After making his name as an animator providing sequences VFX footage for movies like House of Dragons, Dora, Lion King and many others, <a href="https://nepalitimes.com/here-now/animated-in-nepal">Kiran Bhakta Joshi of Incessant Rain</a> is opening the Nepal affiliate of Women in Animation (WIA). Joshi hopes to help Nepali filmmakers get more exposure and make connections on global platforms through WIA, not just in animation but also live action. Animators, writers, directors, technicians are all represented in the non-profit which provides mentorship and scholarships.&nbsp; “Most big studios in the US are supporting WIA because gender justice is so important,” explained Joshi, who is based in California, and runs the Incessant Rain studio in Kathmandu. “If a film producer needs a female artist or technician, they ask WIA, and being involved would provide good exposure to Nepali filmmakers.”&nbsp; Read also: <a href="https://nepalitimes.com/news/it-is-it">IT is it</a>, Sahina Shrestha WIA’s Nepal affiliate is the first in South Asia, and has filmmaker Sampada Malla as president. She told us, “This is the golden age of Nepali cinema. Better Nepali movies are being made and through WIA, more of them may go to international platforms, with possibilities of collaboration.” Deepa Joshi, co-CEO of Incessant Rain, says WIA will engage in advocacy, mentorship, and education Nepal. She adds, “There is still the perception that cartoons are for children. We want to show that there are great career options for women in animation.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231007041012_785230211263fbfa28ec5fb73d82368037d2f9f2fa699fd9f8d32b6f6de7f381.jpg" data-media-id="editor_2" data-image-id="20231007041012_785230211263fbfa28ec5fb73d82368037d2f9f2fa699fd9f8d32b6f6de7f381" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="Women in animation in Nepal"> <figcaption>Deepa Joshi</figcaption> </figure>  Stories X Women of WIA helps female-led projects prepare their pitch packages and organise sessions attended by Hollywood executives. “Networking can help women filmmakers make the connections required to produce their films,” she adds.&nbsp; WIA Nepal will provide scholarships to Nepali women eager to get into animation, and eventually expand to training film editors, cinematography, scriptwriting, and production, reaching out beyond Kathmandu.&nbsp; Says Kiran Joshi: “Ultimately, the success of Nepali films and animation will depend on how inclusive the sector is.”&nbsp; <h2>Female artists into filmmakers</h2> Nepali Times: Why are there so few women animators even in your company Incessant Rain? Kiran Bhakta Joshi: Gender inequality is a global problem, but it is worse in Nepal because of the patriarchy. After marriage, many families expect women to stay home and look after the family, which means that women end up losing their careers on interests.&nbsp; Up to 20-25% of the staff at Incessant Rain are women, and most of them are in admin. There are even fewer women artists. I was so busy bringing in work and delivering products over the years that I did not even notice this discrepancy. As a man, one often does not even notice these things. But we have recently started a program at Incessant Rain, which has increased the number of women.&nbsp; How did this gender justice program come about?&nbsp; As the company grew, so did my workload. At one point, I realized that I couldn’t lead the company alone. Two and a half years ago, I asked Deepa Chipalu Joshi to join the company and help lead it. She immediately noticed that there were very few women, and asked me why. As usual, like men do, I said that it is difficult to find qualified women artists in Nepal. Deepa said that was not a good answer, we must try harder. That is when we started thinking seriously about improving the gender balance.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231007041016_a23fe4961b18931633cc7a1d4e1d6c05d5f4f3d727e68ef248af3ffbc7dcdd2a.jpg" data-media-id="editor_3" data-image-id="20231007041016_a23fe4961b18931633cc7a1d4e1d6c05d5f4f3d727e68ef248af3ffbc7dcdd2a" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="Animation in Nepal"> </figure>  What kind of steps did you take to increase the participation of women?&nbsp; Deepa started an outreach program where she goes to different schools and colleges and tells young people about the kind of career they can have in animation and how they can fit in a company like Incessant Rain.&nbsp; Also, when someone goes on maternity leave, we want to make sure that they come back, in any capacity. Maybe they can be given a lighter workload or shift them to a department where they need to work only 20 hours a week. And we know it is a temporary problem, once the kid is grown up, they will be back in their full capacity.&nbsp; Gender justice is not just for women, it also applies to men. We want to afford the same facility to fathers as well. No one should have to lose their job because they had a baby. We are looking at having a daycare center at the office, which will make it easier for new parents to work. There are even fewer women in leadership positions.&nbsp; It is not enough to hire more women, you are right, they should also be in senior positions. That is why I stepped down from my role as CEO and made her co-CEO. If the leading woman is still reporting to a man, then nothing changes. So now we, as co-CEOs, manage different areas of the company. I look after the creative and technical side while she looks after her areas of expertise like finance, operations, human resources, etc. This has given a strong message to every artist in the company. If we want to make changes, it must start at the top.&nbsp; How can WIA help to further this goal?&nbsp; In Kathmandu, our academy is fairly reasonably priced. But, that is not the case outside of the Valley, where this opportunity and this amount is out of reach. So, eventually, we want to tap into WIA for funds to provide opportunities for training and education to women artists outside Kathmandu.&nbsp;

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Opportunities for women animators

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111152/636cd85f9c7e80680e092e3cjpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Ashim Shakya explaining the ice cube in his digital painting Solitude that won the CGTrader Award last year and has sold four copies to buyers in Germany, Singapore and Nepal. All photos: AMIT MACHAMASI</figcaption></figure>The black walls, dark cave-like interior of the Van Gogh Room at Dhokaima Café deepens the apocalyptic mindscape displayed in first physical exhibition of digital art by <a href="https://www.facebook.com/explodingbrain">Ashim Shakya.</a>The manipulated images blend photographs, graft images, to communicate heritage loss, environmental degradation, climate change, ruinous urbanisation – all with gut-wrenching imagery.A colossal coal-powered sewing machine stitches soul-less suburbia into a bucolic countryside, pressure cookers let off steam from Kathmandu Valley’s red hot furnace, a teacher conducts class inside a rice cooker, a gigantic ice cube melts on a mountain top sending water cascading down the side.Shakya’s surreal digital images have a nightmarish quality, as if they are products of fearful dreams. But no, they are everyday reality for everybody.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111152/636cd8629c7e80680e092e3djpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111152/636cd8659c7e80680e092e3ejpeg.jpg" alt="" width="1500" height="1000">Over a dozen of Shakya’s artwork <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/art-in-a-virtual-world,3808">created since 2012</a> are on display at the gallery till 24 March, part of <a href="https://www.nepalitimes.com/review/riding-on-the-waves-of-colours/">Tulikaa Kala’s solo exhibition series, Kholo 2.0</a> that is showcasing work by 28 classic and contemporary Nepali artists till August.“I think a lot, and I am completely immersed in the subject I am trying to convey,” Shakya says, pointing at the painting Solitude that won the <a href="https://www.cgtrader.com/">CGTrader Award </a>last year.Shakya only makes 20 prints of each digital work, and has sold four these to buyers in Germany, Singapore and Nepal.The theme here is obviously climate change, but Shakya does not want to be obvious. Solitude can mean many things to many people, it transcends the planet’s current anthropogenic crisis forces us to think of the nature of nature, impermanence and the riddle of existence. Kholo 2.0 Curator <a href="https://www.facebook.com/JodjoDkf">Ujen Norbu Gurung</a> bought termite ridden logs being sold for firewood to frame Shakya’s art in the gallery space, and propped them up like post-quake Kathmadu streets.Shakya takes months to painstakingly work pixel-by-pixel on some artwork. “If I put my heart and soul into something, I will finish it regardless of anything happening around me,” he says, pushing back frizzy locks, his beard almost eclipsing a smile.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111152/636cd8689c7e80680e092e3fjpeg.jpg" alt="" width="1500" height="1000">As an introvert child, Shakya was drawn to physics and spent most of his days locked inside his room, fiddling with electronic gadgets. But this just made him more self-sufficient, and art became an outlet to let his thoughts out.After brief animation courses in his late teens, Shakya learnt to paint with acrylic on canvas and graduated to digital art with his work in video games.“Digital art gave me the freedom to express my creativity and emotion and taught myself the techniques with experimentation,” he says, pointing out two of his favourite works, The Mahakal’s Epitome and Mellow Dwellings II, which is his best-seller with eight copies sold.“The combination of music, the crowd and infrastructure were lucid for me when I was working. I could feel that I was a character in the piece and enjoyed the emotions that played inside my head,” he says.The artist is nocturnal. Sometimes inspiration comes in dreams, and he wakes up to visualise his idea. Shakya burst into the art scene after the earthquake and blockade for his surrealistic digital images: animated temples floating weightlessly above a valley shrouded in smoke and dust, fearsome manifestations of anthropomorphic gods and goddesses, and old Newa houses transformed into guitars and sarangi. Born and brought up in Kathmandu, the city is Shakya’s muse. He draws inspiration from its rich heritage and its dystopian urbanisation. The themes are dark, the subject matter heavy, and the approach psychedelic. Yet Shakya treads lightly, leaving the images dangling in our mind’s eye to make what we want of it.He says, “The universe is ever-evolving. We humans are just specks. I don’t take the human species too seriously. Nature will survive, the Earth will go on without us.”Shakya’s exhibition at <a href="http://dhokaimacafe.com/">Dhokaima Café’s</a> Van Gogh room will run until 24 March. <a href="https://www.facebook.com/events/dhokaima-cafe/kholo-20-a-cycle-of-life/232292488568692/">Kholo 2.0 – A Cycle of Life </a>is ongoing at Dhokaima Cafe until 27 August.

Ashim Shakya’s digital hyper-realism

Fenerbahçe Beko won the Turkish Airlines EuroLeague finals in Abu Dhabi, held 23-25 May, defeating Monaco 81-70 in the final. Olympiacos, who defeated Panathinaikos 97-93, finished the series in third place. The Most Valuable Player (MVP) of the final match, Nigel Hayes-Davis from Fenerbahçe Beko, received a prize of 1,000,000 Miles&amp;Smiles from Turkish Airlines’ Chief Commercial Officer Ahmet Olmuştur. The carrier has been the title sponsor of the Turkish Airlines EuroLeague, a top tier tournament, since 2010.

Turkish Basketball

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

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