/item/O139371/relief-panel-relief-panel-unknown/" target="_blank" rel="noopener">Victoria and Albert Museum</a> in London, the <a href="https://denverartmuseum.org/collections/asian-art" target="_blank" rel="noopener">Denver Art Museum</a> and the <a href="http://collection.sdmart.org/Obj11073?sid=349&amp;x=5515&amp;sort=9" target="_blank" rel="noopener">San Diego Museum</a> in the United States, the <a href="https://www.rom.on.ca/en/exhibitions-galleries/galleries/world-cultures/sir-christopher-ondaatje-south-asian-gallery" target="_blank" rel="noopener">Royal Ontario Museum</a> in Canada and many others.“Our idols are auctioned for millions of dollars abroad and we cannot do much about it because of the long and slow bureaucratic process. The government needs to be more resolute in getting them back, otherwise they will remain abroad,” says Mishra.Read also: <a href="http://archive.nepalitimes.com/news.php?id=2710#.Xk59PjIzbIU" target="_blank" rel="noopener">Here today, in Europe tomorrow</a>, Janki Gurung<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101136/636b752b9c7e80680e0623d6jpeg.jpg" alt="" width="1500" height="754"><figcaption> </figcaption></figure>In 2010, a bronze Garuda water spout, <a href="http://archive.nepalitimes.com/blogs/kundadixit/2010/08/17/good-job/" target="_blank" rel="noopener">a centrepiece of the Sundari Chok</a> in Patan Darbar Square, was stolen. It was <a href="http://archive.nepalitimes.com/blogs/thebrief/2011/09/10/stolen-treasure-found-2/" target="_blank" rel="noopener">retrieved by police a year later</a> in Kathmandu. Currently, the exquisitely carved 120-year-old figure is on display at the National Museum at Chhauni. A replica bronze created by artisans at the <a href="http://archive.nepalitimes.com/news.php?id=17399#.Xk55RYjBXIV" target="_blank" rel="noopener">Kathmandu Valley Preservation Trust</a> (KVPT) is now at Sundari Chok.“It was essential that we come up with a solution rather than wait for the statue to return to the original place,” explains <a href="https://www.nepalitimes.com/banner/learning-from-nepals-past-to-rebuild-its-future/" target="_blank" rel="noopener">Rohit Ranjitkar, director of KVPT</a>, who says that putting the original back would have risked another theft.Read also: <a href="http://archive.nepalitimes.com/blogs/kundadixit/2010/08/17/good-job/" target="_blank" rel="noopener">Good job</a>, Kunda Dixit<a href="http://archive.nepalitimes.com/news.php?id=11342#.Xk58uDIzbIU" target="_blank" rel="noopener">Return of the gods</a>, Sujata TuladharLain Singh Bangdel’s <a href="http://archive.nepalitimes.com/news.php?id=5250#.Xk55d4jBXIU" target="_blank" rel="noopener">Stolen Images of Nepal</a> (1989) and Jürgen Schick’s <a href="https://www.amazon.ca/The-Gods-are-Leaving-Country/dp/9748299201" target="_blank" rel="noopener">The Gods are Leaving the Country</a> (2006), both written by art historians, document the stolen artefacts, and they catalogue what Nepal has lost in past decades. Many of the pieces have been traced to western museums and collectors.Whether or not to replace the originals with replicas, and where the originals should be housed if they are returned from museums and art collectors abroad, are hotly debated subjects. Some temples in Kathmandu now have replicas, and original deities are protected by iron grills, or are bolted to walls.Nepal is not the only country that is putting pressure on western museums to return antiquities. Greece and the British museum are haggling over the Parthenon Marbles stolen by Lord Eglin in 1806.The British Museum is also under pressure to return the stolen Benin bronzes from Nigeria, but is saying that the artifacts are too “fragile and delicate” to travel.<h2>A museum of copies</h2><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101136/636b752e9c7e80680e0623d7jpeg.jpg" alt="" width="1500" height="1382"><figcaption> </figcaption></figure>Bhaktapur architect <a href="https://www.nepalitimes.com/banner/learning-from-nepals-past-to-rebuild-its-future/" target="_blank" rel="noopener">Rabindra Puri</a> has come up with another way of documenting Nepal’s stolen deities. As part of his Mission Panauti Project, he is working on the Museum of Stolen Arts, set to open in 2022 <a href="https://www.nepalitimes.com/banner/ancient-panautis-french-connection/" target="_blank" rel="noopener">in this town that has lost many of its religious objects</a>.The museum will initially have 50 stone replicas of sacred statuary that have been trafficked abroad. So far, artisans have hewn 36 of them.“All the replicas in our display are of stolen idols that are Nepal’s property and we have clear evidence of this. We need to raise awareness of the theft. It is public pressure and not the lengthy government process that will help us retrieve our heritage,”Puri says. Puri hopes that the museum will raise awareness among Nepalis and build pressure on western museums and auction houses to return statuary to Nepal.While appreciative of the effort, KVPT’s Rohit Ranjitkar is not entirely convinced that a museum of replicas will help in the struggle for repatriation. He says: “It is easy to copy them, but there is little chance that international museums will agree to repatriate our deities. Also, even if they are returned, how will we preserve them in their original location?”If the security of returned statuary cannot be guaranteed in their original locations, returned deities will find themselves in Nepali museums. Ranjitkar sees little value in this.

Replicating Nepal’s stolen gods

In the black and white photograph, General Wangdu smiles broadly in front of the dusty cactus garden in Kathmandu’s Annapurna Hotel. With an ill-fitting jacket and shaggy hair he looks benign enough, but this was the last leader of the Tibetan freedom fighters who led the resistance against the Chinese from their remote mountain hideouts in <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a>. Five months later, Wangdu was dead. Snapped in March 1974, I had only recently arrived in Nepal. How did I meet this legendary fighter? Possibly with his devoted camp follower, Lynne Klapecki, and probably in the Om Restaurant near Freak Street which was the preferred <a href="https://nepalitimes.com/banner/hippie-trail-nostalgia-in-kathmandu">hippie hang-out</a>. Om Lobsang and his brother Yeshe were <a href="https://archive.nepalitimes.com/page/earthquake-brings-back-memories-of-camps-for-tibetan-refugees">refugees from East Tibet </a>whose cafe offered a friendly welcome and<a href="https://nepalitimes.com/multimedia/momo-loco"> the best momos</a> - they became my in-laws after I married their eldest brother Tenzin, but that was a decade later.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1.jpg" data-media-id="editor_4" data-image-id="2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1" data-rendition-name="original" width="1000" height="1583" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Photo: LISA CHOEGYAL</figcaption> </figure>  Wangdu’s English was enthusiastically rudimentary, but even riding around town with him on the back of an aging <a href="https://nepalitimes.com/here-now/kathmandu-s-new-motorbike-museum">motorbike</a>, he was a commanding presence. Always flanked by armed outriders, impressive scars marked his forearms and a pistol hung from the cord around his neck. A charismatic guerrilla leader, Wangdu was celebrated by his followers for his tough commitment and respected for his measured pragmatism. He seemed so young to have shouldered such a responsibility of command, leading hundreds of hardened <a href="https://archive.nepalitimes.com/article/nation/50-years-after-the%20raid-into-Tibet,1012#google_vignette">Khampa combatants </a>through what had been a particularly <a href="https://nepalitimes.com/news/heavy-snowfall-over-nepal-himalaya">brutal winter in Mustang</a>, the last bastion to hold out against the Chinese invasion of their Tibetan homeland.&nbsp; The freedom fighters of Tibet, known as the Chushi-Gangdruk, had emerged to resist the <a href="https://nepalitimes.com/editorial/territorialism">Chinese takeover</a> of Tibet during the 1950s. Estimated to be 80,000-strong at the time of <a href="https://nepalitimes.com/here-now/what-or-who-after-the-dalai-lama">the Dalai Lama</a>’s final escape to India in 1959, the sheer number of Chinese deployed into Tibet eventually forced the Chushi-Gangdruk to retreat to Mustang, From this high Himalayan stronghold, they continued cross-border raids on the Chinese People’s Liberation Army (PLA) throughout the 1960s.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd.jpg" data-media-id="editor_10" data-image-id="2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd" data-rendition-name="original" width="1114" height="676" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Guerrillas known as the Chushi-Gangdruk emerged to resist the Chinese annexation of Tibet during the 1950s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>  Their Kathmandu base was a small discreet lodge in a back lane near Rani Pokhari. Sipping sweet tea from a blue mug with a chipped lid, I sat bemused in a corner of the Mustang Hotel room whilst Wangdu and his cohorts received a battered brown suitcase from their CIA connection, a tousle-haired American in a leather jacket. Heaved onto the dingy bedspread that covered the thin mattress, it was clicked open to reveal piles of neatly stacked dollar bills.&nbsp; I cannot think why Wangdu allowed me to witness this handover but I was clearly no threat, a newly arrived world traveller with no understanding of the stakes nor any Nepali or <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan language</a>. Despite armed guards in the corridor,Wangdu radiated confidence and bravado, and there was a practiced familiarity to the tense transaction. This deadly dance for many years had been funded by the Americans, tolerated by <a href="https://nepalitimes.com/here-now/the-kingdom-within-a-republic">Mustang’s residents</a>, and permitted by King Mahendra and the Nepali authorities who it suited to turn a blind eye.&nbsp; But Mahendra died in 1972, and times were changing. Richard Nixon’s ping-pong diplomacy thawed the cold war and signalled a fresh entente with China. Nepal’s yet-to-be-crowned <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">King Birendra </a>was under pressure to curb the irritating incursions against the PLA launched from the Nepali territory of Mustang. Keen to appease his northern neighbour, on several occasions the King summoned Wangdu for peace talks but, despite increasingly overwhelming odds, Wangdu refused to surrender.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb.jpg" data-media-id="editor_14" data-image-id="2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb" data-rendition-name="original" width="1055" height="885" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>General Wangdu flanked by two Tibetan resistance fighters in Mustang in the 1970s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31.jpg" data-media-id="editor_15" data-image-id="2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31" data-rendition-name="original" width="1044" height="792" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>King Birendra with General Wangdu (right in dark glasses) taken in 1974 possibly in Mustang after one of their few attempts at negotiation. Photo courtesy: RAJRNDRA KUNWAR</figcaption> </figure>  While I naively rode pillion around Kathmandu in the spring sunshine, Wangdu was in the midst of what turned out to be his final round of negotiations with the Nepal government. Refusing to cease hostilities with the Chinese, Wangdu must have suspected the cost of his decision, making his cheerful smile in the photograph all the more poignant and brave. It was only much later that I appreciated the significance of the moment. Wangdu had been sent to replace the first resistance leader in Mustang, Baba Gen Yeshe, a much derided corrupt character who stole money meant for his troops and exploited fleeing refugees by seizing their treasures. Baba Gen Yeshe never forgave Wangdu,and sought revenge in May 1974 by betraying him and his commanders to the Nepal authorities. Renewed Chinese incursions from the north, active PLA collusion with the Nepali forces under the new King, and treachery from within the Chushi-Gangdrukranks combined to seal their fate.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0.jpg" data-media-id="editor_16" data-image-id="2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0" data-rendition-name="original" width="1400" height="769" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>British television journalists George Patterson and Adrian Cowell embedded themselves with Khampa guerrillas and accompanied them from Tsum Valley on a cross border raid on a Chinese Army convoy in 1964. Photo: ESSAYS ON NEPAL / SAM COWAN</figcaption> </figure>  Mikel Dunham, renowned author of Buddha’s Warriors, writes: ‘It is possible that Wangdu was waiting for some cue from the Dalai Lama’s government-in-exile in Dharamsala, India. It is equally possible – during that last, <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush?fbclid=IwZXh0bgNhZW0CMTEAAR31-Cqw8oyIwMPzf_35e4Skr0ululJvLf3_vDkzHn-AYG2h8uPw2rqqErg_aem_tGVn5coY1-jA7fze_xqhew">desolate winter </a>– that he made the decision to go out in glory rather than admit defeat. Over the last fifteen years, Wangdu had experienced Tibet’s organized resistance being squeezed and shoved around by every conceivable outside force.&nbsp; First they had been pushed out of their own country by the PLA; then they had been refused sanction while on <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds?fbclid=IwAR0PpJ5zUEbwdug3g_U3ar6FUugngRY0S8Tl2v_7wqzrsHmXWcXsKjvL4t4">Indian soil</a>; then they were abandoned by the Americans because, apparently, Nixon wanted to make friends with Wangdu’s mortal enemies, the communists; then they had been betrayed by the vampiric Baba Gen Yeshe – a Tibetan and, even worse, a fellow Khampa; and now, finally Wangdu’s army was being evicted by the Nepalis. One thing was certain: Wangdu was a warrior. To imagine Wangdu simply giving up and settling down in the pacific squalor of a <a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp">refugee camp </a>was unthinkable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49.jpg" data-media-id="editor_20" data-image-id="2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49" data-rendition-name="original" width="500" height="746" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>The much derided Baba Gen Yeshe, the first Tibetan resistance leader in Mustang, who betrayed Wangdu for personal gain. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3.jpg" data-media-id="editor_21" data-image-id="2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3" data-rendition-name="original" width="500" height="656" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Aditya SJB Rana of the Royal Nepal Army whose team ambushed Wangdu and his cohorts at the top of Tinker Pass in Darchula, West Nepal. Photo courtesy: GAUTAM SJB RANA</figcaption> </figure>  By August 1974 the game was up. Wangdu and six of his exhausted party were killed on their horses by <a href="https://archive.nepalitimes.com/news.php?id=7270">the Royal Nepal Army</a> on the brink of escape. The officer in charge, Aditya SJB Rana, cleverly predicted their route into India after they failed to silence a police radio in Yari. A carefully laid ambush trapped them near the summit of the Tinker Pass in Darchula,at 5,000 meters the highest military operation of its time. Wangdu’s body was helicoptered to Kathmandu, and a big show made of the royal Nepal victory.&nbsp; The Tibetan armed insurgency against China had reached its end.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4.jpg" data-media-id="editor_23" data-image-id="20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The last days of the Khampa NT"> </figure>

The Last Days of the Khampa

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;

Turkish to Seville

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;