<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058c39c7e80680e0ce1bcjpeg.jpg" alt="" width="1500" height="1000"/><figcaption>All photos: RABIN NGHEMA LAMA</figcaption></figure>Sameer Gurung, 30, who goes by the alias Green Brain, believes in the uniting power of football, and will be watching the matches in the 2022 FIFA World Cup in Qatar with the rest of the world. But knowing about the <a href="https://www.nepalitimes.com/banner/pay-qatars-world-cup-workers-2/" target="_blank" rel="noopener noreferrer">abuse and death of migrant workers</a>, including from Nepal, the artist in him was bursting to come out.Gurung felt that a world infatuated with ‘beautiful game’ does not know enough of what went on behind the scenes in building the stadiums in the desert.“The 90 minutes of a matchbreaks barriers, brings players from various backgrounds, nationalities, race and ethnicity together on the same field, playing for the same goal,” explains Gurung. “But people have no idea of what it took to have those games. We pretend not to notice and go on with our lives.”Gurung expresses this frustration through gigantic wall murals in Kathmandu under the title Chyatiyeko Yatartha ('torn reality') in which the artist uses torn clippings, with song lyrics and three-storey high messages addressing government apathy. It is at once discomforting and revealing."The abuse faced by migrant workers is intolerable, but I am neither a public speaker, nor do I protest in the streets," he says. "All I have as a medium of expression is art and, this way, sitting in my room, I can give voice to my discontent."<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058c79c7e80680e0ce1bdjpeg.jpg" alt="" width="6000" height="3375">Read also: <a href="https://www.nepalitimes.com/banner/human-rights-referees-blow-whistle-on-world-cup-fouls/">Rights referees blow whistle on World Cup fouls</a>, Kunda DixitChyatiyeko Yatartha is Green Brain's second solo project. With it, he wanted to raise the concern through gigantic street graffiti to reach the public, especially Nepal’s youth.His first series, Buda Paka, in February drew attention to preserving the heritage and culture of Nepal. Drawn on the wall of a building in Asan, the artwork showed a man carrying a kharpan on his shoulders as he walks through an old street as brick walls, carved windows, doors and shop fronts curve before him. The idea here was to remind the youth to preserve and promote the hard work of the older generation, so that the culture and heritage may survive into the future.His affinity to layers of meanings, that viewers slowly unravel one at a time, is reflected also in his chosen name, which he picked in 2017. For him, green is more than just the colour of nature. "Green is life and positivity which I relate to," he explains. A fluorescent green hue is present in all his work, which also relate to the local heritage, culture and activism."As for the Brain in my name," he adds, "that's because I am fascinated by people's thoughts, and how we become our thought."<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058cc9c7e80680e0ce1bejpeg.jpg" alt="" width="3895" height="5842">Gurung's love for art goes all the way back to Grade 2 in school when he would draw patterns on the margins of notebooks, often competing with friends to see who would draw better, faster."I always had an inkling for art," he recalls, and when he completed his SLC, he went to a tattoo artist to see if he could train under them for three months before +2 classes kicked in."But the artist said I was a little too young then," Gurung adds, "saying I should wait until I had completed high school."He realised he was not made for jobs, and entertained the idea of leaving Nepal. His brothers are based in France and he has a few friends in Australia, and he thought he ought to do the same. Go somewhere, just anywhere.But because he did not have the grades, he did not want to limit himself to menial jobs just for survival abroad. So he returned to open a tattoo shop with a friend. At first he practiced on close friends who allowed him to gain some practice on their skin.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058d09c7e80680e0ce1bfjpeg.jpg" alt="" width="1500" height="1000">When his friend left for Australia two years later, Gurung closed the shop and started teaching himself other different forms of art, including digital."I did not want to rush overseas because it was evident that I would not get the space and freedom to be creative, as I would have to worry about working hard just for survival," he explains. "At least here in Nepal I have my family for support. More importantly, Nepal is quite magical, so I threw myself into art."He participated in various commercial art projects in this time, including the work of French-Tunisian artist eL Seed, who is famous for championing the art of ‘calligraffiti’, a mixture of Arabic calligraphy and graffiti. Titled 'Like Her', the project in Giranchaur in Sindhupalchok was unveiled in 2021 and depicted the words of Yogmaya Neupane (“There is nothing between us, nothing at all. Your eyes have tears, just like my own.”), a pioneer poet and revolutionary who spoke against the Rana regime and committed jal-samadhi by jumping together with 67 disciples into the Arun River in 1941.'Like Her' explored the role of women in rebuilding villages destroyed by the 2015 earthquake. The 170m long installation covered the rooftops and connected each house to another, linking the voices of the women, sharing their wisdom, strength and resilience.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058d49c7e80680e0ce1c0jpeg.jpg" alt="" width="2048" height="1149">Chyatiyeko Yatartha too is richly detailed, and a call to attention. The centre-piece is the World Cup trophy and Lusail Stadium, where the final match will take place on 18 December. They drip at one corner under the scorching desert heat, like beads of sweat and tears of the tens of thousands of migrant workers who toiled to build them."The Government also hopefully will take this more seriously and ensure their protection such that abuses are minimised in the future," he adds. "If we don’t raise our voices for our fellow citizens, what incentive will there be for the host country governments to act?"While Human Rights Watch (HRW) and other activist groups launched a global campaign #PayUpFIFA in May, calling on FIFA to compensate migrant workers involved in building stadiums and other infrastructure and to avoid the legacy of what they call a ‘World Cup of Shame’, Qatari Labour Minister on 2 November rejected such calls, calling them publicity stunts and accusing Qatar’s critics of racism.Read also: <a href="https://www.nepalitimes.com/banner/qatar-refuses-payoffs-to-world-cup-stadium-workers/" target="_blank" rel="noopener noreferrer">Qatar refuses payoffs to World Cup</a> <a href="https://www.nepalitimes.com/banner/qatar-refuses-payoffs-to-world-cup-stadium-workers/" target="_blank" rel="noopener noreferrer">workers</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058d79c7e80680e0ce1c1jpeg.jpg" alt="" width="6000" height="4000">Chyatiyeko Yathartha is Gurung’s way of protesting abuse and deaths of workers in Qatar and how the families are still not compensated, and he is working with a Scottish colleague on a 8x10m art piece that has taken six months to complete.He says, "This is how we channel our rage. What has happened cannot be undone, but in the future, hopefully, migrant workers can have a better experience abroad."The project was not without hiccups. Gurung had initially wanted to set up the artwork at the busy Sorha Khutte junction near Thamel. But the neighbor of a multi-storeyed building refused the graffiti to be painted. A friend in Lalitpur offered the wall of their house.A <a href="https://youtu.be/6IC22EfiQFw" target="_blank" rel="noopener noreferrer">documentary on the painting</a> process will take the mural to a wider audience and raise awareness of the reality of migrant workers, and was launched on Green Brain’s YouTube channel on 18 November."Imagine if a worker from the West had died in Qatar, the outrage it would spark, the investigations that would take place,” says Gurung. "So many Asians have died over the years in Qatar but no one cares. I am not sure what my art will do, but at least I did my small bit.”Read also:<a href="https://www.nepalitimes.com/opinion/labour-rights-legacy-of-the-fifa-world-cup/" target="_blank" rel="noopener noreferrer"> Labour rights legacy of the FIFA World Cup</a>, Meenakshi Ganguly and Mohna Ansari

Ashish Dhakal

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Art as a call to action

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a47229c7e80680e04d416jpeg.jpg" alt="" width="2436" height="1624"/><figcaption>Photo: Sworup Ranjit</figcaption></figure>Boston-based Nepali artist Sneha Shrestha once laid out an installation on the floor so that people could walk all over it. She did not want her art to be unapproachable.Now, she is taken on the most democratic art form of them all: graffiti, for which the whole city is a gallery, is free for everyone. What makes Shrestha's graffiti stand out is that she creates Devnagari calligraphy using the walls and sides of 10-storey buildings as her canvas.Read also: <a href="https://www.nepalitimes.com/banner/nepal-mandal-in-manhattan/" target="_blank" rel="noopener">Nepal Mandal in Manhattan</a>, Kanak Mani Dixithttps://vimeo.com/274748954During a summer break in Kathmandu this week, Shrestha admitted that she never intended to become an artist, but she grew up loving art. Her mother, an educator, used to convert English children's books into Nepali, and also illustrate them.  Shrestha used to watch her mother enjoy that process of creation, and actively started sketching herself.When she went to college in Gettysburg University, she studied humanities, but also took art classes and by the time she graduated she had taken enough art classes to be a double major. She then joined the non-profit Artists for Humanity, and did photography. Her principal subject was the work of her colleague and graffiti artist Rob Gibbs.Shrestha saw Gibbs' work, and started experimenting with Devnagari calligraphy. "I liked that you don't have to pay to see graffiti. It's a public form of art which is available to anyone who wants to see it, unlike exclusive galleries. I realised that calligraphy in Nepali could be beautiful, and I started painting a Devanagari style which is completely my own."<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a47259c7e80680e04d417jpeg.jpg" alt="" width="1000" height="1500"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a47279c7e80680e04d418jpeg.jpg" alt="" width="640" height="853"><figcaption> </figcaption></figure>Shrestha's works now adorn walls and buildings in Boston, are currently being exhibited at Museum of Fine Arts there, and she has done work for Facebook and Reebok. She writes down letters, words, and poems in Nepali and Sanskrit, and her favourite one is a mural at an MIT  (Massachusetts Institute of Technology) building where she quotes Laxmi Prasad Devkota: Manis thulo dilale hunchha, jatale hundaina (a person's greatness is defined by  his heart, not by his caste.)"There are so many ways I could relate to that line, and it was relevant at that particular space," explains Shrestha. "MIT is one of the most selective institutions in the whole world, who defines what success means in that context? In a meritocratic world that values high earning, what is the success rating of someone like me, an artist? I think you define your own success, and it is not defined by where you come from."Read also: <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">The craft of art</a>, Sewa BhattaraiShrestha imbues her art with Nepalis aesthetics using a lot of orange and blue. "The orange comes from marigolds which are so intrinsic to Nepal. It reminds me of my favourite festival tihar," says Shrestha, who needs a lot of equipment to realise her artistic vision - painting materials that she lugs around on big backpacks, ladders, and sometimes even a cherry-picker that raises her high up on the sides of buildings.She is proud of doing all the physically rigorous work herself, even getting a license to operate the crane. When she is not creating art, she engages in helping other artists at the Lakshmi Mittal and Family South Asia Institute at Harvard University which gives fellowships to South Asian artists.Shrestha opened Nepal's first children's  art museum back in 2013, and is engaged in it whenever she is back in Nepal. Other times, her mother and other staff take care of business as usual, curating artworks appropriate for children, holding art workshops, and letting children experiment with art.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a472a9c7e80680e04d419jpeg.jpg" alt="" width="640" height="853"><figcaption> </figcaption></figure>"I never had that space growing up, where I could experiment with fun learning. So I would like to create that for children, where they can be creative and develop self confidence. Here, art is not seen as a skill but a medium of self expression," she says.Shrestha also creates her iconic graffiti here in Kathmandu when she can, but it is not as easy as in the US. "When I started making murals in 2013, I was harassed because I was a woman. There were many questions and even more catcalls," she remembers. "I understand the limitations, but I also wish there were more women doing street art in Nepal."Read also: <a href="https://www.nepalitimes.com/review/art-of-everyday-living/" target="_blank" rel="noopener">Art of everyday living</a>, Reeti KChttps://www.youtube.com/watch?v=9Yyfu3dcVLEAfter all, Shrestha herself is inspired by a woman: her mother. She uses her mother's name Kalpana (which means imagination) as her own artistic pseudonym.She adds: "In my artwork I sign my name as Imagine. It is a way for me to honour my mother, and remember all that she inspired me to achieve."<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813118/636a472d9c7e80680e04d41ajpeg.jpg" alt="" width="1500" height="1125"><figcaption> </figcaption></figure>Sneha's work can be viewed on instagram @imagine876Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener">Nepali art going places</a>, Kunda Dixit

Nepali calligrapher at large

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

Thousands of Nepali students dreaming of an American education have been forced to look elsewhere as the Trump administration’s visa restrictions make their future uncertain.
The US was long considered a top destination for higher studies, making Nepal the 10th biggest country of origin for international students in America.&nbsp;
However, that number has seen a significant decline with the total for Nepali students now at 16,482. Some 8,000 Nepali students obtained no-objection certificates to study in the US from the Ministry of Education in the past year.&nbsp;
India, Australia, Canada, South Korea, United Kingdom and Japan are the other popular destinations for Nepali students. There are no clear numbers for Nepalis going to India, but a slight decline was noted this year after the deaths of two female students.
The US State Department has issued a circular to its embassies not to issue new visas to applicants until further notice. US Secretary of State Marco Rubio in the directive stated that the department planned to expand the screening of applicants' social media.&nbsp;
While new applicants are barred including those applying for visitor visas, students with scheduled interviews are allowed to proceed.
“Many of our students are affected by the new restrictions, but those who had applied for student visas earlier have got interview dates,” one Kathmandu-based college counsellor told us.
Meanwhile, even foreign students with spotless records already in the US have not been spared, as visa scrutiny intensifies under the new policy. In a move that underscores the growing sense of insecurity, many US colleges advised international students to carry their passports and documents at all times, even when traveling locally.
“Me and my friends did not go home this summer because we were not sure we would be allowed back, so we just went to Niagara Falls,” said a Nepali undergrad in Ohio, who like many interviewed for this report did not want her name used for fear of repercussion.
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Nepali students have adopted a cautious stance, with many choosing not to return home during summer vacation due to fear of visa revocations as well as travel bans. Meanwhile, over 7,000 Nepalis with Temporary Protected Status (TPS) will have to come back to Nepal by 5 August or face deportation. Thirty-seven were flown back to Kathmandu on Omni Air last week.
“The US is one of the most sought-after destinations for higher education, and the ban will definitely impact bright students,” says Narottam Aryal of the King’s College in Kathmandu.
Indeed, Nepali undergraduates admitted into Ivy League colleges for the 2025 academic year have been asked to look for alternatives. The entire Fulbright Foreign Scholarships Board resigned on Wednesday citing interference from the Trump administration on the selection of this year’s cohort. Some Nepali students already on Fulbright scholarships have noted disruptions, delays and even cancellation of stipends.&nbsp;
The student visa restrictions were initially just for foreign students admitted to Harvard University, but it was later extended to all Chinese students and now to all students. Universities like Columbia which actively recruit foreign students, face sharp enrolment declines, threatening their financial stability and diversity.
An Indian female PhD candidate at Columbia University had her visa revoked by the US State Department, and said she was targeted on the basis of her social media posts on Israeli military attacks in Gaza. Social media vetting of political activism has raised concerns about privacy and freedom of expression in a country where such rights were a given.
Many students have been informed via email that their visas have been revoked for getting speeding or parking tickets, but even others with no criminal record have been affected. The fear of deportation looms large amongst international students, including those from Nepal.&nbsp;
For most Nepalis who migrate to the US for education, the journey is a high-stakes investment. They come largely from middle-class families, often rely on a patchwork of scholarships, work-study programs, loans, or even the sale of family assets to afford fees.
Most Nepali students pursue STEM subjects which offer extended Optional Practical Training (OPT) periods that help fund their education. But with the US backsliding on education and humanitarian matters, countries like the UK and Canada are becoming more attractive despite their own recent stricter controls on student visas.&nbsp;
The UK universities saw a 63% rise in Nepali students’ admissions in 2024. Japan is another popular destination with 64,816 Nepali students enrolled as of 2024.
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Already, China, Hong Kong and Malaysia are poised to benefit from the increased scrutiny of US student visas. Several Hong Kong universities are offering unconditional admission to affected students, while Malaysian institutions are targeting previously US-bound Asian students. China and India have 330,000 and 280,000 students respectively in America, but the numbers for China have seen a sharp drop in the past year.
Elsewhere, branch campuses of American institutions such as NYU in Abu Dhabi, Georgetown in Dubai and Northwestern in Doha are getting more admission applications, and universities in the Gulf region are expanding infrastructure to accommodate those who would otherwise have gone to the US.&nbsp;
Even educational institutions in Nepal are hopeful that the US visa restrictions can be an opportunity to at least keep Nepali undergrads in Nepal, and also attract foreign students from the region.&nbsp;
“Many students might choose to complete their undergraduate degree here in Nepal and then move abroad for their Master’s degree later,” says Aryal of King’s College. “There was a need for quality higher education in Nepal anyway in terms of innovation and opportunities, so this could be the time to reduce our dependence on other countries.”
Nepal’s strategic position between India and China makes it sensitive to US policy shifts. India, a key ally, is also under US scrutiny for potential student travel restrictions. Chinese universities are already offering more scholarships to Nepali talent to capitalise on the US retreat.
American universities have challenged student visa restrictions in the courts. A federal court in Boston revoked the blanket ban on Harvard, and the State Department has ordered the resumption of processing student and exchange visitor visas.&nbsp;
Some are still hoping that President Trump will backtrack on the student visa restrictions, just like he has done with many of his more drastic executive orders.
Even so, the visa see-saw and longer-term uncertainties about living in the United States and its education system means students across the world are making alternative plans.
Says Aryal: “Policies of foreign countries change according to their needs, so excessive dependence was never a good idea. We should work to create different opportunities and choices of higher education within Nepal, so students are retained.” &nbsp;

America no longer prime destination for Nepali students

While Nepal was hosting the Sagarmatha Sambaad international climate conference in Kathmandu this month, on Mt Everest it was pretty much business as usual.&nbsp; The signs of climate breakdown are all there: a river now runs through Base Camp in summer, the Khumbu Icefall is more unstable, and there are more &nbsp;frequent avalanches. When expeditions arrived in March, the mountains were bare: it had not snowed since September, but then blizzards dumped unseasonal snow in May. And despite climate worries, such is the pull of Himalayan mountaineering that the Everest Industry showed no signs of slowdown. More than 600 international climbers and their Nepali guides had made it to the summit of the world’s highest mountain. At one point there were an estimated 2,000 people in the tent city on the Khumbu Glacier. All the ropes and ladders on the Icefall came down on Thursday, marking the official end of the spring climbing season, and just in time to avoid a monsoon cyclone approaching from the Bay of Bengal. It has been an action-packed season. One factor could be that Everest fees will go up from September: each foreign climber needs to pay a $15,000 royalty, up from the present $11,000. The cost for a Nepali climber on the South Col route will also go up: from Rs75,000 to Rs150,000.&nbsp; The fee to climb Everest in autumn is $7,500 (up from $5,500), but most climbers still prefer spring. Winter permit fee (December-February) is only $3,750 per person and the mountain is now also open for monsoon (June-August) climbs, when the fee is ever lower at $2,750. The revised rule also makes it mandatory for every two climbers on an 8,000m peak to hire one Nepali mountain guide.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046.jpg" data-media-id="editor_0" data-image-id="2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046" data-rendition-name="original" width="931" height="732" loading="lazy" alt="The Everest Industry graph 1"> </figure>  In addition, climbers also have to pay for porters and guides, equipment, Base Camp costs, Ice Fall and fixed rope team fees, so climbing Everest does not come cheap. But such is the draw of climbing the world’s highest peak that some say the increased fees will not diminish the crowds next year. The government has tried to spread expeditions out to other seasons and other 8,000ers, but with not much success. Earlier this year, Nepal unilaterally increased the number of 8,000m peaks to 14 by adding six more sub-summits to broaden the choice for climbers. Added were: Yalung Kang (8,505m), Yalung Kang West (8,077m) &nbsp;Kangchenjunga Central (8,473m), Kangchenjunga South (8,476m), Lhotse Middle (8,410m) and Lhotse Shar (8,400m).&nbsp; The announcement could go against the accepted topographic criteria that a stand alone peak has to be at least 300m higher than an adjoining prominence, and at more than 3km isolation from it. The UIAA (Union Internationale des Associations d'Alpinisme) still recognises only 14 mountains as eight-thousanders, and only eight of those are in Nepal, or on the border with China. Nepal’s revised mountaineering regulations also increased the insurance coverage of high-altitude workers to protect porters and high altitude guides who usually take more risks on the mountains. Rescue teams and clean-up campaigners to collect trash and remove bodies of dead climbers up to Camp IV of Mt Everest do not need permits.&nbsp; The Sagarmatha Pollution Control Committee is now using drones to fly down trash in 20kg sacks. Each climber is also required to bring down at least 6kg of waste and not just their own, but this rule is erratically enforced. With five fatalities on Everest and Lhotse, Spring 2025 had a historically low death toll. Another five climbers died on Annapurna, Kangchenjunga and Makalu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a.jpg" data-media-id="editor_1" data-image-id="2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a" data-rendition-name="original" width="665" height="740" loading="lazy" alt="The Everest industry graph 2"> </figure>  Journalist Ben Ayers who ran the Everest Live social media channel from Everest Base Camp with daily updates credited the low death rate to dramatic rescues of climbers from the ‘Death Zone’ by their Nepali guides and longline helievacs — the visuals all uploaded on YouTube.&nbsp; “Ironically, this perception of safety is bringing more and more inexperienced climbers to the mountain, and they need more rescues,” Ayers said in one of his dispatches.&nbsp; American expedition chronicler and summiteer Alan Arnette suspects there is a lot of under-reporting given that the jet stream and storms were lashing Everest even till late in the season. He told us: “I heard a lot about frostbite and rescues that were not made public. It’s become practically impossible to cover the details on Everest. All the teams report nice news, and they don’t talk about bad stuff to avoid hurting businesses.” Although trash on Nepal’s mountains makes headlines, what does not receive as much attention is the climate impact of so many expeditions. The Sagarmatha Sambaad conference sidestepped this issue, which is ironic given that the impact of climate breakdown is most evident on Himalayan peaks and their glaciers.&nbsp; <h2>Need for Speed</h2> The big stories this year have been about speed-running from their home cities to the top of Everest. Ukrainian entrepreneur Andrew Ushakov flew out of JFK on 15 May at 10:15AM Nepal time, and was on the summit 3 days, 23 hours, and 7 minutes later on 19 May at 9:22AM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885.jpg" data-media-id="editor_2" data-image-id="20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885" data-rendition-name="original" width="1440" height="1800" loading="lazy" alt="The Everest Industry"> <figcaption>Andrew Ushakov at the summt. Photo: ELITE EXPED</figcaption> </figure>  “I could never find the time for the traditional 40-50 days of acclimatisation,” Ushakov explained matter-of-factly. His ‘Everest Sea-to-Summit’ climb was possible because he spent 400 hours in hypoxic sleep tents over the past four years in New York. However, Ushakov did use ropes already fixed, hired four Nepali guides, helicoptered to Base Camp, and used much more oxygen than an average climber. And after the climb, Ushakov was arrested at Kathmandu airport for being in possession of $20,000 of undeclared cash and spent a night in jail and fined $60,000.&nbsp; The other speedsters were Garth Miller, Alastair Cairns, Anthony Stazicker, and Kev Godlington, all former British Army commandos. They left London and summited five days later on 21 May, and flew right back. They also used hypoxic tents to simulate the thin air high on Everest.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8.jpg" data-media-id="editor_3" data-image-id="20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8" data-rendition-name="original" width="810" height="668" loading="lazy" alt="The Everest Industry "> <figcaption>All four members of the Furtenbach team at the summit. Photo: Sandro Gromen-Hayes</figcaption> </figure>  But more controversial was their use of xenon gas therapy in a German hospital to ramp up the production of oxygen-carrying haemoglobins in their blood. Xenon is banned by the World Anti-Doping Agency for being performance enhancing in sports. Expedition leader Lukas Furtenbach said this rule does not apply to mountaineering, as it is not a regulated sport like swimming. Nepal has no rules about xenon, but the Department of Tourism said it was launching an ‘investigation’ to decide on future policy since it is difficult to ban xenon, but allow oxygen. The controversy has also divided the mountaineering community, with some climbers saying they just want to maximise their chances of survival. Spending less time on the mountain could make climbing safer by reducing avalanche risk. It would also mean less trash on the mountains, but it would reduce the income of Nepal’s expedition industry. It is also unclear how much of the success was due to xenon therapy and whether the ex-special forces were already in good physical shape.&nbsp; The need for speed hides the fact that climbing in the Himalaya is dangerous business, and climbers cannot sprint to the top just by huffing xenon. But ultra-fast climbs could be charged more, and the revenue generated can be used to establish state-of-the-art rescue operations, and increase pay and insurance for guides. Two other speed chasers this season were Swiss-Ecuadorian Karl Egloff and American Tyler Andrews, both on Everest without oxygen. Andrews choppered to Base Camp to catch a weather window, but turned back from 8,500m due to high winds. Heavy snow and wind also forced Egloff to descend from 7,000m. Slow and steady climbers like Anja Blacha from Germany did make it to the summit without oxygen, while Kami Rita Sherpa broke his own record with his 31st Everest summit as he led a 26-strong Indian Army group. There were 468 permits issued for foreign climbers from 48 expeditions to Everest this spring. Nepal’s other eight-thousanders together had only 17 expeditions. Nepal has more than 1,000 peaks above 6,000m, and has opened only 476 of them for climbing.&nbsp;

The Everest Industry

That winter day in January 1664 marked an exceptional event in the reign of King Pratap Malla of Kathmandu. It was 15 Paush 784 of the Nepal Sambat and for the first time, a historical event was being immortalised on canvas for generations to come.&nbsp; The occasion was the grand Tuladaan ceremony of the King’s youngest son Chakrabartendra Malla from his wife Anantapriya, an Indian princess from Cooch Behar in present-day Assam.&nbsp; During the ritual, the prince was weighed against gold, silver, pearls, and other precious stones, which were then offered to Goddess Taleju Bhavani, the guardian deity of the Malla dynasty.&nbsp; The 170 x120cm painting captures the time of King Pratap Malla in all its splendour and is more than a personal tribute to his son: it is a significant visual historical document. It was evidently completed five years later in 1669, and could be considered a photographic record, with retrospective recreation of the event by the unknown artist. A Tuladaan ceremony is performed to purify one’s karma, quell impending bad luck, or as an act of charity and devotion. Chakrabartendra Malla was not well, and the ritual was performed in hopes of restoring his health. King Pratap Malla had arranged for each of his sons to take turns ruling Kathmandu so they got administrative experience. But Chakrabartendra died just two days after assuming power in 1670 (790 NS). This painting is considered the earliest known example in which the composition is dominated by an architectural landscape: the Taleju Temple. Given the stylistic features such as side-profile facial depictions and the rendering of human forms, it is believed that the Nepali artist was trained by a Rajput master.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051.jpg" data-media-id="editor_0" data-image-id="20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051" data-rendition-name="original" width="3248" height="4395" loading="lazy" alt="Tuladaan NT"> </figure>  During that era, there were regular exchanges of artists between Northern India and Kathmandu Valley. The painting is also a melding of Nepali, Tibetan, Mughal, and Rajput art styles of the time. Pratap Malla could have been inspired by a painting of Mughal Emperor Jahangir’s Tuladaan ceremony for his son Khurram in 1607. The Mallas and Mughals shared cordial relations, which is reflected in the cultural influences seen in the art and attire of the period.&nbsp; The clothing of the Malla ruling class, in particular, features colourful tunics, turbans, and jewelry that display strong Rajput and Mughal stylistic elements. The musicians in the upper tier are also dressed in Indian-style clothing, while the ensemble on the lower steps wear local attire, notably without turbans. Their hairstyles also differ, with the lower group wearing their hair tied in a bun at the front. This national treasure is currently in storage at the Collège de France in Paris, and has never been publicly displayed. Nepal’s art scholars like Gautam Vajracharya, Pratap Aditya Pal and Anne Vergati have written about this iconic paubha in the past, but the only detailed study is from the perspective of music history by researcher Richard Widdess who had access to high resolution copies of the original.&nbsp; Widdess from the Department of Music at the School of Oriental and African Studies (SOAS) in London describes the paubha as the most significant and richly detailed documentation of music in Nepali art. He identifies distinct musical ensembles on the terraces of the temple, and remarkably most of them are actively used today. One of them reflects the Mughal naqqārakhāna model — a loud outdoor ensemble typically composed of kettledrums, trumpets, and cymbals, traditionally performed from the gateway of the emperor’s palace to announce his entrances and exits. The depiction of such an ensemble in the tulādāna painting is likely the earliest known representation of a complete naqqārakhāna in Nepal — considered the forerunner of the panche baja, the traditional Nepali ensemble. On the stepped pyramid base of the temple are two groups of musicians playing local instruments: dhimey, bhushya, and dha. They are unmistakably Newar musicians, wearing short skirts and short-sleeved tops, with bare heads and legs—clearly distinguished as local performers.&nbsp; Higher still on the temple pyramid are musicians of apparently higher status, positioned close to the king, and his courtiers, possibly professional court musicians from India, well-versed in rāga and tāla. A dāphā group is also clearly depicted, identifiable by their characteristic instruments.&nbsp; Dāphā bhajan is likely the oldest surviving tradition of Newar devotional singing, and this paubha is the oldest visual record of it. Pratap Malla himself is believed to have composed songs that continue to be performed by dāphā groups throughout Kathmandu till today.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3.jpg" data-media-id="editor_1" data-image-id="2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3" data-rendition-name="original" width="596" height="768" loading="lazy" alt="Priceless paubha in Paris NT"> </figure>  The artist’s thorough attention to musical detail may be attributed to King Pratap Malla’s own deep interest in music. His inscriptions on this painting and elsewhere proclaim his mastery of all branches of knowledge, including music. He is also known as the author of dance dramas and poems, penning his name as Kavindra (king of poets). Some noteworthy elements of new art techniques stand out: for example, the roof of the temple is filled with realistically rendered white doves, pigeons, and crows. This is a rare feature in paubha, where animals and birds are stylised, mythological forms. This remarkably talented unknown artist has managed to also render an orthographic projection: the front and side view of Nepal’s first architectural paubha. The Taleju Temple, with its staggering multi-tiered structure and numerous steps and platforms, is masterfully translated into layers within the painting. This represents a significant artistic achievement of the time, especially considering that dimensional perspectives had not started in deity-based paubha.&nbsp; The artist has also made a meticulous effort to capture architectural details such as the toran (ornamental arch) and temple struts with impressive precision. There are flickering lamps along the steps and some people carrying what appear to be oil pots.&nbsp; It is a full moon night and the dark sky is adorned with all the gods and goddesses, who are depicted as blessing the ceremony while seated on stylised thangka clouds. There is a lot happening in this painting, with people engaged in various activities. The artist has also rendered a forest backdrop behind the temple, complete with deer, trees, and flowers. Could there have once been a royal garden behind the Taleju Temple?&nbsp; More details and clarity can only be achieved if we are able to view the original or a high-resolution scanned version of the artwork. Many countries proudly display art depicting historical events in their national museums with great reverence. France, for example, has The Coronation of Emperor Napoleon and Empress Joséphine by Jacques-Louis David (1808–1822), along with numerous paintings of the Napoleonic Wars. Many were commissioned by Napoleon himself for future generations to remember.&nbsp; For Nepal, the equivalent is the Tuladaan paubha which is a visual record capturing a historic moment involving one of Kathmandu’s greatest kings, on the very day the event took place. Sadly, we await the day when this masterpiece is displayed, shared in high resolution for detailed study, or more rightfully — repatriated to its homeland, where it truly belongs. &nbsp; Shaguni Singh Sakya is the Director of the Museum of Nepali Arts (MoNA) at Kathmandu Guest House in Thamel. <h2>Gods homeward bound</h2> The Nepal Heritage Recovery Campaign and Nepal’s Department of Archaeology are convening the first international conference on the Recovery of Cultural Heritage from 16-18 June in Patan. The conference will address urgent issues of theft, illicit trafficking, the campaign to repatriate looted cultural artifacts, and explore how the return of sacred antiquities contributes to justice, healing, and reconciliation for communities and nations affected by cultural loss. American art crime professor Erin L Thompson and Saubhagya Pradhananga of the Department of Archaeology will deliver the keynote. Meanwhile, author and Nepali Times publisher Kunda Dixit will lead a conversation on Illicit Trafficking: Public Opinion and Role of Media with Erin Thompson, Amr Al Azm, associate professor of Middle East History and Anthropology at Shawnee State University in Ohio, as well as Bradley J Gordon, a lawyer based in Phnom Penh. There will be sessions looking at repatriation perspectives from Cambodia, India, Vietnam, China and Poland, international frameworks for repatriation, emerging digital technologies in the repatriation of cultural heritage, cultural property agreements, museums as well as trends in the art market, and heritage diplomacy and the role of media.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6.jpg" data-media-id="editor_2" data-image-id="2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6" data-rendition-name="original" width="1080" height="1350" loading="lazy" alt="Heritage recovery NT"> </figure>  <h2> </h2> Some of the other highlights include James K. Reap, a professor in the Master of Historic Preservation Program at the University of Georgia who has a session on the US response to illicit trafficking. Art historian Lea Saint-Raymond is taking on “Gods at Auction: The Market for Himalayan Artefacts”, while lecturer of criminology at the University of Glasgow Emiline Smith is delving into transformative approaches to heritage ownership and repatriation. Helena Arose of Antiquities Coalition and Melina Antoniadis of NOSTOS Strategies that specialise on the return home of cultural heritage as well as Hao Liu of International Cultural Heritage Law at the School of Law at Shandong University are some of the others attending. The Nepal Heritage Recovery Campaign was set up in 2020 to develop a coordinated movement to reclaim Nepal’s stolen gods and goddesses, with an aim to ensure that recovered items are returned to their original shrines, niches or sanctums. Ahead of the conference opening organisers have arranged for a film screening of Loot &amp; Return: 4 Documentaries at YalaMaya Kendra in Patan Dhoka between 14-15 June. Following the conference is a multimedia exhibition titled Absent Gods: Nepal’s Lost Heritage from 31 July to 4 August at Patan Museum.