‘Devi’ does not just stand for different <a href="https://nepalitimes.com/opinion/comment/giving-a-face-to-a-deity?fbclid=IwY2xjawFtoG5leHRuA2FlbQIxMQABHXa4139HVkEZUtSxGZJRZxF_-mhuZWHUa9VznwFsj2uv1OuaHIj5GwkpBw_aem_6t_qShHd7HRRw3KjhHPRqg">goddesses </a>who embody creation, destruction, and the cycles of life. It is symbolic of feminine energy in both spiritual and human forms.&nbsp; The goddesses mirror cultural and social ideals of <a href="https://nepalitimes.com/review/of-women-for-women-by-women">womanhood</a>, celebrating the essence of feminine power and strength. The many forms of Devi transcend religion, borders, realities, and personal awakenings. Devi is form yet formlessness, elemental and elusive, mystical and mundane, beautiful yet brutal. This multifaceted nature of female deities finds quiet expression in the stillness of <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Takpa Gallery</a>, through the collaborative work of Emily Avery Yoshiko Crow and Tara Di Gesu. Crow is from Colorado, and has been living and learning art in India, Nepal and Canada. Di Gesu learnt classical thangka painting in Nepal, adding a new delicate quality to the sacred artform.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250710140736_73f64aad171ea203e9f795329001ad7ef76e84442f891252af3120fe143a869d.png" data-media-id="editor_3" data-image-id="20250710140736_73f64aad171ea203e9f795329001ad7ef76e84442f891252af3120fe143a869d" data-rendition-name="original" width="800" height="1304" loading="lazy" alt="The divine Devi"> <figcaption>Lotus Tara by Emily Avery Yoshiko Crow</figcaption> </figure>  Crow’s artwork of layered lotuses forming the image of Lotus Tara is a contemporary interpretation of the revered goddess, rendered in mixed media photo collage. Through soft blue and pink pastels, Lotus Tara radiates tranquility. In contrast, Marigold Tara emerges from a deep, dark backdrop, with her form shaped by fiery orange marigolds. In Red Tara Realm, digital collage and paint meld to create a hypnotic, multi-dimensional effect where the many forms of the deity in red overlap and intertwine within a single frame. A simpler, original version of Red Tara sits nearby, counterbalancing the dynamic fusion.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250710140736_0a787dda0626eaed1399b24dc9bb3af2e297a71f109cb60997bc234acc6fa422.jpg" data-media-id="editor_4" data-image-id="20250710140736_0a787dda0626eaed1399b24dc9bb3af2e297a71f109cb60997bc234acc6fa422" data-rendition-name="original" width="1440" height="1080" loading="lazy" alt="The divine Devi"> <figcaption>Kalavinka by Emily Avery Yoshiko Crow</figcaption> </figure>  One of her more intriguing works is Kalavinka, painted on handmade Indian paper with mineral pigments featuring a colourful bird’s body paired with a feminine human head. The human head embodies intellect while the bird represents instinct and agility. Offering Devis is another unique display, made with rose petals, gathered from Mandala offerings that Crow collected, dried, pressed, and painted onto delicate Japanese paper. Tara Di Gesu’s artwork evokes bolder and more spiritually intense themes, drawing inspiration from the style commonly found in <a href="https://nepalitimes.com/review/golden-deities">traditional thangka paintings</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250710140736_5836aab649efd7920beebfd2442063d4e43970bdb62c549917fee3c3b48a7975.png" data-media-id="editor_6" data-image-id="20250710140736_5836aab649efd7920beebfd2442063d4e43970bdb62c549917fee3c3b48a7975" data-rendition-name="original" width="800" height="1200" loading="lazy" alt="The divine Devi"> <figcaption>Kali by Tara Di Gesu</figcaption> </figure>  Kali and Khrodikali portrays the fierce Hindu goddess using mineral pigment, gold, and watercolour on silk. Adorned with a garland of skulls, Kali is a fearless embodiment of feminine strength, and a potent reminder of the divine life force. The Little White Vulture has softer and delicate tones in which the goddess glows with power, as she soars serenely.&nbsp; The exhibition also invites reflection on caring for nature and the deep interconnectedness of all living beings, <a href="https://nepalitimes.com/review/himalayan-tipping-points">the beauty and the fragility of our planet</a>, with Crow’s use of eco-conscious materials. Her watercolours Earth in Peril and Earth in Harmony depict the stark divide between flood and fire, yet a figure stands strong at the centre, entwined with hopeful touches of greenery and natural elements, while the latter bursts with lush life involving birds, flowers, and leaves in full bloom. Emily Avery Yoshiko Crow and Tara Di Gesu delve into both the intimate and iconic expressions. For both artists, Devi is more than art, it is an act of devotion celebrating the ineffable. Devi Till 26 July Tuesday-Thursday: 11AM-6PM Friday-Sunday: 11AM-7PM Takpa Gallery, Lazimpat&nbsp;

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The divine Devi

A <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of Nepali artists</a> is exploring bold narratives and experimental themes, pushing boundaries, and redefining societal conventions.&nbsp; That could be one perspective on the exhibition ‘I Am Rooted, But I Flow’ at <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Takpa Gallery</a>. Curated by Pratima Thakali, it showcases works by eight female artists who explore the interplay between identity, culture, and personal evolution. Artists Anmari Tamang, Kripa Shakya, Kripa Tuladhar, Krisha Tamrakar, Pooja Duwal, Priyanka Singh Maharjan, Sony Rai, and Sumitra Baral bring together diverse perspectives that challenge traditional narratives and invite a fresh thinking of <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">Nepal’s cultural landscape</a>. These emerging female artists compel us to contemplate the evolution of <a href="https://nepalitimes.com/here-now/inking-an-idenity">identity</a>, where tradition and transformation coexist in an ever-shifting cultural terrain. The title, drawn from Virginia Woolf’s The Waves, reflects the core theme: the balance between the stability of <a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft">our roots</a> and the fluidity of our evolving selves. Krisha Tamrakar co-director of Artudio draws inspiration from her hometown of <a href="https://nepalitimes.com/here-now/patan-for-beginners">Patan</a>, and her fascination with human spaces. <a href="https://nepalitimes.com/here-now/lost-in-translation">Familiar landmarks are disappearing</a>, a theme that deeply influences her work through her series of Between Colors and Spaces. “Traditional brass utensils have begun to blend seamlessly with modern, colourful clothing in my neighbourhood,” she says, explaining her Between Colors and Spaces XXI.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844.jpg" data-media-id="editor_7" data-image-id="20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844" data-rendition-name="original" width="3599" height="2400" loading="lazy" alt="Reimagined roots NT"> <figcaption>Artist Krisha Tamrakar draws inspiration from her hometown Patan in her Between Colors and Spaces series. Photo: KAILASH K SHRESTHA</figcaption> </figure>  Tamrakar notes how metal brass utensil shops that once lined the streets have now been replaced by clothing and shoe stores, which also makes us ponder about the effects of rising consumerism. Read also: <a href="https://nepalitimes.com/here-now/the-art-of-living">The art of living</a>, Kunda Dixit Tamrakar believes contemporary art is essential because it allows her to express herself in the present while providing a lens for future reflection. Despite the surrealist images in her work, she thinks the local community will be able to relate to it as her art integrates everyday aspects of their lives. The founder of Artudio Kailash K Shrestha reflects on the inspiration behind his space in 2010: “Back then, there were no accessible platforms for local, young, and emerging artists. There was a lack of open spaces where artists could come together to collaborate, exchange ideas, inspire one another, and offer mutual support." While Tamrakar thinks every artist’s work is valuable, she also acknowledges the underrepresentation of <a href="https://nepalitimes.com/opinion/from-paintbrush-to-tattoo-needle">female artists</a> in the contemporary art scene and encourages greater inclusion. Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a>, Aayusha Pokharel ‘To All The Women Who Came Before Me’ by Priyanka Singh Maharjan is another artwork series that stands out. Using embroidery on fabric, she represents the often-overlooked and unacknowledged <a href="https://nepalitimes.com/multimedia/nepals-working-women-in-photos">work of women</a>, particularly mothers, and grandmothers, a role that is indispensable in society. ‘Amidst the Watts of Steam’ series by Pooja Duwal showcases a three-decade-long local momo shop, Na: pasa: in Bhaktapur. The ambience in which the food is made and consumed outweighs the food itself as it is more about the sense of familiarity and warmth that make customers inhabit the space.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52.jpg" data-media-id="editor_12" data-image-id="20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52" data-rendition-name="original" width="1505" height="1129" loading="lazy" alt="Reimagined roots NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526.jpg" data-media-id="editor_13" data-image-id="20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526" data-rendition-name="original" width="1189" height="1585" loading="lazy" alt="Reimagined roots NT"> </figure>  Kripa Shakya and Sony Rai also incorporate unconventional mediums into their work. Shakya uses <a href="https://nepalitimes.com/multimedia/weaving-the-fabric-of-a-new-life?fbclid=IwZXh0bgNhZW0CMTEAAR2V6f30hX4eilYDsJKsIZVffQN3SCev4wJJxVYUxPIxY28mHcjlL9XOSmQ_aem_D-yqkaobj1DveD4Uytym3w">fabric</a>, nails, and string along with other mixed media to represent shared experiences of interpersonal conflicts and acceptance, while Rai presents intricately woven threads through aquatint to find beauty in simplicity. Sumitra Baral’s sculptures interpret <a href="https://nepalitimes.com/here-now/fusion-fashion">fashion</a> as not just an outward beauty but an expression of inner artistry and cultural heritage. Her art label reads, ‘Fashion is not just about attire; it is a symbol of identity, a definition of personality, and a living story of culture.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4.jpg" data-media-id="editor_16" data-image-id="20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4" data-rendition-name="original" width="1147" height="1529" loading="lazy" alt="Reimagined roots NT"> </figure>  ‘I Am Rooted, But I Flow’ gives a voice to fluid, multifaceted experiences of how our identities are shaped by both deep-rooted traditions and the transformative forces of personal growth. I Am Rooted, But I Flow 8 February - 8 March Takpa Gallery &nbsp;

Reimagined roots

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05c49c7e80680e0a5f27jpeg.jpg" alt="" width="1142" height="640"/><figcaption>Photos: SAGLO SAMAJ</figcaption></figure>Janakpur, the birthplace of Sita and the cradle of the Mithila civilisation, is seeing a revival of its heritage, culture and traditional art.The origin of <a href="http://archive.nepalitimes.com/news.php?id=8294#.YN_dOy8w3u1" target="_blank" rel="noopener noreferrer">Mithila art</a> is rooted in the legend of King Janak ordering his subjects to paint walls of homes to welcome Lord Ram when he came to ask for his daughter Sita’s hand in marriage.Mithila paintings then were done at weddings, festivals and feasts using flour, clay, and cowdung. The artists were mostly the women of the family, who bore the decorative responsibility in their homes. As the art evolved, the paintings became more than a way to beautify homes — they provided women with a creative outlet to tell the stories of their lives.This centuries-old art form has now gone commercial, enabling <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/colour-play-mithila-art-janakpur,796" target="_blank" rel="noopener noreferrer">female artists</a> to hone skills passed down from one generation of mothers to the next generation of their daughters. This now gives them financial independence, recognition and respect within Nepal and, increasingly, across the world.<a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">Bhaktapur’s Mithila influence</a>, Bhaskar Koirala<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05c69c7e80680e0a5f28jpeg.jpg" alt="" width="1440" height="807">Madhumala Mandal was born and raised in Kuwa village near here, where Mithila culture is as ingrained into young girls as household duties and responsibilities. Guided by her grandmother and mother, Mandal would paint pictures of deities to decorate the doors and walls of her house.But her interest in the traditional draughtsmanship soon stretched beyond the walls of her home, she would make shapes out of clay and paint idols on trips to the village mela. <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05c99c7e80680e0a5f29jpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>“Even while I was out herding cattle and doing farm work, I was always drawing idols and shapes on the ground,” she recalls.Mandal would eventually have a family of her own, but she retained her passion for Mithila art. She now works at the Women's Development Centre in Janakpur where she creates Mithila paintings on canvas.“It took many years for me to convince family and friends that I was doing the right thing,” she explains.Mandal’s four brothers went to school, but as the sole daughter in the family, she was excluded. Having learnt to be independent from a young age and now with income of her own, she supports her own daughter’s education."The income and respect I earned through my artwork gave me the courage and the means to support my daughter,” she says. “This is the greatest achievement of my life.”Her days of drawing shapes in the mud long behind her, Mandal’s art now stays with traditional motifs but is almost impressionistic. Her work has been exhibited in the US and Hong Kong, and accent the walls of many homes across the world.The ancient Mithila kingdom spanned territory that now lies on both sides of the India Nepal border. Recently, there has been a renaissance of Mithila literature, dance forms and art.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05cc9c7e80680e0a5f2ajpeg.jpg" alt="" width="1440" height="804"><figcaption> </figcaption></figure>Acclaimed Mithila artist Mithileshwari Devi Karna was born and raised in Bihar’s Madhubani district and settled in Janakpur after marriage, grew up learning the Mithila art form from her mother in India.Karna used to train artists at the Women's Development Centre and faced similar experiences of societal pressure as many other women like Mandal in the Tarai who have chosen to become artists.Her community expressed disapproval when she prepared to travel overseas for an exhibition of her art. “People are always going to judge and make comments,” she says dismissively, “but I stood my ground, and went to Japan.”The steadfast pursuit of her art has earned her respect, financial security, and most importantly, self-satisfaction. Now, the 65, Karna was recently honoured by the Nepal Academy of Fine Arts and now only paints as a hobby. Even so, she is never without a paintbrush and canvas within reach.The popularity of Mithila art and handicrafts spread across the world after the 1980s due to Professor Rajendra Bimal and American artist Claire Burkert, who meticulously documented all the existing Mithila murals in Janakpur.Together, they established the Women's Development Center here in 1992 and trained women in Mithila art for the first time in Nepal, making sure that artists were financially independent through their art, and the techniques were preserved.As a result, the women who have received training and worked in the Centre have played a role in making Mithila art famous not only within Nepal but all over the world.<a href="https://www.nepalitimes.com/here-now/modern-mithila-art-that-bares-injustice/">Modern Mithila art that bares injustice</a>, Nunuta RaiSunaina Thakur is among those who institutionalised and promoted Mithila art internationally. Thakur organised Mithila art exhibitions in India, Japan, and the US, and now runs her own art gallery in Janakpur where she employs and trains 30 female artists in the techniques as well as in running an art business.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05cf9c7e80680e0a5f2bjpeg.jpg" alt="" width="1440" height="800"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05d29c7e80680e0a5f2cjpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>“I have been constantly trying to mobilise unrecognised talent to empower artists and encourage gender equality, both through recruitment efforts and through the art itself,” says Thakur, “I now want to pass on what I know to the next generation of women.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05d59c7e80680e0a5f2djpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>Among the artists employed at Thakur’s gallery is Binita Devi Sah, who recently earned her first-ever paycheque through her own Mithila paintings. Family obligations and responsibilities towards her children had confined Sah at home for almost three decades, but when her sons completed their education. It opened the door for her to finally pursue her own interests.“I stepped out of my house 26 years after getting married and earned Rs12,000 through my work. I have not stopped sharing my happiness with other people even as my sons continue to tease me about it,” smiles a proud Sah. “We never thought that this art, which we learned to make as children, could be a means for earning a livelihood.”The Mithila museum at the Janaki temple has also played an important role in documenting and conserving Mithila art. The museum, established under the leadership of Mahant Ramat Peshwar Das, houses Mithila paintings, sculptures, murals, decorative items as well as Maithili music and hymns that showcase the rich history of the art form.Satish Shah, director of the Women's Development Centre, agrees that Mithila art in Nepal has not been able to evolve as much as it has in India where there are more well-equipped institutions. Moreover, the is Center is not as influential as it once was, and has become a cause for concern about the future of Mithila art and artists. The pandemic has made working conditions worse in the last two years, and it is difficult to pay the 40 artists employed.Yet, even as they hope for support from the local and state governments, Shah and Karna both acknowledge that elected officials in Janakpur and Kathmandu do not understand the importance of Mithila art and culture."The government must invest in preserving this institution as well as Mithila art,” says Shah, adding that leaders could start by displaying the paintings in their offices.Mithila art featured heavily during weddings, festivals and celebrations, and even in items of daily use in Janakpur city until two decades ago. The artwork decorating the streets of the city included depictions of ancient earthen houses, artistic interpretations of the traditional jhizhiya dance, daily household items, and vibrantly painted birds. But with modern life, the practice is slowly fading.<a style="font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/" target="_blank" rel="noopener noreferrer">S C Suman</a>, former head of the Department of the Folk Arts at the Nepal Academy of Fine Arts, says the reason is that cement houses have replaced the clay walls where the paintings were done. Nepali galleries now import Indian Mithila paintings and pass them off as originals.“While commercialisation to a certain extent is necessary, hyper-commercialisation can also make it difficult to preserve Mithila art,” he says. “Nepali art is incomplete without Mithila art.”_________________<h2>Crossborder Mithila civilisation</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05d89c7e80680e0a5f2ejpeg.jpg" alt="" width="1280" height="720">Mithila art is the cultural heritage of the entire Mithila region, which was a single kingdom before being divided after the 1816 Sugauli Treaty. And while Colonial India got a bigger chunk of the state, Nepal retained 25% of the territory, including the capital of Mithila in Janakpur where the art form originated.When the state of Mithila was divided, the art form began to be referred to as Madhubani art in India. But Mithila and Madhubani art are one and the same, explains Sunaina Thakur.“As in Mithila art, Madhubani art, too, depicts the marriage of Sita and Ram, and the two art forms have the same style,” she adds. “The difference is that Madhubani art is more well known internationally than Mithila art.”Mithila art conservationist and campaigner Sudarshan Lal Karna says that the art form has not developed, or been promoted in Nepal to the extent that it has been in India, where it was first propagated in 1966.The then Union Minister of Bihar, Lalit Narayan Mishra, who was familiar with the art form, introduced his foreign guests to Mithila paintings. They in turn were amazed how similar they were to Picasso’s paintings.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05db9c7e80680e0a5f2fjpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>“That marked the beginning of the institutional development of Madhubani art in India,” says Karna, while there was no progress in Janakpur. The Women's Development Centre is one of very ew Nepali organisations that actively works to promote and nurture Mithila art.“But although the evolution of the art in Nepal is slower, the quality of the talent with the two nations are at par with each other,” notes Karna, who would like Mithila art to be included in the school curriculum, and not just in Province 2.

Vibrant Mithila art thrives in Nepal

The monsoon has got bad press because Nepal’s tourism operators actively told visitors to avoid <a href="https://nepalitimes.com/opinion/managing-the-monsoon?%2F">the rainy season</a>. It is time to change that. The reason can be found right here in the vast alpine meadows of Central Nepal where this time of year you can walk on velvet grass of pastures abloom with delicate pink, red and yellow flowers as the mist rolls up the valley. There is no sound except the hum of bumble bees. &nbsp;&nbsp; There are dozens of places across high Nepal called Chaurikharka, which means yak pasture. But this particular Chaurikharka in Rukum East located at an altitude of 4,000m stands out for its serene beauty, rustic charm and bucolic setting. There is just the occasional chime of <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">yak bells</a> in the distance, and the sharp whistle of herders corralling sheep. &nbsp;&nbsp; The grass shoots are so fragile that one hesitates to step on them, the rounded ridges appear and quickly vanish in waves of mist. With the<a href="https://nepalitimes.com/here-now/before-the-next-monsoon"> arrival of monsoon</a>, these meadows are a soothing shade of green dotted with millions of <a href="https://nepalitimes.com/review/the-anatomy-of-a-flower?%2F=">multi-coloured flowers</a>. Until very recently, it took a week or so to hike up to places like Chaurikharka, but with the expansion of the road network even to these far-flung mountains in the lap of Dhaulagiri, they are much more accessible. It is just a three-hour uphill from the Mid-Hill Highway on the border between Baglung and Rukum East.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250802130828_a0b06b494d751b2144ffbbf10894ea64b29e8aed844bc8c66171783abfaf4e16.jpg" data-media-id="editor_4" data-image-id="20250802130828_a0b06b494d751b2144ffbbf10894ea64b29e8aed844bc8c66171783abfaf4e16" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Visit Nepal in the monsoon"> </figure>  Purists would say that such easy access devalues the sanctity of these remote high meadows, but it also means more people will be moved to treasure the experience, appreciate <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">the value of nature </a>so they can take steps to protect it.&nbsp; To be sure, the <a href="https://nepalitimes.com/here-now/deadly-monsoon-in-nepal-turns-deadlier">monsoon season can be challenging for road travel</a>. The roads are rough even at the best of times, and in the monsoon they become muddy and treacherous, often blocked by<a href="https://nepalitimes.com/news/monsoon-deluge-in-nepal"> landslides</a>. But that could be precisely the kind of adventure that the more intrepid visitors crave. Improved road connectivity has already made Chaurikharka and places like Badimallika &nbsp;and other sacred lakes in the mountains of western Nepal popular with domestic tourists. What is driving this traffic is the urge to go to exotic new places and share videos and selfies on social media. Several of Nepal’s travel vloggers have visited Chaurikharka and popularised the place, enticing followers on TikTok or YouTube to retrace their footsteps. But even as they become more popular, these fragile and once-remote places should be protected from over-tourism.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110736_f97110b7cdc3e7f80d5877690948fc9f4c95a09c583deb23b07355491e6c5446.jpg" data-media-id="editor_8" data-image-id="20250731110736_f97110b7cdc3e7f80d5877690948fc9f4c95a09c583deb23b07355491e6c5446" data-rendition-name="original" width="1083" height="699" loading="lazy" alt="Visit Nepal in the monsoon NT"> </figure>  <h2>INCREASING FOOTFALL</h2> Chaurikharka is located in Bhume Rural Municipality of East Rukum, near the scenic valley of Dhorpatan in Baglung district. Even in the <a href="https://nepalitimes.com/banner/monsoon-culture">middle of the monsoon</a>, there is a steady stream of Nepali hikers trooping to these high pastures – especially during festival days like Saune Sankranti which this year was on 17 July and actually marks the auspicious beginning of the monsoon here. “This year the rains have not been as heavy and there have been some clear mornings when we could see everything from Dhaulagiri to Machapuchre,” says Khageswar Bhandari, who trekked up here from the road. “The flowers, the greenery and the snowy mountain views make this an incredibly unique place.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250802130824_1b9e26f2e9853fdfe69154bb42a7c9ea6da4bf4940efc1da99b304dcfbd7d3d9.jpg" data-media-id="editor_10" data-image-id="20250802130824_1b9e26f2e9853fdfe69154bb42a7c9ea6da4bf4940efc1da99b304dcfbd7d3d9" data-rendition-name="original" width="2048" height="1152" loading="lazy" alt="Visit Nepal in the monsoon"> </figure>  Chaurikharka is worthwhile to get to in any season, but it has a different charm during the monsoon. Word has spread and because it is now easy to get to from Baglung or even Pokhara, people have been flocking here.&nbsp; “Holidays and Saturdays see the largest crowds, with up to 500 visitors every day,” says ward chair Mankaji Pun of Bhume.&nbsp; There was a time not too long ago when local herders brought sheep, goats, cows, buffaloes, horses, and mules to graze here during the monsoon. Although there are still livestock around, animals have been replaced by visitors taking selfies. Read also: <a href="https://nepalitimes.com/here-now/the-monsoon-and-nature-s-arithmetic">The monsoon, and nature’s arithmetic</a>, Tom Robertson Ward Chair Pun says infrastructure development is his main priority. A foot trail to Chaurikharka was built last year by the Tourism Division Office in Kohalpur, but access via the Raniwas-Koipa road section still remains challenging.&nbsp; “If we get more budget, we can improve the road and facilities to make Chaurikharka the main tourist attraction of this region,” says Bhume Municipality Chair Hom Prakash Shrestha. “After that, we hope to promote Chaurikharka as a top tourist spot.”&nbsp; Economic activity is also picking up with the arrival of visitors, but there seems to be a need to manage the makeshift sheds made of corrugated sheets that spoil the beauty of the place. Tea shops and lodges are also available but facilities are basic. Kuldeep Neupane took a three-day trip from Ghorahi in Dang to visit Chaurikharka recently, and says: “This is an ideal trip to make a quick getaway and let nature recharge your mind and body. And it is much more fun with a tent, to watch the sunrise over the Himalaya or the mist blowing in.”

Visit Nepal in the monsoon

Nepal is graduating to become a developing country on 24 November 2026 after half-century in the Least Developed Country (LDC) category. By 2030, the country hopes to transition to middle-income status.&nbsp; Everone from Prime Minister K P Oli have boasted that this is a matter of national pride, and will have a multiplier impact on trade and economy.&nbsp; But will it make any difference to the average Nepali? Not unless improved governance <a href="https://nepalitimes.com/news/why-invest-in-nepal">spurs investment and creates jobs</a>.&nbsp; Countries need to meet at least two of the three criteria in two consecutive triennial reviews to be eligible for graduation from LDC. Nepal has consistently met the thresholds for the Human Assets Index (HAI) and the Economic and Environmental Vulnerability Index (EVI) in 2015, 2018, and 2021. But Nepal was recommended for graduation before meeting the per capita <a href="https://nepalitimes.com/banner/nepals-great-income-divide">Gross National Income (GNI)</a> threshold of $1,306. “A major implication of LDC graduation is the loss of preferential market access available through Generalised System of Preferences (GSP) and other arrangements,” explains economist Sameer Khatiwada. “But over two-thirds of <a href="https://nepalitimes.com/news/nepal-doesnt-produce-its-2-biggest-export-items">Nepal’s exports</a> are to India, and the preferential market access to India is through a bilateral trade agreement. This has nothing to do with our LDC status.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250815060832_f5eabe7628a8cdf84f33b25d7cef3c4dc8913a26d8e5b253ea52a36e176b8a85.jpg" data-media-id="editor_3" data-image-id="20250815060832_f5eabe7628a8cdf84f33b25d7cef3c4dc8913a26d8e5b253ea52a36e176b8a85" data-rendition-name="original" width="640" height="470" loading="lazy" alt="LDC graduation "> </figure>  Furthermore, a provision under the South Asian Free Trade Area (SAFTA) allows Nepal to export to India duty-free if the items are at least 30% value-added. Nepali traders take advantage of this by re-exporting edible oils without meeting that requirement, falsely boosting Nepal’s exports.“ Following graduation from LDC, the value addition threshold might increase to 40%,” says Kalpana Khanal of the Policy Research Institute. “This is supposed to work to our advantage, because on paper value addition inherently means <a href="https://nepalitimes.com/multimedia/staying-home-to-create-jobs">job creation at home</a>.” But Nepal’s exports to other major destinations will face <a href="https://nepalitimes.com/news/nepal-and-the-us-india-tariff-tiff">tariff increases</a> with the graduation. A South Asia Watch on Trade, Economics and Environment (SWATEE) study shows that while tariff increase in the US market is relatively low (see page 5) it is considerably higher in Europe. The International Trade Centre (ITC) in a 2022 study also estimated that graduation could result in a 4.3% decline in Nepal’s projected exports, but this is excluding the impact of changes in ‘rules of origin’ provisions in preference-granting countries such as the UK and Europe.&nbsp; Nepal’s top export to these preference-granting countries is <a href="https://archive.nepalitimes.com/news.php?id=1482">carpets</a>, and will not be impacted, but other items such as textiles and apparel will be heavily affected due to higher cost of production. The impact will felt mostly by small and medium enterprises which represent the largest share of exports to LDC-specific preference-granting countries. As for the service exports, Nepal never really made use of the World Trade Organization’s LDC services waiver anyway, hence the effect will be minimal, if any. There is also concern about Nepal’s graduation at a time when the global economy is topsy-turvy, amidst <a href="https://nepalitimes.com/opinion/turning-point-in-us-india-relations">tariff wars and conflicts</a>. This affects Nepalis abroad directly and may impact <a href="https://nepalitimes.com/news/more-remittance-more-than-remittance">remittances </a>which hit $11 billion in 2024. In comparison, Nepal only received $350 million in foreign loans and grants last year.&nbsp; Tourism arrivals have finally reached pre-pandemic levels, but bad publicity about pollution, poor infrastructure and bureaucratic hurdles hinder further growth. Manufacturing continues to struggle, while hydropower and the IT sector have taken off.&nbsp; “Look at data -- <a href="https://nepalitimes.com/news/tourism-needs-a-new-push">tourism arrivals</a> are up, spending is up, IT exports are up, <a href="https://nepalitimes.com/news/why-nepal-needs-to-restore-ev-tax-subsidy">EV sales </a>are up, Europe still needs 85-90 million skilled workers. We are sitting on $16 billion in cash reserves, our balance of payment, foreign exchange reserve, tax to GDP ratio, credit flow are all positive, we have to build on these factors,” says Sujeev Shakya of the Nepal Economic Forum. He adds: “Our mindset creates negativity to promote rent-seeking behaviour, but this cynicism will go away after 2026 with LDC graduation. We must deal with data, look at trends, and projects which will bring in <a href="https://nepalitimes.com/from-the-nepali-press/why-there-is-no-foreign-investment-in-nepal">international investments</a>.” Khanal agrees that investment is not dependent on<a href="https://archive.nepalitimes.com/regular-columns/backside/Nepal-not-the-least-developed-country,306"> LDC status</a>. The factors that that affect investment are policy stability, a strong legal framework, market potential and ease of doing business. She adds, “That is where our focus needs to be, and we need to retain <a href="https://nepalitimes.com/diaspora-diaries/migrant-worker-returns-to-create-work-at-home?fbclid=IwAR09xJfsClCwn8uRVAmz28CU658vdKpuyDwB_b1sNlvKtAFFnSldnA0JS2g">Nepalis with jobs at home</a> for our sustained growth.” After 2026, financing support from donors and aid agencies could be affected and Nepal will no longer be able to access Least Developed Countries Fund (LDCF) to adapt to the impacts of climate change. But the Global Environment Fund and Green Climate Fund will still be available.“ LDC status does not determine bilateral development aid, that is usually driven by broader <a href="https://nepalitimes.com/here-now/looking-beyond-two-boulders">geopolitical considerations</a>,” says Sameer Khatiwada. “The World Bank and Asian Development Bank, which provide concessional loans to Nepal, it is determined mainly by per capita income, not LDC status.” &nbsp;However, Nepal may lose some concessional terms for loans. Nepal is currently a lower-middle-income country as per the World Bank in the bracket for GNI between $1,036 and $4,045. The country is already receiving more loans than grants and in July the World Bank increased its interest rate on loans by 100% from 0.75 to 1.5%. “All this means that the impact of LDC graduation for Nepal might not be as earth-shattering as some tend to think. Countries that have recently graduated, such as Botswana and the Maldives, have shows that graduation is just a step in a country’s development path,” says Khatiwada. Sujeev Shakya also sees the glass as half full, explaining that LDC graduation is just a stepping stone if Nepal has the right policies in place. He adds, “Nepal’s biggest advantage is our<a href="https://nepalitimes.com/opinion/investing-in-people"> working age population</a> and we have investments coming in. These aided by how adaptive we are as a society are the very foundations on which Nepal will grow.”

Not poor, but not rich

Two weeks ago, Prime Minister KP Sharma Oli announced jubilantly on social media that Nepal had achieved a historic annual growth of 81.8% in exports. He was right. Nepal’s trade did take a great leap forward compared to last year. But the dramatic rise was mainly due to processed soya bean oil.&nbsp; However, Nepal does not produce the edible oil it exports. In fact, the soya and palm oil that make up 44% of total exports are imported from Southeast Asia and South America, and simply re-exported, mostly to India.&nbsp; Under the SAFTA (South Asian Free Trade Area) Agreement, Nepal can export products to India duty-free if it has at least 30% value-added. Nepal’s traders have taken advantage of SAFTA even though the edible oils they export do not reach that value addition threshold. “The 30% value addition requirement is often only on paper,” says former commerce secretary Purushottam Ojha. “It is clear that simply packaging edible oils in Nepal does not fulfil the terms of the trade agreement.” Prime Minister Oli is aware of this, and even called Nepal’s export figures “fake” at an earlier event. The government is relying on other iffy figures to suggest that Nepal’s economy is strong and getting stronger. For example, the value of imports rose by 13.25% in 2024-25 compared to the previous fiscal year.&nbsp; Some of it was due to a jump in electric vehicle imports worth Rs 31.76 billion, but mostly it was because more wholesale soya oil was imported to be re-packaged and sold in India. The very fact that the government boasts about increased imports is an indication of how much it relies on taxing them for revenue. Touting such trade figures cannot be the basis to claim an economic rebound.&nbsp; “A jump in the value of imports can be interpreted as an increase in purchasing power, but it is not evidence of a stronger economy,” says economist Keshav Acharya. “Even though imports have increased, Nepal's domestic production and productive capacity have not improved.” Nepal Rastra Bank's semi-annual economic activity study report shows that industrial production was down in the first six months of the last fiscal year. This despite an increase in the number of new industries registered and investment commitments. Out of the Rs70.2 billion proposed foreign investment, Nepal received only Rs17.9 billion last year.&nbsp; Meanwhile, the rate of capital formation was limited to 24% last year, which is lower than the year before, suggesting that new investment, job creation and economic expansion all declined. If domestic production does not improve in relation to this year’s inflated trade figures, the outflow will put pressure on foreign exchange reserves like it did three years ago. At that time, Nepal borrowed from the IMF under its Extended Credit Facility Program to kickstart the economy.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025080710084_2cdaaa5795828c4a7de93a0604ba884ef0a8b8f24cccd939f6c24e279ab6058f.jpg" data-media-id="editor_0" data-image-id="2025080710084_2cdaaa5795828c4a7de93a0604ba884ef0a8b8f24cccd939f6c24e279ab6058f" data-rendition-name="original" width="1633" height="723" loading="lazy" alt="Nepal's bubble economy NT"> <figcaption>Source: NEPAL RASTRA BANK</figcaption> </figure>  The macroeconomy is on firm footing with foreign exchange reserves at a comfortable Rs2,520 billion in May, up 23% from last year. This was largely due to remittances, and partly due to a falling NPR exchange rate. Real estate transactions and the stock market index have also been climbing as a result of government policies to revive the sector.&nbsp; However, former executive director of Nepal Rastra Bank Nar Bahadur Thapa cautions: “This is not organic growth, it is the result of deliberate policy decisions to relax rules on real estate and stock markets transactions.” In reality, the sharp rise in land prices have increased the cost of production, and excessive monetisation of the real estate has become the main source of Nepal’s economic woes. The central bank has announced a slew of new policies, shifting the terms of loan repayment for industrialists and entrepreneurs, reducing interest rates, and injecting more working capital — all designed to inject adrenaline into the real estate and stock market sectors.&nbsp; When he was governor, Mahaprasad Adhikari made several financial reforms during the latter half of his tenure to stimulate the economy, including tightening credit flow.&nbsp; By the last fiscal year, additional financial reforms had resulted in a credit expansion rate of around 8%. As the pace of credit expansion slows, real estate prices have started to fall. This is actually beneficial to the economy, because it lays the foundation for improvements in land-related entrepreneurship, production, and the construction sector. Just because real estate and the stock market transactions increase, it does not indicate an economic turnaround — especially when manufacturing and productive sector continues to languish.&nbsp; “It is foolish to believe that real estate and the stock market have magically revived our economy. Agriculture employs more than half of the population, but it is in decline. Investment in the productive sector has not increased, and job creation has not increased.” Two years ago, Nepal’s industrialists, business leaders, and political leadership predicted a recession amidst a sluggish business, declining market demand, large-scale job loss, and a shrinking real estate and share market.&nbsp; Still, the economy grew by 3.36% in fiscal year 2023/24. In fact, Nepal’s economy has grown nominally over the last two decades even when all sectors of the economy are in decline.&nbsp; Says Keshav Acharya: “The growth in trade, real estate, and the stock market are bubbles. The real economy remains stagnant.”

Nepal’s bubble economy

The final investigation report on the crash of a Saurya Airlines jet on 24 July 2024 at Kathmandu airport has revealed flaws in the carrier’s technical operation procedures, poor monitoring by the Civil Aviation Authority of Nepal (CAAN) and gaps in the airport’s emergency response. Eighteen people including a child were killed, and only the captain survived as the plane plunged seconds after takeoff, crashing within the airport perimeter. This was the latest in a series of aircraft accidents in previous years, and further tarnished Nepal’s already poor aviation safety record and contributed to the country being retained in the EU’s air safety list. &nbsp;&nbsp;&nbsp; The circumstances in the Saurya crash were different from the Yeti Airlines crash in Pokhara in January 2022 that killed all 72 on board, and two Tara Air crashes in February 2016 and May 2022 on approach to Jomsom that together claimed 45 lives. However, all four tragedies were a result of negligence of carriers and crew, failure to follow procedures, regulatory slackness, and overconfidence. The Saurya crash, especially, was a glaring example of how an ailing airline broke its own rules to allow passengers, including non-employees, a joy ride to Pokhara on a maintenance ferry flight. CRASH REPORT The Final Investigation Report prepared by the Aircraft Accident Investigation Commission and released on the first anniversary of the crash last week carried a long list of rules that were ignored or broken, and of regulatory failure. The first mistake was to cram spares, tools and inflammable chemicals needed for the aircraft’s C-Check in Pokhara into the cargo hold flouting its own ground handling procedures.&nbsp; There was no check-in of passengers, some of whom were not even employees – even though regulations say only flight and maintenance crew should be on board a maintenance positioning flight. Many brought their own luggage into the plane and stored it unsecured in the cabin. There was no flight attendant to give a safety briefing to passengers. The load and trim charts given to the flight crew were rough estimates, and the total takeoff weight of the plane was 18,300kg plus or minus 200 kg. That would still have been all right, but there was a glaring mistake in the speedchart Saurya pilots were using to calculate the minimum takeoff speed (known as VR), and it had been wrong ever since the 21-year-old aircraft entered service with the airline in 2017. FAULTY DATA&nbsp; The Commission probed Flight Data Recorder inputs from previous takeoffs of the Canadian-built CRJ200-LR in 2023-2024 and found that the undetected error in the speedchart had caused the plane to pitch up at an abnormal rotation rate at least 18 times on previous takeoffs.&nbsp; Any rotation rate more than 3°/sec is regarded as unusual. But on at least two occasions, this aircraft with tail number 9N-AME had rotation rates of 5.8°/sec and 5.5°/sec, the second one was when the pilot who survived was flying in March 2024.&nbsp; On this particular day, the plane’s rotation rate was 6.5°/sec, causing it to go into a deep stall soon after takeoff, the Commission report said. Essentially, the plane was not flying fast enough down the runway to take off safely.&nbsp; It is not yet clear whether excess weight, unsecured luggage, wrong centre of gravity were also factors, but relying on a faulty speedchart for the given takeoff weight, the captain flying pulled back on the yoke before the plane had reached takeoff speed and at a pitch angle that was too steep. The investigation report says the plane then went into a deep stall and started banking right with the stick shaking. At this point, the flight officer on the right hand seat is heard on the cockpit voice recorder saying: “Whoa, whoa, whoa. Sir, Sir, Sir…” It then banked left before the pilot flying turned the plane sharply to the right again in an evasive action to avoid the parking aprons of the international and domestic terminals. Had he not done so, there would have been a disaster of a much greater magnitude at Kathmandu airport that day. The plane scraped the runway with its right wingtip, collided with a container having helicopter spare parts, and plunged into a gully east of the runway, exploding in a fireball. The investigation also noted that the impact forces seemed to be survivable for some occupants. The fire trucks took unnecessarily long to reach the site even though it was inside the airport perimeter. The absence of an ICAO-standard runway strip, inadequate rescue drills, lack of training, and a blocked emergency service gate leading to the crash site were cited as other factors. &nbsp;&nbsp; <h2>Timestamp of a Disaster</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110724_39cdd04693994ce6e55a5b302905c0fa4884fe85bed21ff0779bb1439f3a5725.jpg" data-media-id="editor_0" data-image-id="20250731110724_39cdd04693994ce6e55a5b302905c0fa4884fe85bed21ff0779bb1439f3a5725" data-rendition-name="original" width="778" height="826" loading="lazy" alt="Flouting rules caused Saurya tragedy NT"> </figure>  11:10:34 - The Saurya Airlines CRJ200 on the takeoff roll from runway 02. It had a takeoff weight of about 18,300kg, but the pilot’s speedcard had a previously undetected mistake about the minimum takeoff speed. 11:10:55 -The plane with tail number 9N-AME goes into deep stall soon after takeoff because it does not have enough speed to lift its weight. The plane also has an abnormally steep nose-up attitude.&nbsp; 11:11:03 - Without enough speed to generate lift, the plane banks right, then left and right again in CCTV photos taken from the domestic apron (below). If it had not banked right, it could have hit the aprons and terminal buildings. Seen parked is Saurya’s other CRJ200 with tail number 9N-ANM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110732_608132f7225c649125cca2691dd6a6bf930984c5b359e888d7ad9e5eacce3afd.jpg" data-media-id="editor_1" data-image-id="20250731110732_608132f7225c649125cca2691dd6a6bf930984c5b359e888d7ad9e5eacce3afd" data-rendition-name="original" width="770" height="555" loading="lazy" alt="Flouting rules caused Saurya tragedy NT"> </figure>  11:11:08 - The plane scrapes the runway with its right wingtip, and falls into the gully. The captain is thrown off the left side of the cockpit and survives. 11:11:15: Plane explodes in a fireball inside the airport perimeter. Firefighters take time to reach the site because of lack of access road and a blocked gate. Read the full investigation report <a href="https://www.tourism.gov.np/files/9N-AME%20AIC%20Final%20Report.pdf">here</a>.