An international conference on looted cultural objects in Nepal was strategising about how to repatriate sacred icons, when news broke that a 400-year-old jewel studded gilt-copper necklace stolen from Kathmandu was up for auction in Belgium. The Matrika Necklace from the reign of King Pratap Malla (1641-74 CE) was being auctioned at the Veilinghuis Loeckx in Gent and the event beamed live on <a href="http://invaluable.com/" target="_blank">invaluable.com</a> on 17th June. It was advertised for was €1,200.&nbsp; But that was before participants at the Kathmandu conference sent frantic emails to the Brussels auction house and the Dutch gallery where the necklace was sourced from. The item was withdrawn from the auction because of 'questions about provenance'. The auction house initially mentioned Astamangala Gallery in the Netherlands as provenance when it was actually stolen from a Kathmandu temple, and the item was similar to another rare necklace looted from the Taleju Temple in 1976, and now housed at the <a href="https://www.artic.edu/" target="_blank">Art Institute of Chicago</a>. The 400-year-old object has been taken off display there after Nepali activists started demanding its return. Interestingly, the necklace in Chicago was also in the logo design of the International Conference on the Recovery of Cultural Heritage held in Patan from 16-18 June where experts and activists from Nepal and around the world discussed the repatriation of stolen cultural artefacts. In Nepal, the idols were being worshipped when looted, and activists said their return helped in healing and reconciliation of communities.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618140640_65c8453ff13d38de4292817bbe639416e4e4bca1d5d5e6ba9f6ef6fa10d57abe.jpg" data-media-id="editor_2" data-image-id="20250618140640_65c8453ff13d38de4292817bbe639416e4e4bca1d5d5e6ba9f6ef6fa10d57abe" data-rendition-name="original" width="1500" height="1272" loading="lazy" alt="Taleju necklace"> <figcaption>Taleju necklace</figcaption> </figure>  One panelist was Devendra Bhattarai, the journalist who broke the story of the necklace depicted in the logo. He found it ironic that the United States Immigration and Customs Enforcement (ICE) was deporting undocumented Nepalis, while wanting to hold on to Nepal’s heritage items in its museums. “The US authorities want evidence that the object was stolen, and to prove that Nepal’s royal family is not allowed to sell or gift such artefacts,” Bhattarai said. “A cultural artefact cannot be gifted, even by the royal family, and there can be no such proof.” “We from the community are asked to provide proof when the burden of proof should lie with the holders of the artefacts,” said Kanak Mani Dixit of Nepal Heritage Recovery Campaign (NHRC) that convened the conference. “Collectors and museums prevaricate and want to run you down, your patience, your interest, your time, hoping that we will lose interest.” NHRC partnered with Nepal’s Department of Archaeology to organise the international conference, which also looked into the impact of cultural property thefts from Kathmandu Valley, Simraungad in the Tarai, Nuwakot, and monastic villages in the trans-Himalaya. “There were and are hundreds of monasteries in Mustang, but most of them are totally empty,” historian Ramesh Dhungel told one session. “It makes you want to cry. The monks sleep in locked rooms with their idols so they are not stolen at night.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618140640_80a15c5bc9da2eaf8b96fcbb42fd7fdb9b78d00e2258e1995c21ac6f70211dbc.jpg" data-media-id="editor_3" data-image-id="20250618140640_80a15c5bc9da2eaf8b96fcbb42fd7fdb9b78d00e2258e1995c21ac6f70211dbc" data-rendition-name="original" width="3933" height="2381" loading="lazy" alt="cultural recovery conference"> <figcaption>Historian Ramesh Dhungel during his panel discussion. Photo: BIKAS RAUNIYAR</figcaption> </figure>  Most of the looting of cultural heritage items in Nepal took place during the absolute monarchy days in the 1980s. Dhungel remembers three helicopter loads of stolen thangka, idols and scrolls airlifted from Olangchungola to Kathmandu at the time. Most of them ended up with American and European collectors, and unsold items are still at the National Museum in Chhauni.&nbsp; There are documents to identify the powerful people in Kathmandu who sold the artefacts to smugglers and middlemen. But there were also the likes of Lain Singh Bangdel and Jürgen Schick who did pioneering work to document the pillage in their books Stolen Images of Nepal (1989) and The Gods Are Leaving the Country: Art Theft From Nepal (1997). Today, anonymous investigators at Lost Arts of Nepal have been using social media to document the whereabouts of stolen objects in museums so that repatriation activists can bring them back. Even as the international conference was ongoing on Wednesday, Lost Art of Nepal posted a finding about a 800-year-old Bodhisattva Avalokiteswar statue that had been at Thambahil in Kathmandu next to a Shiva Linga at the temple. It was stolen in the 1980s and auctioned by the Doris Weiner Collection at Christie's in 2012 for $2,490,500 and is now at the Berkeley Art Museum.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618170620_415b139c11cbcee8c27cb9742d06882bc2468db682621fa2445b8c3797e1f81a.png" data-media-id="editor_4" data-image-id="20250618170620_415b139c11cbcee8c27cb9742d06882bc2468db682621fa2445b8c3797e1f81a" data-rendition-name="original" width="2044" height="1100" loading="lazy" alt="Heritage recovery conference"> <figcaption>800-year-old Bodhisattva Avalokiteswar.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618170624_5884894a696f3bba6af228101ed26714433ae62d96dfea825a1dd48e99d4097f.png" data-media-id="editor_5" data-image-id="20250618170624_5884894a696f3bba6af228101ed26714433ae62d96dfea825a1dd48e99d4097f" data-rendition-name="original" width="1880" height="1166" loading="lazy" alt="heritage recovery conference"> </figure>  “Lost Arts of Nepal has been the biggest source for media and heritage activists. We must acknowledge them for their hard work in tracking down these items,” said Kunda Dixit, who hosted a panel on the role of media in combating illicit trafficking of artefacts.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618140640_60e894c158867774cfc33ec09a76ebe2e022a9d273b5d157212f9eb6a61fbedf.jpg" data-media-id="editor_6" data-image-id="20250618140640_60e894c158867774cfc33ec09a76ebe2e022a9d273b5d157212f9eb6a61fbedf" data-rendition-name="original" width="3933" height="2664" loading="lazy" alt="cultural recovery conference"> <figcaption>Kunda Dixit during a panel on the role of media in combating illicit trafficking of artefacts. Photo: BIKAS RAUNIYAR</figcaption> </figure>  So far, 198 sacred objects have been returned to Nepal: 125 from the United States, 29 from China, 22 from the United Kingdom, 13 from India, 5 from Australia, and one each from Germany, Austria, Italy and a European collector. But there are 105 identified but not returned items in private collections, museums and auction houses in Sweden, the UK, France, Switzerland, the US, Austria, Australia, China, Singapore, Thailand and Belgium. And there are thousands of others which have vanished without trace. <a href="https://www.cbsnews.com/news/stolen-cambodian-artifacts-american-museums-private-collections-60-minutes-transcript-2024-06-23/?ftag=CNM-00-10aab5j&amp;linkId=479097769&amp;fbclid=IwY2xjawK_NaJleHRuA2FlbQIxMABicmlkETF6MDVPZ1ZlV3NsQ3E4ak04AR7feaeuu4qaAq4mv3cpN4dGSEctsQr44vZjkkWkrKL57xQqo4Id0b_P1rLgog_aem_gS5R_PQyCvCgBLKGBHTrMw" target="_blank">Bradley J Gordon</a>, a lawyer with Cambodia’s Ministry of Culture and Fine Arts, was thrown out of The Met in New York last year during an inspection. He also spotted scores of antiquities from Thailand and Nepal in the storage of the museum only a few weeks ago. “Many of the art dealers selling a<a href="https://www.ice.gov/news/releases/30-looted-antiquities-returned-kingdom-cambodia" target="_blank">rtefacts from Cambodia</a> were also selling cultural objects from Nepal,” Gordon told the panel. Bruce Miller Antiquities of Sausalito in California with <a href="https://www.nytimes.com/2023/06/22/arts/douglas-latchford-antiquities-trafficker-daughter.html" target="_blank">Bangkok-based Douglas Latchford</a> have been named as those involved in selling stolen objects from Cambodia and Nepal to collectors and museums. The conference also heard case studies from Cambodia, India, Poland, Vietnam, Lebanon, Syria and Afghanistan with a special focus on existing laws and international frameworks for repatriation as well as new digital interventions such as augmented reality, photogrammetry and data-driven provenance. Plunder of heritage items from war zones like Syria and Afghanistan is rife, said Amr Al Azm of the Shawnee State University in the United States. “Antiquities do not suffer as much in the actual battles as they do from thieves while a conflict is going on,” he added. “They sell the stolen items through social media accounts, the platforms are the great magnifier in this international trade in stolen cultural items.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618160624_0677d2519b35f092dc017116cfeaa575bb2667770674a6d1c5c83a01d5489043.jpg" data-media-id="editor_10" data-image-id="20250618160624_0677d2519b35f092dc017116cfeaa575bb2667770674a6d1c5c83a01d5489043" data-rendition-name="original" width="3904" height="2086" loading="lazy" alt="cultural recovery conference"> <figcaption>Heritage conservationist Alok Siddi Tuladhar discussing a pauba depicting a Tuladaan ceremony the reign of King Pratap Malla of Kathmandu. The 361-year-old wsas stolen from Kathmandu and is now in Paris. Photo: BIKAS RAUNIYAR</figcaption> </figure>  There are often differing views when it comes to the prosecution of heritage theft. Some believe in punishing the perpetrators with jail time and fines, while others have prioritised repatriation itself, getting the objects back to inspire pride in youth to continue their tradition, to educate the community about the culture and spread awareness about the illegal trade. “We can use repatriation activism to increase the perception of risk, to convince people to not enter into the business because they don’t want to end up in jail or publicly humiliated, to make people think about their reputation either positively or negatively,” said Erin L Thompson, art crime professor in New York during her keynote at the conference.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618140644_e65569f232b78e1daba5f5c7399de5f492afb772fe6882efc3a2ae51c8e10daf.jpg" data-media-id="editor_11" data-image-id="20250618140644_e65569f232b78e1daba5f5c7399de5f492afb772fe6882efc3a2ae51c8e10daf" data-rendition-name="original" width="3543" height="2858" loading="lazy" alt="cultural recovery conference"> <figcaption>Art crime professor Erin Thompson during her keynote. Photo: BIKAS RAUNIYAR</figcaption> </figure>  She added: “Things are just starting to come back, we will find so many uses of repatriated objects in the years, decades, and generations to come. It’s taken hundreds of years of theft for these objects to leave their culture of origin, and I think it will take hundreds of years to bring them back. But we have the opportunity now to shape what those hundreds of years will look like.” <h2>BREAKING: Auction halted</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250618140636_e6242c602340291c7af430144e17860ed8f44811c6ea14ad2c47a19451537556.jpg" data-media-id="editor_12" data-image-id="20250618140636_e6242c602340291c7af430144e17860ed8f44811c6ea14ad2c47a19451537556" data-rendition-name="original" width="960" height="960" loading="lazy" alt="Matrika necklace"> <figcaption>Matrika necklace</figcaption> </figure>  On the evening of 17 June, participants at the Kathmandu conference discussing Nepal’s stolen heritage items found out that a 400-year-old gilt-copper Matrika necklace donated by Pratap Malla was being auctioned in Belgium. This was a moment of truth, the very thing the conference was trying to shed light on. One of the participants, Emiline C H Smith, a lecturer in criminology at the University of Glasgow heard about the auction while at the conference. The pre-bid for the necklace was €1,200, but it would have sold for many times more. She informed the Belgium art crime police squad after gathering more information on the necklace. She found out that the item was up for auction that very day, 17 June, and it would be livestreamed. The necklace from Nepal was at lot 328, and the auction order was already at 250. Time was of the essence. Smith stepped out of the conference hall in Patan to try to call the auction house in Brussels, couldn’t get through and sent them an email, commented on their website, and posted on Bluesky and Facebook. She also emailed the Dutch gallery mentioned in the provenance. During the live auction on www.invaluable.com, the lot came up for sale. But suddenly the auctioneer got a message from someone off-screen. He stated in Dutch: “This piece cannot be sold because there are problems with the origin. Withdrawn.” After the dramatic cancellation of sale, Smith found out that the former owner of the necklace was a Tibetologist who acquired it in 1995 from a collector in Groningen, who had purchased it in the 1970s from a gallery in Amsterdam. “The art market needs to know that there is no excuse to auction off invaluable and inalienable Nepali cultural objects like this stunning Pratap Malla necklace,” Smith told Nepali Times. “Nepali activists have worked tirelessly to raise awareness about the devastating consequences of the market demand for Nepal's irreplaceable cultural heritage, so auction houses, art dealers and buyers should know better by now. We can all hold them accountable for their role in the looting and destruction of Nepal's heritage.”

Sonia Awale

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Repatriation for reconciliation

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

Recent outrage in Sikkim over an Indian Army expedition climbing <a href="https://nepalitimes.com/here-now/saving-kangchenjunga">Kangchenjunga</a>, the world’s third-highest peak, has spiked attention to the need to balance mountaineering jobs with indigenous reverence for sacred landmarks. Kangchenjunga (8,586m) is not a peak as much as it is a mountain range with 16 peaks above 7,000m on the border between India and Nepal -- the word itself means ‘five treasures of the snows’ in Tibetan. Some of the highest prominences like Kangchenjunga West and Kangbachen are in Nepal, while the Main, Central and South Peaks are on the border. Climbing the peak from the Indian side has been banned since 2001 because the indigenous Lepcha community there regard the mountain as the abode of Dzoe-nga, the patron deity of Sikkim, which was an independent Himalayan Kingdom until it was annexed by India in 1975.&nbsp; Buddhists in Sikkim say their saint, Padmasambhava, recognised the mountain as a protective spirit. The state has declared the base of the mountain Kangchenjunga National Park, which covers an area one-third of Sikkim. ‘The act of scaling this sacred peak is not only a matter of serious concern but also a violation of both the prevailing legal provisions and the deeply held religious beliefs of the people of Sikkim,’ read a letter from Chief Minister Prem Singh Tamang (Golay) to Amit Shah, India’s Minister of Home Affairs and Cooperation.&nbsp; Tamang continued: ‘We further request Your Honour to take up the issue with the Government of Nepal to ensure that no future expeditions are permitted on the sacred mountain, in deference to the deeply held beliefs and cultural values of the people of Sikkim.’ Kangchenjunga was climbed for the first time exactly 70 years ago by a British team who told King Tashi Namgyal, the Choegyal of Sikkim, that they would not set foot on the summit. Since then, there have been about 532 successful climbs of the peaks and 52 have died while trying.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250628060616_5c268e08cf49f36b79ef9b31933fc2d9bf9a6f65414e7ca06dd028bf04e7ccc1.png" data-media-id="editor_1" data-image-id="20250628060616_5c268e08cf49f36b79ef9b31933fc2d9bf9a6f65414e7ca06dd028bf04e7ccc1" data-rendition-name="original" width="1782" height="1178" loading="lazy" alt="Kangchenjunga: too sacred to climb NT"> <figcaption>Indigenous communities in Sikkim held purification ceremonies following the Indian expedition to Kangchenjunga. Photo: THE VOICE OF SIKKIM / FACEBOOK</figcaption> </figure>  <a href="https://nepalitimes.com/here-now/peak-climbing-season-2025-s4abrxny">This spring climbing season</a> alone, there were 70 climbing permits for foreigners issued for Kangchenjunga by the Nepal government, and made it to the top while one French climber died.&nbsp; One of the expeditions this year was an Indian Army team led by Col Ranveer Jamwal, who has summited the highest peaks on all seven continents, and Mt Everest thrice. Jamwal’s team was on the final leg of a ‘<a href="https://economictimes.indiatimes.com/news/india/nimas-summits-mt-kangchenjunga-concludes-historic-har-shikhar-tiranga-mission-successfully/articleshow/121341315.cms?from=mdr">Har Shikhar Tiranga</a>’ (The Tricolour on Every Peak) mission to plant the Indian flag at the highest points of each of India’s 28 states. Kanchenjunga was the last peak they had left, and the hardest, but the expedition put five climbers on the summit. What seems to have incensed the Sikkimese is that while it has banned climbing the mountain from its side, it was an Indian military expedition that went to Nepal to climb the mountain. After news broke of the climb in May, the Sikkim Indigenous Lepcha Tribal Association asked people to observe purification ceremonies in temples across the state. Mayalmit Lepcha of the association acknowledged that the Sikkim government was also partly at fault: “I don’t think such an expedition could have gone forward without the state government being informed, so it could have done something to intervene. It shows weakness. What’s done is done, all we can do is carry out these sanctification ceremonies.”&nbsp; In 2000, one year before Sikkim’s ban, the state allowed an Austrian team to attempt Kanchenjunga’s northeast face for a fee of $20,000, on agreement that they would stop 10m before the summit. Despite this, there was outrage over the expedition on the grounds that it violated Indian laws regarding the defiling of religious sites and Sikkim’s rights to maintain its culture after merging with India. The Indian Army expedition was also seen to have circumvented Sikkim’s law and violated religious sensibilities by going through Nepal. While the team may have thought they were respecting Sikkim’s beliefs by finding a way to complete the mission, the people of Sikkim saw it as defilement.&nbsp; The somber mood of the Sikkim people at the ritual contrasts sharply with Jamwal’s sense of accomplishment. “Without a doubt, the most difficult summit of my life,” he told reporters after the climb. “It tested every ounce of our will.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250628060616_ccfe079c78dab788d19fe2080ee8a5d5dcb11de4157316f6d94e5964da097157.jpg" data-media-id="editor_4" data-image-id="20250628060616_ccfe079c78dab788d19fe2080ee8a5d5dcb11de4157316f6d94e5964da097157" data-rendition-name="original" width="787" height="377" loading="lazy" alt="Kangchenjunga: too sacred to climb NT"> <figcaption>Prayer flags along the Sikkim-Kangchenjunga trekking route. Photo: TREKKINGININDIA.COM</figcaption> </figure>  The <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">controversial Nepali-British mountaineer Nirmal Purja</a> was also on Kangchenjunga this spring the mountain, on a mission to summit all 14 8,000m peaks for a third time. He echoed Jamwal about the tough conditions: “The conditions above camp were extremely tough, with deep snow and challenging terrain—more crevasses than usual.” Nepal’s government has not said anything publicly, but it is unlikely that it will ban climbing on Kangchenjunga, since it is becoming popular with expeditions because of its technical challenges, and overcrowding on Mt Everest. Nepal does have bans in place for some of its mountains out of respect for local beliefs. <a href="https://nepalitimes.com/banner/to-open-machapuchre-for-mountaineering-or-not">Mt Machapuchre</a> (6,990m) the imposing pyramid that looms over Pokhara, for example, is seen as an icon of purity by the Gurung people and a symbol of Vishnu by the Hindu communities who live at its base. A strict climbing ban has been in place since 1957, when a British expedition led by Col Jimmy Roberts stopped 45m short of the summit – either because the last bit was too difficult or out of deference to local sentiments.&nbsp; Khumbila that stands above Namche Bazar is only 5,761m high, but like Kanchenjunga is considered the protector deity of the Sherpa people. Gauri Shankar on the Nepal-China border, called Chomo Tseringma by the local community, was off-limits between 1965 and 1979 due to its association with Lord Shiva and Gauri, his consort. Although expeditions are now allowed, there are not too many takers. In Tibet, climbing Mount Kailash is prohibited by the Chinese government because it revered by the Hindus, Buddhists and followers of the Bon faith. Even Mt Everest is regarded as sacred, and its Sherpa name is Chomolungma, Goddess Mother of the Earth.&nbsp; Economically, climbs on Kanchenjunga bring in decent revenue. This climbing season, the 41 permits, at $1,800 each, brought in $73,800. This is somewhat comparable to Makalu, Lhotse, and Annapurna I, but these numbers are dwarfed by the $4 million in <a href="https://nepalitimes.com/news/the-everest-industry">Everest permits</a>. Revenue from Kanchenjunga climbing permits is something Nepal could potentially forgo if necessary, but the expeditions also provide jobs to hundreds of high altitude guides, porters, base camp support staff and other logistical costs.&nbsp; As the third highest mountain in the world and the tallest in India, there will always be significant motivation to climb it from the Nepal side, especially as climbers are drawn by the technical climbing at high altitude.

Kangchenjunga: too sacred to climb?

The debate about who is less accountable to the public: politicians or bureaucrats is as old as Nepal’s democracy itself.
Some blame politicians for being beholden to the businessmen who finance their electoral campaigns, and are forced to return the favour with contracts and kickbacks when in power.&nbsp;
Others say it is civil servants who are neither civil nor servants, and know the inner workings of the system to exploit loopholes – they then teach ministers, MPs, mayors, or ward chairs which juicy projects can be squeezed. And everyone gets their share.
In reality, it is probably not a case of either, or. Both have their hands deep in the honey pot. Corruption is now such a given that yet another exposé in the mainstream press, like the latest visit-visa scam, does not raise eyebrows anymore.
We may have to edit Lord Acton’s famous quote to say that in Nepal we do not even need absolute power to corrupt absolutely. The ruling cartel has divvied up the spoils, so that no one ever faces charges. The three parties all know about the skeletons rattling in each other’s closets, and they cancel each other out.
Politicians and bureaucrats get all the blame for taking bribes, but what of the givers of bribes? In this crony capitalism, businesses invariably need political patrons in an elaborate <a href="https://nepalitimes.com/here-now/nepals-only-growth-industry-private-sector-corruption" target="_blank">national network of give-and-take</a>.
<a href="https://nepalitimes.com/here-now/nepals-only-growth-industry-private-sector-corruption" target="_blank">Politicians and businesses work hand-in-glove</a> so that conflict of interest in contracts, insider trading, cartelling, and non-performing assets of banks become the norm. Our survey after the 2017 local election showed that out of the 753 newly-elected local government chairs, <a href="https://nepalitimes.com/news/elected-contractors" target="_blank">nearly 300 were contractors</a> involved in sand-mining, quarrying, or transportation syndicates.
Nepal’s tycoons have discovered that instead of donating to election war chests of politicians, it is a much surer return on investment to spend the money to <a href="https://nepalitimes.com/news/the-business-of-politics-in-nepal" target="_blank">become legislators and politicians themselves</a>.
In democracies, there are checks and balances to control corruption when it becomes endemic. The Nepal Police and Central Bureau of Investigation (CBI) are supposed to do the detective work without political interference. The courts are required to be independent in dispensing justice and punishing crooks.
But the less said about the judiciary the better. A writ petition in the Supreme Court last week accused our sister magazine <a href="https://www.himalkhabar.com/" target="_blank">HimalKhabar</a> of contempt of court for two stories: one about how high courts have been overturning a majority of verdicts of district courts in cases of rape, and another about the Biratnagar High Court clearing a self-proclaimed holy man, Krishna Bahadur Giri, of rape despite police presenting physical evidence.
The doctrine of the separation of powers stipulates that it is when the other three pillars in a democracy are compromised that the role of the free press becomes even more vital. The world over, as soon as populist autocrats are elected to the executive, their first order of business is to co-opt the legislature and the judiciary. Then they buy off, intimidate, or neutralise the media with Strategic Lawsuits Against Public Participation (SLAPP).
Nepal’s officialdom seems to be taking midnight Zoom lessons from other despots on how to gag the media. Last month, popular talk show host Dil Bhushan Pathak was served an arrest warrant by the Kathmandu District Court for <a href="https://www.youtube.com/watch?v=-CntsnTrtG8" target="_blank">a YouTube explainer</a> about the alleged involvement of the son of Foreign Minister Arzu Deuba Rana in a reported purchase of Kathmandu’s Hilton Hotel.
The Lalitpur District Court ruled that Pathak could not be arrested without fair trial, but this week the Kathmandu District Court filed another case against the journalist based on a complaint by the Cyber Bureau, and put him on a fugitive list.&nbsp;
Without going into the veracity of Pathak’s explainer, it is deeply problematic that the Electronic Transaction Act has been invoked – proof that politicians are getting the courts and investigating agencies to make an example of a high profile journalist.&nbsp;
The intention is to silence media investigations into the fake refugee scandal in which the main partner in the ruling coalition is implicated, and in which one of its former home ministers was jailed last year.
The Kathmandu High Court has been mysteriously active in targeting journalists these days. <a href="https://bizmandu.com/" target="_blank">Bizmandu</a> and <a href="https://nepalkhabar.com/" target="_blank">Nepalkhabar</a> were served a notice last month <a href="https://nepalitimes.com/news/no-freedom-after-expression-y4inku06" target="_blank">to withdraw a story they did</a> on the Chair of the <a href="https://www.sebon.gov.np/" target="_blank">Security and Exchange Board of Nepal (SEBON</a>) Santosh Narayan Shrestha allegedly demanding kickbacks from hydropower investors.&nbsp;
Incredibly, the court even asked the two portals not to report on the subject anymore – a ruling so absurd that the Patan High Court overturned it a week later.&nbsp;
The allegations against Shrestha were made in a public meeting of the <a href="https://www.ippan.org.np/members/3060/bungal-hydro-ltd" target="_blank">Independent Power Producers Association of Nepal (IPPAN)</a>, and MPs demanded a <a href="https://myrepublica.nagariknetwork.com/news/parliament-demands-probe-into-sebon-chairman-over-alleged-commission-demand-40-32.html" target="_blank">Parliament inquiry</a> into the regulator. <a href="https://www.himalkhabar.com/144523/santosh-narayan-shrestha" target="_blank">HimalKhabar</a> reported this week that while Shrestha was reportedly demanding commissions from private investors for IPOs, he cleared primary share sales in Bajhang’s 10.75MW <a href="https://www.ippan.org.np/members/3060/bungal-hydro-ltd" target="_blank">Bungal Hydro</a> in which his family members have investments, company records show.
And then just on Monday, bureaucrats hoodwinked MPs by deleting references in a bill requiring a two-year ‘cooling off’ period under which retiring civil servants could be barred from holding constitutional positions for two years.
The contest for who is more corrupt: bureauacrats, politicians, or the private sector is on.
Kunda Dixit

SLAPPing Democracy

The monsoon this year arrived on time, and brought life-giving rain — irrigating paddy terraces, recharging groundwater, reviving springs, and increasing electricity generation.
But Nepal has to deal with either too much water or too little. On a clear April day before the monsoon, the hills of Sindhuli district were parched, and there were wildfires burning out of control. There had been no rain for the past six months.
And that has been the perennial crisis for Nepal’s farmers: that 85% of the rainfall occurs during just four months of the monsoon with little rain for the other eight months.&nbsp;
The water crisis is related to the powerful changes sweeping the mid-hill region of Nepal. With better roads, higher incomes and more exposure, many residents now aspire to have the kind of water supply seen in urban homes. They want hot or cold water at the turn of a tap, showers and flush tank toilets.&nbsp;
To meet this rising demand, many local and provincial governments are investing in large water supply projects often by lifting water from rivers hundreds of metres down the mountain. But these new systems may not be sustainable in the long run.
Many villages in Sindhuli are switching from local springs to piped systems, and even in rural homes, overhead tanks are becoming common.
But this new convenience comes with big challenges. Lifting water from rivers far below requires long pipes, electric pumps, and constant maintenance. These systems are costly, and the streams themselves often shrink to a trickle in the dry months. Big water-lifting schemes look impressive, but there is doubt if they can meet growing water demand.
A much more sustainable solution would be what some communities are doing: restoring old ponds or build new recharge systems. But those villages are exceptions, in most places traditional ponds and wallows are being filled up to be turned into sports fields, or make way for buildings.
Where there are new ponds, they are sometimes in the wrong places or without proper design. Roads and drains are not engineered properly and have increased landslides and erosion. Water management in hilly areas is not just about building things, it is about building in the right way, in the right place.
Traditional water systems were based on nature. They were not perfect, but they used the land wisely. Ponds used to hold rainwater and slowly refill springs which supported families, farms, and forests.&nbsp;
Not everything worked well in the past, but we can learn from traditional water management practices. Across Nepal, some rural municipalities have launched campaigns to store monsoon runoff — either in tanks, ponds or by recharging the aquifers.
But not all efforts have been successful. Some ponds are built without any hydrological study. Some are rushed to meet deadlines rather than real needs.&nbsp;
Now, the Muhan initiative hopes to revive springs to make households more resilient and help farmings. With the financial support of the Australian Centre for International Agricultural Research, research is being done to understand how springs work and how they are affected by changes in rainfall, land use, and development.&nbsp;
Instead of just building pipes and tanks, the project maps the entire springshed so we can understand the root cause of water shortage. In Sindhuli, the problem is not the amount of rain, but the loss of natural systems that store it and the social systems that manage water.&nbsp;
Nepal’s towns and villages now face a major challenge: how to manage water all year round as demand rises with people’s living standards. Depending only on river-lift systems is not a sustainable solution.&nbsp;
We need a mix of approaches that help store water from the rainy season to make it available for the rest of the year, whether by directly harvesting rainwater, restoring ponds, managing springsheds, or smart management of demand.
Rural Nepal is also seeing dramatic depopulation. Much of the outmigration can be stemmed if there is easier water supply for agriculture and household use. Across the mid hills, villages are emptying because springs are going dry. Government policy needs to catch up with the reality on the ground, and support solutions that work for people and nature. Every water supply plan should include recharge structures. Every road or building project should consider water flow and erosion. Local governments need more than budgets: they need training, tools, and data.
Ngamindra Dahal is with the Nepal Water Conservation Foundation, Kathmandu. Hemant Ojha collaborated in this piece and is associated with the Australian National University.

Water for Life

<a href="https://nepalitimes.com/multimedia/the-last-of-the-kusunda">The Kusunda</a> are among the last remaining hunter-gatherer communities left in Nepal, and it has only one fluent speaker left of a language that is not related to any other language group in South Asia.&nbsp; The Kusunda call themselves the King of the Forests ((गेम्येहाक़ in Kusunda,वन राजा in Nepali) and used to have a nomadic lifestyle till recently. But decades of exclusion from mainstream society and modernity have forced the Kusunda to assimilate. &nbsp; Today, most Kusunda live across Nepal’s mid-hills and western plains, choosing to identify themselves as Thakuri and adopting names like Sen, Shahi, and Khan to avoid ostracisation. Over time, inter-ethnic marriages between the Kusunda and other communities became increasingly common.&nbsp; However, the assimilation with other communities also meant that almost no one from the Kusunda community can speak their mother tongue – considered by linguists to be a ‘language isolate’ not related to any other language group in the world, and lacking set rules of grammar that are foundational to other languages. There are no words for ‘Yes’ or ‘No’ in Kusunda, nor are there words to signify direction. There are 23 languages with less than 1,000 speakers listed in Nepal's 2021 census, with Kusunda being the language with the least number of speakers. The number of people who identified as Kusunda has decreased with each subsequent census. Only 253 individuals identified themselves as Kusunda in the last National Census of 2021, down from 273 in 2011.&nbsp; <div class="embed-block"><iframe src="https://creators.spotify.com/pod/show/raithane-bhakha/embed/episodes/Kusundas---the-last-of-the-forest-kings-e23ge6p/a-a9peei1" height="102px" width="400px" frameborder="0" scrolling="no"></iframe></div> The government’s decision to provide a social security stipend to the community for the past few years has prompted many from the Kusunda community to reclaim their identity and in the process, explore their culture and language. Kamala Sen Kusunda, who lives in Dang, is the only fluent native Kusunda speaker alive, although there are now other Kusunda and non-Kusunda people learning how to speak the language. By the time Kamala Sen Kusunda was born in 1975, her family had settled in a village in Rolpa. Although she did not experience the nomadic life of her forebears, she still roamed the forests freely as a child and many of the values and socio-cultural practices of her community were instilled in her and her siblings.&nbsp; This meant that Kamala grew up speaking Kusunda with her family. But by then, the Kusunda had increasingly begun to interact with people beyond their community, and inter-ethnic marriages had become a norm.&nbsp; Kamala herself married at 18 to a 52-year-old man from the Chhetri community. She would go on to have four children, but they were brought up with her husband’s culture and community rather than her own, and teaching them her mother tongue seemed impractical.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250628030648_afaa298bf8ea3b7086e2ed086b11eab463ef2b20a82a4aad74df3dd2e922a4c3.jpg" data-media-id="editor_2" data-image-id="20250628030648_afaa298bf8ea3b7086e2ed086b11eab463ef2b20a82a4aad74df3dd2e922a4c3" data-rendition-name="original" width="855" height="641" loading="lazy" alt="Kusunda NT"> <figcaption>Gyani Maiya Kusunda with Kusunda youth in 2015.</figcaption> </figure>  “If I had spoken my language to them when they were children, they would have learned,” she tells us ruefully. “But they were growing up in a different community, so I never pushed, and they never expressed interest.” At the time, she had other things to worry about, such as earning a livelihood and sustaining her family. To find work, Kamala and her family moved to Shimla in India, where she worked at an apple orchard for six years.&nbsp; Over the next years, Kamala and her family moved back and forth between India and Nepal for work, and Kamala was not actively conversing in the language of her people or being able to connect with members of her community now scattered across Nepal.&nbsp; Had she not forgotten her language after all those years? “How could I forget the language of my ancestors?” she replies. “Not speaking it did not mean that it ceased to be a part of me.”&nbsp; Kamala had been working at a brick kiln in Thimi seven years ago when the National Language Commission tracked her down, offered her a paid position as a Kusunda language consultant and source person for basic language training in Dang.&nbsp; It was there that Kamala met her cousin Gyani Maiya Sen Kusunda, the only other person able to speak Kusunda fluently, who had been working with the Commission to conserve Kusunda language and culture. It was also where Kamala met language researcher and lexicographer Uday Raj Ale. Ale had been in the middle of his research into the Tharu language and community 15 years ago when he met Gyani Maiya Kusunda’s son, who told him that his mother was one of the few people who spoke Kusunda, but that no one had shown an interest in studying and preserving the language and culture. Ale met Gyani Maiya, spending time with her learning and researching Kusunda. By 2017, Ale had collected enough words to put together a Kusunda dictionary. The Kusunda vocabulary currently comprises 2,000 words. His research into the Kusunda language and culture has taken him to every known Kusunda household in Nepal. Although the census puts the number of Kusunda at 253, Ale reckons there are only 158.&nbsp; “Kusunda language is endangered due to its lack of use in everyday life, literature, and religious and socio-cultural practices, as well as the prevalence of inter-ethnic marriages,” explains Ale. In 2019 the Language Commission began its language transfer programs for youth from indigenous communities. Since then, the Commission has completed multiple phases of Kusunda language classes in Dang facilitated by Uday Raj Ale. The classes have 20 students, not just from the Kusunda community, but also interested non-native students.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250626120632_c6c378bc00af450f2b7f0cf17af1c3b2b6f7b7226927c458c3e01ec389869d33.jpg" data-media-id="editor_3" data-image-id="20250626120632_c6c378bc00af450f2b7f0cf17af1c3b2b6f7b7226927c458c3e01ec389869d33" data-rendition-name="original" width="1485" height="1535" loading="lazy" alt="Kusunda NT"> <figcaption>Students learning Kusunda with instructor Uday Raj Ale (second row, left)</figcaption> </figure>  Khamba Rokaya, who worked as a caretaker for young Kusunda children in Dang, became interested in learning the language as she sat in with the children during their lessons, and for the last few years has been among the few non-native Kusunda language learners in Dang. “I am not from the Kusunda community, but now that I have learned the language, I hope to do my part to carry on the work and share my knowledge with as many people as possible,” she says. “One way to ensure that we preserve this language is to extend its speaker base, both within the Kusunda and non-native communities.” Ale and Kamala have continued to work together since Gyani Maya’s passing in 2020, expanding the Kusunda vocabulary and creating appropriate curricula to fit the needs of the students as their knowledge of Kusunda expands.&nbsp; But without any documentation of Kusunda history, the community’s traditions, stories, values and language were at risk of being lost to time. “The loss of an ethnicity, language or culture in a country is akin to losing a vital organ, and a unique perspective of looking at the world,” says Ale. Which is why Archive Nepal in collaboration with the British Council’s Cultural Protection Fund and the UK’s Department of Culture, Media, and Sport in February launched a book of creative writings in the Kusunda language titled पिन्डा (meaning ‘The First’ in Kusunda): A Compilation of Kusunda Literature. The book is a collection of informative essays about the Kusunda language and culture, short stories that explore themes from nomadic life to universal Nepali experiences of poverty and migration, letters to loved ones, as well as conversational pieces by five Kusunda students ranging from ages 16 to 30. The works in the Kusunda language are also translated into Nepali and English.&nbsp; “Language is an important part of ethnic identity, and our indigenous languages cannot evolve or be conserved unless they are spoken or taught,” said Ale during the launch of the book earlier this year. “But most importantly, language exists as long as there exists literature in that language.” Kamala was in Kathmandu for the launch of the book, and smiled proudly as she looked at the young writers who had contributed to the collection. She said: “I’m glad the young people have chosen to learn and preserve Kusunda. Otherwise, our language would have died with me.” &nbsp;

heritage