At the start of May, Bunu Dhungana brought some things in the belly home to Nepal. When she had curated the first iteration of the show in 2023, in Delhi, she had hoped she would be able to bring it home, and she did. The exhibition opened to the public in Kathmandu at Nepal Art Council on 2 May and closes on 16 May. The exhibition brings together works by Asmita Badi, Irina Giri, Shradha Devkota, Tripty Tamang Pakhrin, Shristi Shrestha, Ujjwala Maharjan, and the curator, Bunu Dhungana herself. And there’s an installation of yours truly. In the step up to the show, Bunu organised calls for the artists. Tripty joined at odd hours from her newfound home in Syracuse. As did Shradha from her home in London. Ujjwala joined, from her many different trips to India and other places in Nepal.&nbsp; The rest of us joined from wherever we were in Nepal during call hours, probing the unknown, most of us unsure what we wanted to present to the public. The only thing we had clarity on was the theme Bunu had suggested: mother-daughter relationship. And we were to exchange letters with our mothers. Some of us wrote letters to our mothers from the comfort of our homes, some from Pokhara, or whichever town we were in at the time of writing-- sending it by snail mail, which thankfully, hasn’t gone obsolete yet! Our mothers responded to us from their comfort nooks, each one, taking it up seriously like little girls responding to school assignments. Standing before the wall that has the mothers’ letters at the exhibition, one is easily struck by the basicness of the stationery used by the mothers to write to their daughters. They use pages torn out from a notebook, loose examination sheets or even an abandoned diary. So simple and so straightforward. And in that, powerful. Like the truth of the uterus that is all mothers. In the letters, their emotions take center-stage, as maternal emotions do, coming from a place of wanting the best for their daughters-- to protect them, and to keep them happy and healthy. Daughters’ desires are not too different from that of the mothers. But they come in more complex forms and through different mediums. They write an entire journal on these feelings, write pages and pages, enough to fill a room, weave poems and songs from the rhythm that connects the phantom umbilical cord to the mother. Daughters compose images-- some of oil and smoke, some of suffocation, of stillness, of water and ice and of open spaces and of moments of strife, like something heavy being dragged up a stairway by a lone woman.&nbsp; “While not all the works were made exclusively for the show, I did create new pieces - paper made from a letter I wrote to my mothers, and a series of linoleum cut prints. These processes made me reflect more deeply on the role of repetitive, physical labor in my practice and how it relates to the everyday labor of my mothers,” says Tripty, who documents work dedicated to her two mothers. And there are bright hues in gouache, where mothers and daughters are arrested in moments of fun and chit-chat or even just being at the table watching Tiktok. There’s abandoned sound in a dark, spotlit corner, which takes the listener through a journey of contemplation and upheavals. And there are stories from the kitchen, the base for most mothers in the world. For many of us, it is sometimes impossible to separate the fragrance of spices from our mothers or to tell the spices apart from the scent of our mothers.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514140528_1dd1b5f95e6230f49afb3b084b88542b3fbcc6a454548a3eee60ee85724f7215.jpg" data-media-id="editor_0" data-image-id="20250514140528_1dd1b5f95e6230f49afb3b084b88542b3fbcc6a454548a3eee60ee85724f7215" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="some things in the belly"> </figure>  some things in the belly is an intimate exhibition, and as the show got underway, visitors were seen returning as if to collect something they had left behind. Many kept coming back to read and to write. And that was precisely what Bunu had wanted to create-- a safe space. Visitors sat down, read, wrote letters to their mothers, listened, watched, laughed and wept. Ujjwala says: “The [letter-posting] wall, how it’s growing and how people are reading and writing, that’s the most interesting thing for me. You don’t know how people connect and what hits who. But I’ve seen people tearing up at the letter-writing section. You forget that it does reach the people it needs to reach.” Bunu’s aim when she was taking on the challenge of curating the exhibition was to also create a circle of sisterhood, by bringing together women to work together on a theme. And in the process, she has also managed to help the artists involved create and learn from one another and to be deeply touched by the familiarity of sentiments. “Each piece is so different and that is the beauty of this exhibition that has come together. Tripty’s and Shradha’s work, the experimentation was very inspiring for me and the process itself...what has come out is powerful,” explains Ujjwala.&nbsp; She adds: “They are visual artists but the poetry in it is so beautiful. Shristi’s work, I fell in love with. The care of it. Ashmita’s work, too. To textual people, the importance of a desk and sitting down, the tactileness of books that inspire us. What would mom write? What would their lives be like...the imagination is dreaming along with our moms-- the amalgamation of dreams.” In one of her journal notes to her mother, Ujjwala mentions she can’t remember how long it has been since she gazed carefully into her mother’s face. One pauses to read that sentence again. How long since we did that? At the heart of the stories in the exhibition is also intergenerational trauma and mother-daughter conflict-- how mothers and daughters tug in different directions, even when they’re chasing the same love.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514140528_d150acebaa02da545dd3c92db7c1202aef73e60d600537106ec0db40dc84cbfc.jpg" data-media-id="editor_1" data-image-id="20250514140528_d150acebaa02da545dd3c92db7c1202aef73e60d600537106ec0db40dc84cbfc" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="some things in the belly"> </figure>  When Hishila Yami and her daughter Manushi visited the exhibition with little Yugeen in tow, we caught up on this topic briefly. Manushi said: “We hold so much in our hearts and who do we tell it all to? So we end up dumping it on our mothers. Because who else is there for us as mothers are? “We have such complex relationships of love with our mothers,” Bunu said.&nbsp; All loves have their own equations. The love daughters feel for their mothers is raw and tender and full of familiarity. Everything daughters want for their mother is the same they would want for their daughter, so in that, we serve an endless knot.&nbsp; Then there’s the question of language. What language really serves as a bridge in the gap that exists in mother-daughter relationships? How do we make up in language for the absence of words that can ever convey the sentiments? And so the process of creating some things in the belly has been something like reforging mother-daughter relationships in the crucible. “Each one of us has shaped our practices, and stepped more fully into ourselves. Watching that unfold has been such a privilege,” says Shradha. “I hope, as a collective, this exhibition has offered something real for people to hold onto, reflect upon, or carry with them.” Read also: <a href="https://nepalitimes.com/opinion/suburban-tales/our-mothers-silences">Our mothers' silences</a>, Pratibha Tuladhar some things in the belly Till 16 May Nepal Art Council, Baber Mahal

Pratibha Tuladhar

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Dear Maa,

<figure><img width="4160" height="3120" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131144/636a4f609c7e80680e04fd04jpeg.jpg" alt=""/><figcaption>PHOTOS: REETI K.C.</figcaption></figure>Usually a venue for contemporary Nepali art, the latest exhibition at the Siddhartha Art Gallery at Baber Mahal Revisited is unconventional in both form and substance.The exhibits are digital prints depicting characters from Marvel and DC Comics like The Hulk and Captain America, but on bicycles wearing dhaka topi, red tika and jamara, ready to celebrate Dasain in the streets of Thamel. Designer Disneys wearing Nepali costumes in the city’s landmarks, and there are even  Ronaldo and Messi wearing dhaka topi.“I chose international characters because they are globally recognised icons, and I wanted to showcase Nepal’s cultural heritage sites,” explained artist <a href="https://www.instagram.com/sunny_toygraphy/?fbclid=IwAR0eNdEkRv9tIFU4CSfjw02uVE3CsTzfmebbFWeL82d7YCG36JIchG2S4U8" target="_blank" rel="noopener">Sunny Shakya</a>, who started out as a sculptor, but switched to toygraphy, combing toys and photography. He got the idea when he took a picture of toy key rings with the background of Bhaktapur. People liked his work and he came up with more toys and more settings, combining his photography skills with knowledge of culture and sculpting.Read also: <a href="https://www.nepalitimes.com/review/lost-in-transition/" target="_blank" rel="noopener">Lost in Transition</a>, Sewa Sewa Bhattarai <figure><img width="4160" height="3120" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131144/636a4f649c7e80680e04fd05jpeg.jpg" alt=""><figcaption>Sunny Shakya poses in front of his digital print of Hulk Bahadur. </figcaption></figure>This is an unusual way to feature Nepali culture, but taking photographs of Barbie dolls draped in Hakupatasi, Super heroes in Nepali caps, and Joker playing the near-extinct Nepali string instrument, the arbajo.   The photographs divide the exhibition into sections: Spiderman and Batman fly kites with Spidey’s web in place of string in the section with a Dasain theme. There is a Hulk and Batman series with a little story of a fun love triangle. Captain Jack Sparrow from Pirates of the Caribbean poses on a boat in Phewa Lake where he is the Pirate of Pokhara instead. Super villain Thanos carries a doko collecting grass in Ghandruk, and has obviously given up trying to eliminate half the world’s population. Aquaman protests the Guthi Bill in front of Rani Pokhari and Spiderman in front of Tribhuvan University.  “I try to make pictures meaningful,” Shakya explains, pointing to a photo of Hulk wearing a Nepali cap and waving the national flag with a background of people demonstrating against the <a href="https://www.nepalitimes.com/banner/culture-revolution/" target="_blank" rel="noopener">Guthi Bill</a> at The Mandala recently.   <figure><img width="1500" height="1125" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131144/636a4f689c7e80680e04fd06jpeg.jpg" alt=""><figcaption>Hulk Bahadur protesting against the Guthi Bill. </figcaption></figure>Shakya also used names such as Hulk Bahadur or Hulk ‘Cha’, Barbie maicha, Wonder Woman is Wonder Kanchi, Captain America is Captain Nepal. Thor holds a trisul instead of his hammer.  Read also: <a href="https://www.nepalitimes.com/review/365-is-not-just-a-number/" target="_blank" rel="noopener">365 is not just a number</a>, Sewa Bhattarai “I have been sculpting for 15 years, but the last eight months working on these photographs is the happiest I have been, and I have gained much more recognition,” says Shakya, adding that the plans to do more photo stories to promote Nepal’s ethnic attire and promote tourism through his photography.  Toygraphy by Sunny Shakya Siddhartha Art Gallery, Baber Mahal Revisited Until 24 July

Hulk Bahadur and Barbie Maicha

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

exhibitions

Dear Maa,

Hulk Bahadur and Barbie Maicha

Turkish Basketball

The Last Days of the Khampa

Turkish to Seville

Digital protection for Nepal’s art