Nepal has already received the monthly average of precipitation for August in the first two weeks of the month. This year’s monsoon has so far killed nearly 200 people in landslides and floods across the country. On 16 August, a flash debris flow from a suspected glacial collapse <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">damaged half the village of Thame</a> in the Everest region. All this comes after a full scale national emergency due to record-breaking wildfires in March and April that ravaged the country’s forests. Climate breakdown was partly the culprit in most of these calamities. The impacts of climate change are increasing, both in frequency and magnitude, outpacing slow progress in mitigating its causes, and in building resilience. The conversation around <a href="https://nepalitimes.com/opinion/guest-editorial/act-now-on-climate">loss and damage due to the climate crisis</a> is becoming ever so important for vulnerable countries like Nepal. However, despite COP28 in Dubai last year seeing a historic agreement on a ‘Loss and Damage Fund’, the idea that climate-induced destruction can in practice be compensated still seems far-fetched.&nbsp; The Fund is still in its early stages and few details are known as its operational elements are being worked on. The World Bank is the interim host of the fund for four years, and as of March $661 million had been pledged. This is negligible compared to what is required, with calculations by the Loss &amp; Damage Collaboration estimating a need for $671bn annually by 2030.&nbsp; It is important that the foundation to operationalise the fund be laid soon with stable funding sources. A resource allocation system with guidance on eligibility needs to be devised, and questions on who, how and for what countries can access funds remains crucial. Within the ‘for what’ conversation, climate-induced loss and damage can have both economic losses such as the loss of infrastructure (which are easy to quantify) and non-economic losses such as loss of biodiversity and cultural heritage (which are difficult to quantify). One must also note that tangible economic assets such as buildings, monuments, archaeological sites can also hold intangible values.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240823120852_923a048b026a9e18e5415056697f38b76528f8358a58fffb6c3bb190cb003192.jpg" data-media-id="editor_2" data-image-id="20240823120852_923a048b026a9e18e5415056697f38b76528f8358a58fffb6c3bb190cb003192" data-rendition-name="original" width="600" height="900" loading="lazy" alt="GLOFs Limi Valley"> <figcaption>Glacial lake outburst flood in Halji of Humla's Limi Valley in 2011 destroyed a monastery.</figcaption> </figure>  After the Thame flood this week, the little coverage the incident has received still focuses on the economic losses and possible fatalities. These are important, but what about non-economic loss of the rich history and heritage of the village that lies on the ancient Khumbu-Tibet trade route across the Nangpa La? Artefacts passed on from generations in families carry indigenous knowledge and wisdom, the memories and spirituality associated with infrastructure have formed the lived experiences of the Sherpa people. These aspects are as important as economic ones, especially because they are rooted in the core ideas and norms that shape our communities and inspire collective aspiration to achieve climate justice. The importance of incorporating cultural and societal aspects when we talk about the non-economic impacts of climate loss and damage is uncontested. However, despite the recognition of the significance of non-economic losses, they have been under-represented in climate negotiations as well as in climate research. How do we quantify these losses and compensate for them? It is true that doing so is not straightforward, but it is a false premise that such losses cannot be quantified. Rather, we must first admit that we have not come up with and agreed on ways to put an economic value to them.&nbsp; Environmental economists have for long devised models and frameworks to put a price on environmental goods such as clean air, water and access to nature. And yet, the global community is far from putting a right price on nature and quantifying nature loss as an economic loss.&nbsp; It is naïve to think we cannot put a price on culture and heritage. There has always been a market for expensive arts and artefacts, and there is enough precedence on pricing non-tangible assets. In an abstract sense, putting a price on any asset is derived from its utility. It is important to build on existing knowledge as well as ideate innovative ways to price non-tangible cultural and heritage loss, and incorporate that in the Loss and Damage Fund. This should be a key agenda item both for its secretariat as well as global climate negotiators, researchers, grassroot organisations, and development partners. The question and challenge, however, is not just to incorporate these things in the Loss and Damage fund. The premise of loss and damage rests on the fact that something has already been lost. After all, flow of finance cannot be the substitute for loss of culture and heritage.&nbsp; The important question is what can we do to prevent such loss, and preserve culture and heritage from the climate crisis before they are lost? This requires integration of culture and heritage components in the design of climate mitigation and adaptation projects and policies. Working with indigenous communities, religious leaders and faith groups, and civil society will be critical in achieving this.&nbsp; In a recent trip to Lahore, I was told that it is almost impossible to elicit behavioural change to climate action in certain areas of Pakistan without working closely with the imams and mosques. Religion plays an important aspect in many of the world’s climate vulnerable communities, and needs to be incorporated in climate action. Needless to say, measuring the climate impact on culture and heritage must go beyond climate loss and damage and be an integral component of any climate intervention. This should also be a priority for Nepal whose culture, history and tradition is closely linked to the lived environment and nature. Forests with cultural significance to local communities, shrines and important pilgrimage are located along the confluence of holy rivers, and the Himalaya holds profound cultural and religious significance to Hinduism, Buddhism, Bon and other faiths. We must act now to ensure that we preserve and are compensated for climate loss and damage of not just physical infrastructure but also the intangible heritage that is often left out of broader financial calculations. &nbsp; Rastra Raj Bhandari is a co-founder and fellow at the Himalayan Water Project, where he leads the research on climate finance opportunities for the Himalaya. He contributes regularly to Nepali Times on climate change.&nbsp;

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Measuring climate impact on culture and heritage

Lisa Choegyal

Ambica Shrestha (1933-2024)

Midway along the stretch of the ancient trade route between Tibet and India lies the Kel Tol neighbourhood. The name is derived from the original Koligrām, and it is believed the Koli people, who were originally from Rāmagrām in present-day southern Nepal near the Indian border, settled here. The Koli were the maternal ancestors of none other than the Buddha. Kel Tol is famous for the Buddhist monastic complex of Kanak Chaitya Mahāvihar, featuring the majestic two-tiered gilded temple of the white god Karunāmaya.&nbsp; This elaborately decorated courtyard is a bustling centre of the Vajrayāna sect of Buddhism, practised widely by the indigenous Newā people of Kathmandu Valley. Karunāmaya, also known as Ārya Avalokiteshwor, is defined in great detail in the 1st century CE Buddhist text Sadharmapundarikā where he liberates all sentient beings from suffering. He helps rid the eight external fears metaphorically equated with their equivalent internal states of mind: lions (pride), wild elephants (ignorance), fire (anger), snakes (jealousy), floods (attachment), imprisonment (miserliness), thieves (wrong views) and cannibals (doubt).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_fe370cbee75003cd3eb5dccc7c3b2671630da193b0744db2aeac1bab3ff4a85c.jpg" data-media-id="editor_0" data-image-id="20240418130432_fe370cbee75003cd3eb5dccc7c3b2671630da193b0744db2aeac1bab3ff4a85c" data-rendition-name="original" width="1338" height="2000" loading="lazy" alt="Seto Machhindranath"> </figure>  In the Pancha Rakshyā Sutra, a Buddhist scripture from 200 CE, Ārya Avalokiteshwor was counted among the eight major deities. Followers of the Brāhminical god Shiva worship Ārya Avalokiteshwor as Seto Machhindranāth. For Shaivites, Machhindranāth is the Indian saint who founded the Nāth cult in the 10th century CE. He is the guru of saint Gorakhnāth. During the reign of Yakshya Malla (1428–1482 CE), a beautiful image of Ārya Avalokiteshwor was dug up by a farmer in present-day Jamal, which was then a cultivated area outside the city. The farmer, known as a Jamami (meaning the one from Jamal) took the image home for safekeeping. That night, Ārya Avalokiteshwor appeared in the farmer’s dream and told him that the proper place for him to reside is at the confluence of two rivers. The nearest confluence was at present-day Wongha (Indrachok) and the image was installed in the Kanak Chaitya Mahāvihar complex in Kel Tol near Wongha. This made it easier for city residents to pay homage to Ārya Avalokiteshwor and spread compassion. Soon, the deity came to be revered highly as Jamaleshwor, the one found in Jamal. Eventually, the name got corrupted, as happens often in Nepāl Bhāsā, to Janabahā Dyo. The courtyard where his temple is located is now popularly known as Janabahā.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_5c9b219530e400445ef4e7f64856b43e7cdb756be26d9ed4565c84044c178a7e.jpg" data-media-id="editor_1" data-image-id="20240418130432_5c9b219530e400445ef4e7f64856b43e7cdb756be26d9ed4565c84044c178a7e" data-rendition-name="original" width="2500" height="1668" loading="lazy" alt="Seto Machhindranath"> </figure>  The gilded temple of Janabahā Dyo, first built in the early 16th century CE, is adorned with wooden and metal artefacts that symbolise 108 forms of Ārya Avalokiteshwor. It stands out as the most decorated temple of its kind in Kathmandu. Today, Janabahā is a living heritage site where many ancient customs and rituals are widely practised as per Vajrayāna Buddhist tradition. Devotees throng the Janabahā Dyo shrine for daily worship and to receive Karunāmaya’s blessings. Being the compassionate one, Ārya Avalokiteshwor goes around town every year in his tall wooden chariot to allow sick and physically disabled devotees to pay homage to him from the comfort of their homes. One could say it is a door-to-door visit by the Compassionate One.&nbsp; For the pragmatic minded, the chariot festival is an annual renewal of communal harmony, validation of our ancient mathematical supremacy and demonstration of the need to keep practical skills alive, including the craft of building earthquake resilient houses.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_fc8b234ceca87dee4b99e897a485cef121fb953857fb61492a413fbfcc48360c.jpg" data-media-id="editor_2" data-image-id="20240418130432_fc8b234ceca87dee4b99e897a485cef121fb953857fb61492a413fbfcc48360c" data-rendition-name="original" width="2500" height="1667" loading="lazy" alt="Seto Machhindranath"> </figure>  The Janabahā Dyo chariot is pulled from Jamal, where his image was found by the farmer, through the historic heart of Kathmandu in a gala parade every year. The procession, accompanied by folk music ensembles and revellers, starts on the eighth day of the bright half of the month of Chaitra, and lasts up to a week (ending on Saturday this year). Hundreds of devotees pull the chariot along the streets as a way of expressing their gratitude to lord Karunāmaya for blessing them with compassion and well-being. Purna Ratna Vajrāchārya is an ordained priest who belongs to the clan responsible for taking care of Janabahā Dyo. He has been studying the design and architecture of the chariot for the past 40 years, and overseeing its construction for the past 15. He has learnt that the engineering principles of building the chariot are based on the mathematical system in which Buddhism is taught. For example, 365 pieces of wood are used in the chariot, each representing a day of the year. Each of the four wheels consist of 25 pieces of wood, totalling 100, representing completeness or fulfilment. The chariot is vertically divided into 13 sections, a parallel to the Buddhist concept of Trayodashi Bhuvana that describes the 13 steps that one must take to achieve the state of Nirvana.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_36d9964c9845f6d9a074786361fc5ab7d49138503ad162086998b731349b0ec0.jpg" data-media-id="editor_3" data-image-id="20240418130432_36d9964c9845f6d9a074786361fc5ab7d49138503ad162086998b731349b0ec0" data-rendition-name="original" width="2500" height="1668" loading="lazy" alt="Seto Machhindranath"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_2662753a9514a682ccdfd17bf05e2be3771183a68dc86b717ab67d9aad894563.jpg" data-media-id="editor_4" data-image-id="20240418130432_2662753a9514a682ccdfd17bf05e2be3771183a68dc86b717ab67d9aad894563" data-rendition-name="original" width="1668" height="2500" loading="lazy" alt="Seto Machhindranath"> </figure>  &nbsp;Exactly nine types of wood are used, which is the sum of the four base elements that make up the universe (earth, water, fire and air) and the five human senses. The height and length of the chariot is 32 arm’s length (hāt in Sanskrit), 14.8m. The number 32 represents the maximum number of auspicious and physical qualities one could possess to be considered an outstanding human being.&nbsp; Says Vajrācharya, “Observing how the chariot is built helps one learn the fundamental pillars of the Buddha’s teachings, and find an easier path to Nirvana.” The structural design of the nearly 15m wooden chariot is not only awe-inspiring but also gravity-defying. It leverages the pliancy of the materials used in its construction -- flexible joints tied with cane soaked in water for several days. The precise proportions of the chariot ensure great manoeuverability in the narrow streets along the route of the chariot procession that include some 90° bends, without colliding into houses.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_9f5c2943f5d6b3f0010d3d5213697549945e87a6f7d3d8cbadd69f0dea6c6e2c.jpg" data-media-id="editor_5" data-image-id="20240418130432_9f5c2943f5d6b3f0010d3d5213697549945e87a6f7d3d8cbadd69f0dea6c6e2c" data-rendition-name="original" width="2500" height="3750" loading="lazy" alt="Seto Machhindranath"> </figure>  Driving and steering the chariot with brute muscle power of the mirthful crowd is a seemingly impossible task. But this has been achieved year after year, despite the fact that the devotees who tug wildly at the ropes lassoed to the two front wheels, are most likely in high-spirits (pun intended). Sanjay Manandhar, a US-based technology entrepreneur, recounts how his high school physics teacher from Canada asked his students to go observe the locals build the chariots of Karunāmaya if they were interested in becoming engineers in the future.&nbsp; “That made no sense to me then, but, after all these decades, I now see clearly how the structural design of the chariot, adopted early on by our ancestors is full of earthquake-resilient properties that need to be applied in building houses in an earthquake-prone zone like Nepal,” says Manandhar. A highlight of the chariot festival is that human goddess Kumari makes an appearance at the final destination in Lagan, usually on the third day. This is only one of the 13 times that people get to see the Kumari outside her temple abode.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240418130432_08aa39f3f004a212b33c60a2840d6013110de15dd34a0288f699dd5fda8957ab.jpg" data-media-id="editor_6" data-image-id="20240418130432_08aa39f3f004a212b33c60a2840d6013110de15dd34a0288f699dd5fda8957ab" data-rendition-name="original" width="2500" height="1667" loading="lazy" alt="Seto Machhindranath"> </figure>  On the last day of the festival (Saturday), the image of lord Karunāmaya is carried on a palanquin by priests from Janabahā in a gala procession and brought back to his permanent residence at the temple in Kel Tol.&nbsp; The chariot festival is thought to have started during the reign of King Pratap Malla of Kantipur in the 17th century CE. For close to four centuries, the construction of the chariot and its operation has proven to be a phenomenal engineering feat, and the people’s faith in divinity means the tradition is alive.&nbsp; The essence of the colourful rituals and the religious beliefs of this ancient chariot festival is now all but lost. The logic, technology and practicality must be brought back to light, as they reflect the high civilisation and wisdom of our ancestors that we can leverage in modern times and into the future. &nbsp; Alok Tuladhar is a culture and heritage documentarian.

Kathmandu’s gravity-defying chariot festival

A trip to Bhadgaon is a commitment. You need to get on that Arniko Highway, and race Enfields and micros zooming eastwards at 80kmph. Bhaktapur is only 11km from the Ring Road, and 20 minutes away at night. But at rush hour, there are bottlenecks that make it seem farther than it is.&nbsp; This is the week of Bhaktapur’s biggest chariot festival, <a href="https://nepalitimes.com/banner/biska-celebrations-begin-in-bhaktapur">the Bisket Jatra</a>, the first day of which is known locally as Dhwo kwabijyaigu or ‘the god carried downwards’. It might be a good idea to extend the day trip to see the festival and stay overnight to really get to know the city of devotees. By evening, most of the tourists and visitors will have left, and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/bhaktapur-world-heritage-site-nyatapola,1376">Bhaktapur</a> once more belongs to its residents. A good place to hang out to watch the goings-on in the Darbar Square is from one of the window seats at the Temple View Restaurant, popular for its Newari menu but also Chicken Thali complete with masala tea and juju dhau at Rs795.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110444_63cf46c7dff59414109d5f44b2fe7802dfa0c133d9c0fdf7545b7168fe6585c2.jpg" data-media-id="editor_2" data-image-id="20240411110444_63cf46c7dff59414109d5f44b2fe7802dfa0c133d9c0fdf7545b7168fe6585c2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110448_d0644ce851a3a0a5aa76543b23c4799b35b98a6d490041e65f8bda0abdfc5441.jpg" data-media-id="editor_3" data-image-id="20240411110448_d0644ce851a3a0a5aa76543b23c4799b35b98a6d490041e65f8bda0abdfc5441" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>  &nbsp;Nearby is Taumadhi Square, dominated by Nepal’s highest temple Nyatapola. This sturdy five-roofed temple withstood the 1934 and 2015 earthquakes, perhaps because it is guarded by five pairs of stone bodyguards. It is in the evening that <a href="https://nepalitimes.com/news/nyatapola-alight">Nyatapola</a> looks even more impressive, glowing in the light of the square and standing out against the darkening sky. Climbing the long stairs, one gains a vantage point overlooking the square and the town beyond the surrounding rooftops.&nbsp; There is usually an evening puja going on in the Bhairavnath temple to the east of Nyatapola, with chanting and cymbals, a great soundtrack to the bustling, busy square as well as a reminder that temples are not only selfie spots for tourists, but also places of worship.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110444_08df42b25422fa41b0c2c3757986eb3fef7d25dc7c16091c31781ce72cf982a8.jpg" data-media-id="editor_5" data-image-id="20240411110444_08df42b25422fa41b0c2c3757986eb3fef7d25dc7c16091c31781ce72cf982a8" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110444_64988e88c264361d9e4138a8af7187590030b9c251d669cd5c497526379c0bfa.jpg" data-media-id="editor_6" data-image-id="20240411110444_64988e88c264361d9e4138a8af7187590030b9c251d669cd5c497526379c0bfa" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>  Despite it being night, motorbikes race diagonally across Taumadhi, so be prepared to dodge these easy riders as you make your way to our next night-time attraction: Dattatreya Square.&nbsp; The street there is lined with curious passages that must be stooped through into courtyards. Down a narrow lane off to the side of the square is the famous peacock window, and the first floor of a house opposite offers the best eye-level view. The light and shadows of the night make the carved wooden window look even more delicate and exquisite. <a href="https://nepalitimes.com/news/the-tug-of-tradition">Bhaktapur is loyal to traditional ways of life</a> and architecture. The styles of buildings are consistent and well preserved. The restaurants and shops, at least the ones in the main squares, are housed in centuries old heritage buildings.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110448_71e8993546835129c90df4187e8d060a4059eff7e75988e9045567b0048cb45b.jpg" data-media-id="editor_8" data-image-id="20240411110448_71e8993546835129c90df4187e8d060a4059eff7e75988e9045567b0048cb45b" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110452_4f8b7bfdac926e47eb36d7d9bbf7075c1c5298016edd515688a39cc1fa845b01.jpg" data-media-id="editor_9" data-image-id="20240411110452_4f8b7bfdac926e47eb36d7d9bbf7075c1c5298016edd515688a39cc1fa845b01" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>  &nbsp;It is at night that Bhaktapur brings out the best of itself, radiating art and culture. Many new cafes have opened, and shops that sell souvenirs and intricate thangkas. The red brick roads give the town elegance and character different from the tourist haunts in other parts of the Valley.&nbsp; Many businesses on the streets play music, prayer hymns, and burn fragrant incense. There is always a procession going past, giving night time <a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs">Bhaktapur</a> a spiritual ambience.&nbsp; By late evening, there are fewer motorcycles and the pedestrians start shuffling home. Community dogs take over, guarding the guardians of the gods on Nyatapola’s steps. In a neighbourhood falcha, some elderly devotees are still chanting hymns to the gods. Clouds towering over the mountains to the north are lit up by the pink neon of silent lightning.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110448_79e373b228c194410dd6a7c02a97185a83fee28a6d2dce152b9c86e2f2ba586a.jpg" data-media-id="editor_11" data-image-id="20240411110448_79e373b228c194410dd6a7c02a97185a83fee28a6d2dce152b9c86e2f2ba586a" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110448_71d51751230e8769bcbcdb5730d9b1246d127c082c0b9b4265056b8277f50ce4.jpg" data-media-id="editor_12" data-image-id="20240411110448_71d51751230e8769bcbcdb5730d9b1246d127c082c0b9b4265056b8277f50ce4" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110448_4481a5fae6b464df1355cc7f223fd3eb08d511360f555118c8e1c7033ce9699d.jpg" data-media-id="editor_13" data-image-id="20240411110448_4481a5fae6b464df1355cc7f223fd3eb08d511360f555118c8e1c7033ce9699d" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>  &nbsp;Bhaktapur is not just a town, it is a way of life.&nbsp; ---- Places to Stay Peacock Guest House Located near the Dattatreya Square, this guest house is simultaneously a hotel, café and handicraft shop all rolled into one. The café is what you walk into, with seating extending into a courtyard. It is all very compact and tasteful. A man who appears to be the owner sits at one of the tables and is drawing.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411130412_3d539ef65ad9559abcf8163f0567e13039b88dc0df2ce5f6a5db021e05277b54.jpg" data-media-id="editor_14" data-image-id="20240411130412_3d539ef65ad9559abcf8163f0567e13039b88dc0df2ce5f6a5db021e05277b54" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="Peakcock guesthouse Bhaktapur"> <figcaption>Breakfast at Peacock Guest House.</figcaption> </figure>  Peacock Guest House is Bhaktapur in a microcosm in the way it incorporates heritage. It has narrow wooden staircases and doors, intricate windows, and a copper water jar. The rooms are cosy, and come with a bookshelf featuring interesting titles. There is a traditional carved window in each room that must make guests feel like the Kumari. The second floor has a large showroom with many statuettes and carvings. On the roof terrace, the evenings are cool and quiet. Rs7,000&nbsp; Dattatreya Square&nbsp; (01) 6611829 Milla Guest House&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411110448_a41255ab6bca5a2d96a5a0211b1e0f88f8663e80fea85243c25c673cdc4b0ba6.jpg" data-media-id="editor_15" data-image-id="20240411110448_a41255ab6bca5a2d96a5a0211b1e0f88f8663e80fea85243c25c673cdc4b0ba6" data-rendition-name="original" width="680" height="454" loading="lazy" alt="One night in Bhadgaon NT 1"> </figure>  A five minute walk away from Dattatraya Square, Milla Guest House is a bed-and-breakfast designed by<a href="https://nepalitimes.com/news/kathmandu-s-legacy-is-goetz-hagmueller-s-legacy"> Götz Hagmüller</a>, architect of the Patan Museum and the Garden of Dreams in Kathmandu. The hotel uses brick, wood, and terracotta tiles and balances modern with traditional designs. Rooms have attached bathrooms, and two of them come with balconies. On the top floor is a terrace and kitchen, and breakfast is complimentary.&nbsp; Rs12,000&nbsp; Dattatreya 9817849759 The Nanee  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240411130416_1b729a528446d5ad6249f593b4a284531ffc5ef2ba9e2fcecf1fdb6f78e1ff28.jpg" data-media-id="editor_17" data-image-id="20240411130416_1b729a528446d5ad6249f593b4a284531ffc5ef2ba9e2fcecf1fdb6f78e1ff28" data-rendition-name="original" width="680" height="453" loading="lazy" alt="The Nanee"> </figure>  A luxury boutique hotel located just before you get to the Darbar Square, The Nanee is an ‘immersive lodging experience,’ with detailed tours of Bhaktapur led by local experts, as well as food tours of traditional dishes and restaurants. The rooms and lobbies are expertly designed with fusion pieces of traditional art with modern twists. There are suites on offer as well.&nbsp; Rs21,000 onwards Itachhen (01) 5915110

Vishad Raj Onta

One night in Bhadgaon

Jhuma Limbu used to wake up at 3AM every morning to queue up for water from a municipal tank in her neighbourhood of Patan. In the dry season, she got home three hours later carrying a jar of water. But this spring, Limbu and her neighbours have been pleasantly surprised that a 700-year-old water spout across the road is gushing water even in the dry season. Usually, the hiti water spout used to have water only during the monsoon months from July to September. “It was so amazing to see the sparkling clean water flowing continuously,” an elated Limbu told us as she filled her plastic jar at the spout with the alligator-like मकर mythical animal carved on it. “I don’t know why there is water this season, but it has made my life a lot easier,” she added.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_b589e897fc0e54fbff99556629fdc59dfc4bd31f744c080ba8c8a014752293f0.jpg" data-media-id="editor_0" data-image-id="20230512040524_b589e897fc0e54fbff99556629fdc59dfc4bd31f744c080ba8c8a014752293f0" data-rendition-name="original" width="3500" height="2219" loading="lazy" alt="Water for the ages NT"> <figcaption>Photos: SUMAN NEPALI</figcaption> </figure>  The Misa and Kwanti Hiti spouts at Baglamukhi Temple in Patan have religious and cultural significance. A ritual is performed for the spout and it attendant monks every July when the फूद्योः (supreme being) is transported to the temple amidst much fanfare. Devotees then bathe in the sacred waters of the sunken spout. Elsewhere in Patan, water spouts like Mang Hiti, Chhayabaha Hiti, Chyasa Hiti and Narayan Hiti are now better maintained and fully-functional even in the dry season. Experts are not sure why these centuries-old spouts suddenly have water flowing again, when the <a href="https://www.nepalitimes.com/multimedia/light-at-the-end-of-the-melamchi-tunnel">$700 million Melamchi water supply scheme</a> that brings glacial melt through a 26.5km tunnel from Langtang National Park is not providing regular supply.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_faeead1564e0774d60c64de4d41f2fcad93eeaca29e1b3f6779e893231ae6486.jpg" data-media-id="editor_2" data-image-id="20230512040524_faeead1564e0774d60c64de4d41f2fcad93eeaca29e1b3f6779e893231ae6486" data-rendition-name="original" width="3500" height="2333" loading="lazy" alt="Water for the ages NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_8b5e9487adad9f824f9497f4f584ceae9d17f6fd1ac283299161b280b85331f1.jpg" data-media-id="editor_3" data-image-id="20230512040524_8b5e9487adad9f824f9497f4f584ceae9d17f6fd1ac283299161b280b85331f1" data-rendition-name="original" width="1750" height="1167" loading="lazy" alt="Water for the ages NT"> </figure>  But urban development expert Padma Sundar Joshi thinks there may actually be a link to the Melamchi project. Even though water from Melamchi is supplied through the mains on a rotational basis, it has meant that families are not using traditional wells to draw water as much, allowing the water table to rise and make the spouts flow again.&nbsp; “If the Valley’s population continues to increase and extraction of well water resumes, the water table will fall again and the spouts will go dry,” explains Joshi. “It is crucial that we come up with a plan to ensure perennial water supply at the hiti.”&nbsp; <a href="https://www.nepalitimes.com/news/saving-nepal-s-hiti-heritage">Ancient water spouts </a>are considered great technological achievements of the Kathmandu Valley Civilisation. The Malla-era spouts are outlets for underground conduit basins that allow drinking water filtered by the soil to flow non-stop.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_02d01e05c3f8aa3cde1f5af1569e8e09bf84dee88ebda76bb68ee0e0df669c80.png" data-media-id="editor_5" data-image-id="20230512040524_02d01e05c3f8aa3cde1f5af1569e8e09bf84dee88ebda76bb68ee0e0df669c80" data-rendition-name="original" width="1339" height="634" loading="lazy" alt="Water for the ages NT"> </figure>  In the 6th century CE Kathmandu was the only city in the world to have mastered the technology to provide drinking water to its inhabitants deep in core residential areas. Centuries after they were built, these systems still support the growing urban population of Kathmandu Valley because modern water mains are so unreliable. But unplanned urbanisation of Kathmandu in recent decades has threatened this historic network of sunken spouts. Many water sources have been buried by construction, ponds that used to recharge ground water have been built over. The underground channel that used to bring water to spouts have been destroyed, like the one supplying Sundhara in Patan which was damaged during the construction of the nearby Employees Provident Fund building. Read also: <a href="https://www.nepalitimes.com/here-now/kathmandu-s-ancient-water-spouts-still-functioning">Kathmandu’s ancient water spouts still functioning</a>, Alok Siddhi Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_f4a4bed38c355cb748c4f2ab708beac612d8364ab9065f81edbeeaec070e1531.jpg" data-media-id="editor_7" data-image-id="20230512040524_f4a4bed38c355cb748c4f2ab708beac612d8364ab9065f81edbeeaec070e1531" data-rendition-name="original" width="1750" height="1167" loading="lazy" alt="Water for the ages NT"> </figure>  “The main reason these spouts have gone dry is because of the rapid growth of Kathmandu Valley’s population,” says Joshi, who urges the municipal governments to invest in the surviving hiti so neighbourhoods have water 24/7 all year-round.&nbsp; Storing monsoon rain in recharge ponds is the most effective solution to augment wells and spouts. Says Joshi: “Because 80% of rain falls in three months, we can store monsoon runoff in recharge pits and make use of existing wells for storage as well.” A new system of channels is being built to amplify the water flow to Patan’s water spouts from a distribution centre in Khumaltar, and it is set to come into operation in a few months. Says Chandra Kumar Shrestha of the municipality’s Project Implementation Directorate: “If water supply from Melamchi is more regular, it will help recharge ground water and revive our dry hiti and benefit more people.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_ae12c7503ea6717c4a727a1c14a500f964e0e86668f9f923950cfb8a6c907d81.png" data-media-id="editor_8" data-image-id="20230512040524_ae12c7503ea6717c4a727a1c14a500f964e0e86668f9f923950cfb8a6c907d81" data-rendition-name="original" width="890" height="677" loading="lazy" alt="Water for the ages NT"> </figure>  <h2>“Respect our ancestors by saving the hiti they built.”</h2> Padma Sundar Joshi In the last 30 years, many hiti in Patan and elsewhere in the Valley have gone from being perennial sources of water to becoming completely dry. First, the flow of water decreased. Then the water began to flow only during the monsoon, before stopping altogether. Unregulated construction because of the Valley’s population density destroyed both the sources of water as well as the underground channels connecting water sources to the ancient hitis.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_e4682485318176545ed0a48df78f49d3b3290deacf0b4e9d4825042d76f5de49.jpg" data-media-id="editor_9" data-image-id="20230512040524_e4682485318176545ed0a48df78f49d3b3290deacf0b4e9d4825042d76f5de49" data-rendition-name="original" width="1250" height="1563" loading="lazy" alt="Water for the ages NT"> </figure>  People in the valley began drilling tube wells to ensure water supply, but this lowered the water table and dried up the hiti. Now, with the Melamchi water supply, many of those wells are not used as much. This, in turn, has meant that the water table has risen, reviving the flow in the ancient spouts even in the dry season. However, if Kathmandu Valley’s population continues to grow at an unprecedented rate, it won’t matter how much water is supplied from Melamchi, Yangri, or Larke. There simply will not be enough water. Managing urban growth must be the priority. A hiti’s age is often cited as the reason for it going dry, but that is not the case. The Mangal Hiti in Patan has been providing water continuously for 1,500 years. How long a hiti has existed is immaterial as long as it is managed and protected. And that means not only making the sunken spouts more attractive, but to strengthen its functionality.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_f53c479374835cbe2814c4b6fafcde48073208c6cceab23446761f2f61755529.jpg" data-media-id="editor_10" data-image-id="20230512040524_f53c479374835cbe2814c4b6fafcde48073208c6cceab23446761f2f61755529" data-rendition-name="original" width="3000" height="2000" loading="lazy" alt="Water for the ages NT"> </figure>  A key to making water flow again in the <a href="https://www.nepalitimes.com/here-now/water-of-the-ages">Valley’s hiti </a>is to bring back the recharge ponds and lakes which have been built over. But conservation of our ancient water supply system has been neglected because it is deemed too expensive. In fact, water should be an election agenda, and elected leaders must fulfil their promises.&nbsp; The good news is that many of our hiti have been flowing again, even in the dry season. This reminds us that heritage and nature conservation go hand in hand, both must be protected.&nbsp; Kathmandu’s hiti define our civilisation and our place in history. To disregard them is to disrespect our ancestors. &nbsp;&nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230512040524_a3ec0282678bac759867bea4fc35e76ac302cc43c4598c677d496295b37f86fd.jpg" data-media-id="editor_12" data-image-id="20230512040524_a3ec0282678bac759867bea4fc35e76ac302cc43c4598c677d496295b37f86fd" data-rendition-name="original" width="3000" height="1000" loading="lazy" alt="Water for the ages NT"> </figure>  Read also: <a href="https://www.nepalitimes.com/here-now/solution-to-kathmandu-s-water-crisis">Solution to Kathmandu’s water crisis</a> Padma Sundar Joshi is an urban development expert and the author of Hiti Pranali, a book on his research into the ancient hiti system.

Water for the ages

The 2015 earthquake damaged more than 750 heritage structures in Nepal. Many collapsed entirely to the ground, including the 900-year-old Maru Sattal, or Kasthamandap.&nbsp; There was much controversy about how to rebuild the structure, and restoration was entrusted to the citizen-led Kasthamandap Reconstruction Committee. With few architectural records of the original Kasthamandap, restoring it from scratch was not easy. Fortunately, the German architect Wolfgang Korn had published minutely detailed measurements of the structure in his 1976 book Traditional Architecture of the Kathmandu Valley.&nbsp; Korn’s drawings proved invaluable in accurately recreating this historic building from which Kathmandu borrows its name. Korn’s original sketches, along with other architectural studies of Nepal’s many monuments are preserved at Nepal Architecture Archive (NAA). The NAA is an initiative of the Saraf Foundation, which is also behind the unique Taragaon Next in Boudha. The idea about setting up the archive goes back to 2009 when Arun Saraf and his wife Namita met architects Niels Gutschow and Erich Theophile at the Yak &amp; Yeti bar to have a spirited conversation about conservation. Read also: <a href="https://www.nepalitimes.com/news/saving-nepal-s-archives-from-oblivion">Saving Nepal’s archives from oblivion</a>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023042105048_c962dd66e0e96741f699cdd6fb56f93625cc6db8e2d1ea88b8c9ea856619b0bd.jpg" data-media-id="editor_1" data-image-id="2023042105048_c962dd66e0e96741f699cdd6fb56f93625cc6db8e2d1ea88b8c9ea856619b0bd" data-rendition-name="original" width="5184" height="3456" loading="lazy" alt="An archive of Nepali Heritage"> </figure>  Over the years, the talk turned serious and focussed on the need to document, preserve and ‘re-activate’ Kathmandu Valley’s historic landscape, through restoration and research, and with a special focus on indigenous heritage.&nbsp; When the Saraf Foundation began to restore the dilapidated Taragaon structure in 2013, it also began to acquire documents, sketches and photographs that related to Nepal’s religious and social architecture and vernacular landscape.&nbsp; “It was a much more organic process,” recalls Namita Saraf, co-founder of the Saraf Foundation and Director of Taragaon Next. “We had the building here, and did not want to tear down its beautiful architecture.”&nbsp; Then Niels Gutschow curated an exhibition there in 2014 and it seemed like a good idea to use the space to store and showcase Nepal’s architectural heritage. Read also: <a href="https://archive.nepalitimes.com/article/interview/james-Nye-in-Nepal,4186">Digitising archives, sharing knowledge</a>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023042105048_032e93a852ee81a1cd2e62ad8afa63d1ff029795cd5563cfe8b2a69c978058e9.jpg" data-media-id="editor_3" data-image-id="2023042105048_032e93a852ee81a1cd2e62ad8afa63d1ff029795cd5563cfe8b2a69c978058e9" data-rendition-name="original" width="4029" height="2686" loading="lazy" alt="An archive of Nepali Heritage"> </figure>  Initially, the Foundation collected material for an exhibition that would re-open Taragaon to the world. There were 150 documents from various European and American scholars who had come to Nepal starting in the 1950s with different projects. Arun Saraf remembers a scholar friend who left 10 cartons of papers for safekeeping until he returned. “He did not come back. A year passed, then another, and we added the papers to our archive,” he says. The collection continued to grow, and by 2015 nearly 2,000 archival material were housed at the Saraf Foundation, including architectural drawings, maps, sketches, photographs, slides, negatives, beta tapes, books, research documents, reference documents, proposals, feasibility studies, unpublished reports, diaries, manuscripts and digital materials.&nbsp; The collection now needed a more definitive home, and a room was quickly set on the fourth floor of the Hyatt Regency hotel. &nbsp; Read also: <a href="https://www.nepalitimes.com/here-now/adventures-of-a-lone-archivist/" target="_blank">Adventures of a lone archivist</a>, Alisha Sijapati  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023042105048_347ba89a2e80f9e6243e1dc0c31e7326cbef3980b51507a977da8f40914d83df.jpg" data-media-id="editor_5" data-image-id="2023042105048_347ba89a2e80f9e6243e1dc0c31e7326cbef3980b51507a977da8f40914d83df" data-rendition-name="original" width="3325" height="4987" loading="lazy" alt="An archive of Nepali Heritage"> </figure>  Today, the unassuming double doors at the end of a corridor open into another long corridor lined with traditional pots on one side and carved window brackets on the other. The corridor leads into another room: the Nepal Architecture Archive.&nbsp; There are no windows, and it is a scholar’s dream to be in such a room, among books and papers, smelling of antiquity and yesterday’s world. The walls are lined with framed maps, paintings and sketches, alongside custom-made moveable chests and drawers. An intricately carved wooden window sits surrounded by original drawings and reproductions of chaitya, temple and the façade of a traditional Newa house.&nbsp; On the adjacent wall is a door from Thimi, possibly from a temple and salvaged from a demolition site in 1995. This door is nearly 2.5m tall and of unique design with sharp geometric patterns. A figure of Hanuman is carved on the top-centre, and directly underneath are nails in a multi-pronged group. The archivist Asmita Nepal’s workstation is at the centre of the room. Her computer is surrounded by books and sheets of paper. She explains that archiving is more than simply filing or storing information and materials: there are often stories to tell about each object. “Archives are usually seen as repositories of static data, and thus rarely explored,” says Nepal, “but they provide a space to create a movement of knowledge, across time and space.”&nbsp; The NAA receives a range of diverse material regularly, which undergo a digital scanning process, online references, and copyright adjustment according to international standards. Eka Resources helped to set a foundation for the NAA’s digitisation and standardisation processes, and the materials are now accessible to the public on written requests.&nbsp; Read also: <a href="https://www.nepalitimes.com/here-now/making-nepal-s-history-colourful">Making Nepal’s history colourful</a>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230421050412_ba2b2a2dbcacd0fa4a31b414b8bd41d1af73d23558f4e4aa9d59011794cd0a3a.jpg" data-media-id="editor_7" data-image-id="20230421050412_ba2b2a2dbcacd0fa4a31b414b8bd41d1af73d23558f4e4aa9d59011794cd0a3a" data-rendition-name="original" width="4012" height="2675" loading="lazy" alt="An archive of Nepali Heritage"> </figure>  “We are not hoarding,” says Arun Saraf, “we are making sure that these important documents and testimonies of our past have a home.” Either the foundation approaches scholars, or the scholars approach the foundation, but the aim of archiving is the same: to preserve research works on Nepal and to put them in public domain so that future scholars may easily access them.&nbsp; Scholars whose work currently held at the NAA include Niels Gutschow, Wolfgang Korn, Jørgen Rahbek Thomsen &amp; Jens Wærum (from the Danish Architects team), John Harrison, Andreas Brandt, Robert Powell, Konstanty Gutschow, Thomas Kelly, Tiziano Terzani, Axel Weller, Klaus Kunzmann, Klaus Kette, Franz Frei, Ulrich Burscher, Thomas Turscher, Raimund Wuldz, and Peter Herrle.&nbsp; There are around 80,000 individual documents, drawings and photographs, excepting slides. While European and American scholars currently have more representation, the NAA is also actively seeking scholars from Nepal and the region for its expanding collection. Read also: <a href="http://www.nepalitimes.com/blogs/thebrief/2015/05/17/documenting-loss/" target="blank">Documenting Loss</a>, Stéphane Huët  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023042105048_0157e5b59999a3fe44f7a81dc64b31a9202387f92b0ed390e67d1ea174c66979.jpg" data-media-id="editor_9" data-image-id="2023042105048_0157e5b59999a3fe44f7a81dc64b31a9202387f92b0ed390e67d1ea174c66979" data-rendition-name="original" width="3765" height="2510" loading="lazy" alt="An archive of Nepali Heritage"> </figure>  “Being an archivist is so much more than managing the collection. Beyond cataloguing, recording, arranging, it involves also knowing the collection inside-out,” Asmita Nepal explains. “An archivist studies the material beyond its tangible aspects, its story, its maker, background, patron and journey.”&nbsp; It is a lengthy and dynamic process, and requires patience and passion. The NAA’s mission is that these documents must be within the reach of Nepal’s communities. It aims to democratise scholarship so Nepalis themselves better understand the country’s history and heritage. Preservation is the priority since the materials themselves are so fragile. “This gives us as a people the opportunity to decide together what should be kept safe for the future generations. Why take apart something that has value? Why destroy it?”remarks Arun Saraf.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230421150456_d8664680150e17ffa296b5fd2ea9c257d0e05006f8d8c4e0cb3f41e93c818f74.jpg" data-media-id="editor_10" data-image-id="20230421150456_d8664680150e17ffa296b5fd2ea9c257d0e05006f8d8c4e0cb3f41e93c818f74" data-rendition-name="original" width="1600" height="1066" loading="lazy" alt="sarafs and korn"> <figcaption>Arun and Namita Saraf (left) in conversation with Wolfgang Korn (right) at the Foundation's recent Taragaon Lecture Series #9 held in March 2023. Photo: TARAGAON NEXT.</figcaption> </figure>  The foundation also organises Lecture Series by scholars. Taragaon Next also has a new permanent exhibition co-curated by Sujan Chitrakar ‘Archiving for the Future: An Intersection of Heritage and Architecture’ which displays several objects, documents, paintings and instruments from the NAA, keeping with this theme of making Nepal’s architectural and academic past accessible. “We are just custodians and trying to get more people to care about this as we do,” says Namita Saraf. “Archiving may sound boring, but in fact it is fun and fulfilling work.” &nbsp; Read also: <a href="http://nepalitimes.com/article/nation/data-mapping-the-aftermath-of-earthquake,2218" target="blank">Mapping the aftermath</a>, Ayesha Shakya

Ashish Dhakal

An archive of Nepali heritage

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639057fa9c7e80680e0ce17fjpeg.jpg" alt="" width="2304" height="1536"/><figcaption>All phtos: SUMAN NEPALI</figcaption></figure>Twenty-one acrylic portals on the crossroads of physical and spiritual worlds await visitors along an unassuming corridor. In Siddhartha Art Gallery, contemporary artist <a href="https://archive.nepalitimes.com/news.php?id=16424" target="_blank" rel="noopener noreferrer">Binod Pradhan</a> depicts the mythical Beyul, sacred hidden valleys in the Himalaya that offer peace and refuge in times of crisis.Pradhan returns after an eight-year hiatus with Sacred Realms, marking his ninth solo exhibition. He combines Nepal's landscapes, cityscapes, culture, and <a href="https://www.nepalitimes.com/here-now/we-have-not-respected-the-fragility-of-the-himalaya/" target="_blank" rel="noopener noreferrer">fragility</a> into an ultimate form of self-expression."Development and the climate crisis have changed the landscape of my childhood home," Pradhan explains, "I wish to spread and preserve its memory through my paintings."He records his experiences through nostalgic strokes and altered colours. Indian red reminiscent of the disappearing slopes of Mustang and floors of Darbar Squares illuminate the landscapes of Pradhan's imagination.Pradhan uses his signature technique: watercolor application for acrylic painting which give his work depth typically found in pieces employing multiple art supplies."Writers write to fight for their cause. I paint for mine," says Pradhan, "Through trial and failure, I invented a way to texture my paintings to communicate my experiences better."<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639057fd9c7e80680e0ce180jpeg.jpg" alt="" width="2304" height="1536">The muddy remains of a dried-up Fewa Lake is patiently layered acrylic in Fewa Lake Existing, and one can almost smell the lake bed. Inspired by an article about the <a href="https://www.nepalitimes.com/banner/pokharas-shrinking-phewa-lake/" target="_blank" rel="noopener noreferrer">shrinking of Fewa lake</a>, he painted the gorge empty of water. Sapanako Dunga (Boat of Dreams) holds the Barahi temple in the composition as the climate threat and uncontrolled development tarnish the lake. Safe to say, he embraces intertextuality and intergenericity.In Natural Touch, a piece completed in 2020, Pradhan references Michelangelo's Creation of Adam. Amidst the erosion of bright, beautiful colours, hands of rocks, some bare and some covered in green, touch."Nokia used Michelangelo's hands to symbolize human connection," he adds, "I painted his hands to symbolise our connection with nature."On either side, a temple and a Chorten stand aloof on top of mighty mountains. The connecting hands might also portray the harmony between Hinduism and Buddhism in Nepal. Pradhan grew up with merging influences from both, and he communicates his nostalgia with surrealism, smearing watered-down white acrylic as clouds to create a dream-like haze.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058019c7e80680e0ce181jpeg.jpg" alt="" width="1536" height="2304"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058059c7e80680e0ce182jpeg.jpg" alt="" width="1500" height="1011">Using modern practices, he tells the story of the disappearing <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">traditional heritage</a>, transporting the viewer to the landscape of premonition through his form and dimension.The red-brick monuments of Kathmandu, Bhaktapur, and Patan decay in Reflection Realms. Pradhan again uses clever, confident brush strokes to create texture in the decay lit by a golden sky. The puppet of Akash Bhairab, the god of death, stands out, blue in contrast to the striking yellow background.When Shiva, the destroyer, is angry, he is depicted as Bhairab who is said to protect the Valley in crisis. Pradhan shows the parallelism between the concept of Bhairab in Hinduism and <a href="https://www.nepalitimes.com/here-now/building-back-a-beyul-in-tsum/" target="_blank" rel="noopener noreferrer">Beyul</a> in Buddhism.This subliminal spirituality is also also depicted Intangible Realms, a 48x48 inch painting in which a fiery palate overwhelms the scenery, drowning out the green of the trees. The tall mountains appear to be an illusion behind the burning branches.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058099c7e80680e0ce183jpeg.jpg" alt="" width="1536" height="2304">Pradhan's subconscious overpowers his actual vision resulting in a dreamscape. He says, "I meditate when I am painting, I find my subconscious and express myself in dye."Pradhan, who painted most of the 'Sacred Realm' art during a Covid quarantine, obtained relief from all the negative news through art. He recalled and transferred the blue-green landscapes he witnessed in his 2016 Annapurna Circuit Trek into canvases."I hope the audience feels the same emotion I felt when I first experienced my Beyul through eco-paintings," Pradhan says, "We should think about our impact on nature."Sacred environments are not places to escape the world, but to enter it more deeply. Pradhan, who experienced the era where the locals and visitors <a href="https://www.nepalitimes.com/banner/the-delta-of-kama/" target="_blank" rel="noopener noreferrer">treated heritage and nature with reverence</a>, knows all too well the interrelationship between the two."Every Beyul is located in the lap of nature in Nepal," says Pradhan. "We artists convey ourselves through collections that take years to complete. I hope to start a dialogue for a progressive future."Read also: <a href="https://www.nepalitimes.com/banner/lights-shadows-and-space/">Lights, shadows and space</a>, Ashish Dhakal

Expressing culture and nature in eco-art

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057529c7e80680e0ce150jpeg.jpg" alt="" width="5597" height="3952"/><figcaption>Photos: SUMAN NEPALI</figcaption></figure>In 1294 the crown princess of Banepa donated a shiva linga to the nearby principality of Panauti. A temple was built to enshrine the sacred stone phallus, and in later years a third tier was added to the Indreswar Mahadev temple.Until then the struts supporting the temple roofs in Nepal largely featured Salabhanjika motifs: standing full breasted slender figures, with wide hips and crossed legs, holding a tree branch with one hand.However, on the Indreshwar Mahadev in Panauti, craftsmen nearly 1,000 years ago broke from tradition and besides carving the figures of various deities, including characters from the Mahabharat and Ramayan along 16 of the lower-level struts, added at their bases men and women joined in amorous positions.Himalayan art scholar Mary Slusser called these revolutionary inclusions ‘blatant erotica’. The erotic art on temple struts (maithuna) flourished in the 16th Century, depicting couples interlocked and entwined in bold acrobatic positions that are immediately arresting to witness. Many struts had groups, sometimes with even animals participating.Read also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057569c7e80680e0ce151jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057599c7e80680e0ce152jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/6390575d9c7e80680e0ce153jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057619c7e80680e0ce154jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057649c7e80680e0ce155jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057679c7e80680e0ce156jpeg.jpg" alt="" width="640" height="800">The Char Narayan Temple at the Patan Darbar Square was built in 1566 by a local nobleman, and the two-storey temple beside Krishna Mandir houses within its red brick walls the four principal forms of Vishnu: Vasudev, Pradyumna, Aniruddha and Sankarshan.But on the struts that support its roof is a rich assortment of erotic art (pictured above). One shows two people in bed as a third figure holds to the hair of the woman. Another has a woman penetrated from behind by a horse. In one bracket, two leonine figures are frozen in missionary position (pictured below).Just around the corner from the temple, through a narrow alleyway, is the Laxmi-Narayan Temple, whose original stolen deity was repatriated from the United States in December 2021. All eight struts of the temple show a diverse range of sexual acts involving couples. Animals are another favourite motif, just as it is on the struts of Patan’s South Taleju temple that almost exclusively depict copulating horses, cattle, deer and lions.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/6390576a9c7e80680e0ce157jpeg.jpg" alt="" width="3220" height="4025">Scholars Wolfgang Korn and Shukra Sagar Shrestha in their 2019 book <a href="https://www.nepalitimes.com/banner/love-of-heritage/" target="_blank" rel="noopener noreferrer">Erotic Carvings of the Kathmandu Valley Found on the Struts of Newar Temples</a> list around 60 temples, falcha and secular buildings with erotic carvings in Kathmandu, Bhaktapur, Lalitpur and the neighbouring towns of Lubhu, Chobhar, Banepa, Panauti or Thankot. But monuments in other places also have erotica.Korn recalls that in 1968, when he first came to Nepal as a German volunteer, they were shown around the old Kathmandu and Hanuman Dhoka. When they got to the Jagannath Temple, the guide did not appear too interested in the carvings on the struts (pictured below), giving them only two minutes to look at the strange and intriguing erotic carvings. “But then I immediately returned to look at them alone the next afternoon,” he says.On his second visit, he found four farmers looking up at the struts of the temple and talking about them. Above them, angled at 45º, men and women were engaged in all kinds of positions and combinations, sometimes joined by attendees and a third or fourth partner. He could not understand the conversation of the onlookers then but imagined they too were as curious and taken, if not stirred, by the acts depicted.Later in 1975, while working on the restoration of the Hanuman Dhoka he pointed at a black and white photograph of a carving of a man with his tongue on a woman’s vulva that he kept in his residence, and jokingly asked a young worker if he had done something like that, too.“The man was shocked and flustered, Korn recalls, “and immediately said, ‘Sir, with my mouth I eat rice!’”Read also: <a href="https://www.nepalitimes.com/opinion/250-years-of-nepals-history-through-art/">Nepal's history through art</a>, Lisa Choegyal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/6390576e9c7e80680e0ce158jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057719c7e80680e0ce159jpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057749c7e80680e0ce15ajpeg.jpg" alt="" width="640" height="778"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057789c7e80680e0ce15bjpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/6390577d9c7e80680e0ce15cjpeg.jpg" alt="" width="640" height="800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057809c7e80680e0ce15djpeg.jpg" alt="" width="640" height="800">He found fascinating the way Nepali people interact with the erotic carvings found in temples daily frequented by devotees. Visitors from outside the valley thought the carvings depicted the sexual lives of the kings and the local residents of Kathmandu, not their own.But this coyness may be a more recent influence, coerced by colonisation and changing attitudes in gender and sexuality. Birat Raj Bajracharya, translator of Tibetan texts, notes that the carvings give a unique window into Nepal’s past.“Various forms of sexual and sensual arts were in practice then,” he explains. “At some point in time, we came to limit sexual relations only between a husband and a wife, but the carvings depict fluidity, more than just domestic relations, and in groups too.”Shivaji Das in his book Sacred Love: Erotic art in the temples of Nepal also suggests a sexually liberal Kathmandu Valley prior to frequent Mughal invasions, and later influences of British India. This is echoed by Éric Chazot, author of Tantra: Théologie de l’Amour et de la Liberté, who remarks that the erotic temple art predate religious and Victorian morals in Nepal.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057839c7e80680e0ce15ejpeg.jpg" alt="" width="2148" height="2686">The imaginations of the wood carvers of the past have no limit. They are bold, unfettered and expansive, and nothing is profane or strange. One popular motif found in the carvings in the Valley is a bowl or a jug, often carried by an attendant or a monkey. These vessels are strategically placed under the sex organs as if to collect the fluids. Chazot explains that this could be to signify the importance of sexual fluids, which would be ritual offerings.As for the many depictions of bestiality (pictured below), all women with an animal, Chazot remarks it could be another symbolism. "Sex organs in ancient texts are often described in animal terms, such as elephant, dog, horse," he says, "and these could be to make a comment on compatibility and harmony."Some of the carvings could also be taken as warnings, especially for women: for example a common image of a man penetrating from behind a woman who has gone to collect water. In a few carvings, a third figure, learned by the way he looks and holds a book in his hands, lurking in the shadows, engages in voyeurism, with a particularly sinister look on his face.Scholars conjecture that this could also be a metaphor, of women as receiving semen from men, mirrored in the water pouring into the pot right beside them. Nevertheless, noteworthy is the fact that women appear in more carvings than men. Tantrism, which positioned men in the role of actors, was also historically reserved for males, utilising the female image as the receiver, or a vessel. As such, this calls into question the role of male gaze in depictions of pleasure.Read also: <a href="https://www.nepalitimes.com/latest/how-art-empowers-nepals-women/">How art empowers Nepal’s women</a>, Anita Bhetwal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057879c7e80680e0ce15fjpeg.jpg" alt="" width="1678" height="2098"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/6390578a9c7e80680e0ce160jpeg.jpg" alt="" width="3788" height="4736">Sociologist Dinesh Saru in Das’s Sacred Love draws attention to the systemic oppression of women in society, in line with the idea of zoologist Desmond Morris that the heterosexual act is by nature invasive, and a male tool of dominance.Queer representation is negligible, with only one carving of two women found in Patan’s Char Narayan Temple (pictured above). But this could also be attributed to the difficulty in definitively assessing the features of the figures, many of which are weathered or damaged in earthquakes.Bajracharya cautions, however, that calling these figures simply male and female by the binary definition of gender is restrictive. There could be more queer figures in the carvings, he suggests, but it is hard to tell without more research.“We can’t say that the figures are not male or female,” Bajracharya adds. “However, the symbolism of gender in this context is manifold. The depictions also relate to the masculine and feminine energies, and point to another level of spiritual meaning.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/6390578e9c7e80680e0ce161jpeg.jpg" alt="" width="2288" height="1830"><h4>Mimesis of the woven: why the temple erotica? </h4>Despite their ubiquity, there is no consensus as to why the carvings are there at all. One popular belief is that since lightning is a virgin goddess, she shies away from striking temples with erotic carvings. Another is that gods inside would not be inclined to leave temples, as they would feel embarrassed to see the explicit carvings on their way out.Among the more plausible explanations are that the carvings are meant to encourage procreation, repopulation after wars and plagues, sex education, and Tantric influences. Almost all erotic temple art are from the Malla-period when Tantric practices from India were incorporated into the already vibrant Hinduism and Buddhism of the Valley, where it took a distinct cultural root and flourished in the middle-ages.Tantra (from Sanskrit ‘to weave’) expounded the mystic philosophy and principles of action leading to enlightenment and total independence from material bonds. Ancient in origin, it opposed the orthodox Hindu-Buddhist rituals without rejecting them, setting out that everything in life should be employed to achieving nirvana, including sex.But to call the Tantric element of erotic art as just depicting ‘sex’ may be limiting, as it does not immediately indicate the innate, cosmic urge for symbiosis, divine energy, towards philosophical and spiritual fulfilment that is essential to Tantrism. It is not just a crude carnal desire for copulation, but symbolises the unity of mind and body, akin to the concept of kāma, or Plato’s eros."It is a science of expansion, and there is no good or evil," explains Éric Chazot. "And it can be done for many purposes: knowledge, power … there is no limit."Read also: <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/">Nepali art finds a new home</a>, Shristi Karki<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057929c7e80680e0ce162jpeg.jpg" alt="" width="2480" height="3492"><figcaption> </figcaption></figure>But Tantra, by definition is esoteric, incomprehensible to the public, with only a handful of individuals initiated into its practices. If the erotic carvings are products of these practices, then perhaps it is fitting that they should be as elusive in their meaning.Some of the best examples of the symbolism and the many layers of meanings can be found in the Nautale Darbar in Kathmandu. Take, for instance, the figure of a nobleman distinguishable by his tall headdress and ornaments around his neck (pictured above). He is surrounded by five smaller female figures, who look like the muses, who hold in their hands several objects, including what is clearly a musical instrument.His hands and feet fondle at the sexual organs of the four apsara while another sits on his face. According to Chazot, one reading of this particular carving is the union of man with shakti. This could stand for poetic speech, music and even dance, all of which combined denote the cosmically significant force of creation.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710124/639057959c7e80680e0ce163jpeg.jpg" alt="" width="1857" height="2322">Interestingly, a strut can be divided into three parts: the main deity at the top and the erotic scene at the bottom, divided by lotus. Bajracharya notes that this could mean the rise of a self from ignorance, transforming into an eternal, divine form.Elsewhere in the darbar, in shocking details, the carvings depict people melting around each other in impossible forms and expressions. Concentrating on the figures, the bodies taken together soon begin to make other shapes: an elephant in one case (pictured above), a horse in another. Next bracket looks like a monkey, a tortoise.Bajracharya suggests that the animal shapes could be like a pun: “Sort of like a depiction of riding as a position during intercourse.”There are indoor scenes as well as out in nature, where the figures seem to imitate the shapes of the trees around them: such as in the case of a woman washing her hair and joined by a man from behind, or a man and a woman flanked by branches blowing in the wind. There is comedy too, and a striking flight of fancy, with a nightmarish sequence that shows a ginormous penis riding a chariot. It looks like a procession, as a the chariot rides over two figures lying on top of each other."It’s all very symbolic. What we see is not what is said, there is a secret language behind these carvings and only an initiate gets their meaning," says Chazot. "They could also be used to make fun of those who do not understand them, like private jokes among those who do."Read also:<a href="https://www.nepalitimes.com/banner/faith-stolen-lost-in-nepal-found-in-america/"> Faith Stolen: Lost in Nepal, found in America</a>, Lost Arts of Nepal

The delta of kāma

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c489c7e80680e0c960ejpeg.jpg" alt="" width="760" height="443"/><figcaption>Satyamohan Joshi at his residence in Patan in 2012. All photos: DAMBAR KRISHNA SHRESTHA</figcaption></figure>Satyamohan Joshi, who died on Sunday morning at age 103, was a renaissance man, a polymath and historian whose long research career itself spanned Nepal’s recent history.Among the many subjects he was an expert in, some stand out: Nepal’s devotional temple art, Kathmandu Valley’s syncretic blend of Buddhism and Hinduism, he was an authority on the Newa Civilisation and of the folk culture of the Karnali. In visits to China, he researched Arniko’s history, and as a numismatist he <a href="https://www.nepalitimes.com/here-now/losing-loose-change-in-nepal/" target="_blank" rel="noopener noreferrer">investigated historical coins</a> from the Licchavi, Malla and Shah era.Despite his vast knowledge and the respect the nation showed to him, Satyamohan Joshi was a humble and self-effacing person. Always dressed in his trademark daura suruwal topi he lived all his life in Bakum Baha near <a href="https://www.nepalitimes.com/banner/preserving-patan-post-earthquake/" target="_blank" rel="noopener noreferrer">Patan Darbar</a> where he was born in 1919. He welcomed visitors sitting crosslegged on a straw mat, usually with his wife Radha Devi.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c4a9c7e80680e0c960fjpeg.jpg" alt="" width="760" height="443"><figcaption>Satyamohan Joshi with his wife Radha Devi.</figcaption></figure>Till a few years ago, he would walk unassisted along the alleys, and up the steep flight of stairs for meetings of the Bhaidega Reconstruction Committee of which he was chair. He did not speak much, but when he did it was to share his knowledge and to give important suggestions about rebuilding the temple destroyed in the 1934 earthquake. Friends would offer to walk him home at night, and he would refuse, saying: “It’s just around the corner.”After education at Darbar High School and <a href="https://www.nepalitimes.com/banner/tri-chandras-run-down-state-is-a-microcosm-of-nepal/" target="_blank" rel="noopener noreferrer">Tri-Chandra College</a>, the young Satyamohan got his first job at age 23 in the Industrial Survey Office. It was 1943, and the Ranas were still in power. In 1953, the very year that <a href="https://www.nepalitimes.com/review/highs-and-lows-of-sir-ed/" target="_blank" rel="noopener noreferrer">Edmund Hillary</a> was in Nepal to climb Mt Everest, he became the first Nepali to visit New Zealand, about which he wrote a travelogue in which he informed Nepalis about the International Time Zone and Maori culture.Satyamohan was passionate about investigating, writing and in sharing his knowledge and he was equally prolific in Nepa Bha and Nepali languages. International researchers, and even many Nepali ones, wrote books in English. It is perhaps because his research did not appear in English that someone with such stature within Nepal did not gain deserved attention abroad. But this never bothered Satyamohan Joshi – he believed that it was only if Nepal’s citizens and culture became modern that Nepal itself would enter the modern age.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c4c9c7e80680e0c9610jpeg.jpg" alt="" width="760" height="498"><figcaption></figcaption></figure>His interest in data and facts drove him to write the book हाम्रो लोक संस्क्रिति for which he won the Madan Puraskar in 1959. But after King Mahendra’s coup and the overthrow of B P Koirala’s elected government in 1960, Satyamohan also lost his government job.As member secretary of the Royal Nepal Academy, he started investigating Nepal’s ethnic, linguistic and cultural diversity and the Academy appointed him to lead an interdisciplinary team to the remote Sinja Valley, which to this day is considered a model for meticulous field-based research. He also oversaw the production of a dictionary of Nepal’s 14 main languages.Satyamohan Joshi spent 1965-69 in Beijing, researching the background of <a href="https://www.nepalitimes.com/here-now/the-life-and-times-of-arniko/" target="_blank" rel="noopener noreferrer">Arniko and his many achievements</a>, thus introducing Nepalis to the famous artisan and architect who made his name in the court of Kublai Khan.While at the Royal Nepal Academy, Satyamohan Joshi supported another of his areas of interest: theatre. He encouraged young and talented actors and singers to take to the stage, paying special attention to the wardrobe during performances. His own drama बाघ भैरव could not be staged during the Panchayat years and was finally performed at Gurukul Theatre in 2006. Satyamohan Joshi was also instrumental in reviving the <a href="https://www.nepalitimes.com/latest/patans-dance-of-the-deities/" target="_blank" rel="noopener noreferrer">Kartik Nach dance</a> festival, which had not been performed in 60 years.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c4e9c7e80680e0c9611jpeg.jpg" alt="" width="760" height="443"><figcaption></figcaption></figure>When I went to meet him ten years ago at his home in Bakum Baha to research his life and work, tall concrete buildings were already towering over the lush courtyard of his home. As always there were people waiting to see him from early morning. Members of the Patan Chamber of Commerce were there to invite him to their convention, the Kartik Nach committee was also there, a group involved in <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">heritage conservation</a> was waiting for its turn to consult him.Over the last decade that I continued to visit him, Satyamohan Joshi was always his age-old self – gracious towards visitors, inquisitive about others’ work and ideas, and nurturing towards all aspects of <a href="https://www.nepalitimes.com/banner/our-land-is-us-we-are-our-land/" target="_blank" rel="noopener noreferrer">culture and society</a>.Satyamohan Joshi was a beacon of hope, creativity, and humanity at a time when there is such an absence of integrity in the country. He was always looking at the positive side of things, trying to find solutions, avoided back-biting, spoke directly and to the point, and had the capacity of distilling even the most complex issues into simple terms.This is why his passing is such a great loss to Nepal and Nepalis.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c509c7e80680e0c9612jpeg.jpg" alt="" width="2048" height="1366"><figcaption>Prime Minister Sher Bahadur Deuba and Patan Mayor Chiri Babu Maharjan pay their last respects to historian Satyamohan Joshi on Sunday in Lalitpur. Photo: SUMAN NEPALI</figcaption></figure>Adapted from a report in <a href="https://shikshakmasik.com" target="_blank" rel="noopener noreferrer">Sikshyak Monthly</a>, October 2022.

Man of the Nepali renaissance

Preserving Patan post-earthquake

Nepal’s only international aviation gateway, at Kathmandu airport, will cut night-time operation hours to allow construction of taxiways, and airlines have been told to curtail flights. This is expected to lead to more than normal chaos during the height of peak autumn and spring tourist seasons at an airport that is congested even at the best of times. The airport will close from 10PM to 8AM from 8 November-31 March 2025. The taxiways will now connect to the thresholds at both ends of the runway, making the airport more efficient in handling higher frequencies of landings and takeoffs. The parallel taxiway extension will allow international flights to land every 4 minutes instead of the current every 7 minutes. At present planes have to wait to land until a plane taking off backtracks along the runway.&nbsp; Kathmandu is Nepal’s only airport with international operations, and it has only one runway that is only one way in from the south over the mountains. With the taxiway improvement, the airport will be able to handle 42 aircraft landings and takeoffs per hour — double the current capacity.&nbsp; The Civil Aviation Authority of Nepal (CAAN) has been trying to entice international airlines to also start flying to and from the other two international airports at Pokhara and Bhairawa (Lumbini) by slashing landing and handling charges. But so far only Nepal Airlines operates a weekly flight to Bhairawa from Kuala Lumpur.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241018161016_046569e53d1d66cd445cc66c697c0ef724810aec9f54bdf827481e3cd6b80c32.jpg" data-media-id="editor_0" data-image-id="20241018161016_046569e53d1d66cd445cc66c697c0ef724810aec9f54bdf827481e3cd6b80c32" data-rendition-name="original" width="2356" height="1134" loading="lazy" alt="Kathmandu airport expansion"> <figcaption>Kathmandu Airport Expansion plan with extension of taxiways to the thresholds of runways 02 and 20 that will limit airport operations from 8 November 2024 - 31 March 2025. Areas in blue are existing structures, including the international terminal which in future will be the domestic airport, and the new international terminal near the north end of the runway,</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241018121028_6e17cc2ee87c1b02d78cb54905825b7aa15299b7a00f5eddb01a59579ab85c1a.jpg" data-media-id="editor_1" data-image-id="20241018121028_6e17cc2ee87c1b02d78cb54905825b7aa15299b7a00f5eddb01a59579ab85c1a" data-rendition-name="original" width="1353" height="1328" loading="lazy" alt="Kathmandu airport NT"> </figure>  CAAN has reportedly told international airlines to cut their flight frequency to Kathmandu citing the shorter operation hours and has told budget airlines to shift some of their flights to Pokhara or Bhairawa, or face cuts. Many airlines currently operate regular flights to and from Kathmandu between 10PM and 8AM: Air Arabia to Sharjah, Fly Dubai to Dubai, Jazeera Airways to Kuwait, Cathay Pacific to Hong Kong, Singapore Airlines, several Nepal Airlines flights, and one of four daily flights by Qatar Airways to Doha. Jazeera Airways, FlyDubai, and Thai AirAsia have applied and got permission from CAAN to begin regular flights to Bhairawa’s Gautam Buddha International Airport. Starting 9 November, FlyDubai will start making a stopover in Bhairawa before flying on to Kathmandu. Immigration, customs and security are all fully functional in Bhairawa. In Kathmandu, the next phase of the airport upgrade includes converting the current international terminal for domestic operations, the construction of a new international terminal where the domestic departure area is now, as well as moving the hangars and the Nepal Army Air Wing to the eastern side of the runway. The apron area will also double its parking space for widebody jets. This is part of a Airport Capacity Enhancement Project that was initially funded through a $80 million loan from the Asian Development Bank (ADB), and the entire masterplan is expected to cost $800 million. This project is the latest upgrade to Nepal’s only international airport since it saw its first flight in 1949. The current international and domestic terminals are too small to handle the current annual traffic volume of 8.5 million passengers a year that is growing at 20% a year.

Kathmandu airport to cut flight hours

As Kathmandu becomes more congested and polluted, and with remote online work becoming the norm, many professional Nepalis are planning to retire in Pokhara, or move there.&nbsp; With its stunning mountain panorama, balmy winters and proximity to a profusion of wilderness areas, builders are responding to this demand with new townhouses, housing development and apartments. One such block of flats is the 10-storey <a href="https://sungavaapartment.com/">Sungava Apartment</a> located at Phulbari above the Seti River, near the point where it flows into and under Pokhara. The imposing structure near Manipal Hospital is almost complete, and on a recent visit the site was strewn with huge boulders unearthed while digging the foundation.&nbsp; The Seti brought down these boulders during a gigantic flood that geologists estimate happened 800 years ago when a chunk of Annapurna IV broke off and ploughed into the glacier below. Today, Sungava (means ‘orchid’) sits safely on a high terrace, 100m above the blue-green Seti and commands a view of Dhaulagiri, Annapurna South, Machapuchre, Annapurna III and IV.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024102411104_5f8fc736c86ea3c08d7bef43bb727081d3cc1a2caa55ae2b441717e6044de7e9.jpg" data-media-id="editor_1" data-image-id="2024102411104_5f8fc736c86ea3c08d7bef43bb727081d3cc1a2caa55ae2b441717e6044de7e9" data-rendition-name="original" width="2016" height="1512" loading="lazy" alt="High living below the Himalaya NT"> </figure>  The soil here is conglomerate that has solidified like concrete, and the boulders were extracted by heavy earthmovers. It is intriguing to think that these metamorphic rocks as big as cars, rounded by glacial grinding, were once a part of a much higher Annapurna IV. Even for those with little interest in geology, Sungava is an ideal place to contemplate the tectonic forces that pushed these peaks into the sky to be sculpted into delicate shapes by wind, snow, earthquake and avalanche over millions of years. The view of the Himalayan panorama from Sungava’s many balconies are breathtaking when not obscured by clouds, or the haze that drifts in from across the southern border. On most days, just watching the towering pyramid of Machapuchre (Tamu name: कतासुँ क्लिको) play hide and seek with the clouds is mesmerising. There are rocks aplenty at Phulbari, and it is probably the flowers that grew along the flat terraces e that gave the place its flowery name. The boulders will hopefully be turned into a rock garden while landscaping. An nearby restaurant complex is making the best use of the stones in its design, using flat rocks as outdoor benches and tables. Sungava was designed by the husband-wife architect team of Deepak Sherchan and Jyoti Joshi of <a href="https://thedarkmermaidamarbshrestha.blogspot.com/2013/12/creative-builders-collaborative-cbc.html">Creative Builders Collaborative (CBC)</a>, which also built Heritage Plaza, Indreni Apartment and numerous other projects in Nepal. Sadbhavana retains CBC’s trademark Newari-style masonry and here it borrows from the orange brickwork of the old town of Pokhara, integrating it with modern design elements. A few of those heritage houses are still standing in Ganesh Tole and Ram Krishna Tole in Pokhara’s old quarter.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024102411108_5eb64a4885961b6d30781cefeb1e8a313da313ac5227c7a66b60f0c7d48d6fab.jpg" data-media-id="editor_3" data-image-id="2024102411108_5eb64a4885961b6d30781cefeb1e8a313da313ac5227c7a66b60f0c7d48d6fab" data-rendition-name="original" width="1362" height="595" loading="lazy" alt="High living below the Himalaya NT"> </figure>  About 400m from the apartment past a bend on the river, and down below three tiers of terraces in the canyon is a suspension bridge. Below it, the Seti is still swollen with post-monsoon flow as it tumbles away in a hurry to head down south.&nbsp; Back at the apartment, it is quiet, far away from the hubbub of Lakeside a 15 minute drive away, and in the lap of greenery. There are 52 units at Sungava and it already has a close-knit prospective community of professionals, including doctors, publishers, engineers, and businesspeople from the renewable energy and IT sectors.&nbsp; Some residents say they opted for a second home in Pokhara to make it a ‘base camp’ to explore the Annapurnas with its many hiking trails made newly accessible with new roads. With the NRN citizenship law, overseas Nepalis can now also buy the flats. &nbsp; The floor plans include options for north and south-facing 3-bedroom apartments with verandas, and the facility has underground parking has EV charging, heated pool, sauna and gym. There are still some unsold apartments with panoramic views of the mountains and one can imagine oneself at the kitchen with its huge window, humming a ditty while preparing breakfast: “खाना पकाउँ हिमाल हेरेर...”

High living below the Himalaya

When the United Nations held its Summit of the Future at its headquarters in New York in September, many world leaders, including Nepal’s Prime Minister K P Oli, highlighted the effect of climate breakdown in increasing the frequency and intensity of natural disasters. What did not get as much attention was the long term impact of the climate crisis on food production. In fact, heat stress, weather extremes and the consequences on rain-fed agriculture is already being felt worldwide, undermining the chances of the <a href="https://unstats.un.org/sdgs/">UN’s Sustainable Development Goals (SDGs)</a> being met by 2030.&nbsp; The SDG’s 17 targets commit countries like Nepal to reduce poverty and inequality, end malnutrition, protect the natural environment, and ensure that citizens all enjoy health, justice and prosperity without leaving anyone behind.&nbsp; However, besides the impact of climate breakdown on agricultural production, in Nepal the area under cultivation is impacted by urban expansion, falling productivity and the need for expensive inputs like fertiliser and pesticides.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_626413c5baf4dae407ac9579231b41daeb51510aa636b75aeb7489d94cca6a62.jpg" data-media-id="editor_1" data-image-id="20241019041052_626413c5baf4dae407ac9579231b41daeb51510aa636b75aeb7489d94cca6a62" data-rendition-name="original" width="999" height="1500" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>Kathmandu's urban sprawl is eating into its fertile cultivable lands. Photo: TAYLOR MASON</figcaption> </figure>  Now, a new study led by Nepali researcher Prajal Pradhan at the University of Groningen in The Netherlands looks at how urban agriculture may offer a solution to falling food production and meeting SDG targets. The researchers evaluated 1,450 publications exploring the contributions of urban agriculture with both positive and negative effects, and published their findings in the journal Cells Report Sustainability. Urban agriculture can help achieve 17 SDGs, positively influencing 81 targets. However, it could also undermine 51 goals.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/the-vanishing-land">The vanishing land</a>, Taylor Mason “Urban agriculture offers immense potential for sustainable development, but realising this potential depends crucially on adopting practices that minimise its adverse effects while maximising its benefits,” Pradhan explains. Urban agriculture can substantially enhance urban food security, provide employment to the urban poor, serve as ground water recharge in built-up areas, and preserve open spaces that can serve as safe havens during disasters like earthquakes. However, it also presents problems like the potential health risks from contamination and the need for expensive inputs. &nbsp; “Urban agriculture plays a definitive role in advancing the SDGs, but achieving this requires tailored, context-specific solutions that address the unique challenges of different regions,” says Yuanchao Hu of Wuhan University in China and who is a researcher at the Potsdam Institute for Climate Impact Research. “But it needs equitable access and rigorous management of environmental risks.”&nbsp; Rapid urbanisation is eating into Nepal’s most fertile agricultural land, which means farming in remaining open spaces inside cities can be a viable alternative, especially as food prices rise.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_7b7c9413086226fbdc630d45acf772cfa1ced77a8970b9056ec5ec7e5226fdf8.jpg" data-media-id="editor_3" data-image-id="20241019041052_7b7c9413086226fbdc630d45acf772cfa1ced77a8970b9056ec5ec7e5226fdf8" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>A vegetable patch in between new houses in Thimi. Photo: TAYLOR MASON</figcaption> </figure>  “The conversion of Nepal’s most fertile land into cities is a severe problem,” Pradhan told Nepali Times. “Crop cultivation, horticulture, agroforestry, beekeeping, livestock rearing, or aquaculture can all be farming activities within and around cities.”&nbsp; The study makes recommendations for sustainable practices that build on the positive aspects of urban agriculture while mitigating the downsides, thereby promoting more resilient cities in future. Research shows that urban agriculture has been helping many countries attain SDG targets by enhancing food security and biodiversity while helping education and preservation of open spaces.&nbsp; Indeed, many farmers from the hinterland who have settled in Kathmandu Valley or other urban areas of the country have been practicing urban agriculture, leasing neighbourhood patches or cultivating roof gardens both out of necessity because of inflation and falling income to grow their own food, and also as a fulfilling hobby. Saurav Dhakal, a sustainability advocate with Story Cycle and now research fellow at the Asian Institute of Technology in Thailand, says there are socio-economic and environmental benefits of urban agriculture. “It provides benefits to all urban dwellers, regardless of their income status,” says Dhakal, “families get fresh food, and there are many other benefits like water retention, heat regulation and biodiversity. These are all public goods, so special government incentives may be needed.” It is not unusual to see vegetable patches and even paddy fields within inner city Kathmandu where an older generation of farmers are using available fertile land and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/rooftop-gardens-kathmandu,1415">roof gardens to produce fresh, nutritious food </a>to reduce their dependence on food items that have to be bought after being trucked in from large distances.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024101905100_1291ce98dbbb8caed8702ac4b1d469b3e13016d7ecaaf3bfd5f91c974d3c0c77.jpg" data-media-id="editor_5" data-image-id="2024101905100_1291ce98dbbb8caed8702ac4b1d469b3e13016d7ecaaf3bfd5f91c974d3c0c77" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>An older generation of farmers are using any available fertile land to continue farming but it is getting more and more difficult. Photo: TAYLOR MASON </figcaption> </figure>  Nepal’s urban population grew rapidly from only 3.6% in 1991 to 25% today. There is large outmigration from the mountains to peri-urban areas of the Tarai, to Kathmandu Valley and Pokhara, with many young men then moving abroad for work. Kathmandu Valley’s population has swelled to nearly 3 million, and is growing at 6.5% a year. Dilip Shrestha, 71, used to work for Nepal Food Corporation, so he knew firsthand about inflation, shortages and vegetables with pesticide residue. So, when he designed his new house in Kathmandu, he built a spacious roof where he grows cucumber, ginger, garlic, coriander, onions, tomatoes, chili, beans, okra, pumpkin and lettuce. His family eats healthier, and he has reduced dependence on the market.&nbsp; The co-author of the Cell Reports Sustainability journal article, Daya Raj Subedi who is a PhD candidate at Beijing Forestry University, says urban agriculture also promotes inclusion and psycho-social wellbeing.&nbsp; He says, “A crucial finding of the study is the identification of opportunities and challenges associated with urban agriculture, it can promote sustainable transformation of society.” In Banepa, 55-year-old Bijaya Manandhar in her lifetime has watched the fertile farms of her neighbourhood that used to supply vegetables to Kathmandu, now completely built up with no open space left. The pandemic lockdown prompted her to turn to the family’s <a href="https://nepalitimes.com/banner/rooftop-agriculture-on-the-roof-of-the-world">ancestral livelihood by growing food</a> not on terrace farms, but on the roof terrace. Manandhar is now a part of <a href="https://nepalitimes.com/banner/rooftop-agriculture-on-the-roof-of-the-world%5C%5C">कौसी खेती र करेसाबारी क्रान्ती</a> (Rooftop Farming and Garden Revolution) which has an online membership of 52,000, and awards annual prizes to women who excel in urban agriculture.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_7257f5def8f823f35a799fa6f6825e153f2ffa406ac11325d4fe74049b79e96d.jpg" data-media-id="editor_8" data-image-id="20241019041052_7257f5def8f823f35a799fa6f6825e153f2ffa406ac11325d4fe74049b79e96d" data-rendition-name="original" width="1600" height="736" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>Rooftop farming is gaining popularity as a form of urban agriculture. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_beff1a4494ce896dd8fd383ee1f518e5448bcf7ea8bb138255391c7bcb9769ed.jpg" data-media-id="editor_9" data-image-id="20241019041052_beff1a4494ce896dd8fd383ee1f518e5448bcf7ea8bb138255391c7bcb9769ed" data-rendition-name="original" width="4000" height="3000" loading="lazy" alt="urban agriculture in Kathmandu"> </figure>  Pradhan says the challenge now is to upscale such examples of successful urban agricultural practices so they support Neal’s efforts to meet SDG targets. He adds, “Crop cultivation around cities can be protected by land use plans and regulations. Promoting community-based agriculture, including rooftop gardens, requires community engagement and public-private partnerships across the food value chain.”&nbsp; Such support would accelerate the popularity of existing rooftop farming and community gardens in Kathmandu Valley, or kitchen garden initiatives in Pokhara, and building on traditional farming practices that are preserved and integrated into urban settings like in Bhaktapur and Banepa. In Lalitpur, the Women Entrepreneurship Facilitation Center promotes urban farming enhancing both sustainability and empowerment.&nbsp; Another co-author of the report, Yuanchao Hu from China says followup research of the team will aim to identify good practices in local urban agriculture practices. He adds, “There are examples of urban agriculture that optimise sustainability, ensuring that it remains a viable solution for cities globally while countries try to meet SDG targets.” Prajal Pradhan, Daya Raj Subedi, Kshitij Dahal, Yuanchao Hu, Prakriti Gurung, Sijal Pokharel, Sagar Kafle, Biplav Khatri, Sudeeksha Basyal, Monika Gurung, and Aruna Joshi. Urban Agriculture matters for sustainable development. Cell Reports Sustainability, 1:100217, 2024. [DOI: 10.1016/j.crsus.2024.100217] Prajal Pradhan (<a href="mailto:p.pradhan@rug.nl">p.pradhan@rug.nl</a>) This article is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758.jpg" data-media-id="editor_14" data-image-id="20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758" data-rendition-name="original" width="680" height="103" loading="lazy" alt="SDG logo"> </figure>

Back to the land in the cities

The 700-year-old Lakshmi Narasingha temple in Bhaktapur houses a rare half-lion and half-human incarnation of Lord Vishnu carrying the Goddess Lakshmi. The temple was destroyed in the 1934 mega earthquake that killed 10,000 people and destroyed many monuments in Kathmandu Valley. It was rebuilt by a German project in the 1980s, but as a single-storey structure instead of its original two-tier pagoda design.&nbsp; With new findings from in-depth research, Bhaktapur municipality began re-restoring the temple in 2021, preserving its original architecture.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_2fae38cce543ad7b1f6de632feb3e212e08ed1acedd747830e949d7b8e878f18.jpg" data-media-id="editor_0" data-image-id="20241017131016_2fae38cce543ad7b1f6de632feb3e212e08ed1acedd747830e949d7b8e878f18" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “Our temples and heritage sites hold deep meaning. It is disheartening to witness how often they lose their original elements, whether by design or accident,” explains Kumar Chawal of the Consumer Committee of Bhaktapur. “There is a need to preserve our architecture and protect its historical value for future generations. Otherwise, we risk losing a vital part of our identity.” The Laksmi Narsingha restoration is similar to the Bhai Dega temple in Patan Darbar Square which also collapsed in 1934, but was rebuilt with a Moghul-style dome by the Rana government at the time. Only two months before the 2015 earthquake, heritage conservationists had started to rebuild Bhai Dega as the original three-tier based on early photographs. But priorities shifted when four other temples in the square were brought down by the 7.8M earthquake on 25 April 2015.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_697ea707d9ad163be5de5f2efbf5b70d3cab771adcc22f0fae6bf937c6cb0130.jpg" data-media-id="editor_1" data-image-id="20241017131016_697ea707d9ad163be5de5f2efbf5b70d3cab771adcc22f0fae6bf937c6cb0130" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  This showed how damage to monuments in Kathmandu Valley spanned from one earthquake to the next. Bhai Dega restoration remains half-complete to this day because money for its restoration ran out.&nbsp; Whereas Bhai Dega restoration was done by the Kathmandu Valley Preservation Trust with grants from western embassies and international foundations, in Bhaktapur it is the municipality itself that allocated the Rs30.7 million needed to restore the Lakshmi Narasingha temple. The expected date of completion is early 2025. The municipality and local communities are focusing on two main aspects: preserving the past and promoting localisation. The restoration team has designed a blueprint for the temple by using historical photographs and insights from older generations.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_182882fdc393c99e70d1d0490319e415229563666c4934e3a582426ebf00ca30.jpg" data-media-id="editor_2" data-image-id="20241017131016_182882fdc393c99e70d1d0490319e415229563666c4934e3a582426ebf00ca30" data-rendition-name="original" width="1200" height="560" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “At first, the Lakshmi Narasingha temple had only one entrance, but during the demolition process, we uncovered the foundations of four doors. Now, we are restoring all of them. This is an example of how our ancient structures have changed over time, often without our knowledge,” says Chawal. “Constructing temples is not like building houses. They carry historical and spiritual values, which is why they hold a special place in our hearts,” he adds. By replicating ancient design elements and rebuilding the temple as accurately as possible to its original form, the team has stayed true to Bhaktapur’s soul. But the restoration also revived ancient techniques that were in danger of being forgotten, generating employment for woodcarvers, masons, and contractors. The community of Bhaktapur’s Gahiti neighbourhood near the famous Nyatapola Temple has also set aside specific days for locals to volunteer in the reconstruction work. This has encouraged young people to take pride in ownership of their heritage. Families have also supported the effort by donating funds for bells, the temple pinnacle, and other structural features to the temple.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_db850ec0c084cdbe54f65bee92dad2ad8122d20fd60ec87ec086fbb9d2f72bd6.jpg" data-media-id="editor_3" data-image-id="20241017131016_db850ec0c084cdbe54f65bee92dad2ad8122d20fd60ec87ec086fbb9d2f72bd6" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “I feel at peace knowing I have contributed my sweat to restoring this temple,” said one volunteer. “It is our duty to preserve our temples and heritage. The Nyatapola area will look magical once this temple is completed.” Community mobilisation is a long-standing tradition in Bhaktapur. In the past, locals have actively participated in the restoration of other temples in the city, such as Bhairav and Nyatapola fostering a strong sense of ownership. This collective engagement has not only been crucial in preserving the city's historical monuments but also in strengthening the bond between local communities and their heritage, says officials at the municipality. While securing funding is essential, and the municipality showed it values heritage conservation, the Lakshmi Narasingha restoration is proof that active involvement and sense of responsibility of the local community is as important, if not more. Local involvement also means that the monuments will be cared for into the future, When locals take ownership of these efforts, the restored monuments are not only protected in the present but are also cared for in the future.