<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141148/636d01f59c7e80680e0a3655jpeg.jpg" alt="" width="4032" height="3024"/><figcaption>Nepal Embassy in Washington receives the 10th century Uma Maheswar statue from Denver Museum on Monday. The figure was stolen from Patan neighbourhood fifty years ago. Photos: NEPAL EMBASSY WASHINGTON</figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141148/636d01f89c7e80680e0a3656jpeg.jpg" alt="" width="640" height="853"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141148/636d01fb9c7e80680e0a3657jpeg.jpg" alt="" width="640" height="853">Earlier this year, a <a href="https://www.nepalitimes.com/here-now/bringing-our-gods-home/" target="_blank" rel="noopener noreferrer">10th century stone figure of Uma Maheswar</a>, which had been stolen from Patan’s Gahiti 50 years ago was traced to the Denver Art Museum. This week, the museum handed over the antiquity to the Nepal Embassy in Washington DC.In an exclusive, the <a href="https://www.nepalitimes.com/banner/nepals-gods-return-from-exile/" target="_blank" rel="noopener noreferrer">Nepali Times reported in January</a> that the statue that was an object of daily worship by the local community had been torn out of a shrine in Patan in the 1960s, and had found its way through a private collector to the museum in Denver as ‘art’.Nine months later, in the latest in a slew of stolen artefacts being returned to Nepal from the United States, the Denver Art Museum handed over the statue to Nepal’s Ambassador Yuvaraj Khatiwada in Washington DC on Sunday.The statue had been in the collection of the museum since the 1980s, given by Jane F Ullman and Edwin F Ullman.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141148/636d01fd9c7e80680e0a3658jpeg.jpg" alt="" width="768" height="549">In an interview with Nepali Times earlier this year, Babulal Maharjan, 82, remembered the deity that had been <a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/" target="_blank" rel="noopener noreferrer">stolen</a> from the shrine in his neighbourhood. For the past half a century later, Gahiti residents have continued to preserve the base of the structure below a graffiti-scrawled wall, hoping for its eventual return.When Nepali Times showed Babulal and his 78-years-old neighbour Babukaji Maharjan a photograph of the Uma-Mahesvar that is now in the Denver Art Museum, both immediately recognised the figure.https://youtu.be/XFzMHtqwZ3gThe thieves had failed to steal Uma-Maheswar in the first attempt, and the community managed to restore it to its base. But one morning when devotees came to the shrine to pray they found that their god had vanished.Since <a href="https://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986" target="_blank" rel="noopener noreferrer">Uma-Maheswar</a> was stolen more than half a century ago, youth in the community grew up hearing about the theft and knew that the preserved base held an importance, but they learned of its true significance only after the media reports this year that it had been tracked down to the museum in Colorado.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d02009c7e80680e0a3659jpeg.jpg" alt="" width="2304" height="1728"><figcaption>The base of the Uma Maheswar statue in Patan's Gahiti that residents have preserved hoping for its eventual return.</figcaption></figure>Babukaji Maharjan had lost all hopes that he would ever see the homecoming of the lost deity Uma-Maheswar again. Even with the recent development, he has a hard time grasping its return.“Due to our economic condition we did not know how to file a complaint with the police, and nobody during the Panchayat era would have taken the theft seriously anyway,” he told Nepali Times. “But I am glad that the statue will now be returned to our shrine. We will celebrate its homecoming.”The Uma-Maheswar is just the latest in a series of objects of worship that have been <a href="https://www.nepalitimes.com/here-now/nepal-wants-stolen-antiquities-returned-from-france/" target="_blank" rel="noopener noreferrer">stolen from Kathmandu Valley</a> and are in private collections or museums in Europe and the United States.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141152/636d02039c7e80680e0a365ajpeg.jpg" alt="" width="852" height="543"><figcaption></figcaption></figure>In the past nine months, six stolen gods have been successfully handed over to the Nepal authorities. A <a href="https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/" target="_blank" rel="noopener noreferrer">12th-century Laxmi-Narayan statue</a> from Dallas Museum of Arts, a 13th century carved temple eave depicting an Apsara, a 14th-century gold seated Buddha in Bhumisparsa Mudra, and a 15th century seated Ganesh repatriated by the Manhattan’s District Attorney’s Office are already in Patan Museum and National Museum in Chhauni, respectively.A 13th-century Chaturmukhi Shivalinga was also handed over by the Art Institute of Chicago in April to the Nepal Embassy in Washington DC.

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US returns another antiquity to Nepal

<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.

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

In 2004, Poet Durga Lal Shrestha asked me to translate 223 little poems from Newa into English. They were each written as sestet-- terse in their form but heavy in imagery and sentiment. The novice translator in me struggled to find the best way to convey his poetry in English-- but the process became a tour as I discovered my mother tongue anew. The highlight, however, was Shrestha’s handwriting. His calligraphy is immaculate. He had given me photocopies from the notebook he had written the poems in and each page looked as though they were freshly out of the press. The letters bore a consistency, unswayed by the emotions of his poetry. Sometimes, I would just stare at the handwriting in admiration.&nbsp; Someone else had been similarly besotted by his writing: “I met him 25 years ago in the UK when he was the chief guest at a Mha Puja event organised by Pasa Pucha,” recollects Ojesh Singh, writer and engineer. “We were roommates. I noticed he couldn’t stop writing.”&nbsp; Shrestha, an octogenarian now, was a teacher at Kanya Mandir School for many years, where his writing was admired by colleagues and students. Known as Janakavi or People’s Poet, a title bestowed on him by the Nepal Bhasha Parishad, Shrestha is also the recipient of the Jagadamba Shree Puraskar for his contribution to literature.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251021071052_b109f2ee6dbac911fb8002e8e8bb33a50a8f755d26662f333535d32c8573e782.jpg" data-media-id="editor_0" data-image-id="20251021071052_b109f2ee6dbac911fb8002e8e8bb33a50a8f755d26662f333535d32c8573e782" data-rendition-name="original" width="1600" height="900" loading="lazy" alt="Digitising the savant calligrapher NT"> <figcaption>From left to right: Suman Shrestha, Ananda Kumar Maharjan, Durga Lal Shrestha, Ojesh Singh, and Arbindra Man Singh. Photo: SUCHITA SHRESTHA</figcaption> </figure>  “He would write on anything he could lay his hands on. On tissue paper, envelopes, cigarette boxes. It struck me how neat and tidy his writing was,” says Singh. “The structure and size were perfectly in sync-- and as an aspiring graphic designer then, I fell in love with his writing. Later, whenever I read his books, I thought it would be nice to read them in his writing.” After sitting with the notion of turning Shrestha’s writing into a digital font for years, in 2024, he reached out to a small group of people who he thought might be allies.&nbsp; “It was during Ojesh Ji’s book launch that we met and talked about the possibility of turning Durga Lal Shrestha’s writing into font,” recalls Ananda Kumar Maharjan, who has designed the Durga Lal Shrestha font and is affiliated with Callijatra, an organisation promoting Newa calligraphy.&nbsp; For Singh, the desire to immortalise the poet's handwriting wasn’t only coming from personal admiration, it was also about preserving the writing of a language and literature leader and activist. He offered to fund the font project, which meant paying for Maharjan’s time and dedication. He also drew into the conversation Shrestha’s son Suman, who has been an integral part of the process.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251021071056_372dc34ac3ce3b70445128131a11ade8f321756c6cc7615825c4451e85f56374.jpg" data-media-id="editor_1" data-image-id="20251021071056_372dc34ac3ce3b70445128131a11ade8f321756c6cc7615825c4451e85f56374" data-rendition-name="original" width="616" height="728" loading="lazy" alt="Digitising the savant calligrapher NT"> </figure>  The others involved in the process were journalist Arbindra Man Singh, who had been scanning Shrestha’s writing for the book Hastakshar, a collection of poems printed in the author’s handwriting. Also an enthusiast of converting Shrestha’s writing to a font, Singh provided help in bringing together the scans, based on which Maharjan picked the best letter for each alphabet to create a complete set.&nbsp; “Doing this was different from other font developments I have done in the past,” explains Maharjan, who has also digitised his own handwriting into a font, called Anand. “To create Durga Lal Shrestha’s writing as font, I had to analyse his writing archive and pick the best.”&nbsp; He adds: “There was a book published in his writing, so there were scans and digital archiving done by Arbindra Ji, which became the foundation for my work.” He had to find a prototype for each alphabet based on the scans. He traced the letters on Illustrator and copied them to a MAC software called Glyphs where he had to enter each letter, using a traditional Devanagari keyboard instead of Unicode.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025102108100_2f6b8c0f3cf91682707ac356e11ad50b342a4198f56490ab68d041e875b15edb.jpg" data-media-id="editor_2" data-image-id="2025102108100_2f6b8c0f3cf91682707ac356e11ad50b342a4198f56490ab68d041e875b15edb" data-rendition-name="original" width="818" height="766" loading="lazy" alt="Digitising the savant calligrapher NT"> </figure>  “I had to be very careful to keep it accurate. Conjunctions need attention,” Maharjan says. “There are half letters, saint letters, ligatures and open type features to pay attention to, this is more advanced than the fonts I’ve created in the past.” &nbsp; Maharjan has designed this font in three different variations that users can play with. “Writing changes with age. While young, people write better, but with age, it starts to change. Since Durga Lal Shrestha hasn’t been very well lately, his hand shakes when he writes. So, we had to pick the best of his writing from the records,” he adds. “People also tend to write in different styles depending on their mood so we took the best four of every letter and traced and picked one.”&nbsp; Handwriting is deeply intimate and in this day and age of tech, becoming lost.&nbsp; What bothers me about the day of phones is that I no longer know what the writing of those close to me look like. I no longer know how you press the pen between our fingers or how you tilt it against the paper or how you pause to write periods or how the nib makes a perfect tiny orb before you drag it just so, to turn it into a comma. The familiarity of the nuances of someone’s writing is lost on us.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251021071056_2c83ab2c3ed4cfa42e6a6a637d88fd879218fb5b7391e086ab5db1a8ec173654.jpg" data-media-id="editor_3" data-image-id="20251021071056_2c83ab2c3ed4cfa42e6a6a637d88fd879218fb5b7391e086ab5db1a8ec173654" data-rendition-name="original" width="992" height="1280" loading="lazy" alt="Digitising the savant calligrapher NT"> </figure>  Ojesh Singh agrees with me. He says it’s important to keep handwriting alive as people become more and more tech-dependent. People are likely to interact even less with letters on paper, but at least we can have fonts, he says.&nbsp; A set of six books by poet Durga Lal Shrestha is set to be launched on 31October. One of them, entitled, Kawa, is typeset in the Durga Lal Shrestha Font. The font will be made available to the general public after the books have been released. In July, I had visited Shrestha, who I also call Durga Lal Taaba, as many Newa people in my generation do. Seated in the quiet of his home, he conversed about literature and language with my father and my uncle. Coming out of Taaba, Newa, which has a utilitarian function for me to communicate with my parents, sounded more like a lyric.&nbsp; I asked him what he thinks about his handwriting being archived as a font. He replied: “This body is going to be gone eventually, so I thought maybe my handwriting could live on.” Suburban Tales is a monthly column in Nepali Times based on real people in Pratibha’s life.

Digitising the savant calligrapher

The winter air pollution season started early this year with emissions, Diwali firecrackers and crop residue burning making the air unbreathable across north India. Much of the pollution was transboundary, with prevailing winds carrying the suspended particulates from Pakistan, across India to Nepal and beyond. All this pollution and domestic emissions killed 41,300 in Nepal in 2023, and 85% of all deaths were because of noncommunicable diseases such as heart and lung disease, lung cancer, diabetes, and dementia, according to the State of Global Air (SoGA) 2025 report released Thursday. With the onset of winter, Kathmandu Valley’s own emissions are trapped in a surface inversion layer and as in previous years will have some of the worst air quality in the world.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251023131016_7c42a4e8b0dce01dfeeaaf89dbb10dbfa036b41163f3ebada88c7ce17dbded49.png" data-media-id="editor_0" data-image-id="20251023131016_7c42a4e8b0dce01dfeeaaf89dbb10dbfa036b41163f3ebada88c7ce17dbded49" data-rendition-name="original" width="921" height="850" loading="lazy" alt="Air pollution killing season starts early NT"> </figure>  The SoGa report says air pollution has now become the leading risk factor for deaths in Nepal, ahead of tobacco and high blood pressure. Interestingly, while the health impacts due to environmental risk factors such as unsafe water and sanitation have reduced significantly since 2000, the opposite is true for ambient PM2.5 (particles smaller than 2.5 microns). Globally, 7.9 million deaths were attributable to air pollution– about 1 in 8 deaths – in 2023. Of this total, 4.9 million deaths were attributable to PM2.5 exposure, 2.8 million were from household air pollution, and 470,000 were from ozone. Similarly, dementia attributable to air pollution resulted in 626,000 deaths and 40 million healthy years of life lost. And 95% of air pollution attributable deaths in adults over the age of 60 are due to noncommunicable diseases. The burden of noncommunicable diseases in relation to air pollution is rising worldwide and in Nepal. The SoGA report shows that nearly nine of ten global air pollution deaths are from chronic ailments, and half of all respiratory disease deaths are attributable to air pollution.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251023131020_8577f464b4a73007de5dd018b8ac91dae3a9c732dbb81a44b6aa5a0ced7df3df.png" data-media-id="editor_1" data-image-id="20251023131020_8577f464b4a73007de5dd018b8ac91dae3a9c732dbb81a44b6aa5a0ced7df3df" data-rendition-name="original" width="1080" height="1080" loading="lazy" alt="Air pollution killing season starts early NT"> </figure>  In Nepal, air pollution is responsible for three out of four COPD deaths, one out of three heart deaths and one out of five diabetes deaths. More than one third of lower respiratory infection deaths were due to air pollution. “The data presented in the State of Global Air report highlight the significant impacts of poor air quality on the health and well-being of billions of people around the world, especially those living in Asia and Africa,” says Pallavi Pant of the Boston-based Health Effects Institute (HEI) that released the report in collaboration with the Institute for Health Metrics and Evaluation and the NCD Alliance. She adds: “Growing momentum on air quality management across those hard-hit locations, including expansion of air quality monitoring, adoption of air quality regulations, and sector-specific interventions are yielding improvements for those most impacted.” Low- and middle-income countries stand to gain most by reducing air pollution, with particularly strong impacts on children, older populations, and people with pre-existing health conditions. Indeed, of the 41,300 air pollution deaths in 2023 in Nepal, 31,600 were in adults over the age of 60 years and 3,500 in children below five years. Death rate for air pollution in Nepal, which is 178 per 100,000, is more than 10 times higher than high-income countries, which is at 17 per 100,000.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251023131020_604e852aed4ffde0dc7d1df72fcd3e73d904136dfb1bb2407e53b7445f3ef72c.png" data-media-id="editor_2" data-image-id="20251023131020_604e852aed4ffde0dc7d1df72fcd3e73d904136dfb1bb2407e53b7445f3ef72c" data-rendition-name="original" width="1078" height="423" loading="lazy" alt="Air pollution killing season starts early NT"> </figure>  “Win-win solutions for air pollution and NCDs exist, with added benefits for climate, physical activity, nutrition, and many other global development priorities,” says Alison Cox, Policy and Advocacy Director at the Geneva-based NCD Alliance. “These policies are effective and deliver a strong return on investment - for the sake of our people and the planet we need to implement them faster.” Fine particle pollution (ambient PM2.5) is the largest driver of air pollution’s burden of disease worldwide as kit attributed to 4.9 million deaths and 124 million healthy years of life lost in 2023. Vehicles, power plants, factories, and homes, as well as agricultural and industrial activities, waste burning and wildfires are some of the biggest sources of pollutants. South Asia is among the regions of the world with the highest exposures to ambient PM2.5 , while more than 36% of people around the world live in areas where PM2.5 levels do not meet even the least stringent interim target. As per the report, 78% of Nepal’s 30 million population lives in areas where annual PM2.5 exposure exceeds the least stringent WHO Air Quality Interim Target of 35 µg/m3. Meanwhile, exposure to household air pollution due to the use of solid fuels for cooking remains an important driver for the disease burden in the country. “Ongoing efforts to meet global development goals are not achievable without directly addressing air pollution,” says Maria Neira, Commissioner of Our Common Air. “Countries and cities must focus their efforts toward reducing air pollution emissions, including household air pollution, which has particularly severe impacts on young children and older people across Asia and Africa.”

Air pollution killing season starts early

Nepal needs to enact and enforce animal law

This year, the <a href="https://nepalitimes.com/opinion/quo-vadis-un-80-9vthn7mg">United Nations is marking its 80th anniversary</a> and it is being celebrated with special events across the world to commemorate its establishment on 24 October 1945. It has also been 75 years since the first UN adviser, the Swiss geologist Toni Hagen, was sent to Nepal to explore development opportunities. In 1950, there were no roads and Hagen walked on foot across the length and breadth of Nepal’s mountains, valleys and plains. This year also marks the 60th anniversary of the United Nations Development Program (UNDP) in Nepal, and much of Hagen’s work laid the basis for the UN’s involvement in education, health, and connectivity in Nepal’s future development. Despite frequent changes in government and political system, Nepal has made remarkable progress. The poverty rate has gone down by half in the past 30 years to 20.27% of the population. Much of it has to do with remittances from Nepalis working overseas, but it is also a result of the Nepal government’s investment in education, health care and social welfare.&nbsp; There have been special initiatives like the Prime Minister’s Employment Program that have provided jobs to nearly 800,000 people in the country’s 743 municipalities — especially in those areas with lower Human Development Index (HDI) like the far-west and the Tarai.&nbsp; This year’s HDI report by UNDP shows that Nepal’s score had risen to 0.622, whereas it was only 0.404 in 1990. In the past 33 years, the average lifespan of Nepalis has risen by 15.6 years to 70.4 years, whereas it was only 54.8 in 1990. However, the country’s HDI ranking is still 145 among the world’s 193 countries. “Yes, there has been significant improvement in living standards in the past 60 years, road connectivity has improved, the maternal mortality rate has gone down dramatically, almost everyone has phones, there are schools,” says Saru Joshi of the thinktank Nepal Policy Institute. But, she adds: “It is still difficult to get citizenship papers, especially in the name of the mother, and this has excluded many women from banking services, inheritance. After all our progress in physical infrastructure, Nepal now needs to prioritise inclusive social development.”&nbsp; Some of this is also happening. Eighteen years ago, Nabaraj Subedi, 49, of a village in Baglung decided not to join his peers &nbsp;fleeing the Maoist conflict to find work overseas. He invested Rs500,000 to buy a diesel generator and start a small furniture business.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251024071044_eeef308e19a73de507a425b2c6afc47269884549cf4c8fac07ca9a4898c8e031.jpg" data-media-id="editor_1" data-image-id="20251024071044_eeef308e19a73de507a425b2c6afc47269884549cf4c8fac07ca9a4898c8e031" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nawaraj Subedi"> <figcaption>Nawaraj Subedi, 49, proprietor of Tarakhola Furniture Factory. </figcaption> </figure>  Today, with the installation of the 380 kilowatt small hydroelectric plant, he does not need to depend on his unreliable generator to power his equipment anymore. There is now a road connecting his village, and Subedi has generated local jobs, opened a sales branch in the city, and gets orders from as far away as Pokhara and Chitwan. “My costs have gone down drastically because of the electricity, and sales have gone up because of the road connecting my furniture to markets. My business has expanded,” Subedi says. Back in 1960 in a report he prepared for the Nepal government on behalf of the United Nations, Toni Hagen had emphasised just this: investing in electricity generation and connectivity to uplift the remote rural areas of Nepal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251024081024_188ab121dc3cf2816ee71a72cb3687493eda37ab99ecc04802d647c8c9b4cd2d.jpg" data-media-id="editor_2" data-image-id="20251024081024_188ab121dc3cf2816ee71a72cb3687493eda37ab99ecc04802d647c8c9b4cd2d" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Tarakhola Furniture Factory"> <figcaption>Subedi's staff at the Tarakhola Furniture Factory.</figcaption> </figure>  Subedi’s furniture factory gets its electricity from the nearby Tarakhola Hydropower, a company set up eight years ago with financial and technical support from UNDP’s Renewable Energy for Rural Livelihood (RERL) project. &nbsp; “The project completely transformed living standards in this village,” says municipality chair Dhan Bahadur BK. “It has helped create jobs locally, there is now money to invest in education and healthcare. Households can pay their electricity fees electronically through smart billing.”&nbsp; After working with the government on rural electrification, UNDP is focussed on using that power for local employment creation. A women’s group, for example, has bought an electric-powered potato processing machine that can produce chips.&nbsp; “We are 12 of us mothers, daughters, daughters-in-law who process, package and market the potato that we grow ourselves, and it has raised our income,” says Sukmaya Roka, 57, who chairs the group.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251024071044_70b22418699178bcdd0abb0aa308796980ecd29634bcda6ff113a7624e709751.jpg" data-media-id="editor_3" data-image-id="20251024071044_70b22418699178bcdd0abb0aa308796980ecd29634bcda6ff113a7624e709751" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Sukamaya Roka"> <figcaption>Sukamaya Roka, 57, chair of Sipa Aalu Chips Utpadan Samuha from Tarakhola Rural Municipality, Baglung. </figcaption> </figure>  Today, 6.1 million households in Nepal (92.2% of total) have electricity in their homes, up from 17.9% 30 years ago. Access to electricity has not just brought lights to homes, but improved everything from productivity, quality of education, healthcare and phone connectivity.&nbsp; “To see what electricity and roads can do, just look at our municipality,” says chair Dhan Bahadur BK, “citizens have become more self-reliant, more aware of the outside world.”&nbsp; NETTLES INTO CASH&nbsp; Just a little bit of training, resource backup and local empowerment can uplift the living standards of Nepalis. The progress made in harvesting abundantly-available allo (nettles) and turning it into household products is an example. When a landslide swept away his home and farm in a flood 40 years ago, Buddhi Purja of Parbat became destitute. But he took part in a government training program supported by UNDP and Australia to harvest the wild nettles that grew on mountain slopes and turn the fabric into bags.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251024071048_56c440c478dffbc13911369b6f4133baf658cc3667773cdb44b7c40e006463ce.jpg" data-media-id="editor_4" data-image-id="20251024071048_56c440c478dffbc13911369b6f4133baf658cc3667773cdb44b7c40e006463ce" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Rhitu Saugat Handicraft"> <figcaption>A worker at Rhitu Saugat Handicraft making a bag out of nettles.</figcaption> </figure>  “After the landslide, we had to go hungry if we did not get a day job,” Purja recalls, “but after this training we have found that we can turn nettles into cash.” His allo bags are now hanging in tourist shops in Pokhara Lakeside and Thamel.&nbsp; The idea that nettles can be processed into useful fabric has not spread across the country, and new ecologically conscious consumers in Europe and elsewhere now import Made in Nepal nettle products.&nbsp; Purja started out with an investment of Rs500,000, and had a Rs20 million business that employed 25 workers. The Covid crisis in 2020 affected the sales, but Purja has recovered from it, sent his daughter off to study abroad, and is thinking of diversifying his product range.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251024071044_ab6d15abcbb9a643e12a384f4bc488b7e210a8c95303fbe1b2f77716d26eede9.jpg" data-media-id="editor_5" data-image-id="20251024071044_ab6d15abcbb9a643e12a384f4bc488b7e210a8c95303fbe1b2f77716d26eede9" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Buddi Purja"> <figcaption>Buddi Purja, proprietor of Rhitu Saugat Handicraft in Pokhara.</figcaption> </figure>  While UNDP’s project has made successful businessmen out of people like Purja, nationwide it has created 187,000 jobs in rural medium-scale industries. Much of what has worked in Nepal has been at the community level with decentralised projects like these that use the entrepreneurship of people like Buddhi Purja, Navaraj Subedi, and Sukmaya Roka. It is tantalising to imagine how much more progress Nepal would have made if their work could be replicated nationside and upscaled to the state-level.