Near Pimbahal Pokhari in Patan is a vast courtyard lined with historic Newa houses. At the centre is the two-tiered pagoda of Ratneswar Mahadev.&nbsp; The original carvings on the windows, doors, cornices date back at least to the 14th century. However, radio-carbon analysis of a sample taken from the western doorframe of the temple suggests a date somewhere between 1020 and 1210 CE, making the 8m-tall temple one of the oldest tiered structures in Kathmandu Valley. Sixteen beautifully carved wooden struts support the temple roofs, and most of these were stolen in the 1970s and 1980s, along with the other wooden carvings of the temple. The struts depicted the distinctively stylised and elongated figures of Salabhanjika: standing full breasted slender figures, with wide hips and crossed legs, holding a tree branch with one hand. They stood above the yaksas, their male counterparts, who are by contrast stout and unrefined.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023051714054_8367e31a8ae034d0f61889f1cb360d696f2c0229b98f4c2ddda0e4423eca6c1b.jpg" data-media-id="editor_0" data-image-id="2023051714054_8367e31a8ae034d0f61889f1cb360d696f2c0229b98f4c2ddda0e4423eca6c1b" data-rendition-name="original" width="3259" height="4888" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> </figure>  By the 1980s, the temple had further deteriorated, the roof had collapsed and all but two of the temple’s original primary struts had been stolen. Those only survived because one was buried in debris inside and another was taken by a sympathetic neighbour for safekeeping, and both are currently on display at the Patan Museum. One of the stolen struts was finally returned to Patan this week from Australia’s Art Gallery of New South Wales (AGNSW) where it was located in 2001, almost 50 years after it was stolen.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023051714054_1229837934f7f8770a9da7281b640b5172b35912cedfddf20be3bfecf3869bdd.jpg" data-media-id="editor_1" data-image-id="2023051714054_1229837934f7f8770a9da7281b640b5172b35912cedfddf20be3bfecf3869bdd" data-rendition-name="original" width="3259" height="4888" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> </figure>  AGNSW Director Michael Brand formally handed over the strut to Heramba Raj Rajopadhyay, the head priest of the Ratneswar Temple on 16 May 2023. In attendance were Australia’s Assistant Foreign Minister Tim Watts (see interview, below) and Mayor of Lalitpur Metropolitan City Chiri Babu Maharjan. Watts said at the ceremony: “In 1975, thieves took it, illegally removed it. A collector acquired it, treasured it. When he died, he donated it. It sat in an Australian art gallery, which exhibited it, honoured it. People came to see it, were moved by its elegance and craft. But it didn’t belong there either – that wasn’t its home.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023051714054_8e1507cca47cdba601fa25db3cfd484c6f0cc6a0436094d36dbc8adccf335d2a.jpg" data-media-id="editor_2" data-image-id="2023051714054_8e1507cca47cdba601fa25db3cfd484c6f0cc6a0436094d36dbc8adccf335d2a" data-rendition-name="original" width="2859" height="4288" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> </figure>  Thousands of stone, metal and wooden heritage have been stolen from the Kathmandu Valley since the 1970s and, as with many of these artefacts, how this particular strut was smuggled out of the country remains a mystery.&nbsp; What is known is that in the intervening years, the strut changed hands until it reached Alex Biancardi, an Australian-British collector of Asian art. Coming from an old family from Alexandria in Egypt, Biancardi arrived in Australia in 1947 after a stint in the air force, where he became a textile trader. He returned to France in 1962 but would frequently revisited Australia. He died in November 1998, bequeathing much of his collections to the AGNSW, including the Ratneswar strut in 2000. In 2001, scholar Mary Slusser informed the gallery that she had taken photographs of the struts in 1969 before they were stolen. The gallery began its own research to find out more about where it came from, but because of the turmoil in Nepal after the royal massacre could not return it.&nbsp; Brand first visited Nepal with his brother in 1973 when he was only 15 and met architectural conservator John Sanday who was then leading restoration work on the Hanuman Dhoka.&nbsp; Read also: <a href="https://www.nepalitimes.com/review/remembering-nepals-lost-and-the-found">Remembering Nepal's lost and the found</a>, Ashish Dhakal He told Nepali Times: “Nepal changed my life, and ultimately led to me studying the art of South Asia before becoming a curator, and then an art museum director.”&nbsp; Brand would then later join the J Paul Getty Museum in Los Angeles in 2005 as its director. In 2010, the Getty was under extreme pressure from the Italian and Greek governments to return Italian, Greek and Etruscan antiquities.&nbsp; Getty returned 45 artefacts to Italy, signing an agreement for cultural exchange, which allowed for the museum to borrow on long-term loan other objects.&nbsp; So, when heard about the Ratneswar strut at the AGNSW, Brand was already experienced in working through these issues and realising what the best approach would be. “The number one goal for me to protect artefacts from looting no matter where it stays,” he says.&nbsp; Back in Nepal, restoration of the temple began in earnest in 1992 by the KVPT and World Monuments Fund (WMF). Replicas of the stolen struts were designed based on Slusser's photographs and the caretaker's memories by Indra Kaji Shilpakar in 1998.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023051714054_1179ac406a52a64d07796476b00bc0310ae9522cd11ab9cb6f8c2cae1a123c32.jpg" data-media-id="editor_4" data-image-id="2023051714054_1179ac406a52a64d07796476b00bc0310ae9522cd11ab9cb6f8c2cae1a123c32" data-rendition-name="original" width="2933" height="4399" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> </figure>  But immediately after the first restoration, one of the strut reproductions and the toran were stolen, with the most recent theft 10 years ago. Slusser then wrote: ‘Attempts to steal the modern reproductions from the temple made it clear that the (AGNSW) strut had best be left on loan to Australia.’&nbsp; Between 2001 and 2006, the Gallery and the KVPT investigated options for returning the sculpture and agreed that, for safekeeping, the Gallery would retain custody of the strut. Roshan Mishra of Nepal Heritage Recovery Campaign notes that Slusser however did not have the authority on where the strut should stay, that say belonged to the community of Sulima. On a visit to the AGNSW in 2019, Mishra found that the gallery displayed the strut, specifying that it was originally from the Ratneswar temple in Patan, which he says was unusual for galleries and museums to do.&nbsp; The discussions between the gallery and Nepal government were once again hampered by the 2015. But the strut was formally deaccessioned by the gallery in 2022, and the governor of New South Wales signed off on the return.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023051714054_0e8bd039620dfb76662ed1dc1d9ef189cbe47aa278fdbb58544c22bb035369ff.jpg" data-media-id="editor_5" data-image-id="2023051714054_0e8bd039620dfb76662ed1dc1d9ef189cbe47aa278fdbb58544c22bb035369ff" data-rendition-name="original" width="3071" height="4606" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> </figure>  Brand adds that the return and his trip to Nepal are important to build a relation with curators, scholars, the Department of Archaeology, the ministries, the community in Nepal and Australia. “Nepal is fortunate to have such fantastic culture that people are interested in,” he says. Two other struts from the Ratneswar Temple have since been located by Lost Arts of Nepal: one in the collection of Chino Roncoroni, and other with Theresa McCullough in London. The return of the strut is among the many stolen cultural heritage returned in recent years from museums, galleries and collections abroad. On 11 May 2023, the American Homeland Security Investigations handed over to the Embassy of Nepal in DC 40 artefacts, including 39 engraved and painted wooden panels and a carved wooden shrine dated to the 19th-20th century. Earlier, stone statues of Uma Mahesvara, Chaturmukh Shivlinga, Nagaraja, Padmanpani and Shakyamuni Buddha were repatriated and wooden statues of Nritya Devi and standing stone statue of Lord Buddha. &nbsp;&nbsp;&nbsp;&nbsp; Read on: <a href="https://www.nepalitimes.com/banner/faith-stolen-lost-in-nepal-found-in-america?fbclid=IwAR339kc1dVacPz-FtNvJMdX7wBCk68KWkYD9EYasJsPphlbsQdwG-cfMkSg">Faith Stolen: Lost in Nepal, found in America</a> <h2>"The joy of returning it to the place it belongs"</h2> Australia’s Assistant Foreign Minister Tim Watts attended the historic handing over of the stolen strut from Patan’s Sulima Ratneswar temple on 16 May. He spoke to Nepali Times after the ceremony. Excerpts:  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023051714058_031d022cf7263778751f47e9e3fdee9583729390136a17354b103d83df40f521.jpg" data-media-id="editor_7" data-image-id="2023051714058_031d022cf7263778751f47e9e3fdee9583729390136a17354b103d83df40f521" data-rendition-name="original" width="1600" height="1066" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> <figcaption>The Australian Assistant Minister for Foreign Affiars Hon Tim Watts, MP, in conversation with Mayor of Lalitpur Chiri Babu Maharjan at the handing over ceremony for the Ratneshwar Mahadev strut on Tuesday. Photo: TIM WATTS MP/FACEBOOK</figcaption> </figure>  Nepali Times: How did you come to find out about the strut and why did you want to visit Nepal for its return?&nbsp; Tim Watts: As the Australian Assistant Minister for Foreign affairs, we often say that Australia’s foreign policy begins with our identity. Australia is one of the most multicultural countries in the world: half of Australians are either born overseas or have a parent born overseas. This connects us with every corner of the world which can look at Australia and see it reflected. We can look into ourselves and understand the world better. The Nepali Australian community is the fastest growing in Australia, with about 130,000 Australians having Nepali ancestry. I was interested in the Australia-Nepal relations in that context. I understand the deep importance of faith and culture for our diaspora community, and maintaining that connection with their country of origin. I became aware through the Embassy of Nepal of the discussions between the AGNSW, the Department of Archaeology in Nepal (DoA), and the Ministry of Culture, Tourism and Civil Aviation about the investigation into the provenance of this tudal (strut) from the Ratneswar temple, and its potential repatriation. And I thought this was enormously praiseworthy of the gallery and this was a model of the ethical practice in international obligations and wanted to show my support. The credit here goes to the AGNSW because they were the ones, when made aware of the potential problematic provenance of the tudal, engaged in the investigation, worked with the authorities in Nepal, and arranged for the repatriation. And my presence here is to throw the spotlight on [the repatriation] as the best practice and saying that the Australian government supports and endorses it. What can be the process for this best practice? Each artefact will have its own cultural context, its own history and present-day circumstance that will impact what the best practice is for it. Its safety is an important consideration, the changing cultural contexts of governments on both sides matter as well. There is not only one appropriate response. The momentum we have been seeing around the world for governments recognising where it is best to repatriate is a really positive thing that we want to show our support for.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230517140516_f801b6b3dc2661f380f13fa6b23c378cf737753d0f5956c5206b31689e4b1f8e.jpg" data-media-id="editor_8" data-image-id="20230517140516_f801b6b3dc2661f380f13fa6b23c378cf737753d0f5956c5206b31689e4b1f8e" data-rendition-name="original" width="4888" height="3259" loading="lazy" alt="Australian galley returns stolen strut to Nepal"> </figure>  Like Australia, Nepal is also a multilingual and multicultural country. How does it feel to witness the handing over? I found it to be enormously meaningful and a moving celebration, for a number of reasons. Firstly, being there on the ground, it was really clear how much this tudal meant to the local community, to see the joy of returning it to the place it belongs to them. It was not just a historical artefact but a living expression of culture. It was also meaningful to me as a representative of the Australian government that puts our identity at the heart of our foreign policy. I know how meaningful acts like this are to our Australian Nepalis. I had a number of meetings with the Nepali communities in Australia before I came here. The word that this happening had gone around, and people were really proud that Australia was the kind of country that returned cultural artefacts and didn’t unjustly hold on to them. Obviously, there are many cultural contexts of removal, et cetera, and it’s difficult to generalise. But in this particular instance, the best practice was to return it and I was proud to have been part of that. I was aware of an increasing number of artefacts returning to Nepal in particular, largely from the US, and I think that the momentum behind the returns is a really positive thing. That is part of why we were very keen on holding a public celebration of this repatriation, to draw attention to this as a model of the best ethical practice and international cooperation. It is important to us Australians to see that we not just repatriate the artefact but we model to the world on how we do this. A reason behind this is that many Australian cultural artefacts are held in institutions away from Australia, and more egregiously the remains of Indigenous Australians held in academic and cultural institutions. We have often sought the return of these to Australia because they are incredibly meaningful to Indigenous Australians who have a profound connection with the place and country they come from and it is enormously distressing for them when they are removed from the country. What does the repatriation of this strut from Ratneswar mean to the Australia-Nepal relations? There was intense cooperation between the Nepali and Australian governments, the embassy, and the DoA. I think that as a multicultural country, Australia has a lot of experience in the importance of cultural heritage to our diaspora communities. There is this phenomenon where the further you are from your mother country, the more intensely you value, celebrate and want to preserve that culture. As such, this is doubly meaningful for the Nepali-Australian community because it validates and supports their cultural practices and connects them to Nepal, and also gives them pride in their Australian identity – that they are a member of the country that does the right thing with respect to cultural artefacts. There is nothing more Australian than celebrating our multicultural identity. Read more: <a href="https://www.nepalitimes.com/here-now/how-nepali-antiquities-got-to-chicago-museum">How Nepali antiquities got to Chicago museum</a>, Alisha Sijapati

Ashish Dhakal

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Australian gallery returns stolen strut to Nepal

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723cbc9c7e80680e0c9634jpeg.jpg" alt="" width="3000" height="1422"/><figcaption>Interior of I-Baha Bahi. All photos: LOST ARTS OF NEPAL.</figcaption></figure>One of the oldest Buddhist monasteries in Patan is I-Baha Bahi. Official records date it to 1418 CE, but its history goes back millennia.The two-storey structure with a finial on top is located along the holy route of the annual Machindranath chariot procession, and is also known also as Rajashri Mahavihar or Singha Varna Mahavihar.Guarded by two large stone lions at the entrance, the vihar retains much of its original mud, brick and wood structure, which was renovated in 1995 with support from the Nippon Institute of Technology of Japan.Daily rituals are performed in the mornings and evenings by initiated members of the sangha who take turns every month. Rajashri Mahavihar also used to host the grand Bahidyo Bwoyego festival every year when sacred paintings, artefacts and statues of the gods used to be brought out for display during the holy month of Gunla in August.The whole community, and devotees from further afield, used to attend this parade of the gods, making offerings, chanting stotra and singing hymns.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723cbf9c7e80680e0c9635jpeg.jpg" alt="" width="3000" height="1422"><figcaption>Amoghapasa Lokeswar and Dipankar Buddhas on display in I-Baha Bahi.</figcaption></figure>But one day in 1970 when sangha members were busy preparing for the ritual, they discovered that the sacred treasury above the main shrine had been broken into the night before, and the gods had been stolen. No written record existed of what was lost: there were only the memories of elders and caretakers.The Jesuit scholar John K Locke in his 1985 book <a href="https://archive.org/details/BuddhistMonasteriesOfNepalSurveyOfBahasAndBahisOfKathmanduValleyByJohnK.Locke">Buddhist Monasteries of Nepal: Survey of Bahas and Bahis of Kathmandu Valley</a> writes: ‘The bahi originally had quite a collection of old wood and terracotta images but most of these have disappeared in the last ten years and what remains is thrown in a corner near the entrance, damaged and unattended.’Then in 2015, almost as though the gods themselves ordained it, a colour photograph was discovered. It was taken in 1969 by scholar Mary Slusser and published in her article <a href="https://www.asianart.com/articles/paubhas/index.html#23">Conservation Notes on Some Nepalese Paintings</a> published in 2003.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723cc39c7e80680e0c9636jpeg.jpg" alt="" width="3000" height="1422">In the picture, five large wooden sculptures can be seen, along with four empty pedestals. Two other pedestals that had small miniature sculptures which did not belong there originally were also in the photo.This image was the starting point in our long saga of tracking down the sacred objects stolen from the Rajashri Mahavihar in 1970: three Nrityadevi images, one Chintamani Lokeswar, and one standing Tara.We showed Slusser’s photo to 84-year-old Saraswati Tamrakar who lives just behind the vihar in Patan (pictured above). She told us: “The deities used to be displayed on the ground floor during Gunla and the corridors would be filled with different gods. It was a sight to see.”Using Slusser’s in situ photograph, we at Lost Arts of Nepal began our investigation, scouring auction sales, private collections and museums across the globe.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723cc69c7e80680e0c9637jpeg.jpg" alt="" width="2160" height="2652"><figcaption>Colour in situ photograph by Slusser of the three Nrityadevi, one Chintamani Lokeshwar and standing Tara with their matches in the collections of several US museums.</figcaption></figure>Eventually, the Chintamani Lokeswar (No4) was traced to the Los Angeles County Museum of Art (LACMA), but the picture in the database of the collection did not match the one in Slusser's photograph. The Lokeswar in her picture held a tree branch with the proper-left hand while the deity in the museum's catalogue held it in its proper-right hand. The statue had been donated to LACMA by Anna Bing Arnold in 1984.We thought the Lokeswar in the photograph in Slusser’s book and LACMA could have been part of a pair. We posted the photograph online, titled 'Lost Twins' in March 2018 to get some response from the museum.Photographs from the University of Michigan Archives taken in 1988 of the LACMA collection were then discovered. Among these was another picture of the same Lokeswar which matched perfectly with Slusser's picture. The photograph on the museum website turned out to be a mirror image, and LACMA later corrected it on its website.Meanwhile, the search for the three Nrityadevi took us to the Metropolitan Museum of Art (The Met) in New York. This is a rare and unique subject in Nepal’s religious iconography, so it was easy to identify. One of the three from Slusser's photo was a perfect match for an image in The Met catalogue, complete with a broken proper-left hand (No5). The statue came to The Met collection from the Zimmerman family in 2016.Another Nrityadevi (No3) was discovered in 2019 when it was announced as an item for sale at the Bonham's Auction in New York. It had been acquired in New York in 1982 and was part of a private collection in Florida of an individual who had once served as a diplomat to Nepal. Their identity has been kept anonymous as they are willing to repatriate the statue to Nepal.The standing Tara (No1) was then located at the Art Institute of Chicago. This was a tough one to match, since in Slusser’s photograph it was wrapped in ceremonial garb with only its head and unique facial expression visible. The statue was gifted by the prominent collector of Himalayan art, Marilynn B Alsdorf, to the Institute in 2014.The Alsdorf collection had other stolen Nepali artefacts, and many of them still remain at the Art Institute, including the <a href="https://www.nepalitimes.com/here-now/how-nepali-antiquities-got-to-chicago-museum/" target="_blank" rel="noopener noreferrer">Taleju necklace dating back to the 17th century</a> CE from Hanuman Dhoka, stolen 46 years ago.The last remaining Nrityadevi (No2) was tracked to the Philadelphia Museum of Art. It had been purchased by the museum with the Stella Kramrisch Fund – named after another prominent scholar of Nepali art – in 2000.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723cc99c7e80680e0c9638jpeg.jpg" alt="" width="3000" height="1422"><figcaption>Interior of I-Baha Bahi</figcaption></figure>Ever since the deities were stolen 52 years ago, Gunla at the I-Baha Bahi has been a forlorn affair, and sangha members feel orphaned. Chaturatna Shakya of Patan remembers another instance in the 1980s when a large gilt copper image of the main deity of the vihar, Ashobhya, was stolen from the sanctum sanctorum at midnight.Another witness, Kanchha Shakya remembers, “There must have been more than 10 people. It was a heavy object, and the thieves had to drag it across the floor and down the steps to a waiting vehicle, leaving behind marks all along the way.”A police report was filed in the morning, but the culprits were never found. Instead, police interrogated sangha members, suspecting them of foul play, and to deter them from pursuing the matter. Many first-hand witnesses from the time have now died. Only stories and rumours remain, but a new generation is eager to know the whereabouts of the gods of their ancestors, and want them returned.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723ccc9c7e80680e0c9639jpeg.jpg" alt="" width="2880" height="2880"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723ccf9c7e80680e0c963ajpeg.jpg" alt="" width="2880" height="2880"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723cd39c7e80680e0c963bjpeg.jpg" alt="" width="3000" height="1420"><figcaption>Wooden fragments in the vihar. On top, match made by Lost Arts with the two photographs taken by Mary Slusser at the vihar which she wrongfully attributed to Yampi Mahavihar near the northern Ashok Stupa in Patan.</figcaption></figure>Besides the photograph of the five statues from I-Baha Bahi, Slusser took two more photographs around the same period, wrongly attributing them to Yampi Mahavihar near the northern Ashok Stupa in Patan. The wooden fragments, multiple wooden pedestals and broken limbs in the photos are actually from I-Baha Bahi.When Nepal opened up to the outside world, and the first visitors started arriving, observation and curiosity about Kathmandu’s ‘exotic’ culture eventually led to the objectification of spirituality. Statues of deities and sacred items that were still being actively worshipped, were reduced to objets d’art on their shopping lists.It signified a sense of superiority, a status symbol for Western museums and individuals to hold stolen cultural relics from the far ends of the world.In those days, people in Kathmandu Valley neighbourhoods would often wake up to the news of yet another god which had vanished in the night. They would go to temples for morning worship, and the deity would be gone. The gods that were supposed to protect communities, needed protection themselves.Over three decades, Kathmandu Valley was plundered, often with the connivance of local authorities, to meet the demand of art connoisseurs in the West. The gods that remain are still being stolen to this day. But unlike Grecian or Roman antiquities, these were not museum pieces, but represented the faith, identity and way of life of a vibrant culture that lives today.Many of the stolen objects were too big to be smuggled out in a suitcase. How could they have crossed borders, passed through customs and ended up in museums in America, Europe or Australia? It would not have been possible without the involvement of an organised art trafficking ring.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723cd69c7e80680e0c963cjpeg.jpg" alt="" width="3264" height="2184"><figcaption>The exterior of I-Baha Bahi in Patan, more popularly known as Rajashri Mahavihar.</figcaption></figure>It was pure luck that Mary Slusser's photograph was found. All five artefacts in it have been now identified and tracked to museums in America. According to the Department of Archaeology, 93 stolen gods have been returned so far, but the work does not end there: the gods need to be returned to Nepal and reinstated to their original shrines and purpose.Many stolen deities have been replaced with replicas, but for the communities it is not the same. They were a consecrated part of a much larger culture that lives and breathes, and their return can help us understand the legacy left by our ancestors.One day, at I-Baha Bahi the gods will all be on display again for the Bahidyo Bwoyego during the holy month of Gunla.Lost Arts of Nepal is an anonymously-run social media campaign dedicated to locating and assisting in repatriation of stolen gods of Nepal from museums and collection abroad. Begun formally in August 2015 as an awareness initiative, Lost Arts have succeeded in locating over 50 stolen artefacts.

Faith Stolen: Lost in Nepal, found in America

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203cb9c7e80680e0b2828jpeg.jpg" alt="" width="2560" height="1707"/><figcaption>A Memorandum of Understanding was signed by Bishnu Prasad Gautam, the Acting Consul General (left), and Dr Jorrit Britschgi, the Execute Director of Rubin Museum (right) for the return two wooden art works to Nepal. Photo: CONSULATE GENERAL OF NEPAL.</figcaption></figure>After increased international spotlight on stolen antiquities, the <a href="https://rubinmuseum.org/">Rubin Museum in New York</a> is returning two wooden carvings stolen in the 1980s from Kathmandu Valley temples that were in its permanent collection.Activists had been <a href="https://www.nepalitimes.com/here-now/2-more-nepali-antiquities-traced-to-us-museum/">lobbying for the return</a> of the 14th century flying Apsara/Gandharva stolen from Itum Bahal, and the upper section of the 17th century torana wrenched out of the main doorway of Yampi Mahabihara/I-Bahi in Patan.‘As custodians of the art in our collection, the Rubin recognises that we have an ongoing duty to carefully research the art and objects we collect and exhibit … the Rubin’s collecting activities adhere to the highest standards of ethical and professional practice related to provenance,’ said Jorrit Britschgi, Executive Director of Rubin Museum.<a href="https://nyc.nepalconsulate.gov.np/press-release-the-rubin-museum-of-art-to-return-two-wooden-art-works-to-nepal/">Britschgi signed an MoU with Bishnu Prasad Gautam</a>, Acting Consul General of Nepal in New York on 10 January.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203ce9c7e80680e0b2829jpeg.jpg" alt="" width="1440" height="1440"><figcaption>The 17th-century wooden Torana Stolen (left) and the 14th-century Flying Gandharva (right) was tracked by the Lost Arts of Nepal in Spetember 2021. Photo: LOST ARTS OF NEPAL.</figcaption></figure>Gautam said the Consulate and the Rubin Museum will “work closely in the promotion of art and culture” from the Himalaya.The Rubin has agreed to bear the cost for returning both the objects to Nepal, possibly by the third week of May. Until then the objects will remain in the custody of the museum.The Apsara, originally from Keshchandra Mahabihara, was added to the museum’s collection in 2003, while the torana in 2010. The online group <a href="https://www.facebook.com/lostartsofnepal/photos/2995487014105084" target="_blank" rel="noopener noreferrer">Lost Arts of Nepal</a> had tracked the objects to the museum’s collection and the <a href="https://nepalheritagerecoverycampaign.org/news/rubin-museum-to-return-nepalese-relics-thought-to-have-been-stolen/">Nepal Heritage Recovery Campaign</a> had alerted the Nepali consulate and the museum in September 2021 about the provenance of the two objects, after which Rubin had promptly withdrawn them from public display.Rubin said in a statement that the two objects – both extraordinary examples of traditional Newa devotional art – were the first in its collection found to have been unlawfully obtained.The Consulate General and the Rubin collaborated to verify the origins of the artefacts, and the museum engaged two scholars of Nepali art to examine and research their known provenance. The scholars found that the Gandharva went missing from Itum Bahal in 1999 and was purchased by the Shelley and Donald Rubin Cultural Trust four years later.According to Sandrine Millet, a spokesperson for the museum, the two artefacts were purchased in private sales, but she declined to name the dealers.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203d29c7e80680e0b282ajpeg.jpg" alt="" width="1920" height="2560"><figcaption>The Consulate General and the Rubin Museum officials standing next to the Gandharva and the Torana on Monday. Photo: CONSULATE GENERAL OF NEPAL.</figcaption></figure>Speaking with <a href="https://www.nytimes.com/2022/01/10/arts/design/rubin-museum-returning-nepalese-relics.html">the New York Times</a>, Roshan Mishra, the director of <a href="https://www.facebook.com/TaragaonMuseum">Taragaon Museum</a> said, “If museums like the Rubin are actively repatriating their artefacts, I think it will be easier for other museums to follow their lead.”Once in Nepal, the Department of Archaeology will determine whether the objects will return to their original shrines, or to the National Museum. The Gandharva and the torana are among <a href="https://www.nepalitimes.com/banner/who-looted-nepals-gods/">the 55 artefacts</a> currently in the list of antiquities that the Department is negotiating with museums and collections for repatriation.In the past year, six stolen stone and bronze sculptures have been <a href="https://www.nepalitimes.com/banner/nepals-gods-return-from-exile/">handed back to Nepal</a>, including a 800-year-old <a href="https://www.nepalitimes.com/banner/the-enigma-of-arrival-of-nepals-gods/">Laxmi-Narayan statue from Patko Tole</a> in Patan by the Dallas Museum of Art and returned to its original site last month.The 10th century stone figure of <a href="https://www.nepalitimes.com/latest/us-returns-another-antiquity-to-nepal/">Uma Maheswar, stolen from Gaa Hiti</a> in Patan 50 years ago, was also handed over to the Nepal Embassy in Washington DC by the Denver Art Museum in September 2021.Similarly, a 15th century Ganesh was returned by the Manhattan District Attorney’s Office and a 13th century Shivalinga stolen from Kathmandu was returned to the Nepal Embassy in DC by the Art Institute of Chicago.

Rubin to return Nepal antiquities

Architecture can be a powerful agent of change, shaping not just spaces but the way people live, connect, and experience the world.&nbsp; For Nepal, which is <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">gifted by nature</a> and rich in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/ambassador-fund-cultural-preservation-nepal,2092">cultural heritage</a>, &nbsp;reviving rural architecture with modern amenities could hold the key to more <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">sustainable tourism </a>that benefits local people more. “<a href="https://nepalitimes.com/banner/bayalpata-hospital-in-nepal-wins-global-design-award">Design and architecture</a> are amazing tools to create a unique experience for visitors,” says Spanish architect Tomeu Esteva of Esteva i Esteva Architecture Studio. “Difficult destinations have beautiful hotels with design and comfort.” Esteva was in Kathmandu with his colleagues at an event organised by the Spanish Honorary Consulate at Dwarika’s Hotel last week to showcase buildings which Nepali architects can adapt with local material and design inputs.&nbsp; Rural architecture holds a unique significance: it is more than a shelter and must reflect <a href="https://nepalitimes.com/here-now/inking-an-idenity">local identity, culture</a> and <a href="https://nepalitimes.com/here-now/saving-humla-from-heritage-loss">heritage</a>. An area’s natural and cultural harmony can be upset by <a href="https://nepalitimes.com/here-now/protecting-protected-areas-from-infrastructure?fbclid=IwAR1wK0MDFlFST_2EYb3f54LS4-fPt6rYfLG1DJ1JaQsU3w8-ezyXIxGOqzk">poorly planned development</a>, speakers at the event said, but the environment can be improved and revitalised by well-integrated structures.&nbsp; Another Spanish architect, Belen Moneo, has designed hotels at elevations of 3,700m in her home country Spain that supply natural spring water spas. “<a href="https://nepalitimes.com/banner/lost-in-reconstruction">Creativity in construction</a> must be encouraged. Rural architecture always shows possibilities of what we can do better,” Moneo explains, adding that designs must enhance <a href="https://nepalitimes.com/opinion/the-healing-power-of-nature">the beauty of nature</a> and give a natural feel at a time when steel, glass and cement dominate <a href="https://nepalitimes.com/here-now/rebuilding-kathmandu-after-the-1934-quake">urban design</a>.&nbsp; This is why the <a href="https://nepalitimes.com/here-now/weaving-nature-into-craft">use of natural products</a> such as bamboo, local timber, straw and rammed earth are in demand from customers who want a fresh eco-friendly look encouraged in construction of rural architectural structures. The demand for boutique hotels has increased world over, with &nbsp;more and more tourists favouring aesthetics, experience and comfort over price. While creativity is an important part of <a href="https://nepalitimes.com/here-now/architecture-for-mountains">construction and architecture</a>, incentives to build and use <a href="https://archive.nepalitimes.com/article/nation/Building,370">rural construction materials</a> still remain minimal, and Moneo emphasises the significance of design and execution.&nbsp; Esteva helped design the Vana Retreat in Dehradun that kept the natural environment in focus, with the structure giving an elaborate aesthetic experience to visitors. Another example is Hotel Las Mercedes in the Dominican Republic which was designed and constructed by Moneo and the company she co-founded Moneo Brock, respecting and revaluing the traditional architecture of the area. Hotels providing such experience could attract tourists and revenue. The Spanish ambassador to Nepal Juan Antonio March Pujol said, “The role of architecture and architects in developing tourism is crucial, not only in urban areas but rural settings as well.”&nbsp; The concept of rural boutique hotels gained traction in Spain during the 1990s, particularly in regions like Majorca with economic and environmental sustainability as the main focus. In Nepal <a href="https://nepalitimes.com/opinion/12-full-opinion/guiding-nepal-s-tourism-industry">the tourism industry</a> directly employs about 1 million people, and makes up about 8% of the country’s GDP. In Nepal, the stone homes of <a href="https://nepalitimes.com/news/reviving-himalayan-vulture-and-culture">Mustang and Manang</a>, bamboo and mud structures of <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a>, and the Kathmandu Valley’s terra cotta tile skylines, graceful temples, and tranquil bahal courtyards are all examples of <a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs">Nepal’s traditional architecture</a>.&nbsp; Nepali architect Sarosh Pradhan has been working for the past eight years on the Brakka Village project in Manang Valley north of <a href="https://nepalitimes.com/banner/municipalities-want-to-manage-annapurna">the Annapurnas</a>. Other examples of this kind of rural architecture for high-end tourism are the Shinta Mani Hotel in Mustang and Khumbu Lodge below <a href="https://nepalitimes.com/news/mt-everest-pvt-ltd">Mt Everest</a>. Says Pradhan, “There are places in Nepal that radiate purity and embrace simplicity. Creating projects in such settings require deep reflection and thoughtful planning.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f.jpg" data-media-id="editor_19" data-image-id="20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f" data-rendition-name="original" width="4608" height="2184" loading="lazy" alt="A new architecture for Nepal's tourism"> </figure>  Rural architecture is not easy, and sometimes more expensive. Inflation, energy efficiency, <a href="https://nepalitimes.com/here-now/those-who-stay">the climate crisis</a>, and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">increased costs of living</a> pose obstacles to sustainable rural architecture. Read also: <a href="https://nepalitimes.com/here-now/forgotten-international-starchitects-in-nepal">Forgotten international starchitects in Nepal</a>, Anne Feenstra and Varun S Bapu Esteva says faith and trust between client and architect is necessary for any project to be successful. He adds that architects must practice being humble, the process of designing always involves learning and not imposing their ideas on clients. Nepal is uniquely positioned for the growth of <a href="https://nepalitimes.com/banner/hiking-up-the-benefits-of-tourism">rural tourism</a> because of its stunning countryside as well as its internationally renowned traditions in holistic wellness. Creating infrastructure that is small, thoughtfully planned and that respects both tradition and contemporary hospitality standards is crucial. “Projects in Nepal can be made cost effective by using materials from houses that have been brought down,” says Esteva. “Pilot projects involving <a href="https://nepalitimes.com/banner/local-government-by-the-people-for-the-people-of-the-people">local people </a>and simple designing also helps the process.” <a href="https://nepalitimes.com/banner/vacant-homes-become-homestays-in-nepal">The growth of homestays in Nepal</a> is a step in the right direction, but they are still a bit too rustic for the international traveller who also wants comfort and is willing to pay extra for it. Upgrading the facilities in homestays and ensuring that the <a href="https://nepalitimes.com/here-now/an-archive-of-nepali-heritage">architectural heritage</a> of the locality is preserved using locally sourced building material could allow owners to charge more. Says Sangita Shrestha of Dwarika’s Hotel, “Our effort is to build upon rural architecture by empowering local communities and using what is available locally. We can fine tune and encourage indigenous design and training.” The vision goes beyond just boosting the economy, it is about building a future where tourism helps villages grow in a healthy and lasting way. Instead of using up resources, it gives back to the land and the people. It supports local communities by<a href="https://nepalitimes.com/opinion/staying-in-nepal-to-create-jobs"> creating jobs</a>, improving infrastructure, and protecting natural beauty. When done right, tourism can be a tool for <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">preserving culture and nature</a>, not harming them. Architects must therefore see their work as more than just designing buildings, they also need to care deeply about people and places, especially in rural areas that can benefit the most.&nbsp; With global interest in sustainable and off-the-beaten-path travel increasing, Nepal stands at the cusp of a <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">tourism transformation</a> that values community-driven, eco-conscious hospitality. A mix of modern ideas and traditional knowledge could transform rural tourism in Nepal. Says Shrestha, “Young architects should spend time with <a href="https://nepalitimes.com/latest/the-unsung-heroes-of-conservation">local and indigenous communities</a>, listen to their stories, and learn from their <a href="https://nepalitimes.com/banner/life-and-livelihood-in-remote-nepal">ways of living</a>. These communities have deep knowledge about the land, materials, and climate. If this wisdom is used in new designs, it can help create tourism spaces that truly benefit everyone.” &nbsp;

A new architecture for Nepal's tourism

Extract from an addendum to Nepal's Two Wars, Chapter 2 in the updated edition of Essays on Nepal: Past and Present by Sam Cowan, a retired British Army general with a long association with the Gurkhas. The book was first published in 2018, and republished earlier this month by FinePrint exclusively on Amazon. The addendum details a one-to-one conversation the author had in the <a href="https://archive.nepalitimes.com/news.php?id=8884">Royal Palace </a>with the <a href="https://archive.nepalitimes.com/news.php?id=8371">King Gyanendra</a> in November 2002 just after he had taken his initial steps on the road that ultimately led to <a href="https://archive.nepalitimes.com/news.php?id=14681">the abolition of the monarchy</a> in Nepal in 2008. In the early evening of September 16, 2002, in my role as Colonel Commandant of the Brigade of Gurkhas, I had my second and last official audience with King Gyanendra to give him an update on the Brigade’s activities over the previous 12 months. I had some 6 or 7 such audiences with <a href="https://nepalitimes.com/here-now/preserving-king-birendra-s-family-home">King Birendra</a>.&nbsp; These were official affairs with the British ambassador of the day present, along with key <a href="https://archive.nepalitimes.com/news.php?id=12233">palace officials</a> and a representative from Nepal's Foreign Ministry. The two monarchs were very different in character and temperament, but both treated me with the utmost civility and made the audiences as relaxed and easy for me as possible.&nbsp; It is, however, worth recording that when the official business had been covered, King Birendra, with a twinkle in his eye, often ended by asking, “Now General, what’s the gossip in London?” The second audience with <a href="https://archive.nepalitimes.com/news.php?id=8026">King Gyanendra </a>was my last official act in uniform. We came back to Kathmandu in the first week of November (after treks) to stay for a few nights with our Defence Attaché before heading back to the UK. Waiting for me was a message from the Palace saying that King Gyanendra would like to meet me informally: <a href="https://archive.nepalitimes.com/news.php?id=6933">no uniform</a> and no ambassador.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750.jpg" data-media-id="editor_7" data-image-id="20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750" data-rendition-name="original" width="1750" height="2406" loading="lazy" alt="Gyanendra crowned page 1"> <figcaption>Nepali Times Special Edition of 6-14 June 2001 with enthronement of Gyanendra. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2.jpg" data-media-id="editor_8" data-image-id="20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2" data-rendition-name="original" width="1500" height="1857" loading="lazy" alt="Royal massacre"> <figcaption>Nepali Times 22-29 June 2001 covering the royal massacre after which Gyanendra became king. </figcaption> </figure>  Although I had no idea what the purpose of the meeting might be, events in Kathmandu since I last saw the king put me on edge. On October 4, 2002, Gyanendra had dismissed Prime Minister Sher Bahadur Deuba, allegedly for failing to hold <a href="https://nepalitimes.com/news/what-goes-on-in-nepal-s-elections">elections</a>. He had put in place a new prime minister and a cabinet personally selected by him. When I heard the news on my travels, the people I met were generally supportive of the king’s actions. There was a general view that something had to be done, the country was going nowhere, and the king deserved his chance, not least to solve<a href="https://nepalitimes.com/latest/14-years-after-conflict-no-closure-in-nepal"> the Maoist </a>problem. Back in Kathmandu, views were not so sanguine. The chosen prime minister, Lokendra Bahadur Chand, was a relic from <a href="https://nepalitimes.com/here-now/mob-movement-and-mayhem">the Panchayat period</a> whose party had failed to win a single seat in the last elections held in 1999. Some of the chosen cabinet ministers had, to put it mildly, dubious reputations, and others had no record of proven competence in any field. There was a fear that the king’s real motive in dismissing <a href="https://nepalitimes.com/editorial/deubas-denouement">Deuba</a> was to start to reverse the democratic gains made since 1990. I informed <a href="https://nepalitimes.com/news/nepal-britain-mark-centenary-of-1923-treaty">the British ambassador</a> about the invitation. He was strongly against accepting it, which was probably the clinching reason for my decision to do the polite thing and accept it. On the evening of November 7, 2002, I presented myself at the royal palace, alone and in civilian attire.&nbsp; As in the past, the Military Secretary, Major General Vivek Shah, met and escorted me into the presence of the monarch. This time, however, he was politely asked to leave the room and shut the door behind him. King Gyanendra greeted me warmly and invited me to sit down.&nbsp; Read also:<a href="https://nepalitimes.com/news/the-ghost-of-monarchy-returns-to-haunt-nepal"> The ghost of monarchy returns to haunt Nepal</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558.jpg" data-media-id="editor_15" data-image-id="20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558" data-rendition-name="original" width="1000" height="993" loading="lazy" alt="Gyanendra coup"> <figcaption>Nepali Times 4-10 February 2005 after king Gyanendra's coup imposed media censorship. anendra became king. </figcaption> </figure>  I had wondered, and to be truthful, had worried, not just about the purpose of the meeting, but about how the conversation might start and develop. I reduced my resolve to two points: be polite but speak candidly. The latter resolve was quickly put to the test with the king’s opening words: “Sam, [in previous meetings it had been ‘General’, you walk the highways and byways of this land more than most, tell me what the common man is thinking?” &nbsp;“Your Majesty, I have no idea what they are thinking, but they are waiting.” “Waiting?” “Yes, Your Majesty, they are waiting to see whether what you did some weeks ago in appointing your own prime minister and cabinet ministers is going to make any difference to their lives or whether it is just going to be more Kathmandu hot air.” “Everything is going to be difficult and is going to take time, a lot of time.” “Your Majesty, time is the one thing you don’t have. You must act quickly and decisively to take advantage of the opportunity you have created. Everyone knows that you have appointed these new ministers. Why don’t you get them in here one by one and tell them that they have three months to deliver a programme in their area of responsibility that is going to make a difference to people’s lives? Most will fail to do so. Sack them! It will be a powerful signal of your strong intent to deliver real change.” I can express the opening of our conversation in this way because just about every word is still etched in my mind. The king’s response to my last quoted words was to challenge me to give an example of something that could be delivered quickly. I can give a verbatim record of what I said in response to this unexpected challenge: “Health posts, Your Majesty, there is no shortage of them throughout the country as building them has been one of the sources of local corruption, but very few have any medicine to issue at present or have skilled people to assess and meet medical needs. Your Majesty, children are dying for lack of a few pills. Given the right priority, over a period, say of six months, every health post could be fully stocked with medicine and manned with trained people. This is something I could help to lead for you as I know it would have strong international backing. At last, people would know that you mean business.” As I warmed to the theme, I could see no sign of the king having any enthusiasm for the idea, and I quickly disengaged as it dawned on me, as it had clearly dawned on the king, that the reason for the deficiencies in health posts was to prevent any Maoist combatant from gaining access to any <a href="https://nepalitimes.com/opinion/tech-away/nepal-s-health-tech-industry-is-here-to-stay">medical support</a>, and if this meant people suffering, so be it. The subject of the Maoist insurgency inevitably came up, and I took the opportunity to elaborate on what is written in the final four paragraphs of the article above. I advised King Gyanendra that, self-evidently, since there were three parties in the conflict—him, the Maoists, and the political parties—it was imperative that he form an alliance with one of them, preferably the political parties; otherwise, he would find himself isolated, as the other two parties would inevitably, at some stage, form their own alliance. However, it quickly became apparent that the king’s mind was on a totally different track. On the Maoists, he told me that he had channels open to them, but he was scathing about the political party leaders. He made it clear that they would be waiting for a very long time before he gave any power back to them, and that is a polite way of expressing the actual words he used, but “crawling through the door” is a phrase which has stuck in my mind.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5.jpg" data-media-id="editor_17" data-image-id="20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5" data-rendition-name="original" width="2000" height="1317" loading="lazy" alt="fall of monarchy"> <figcaption>Nepali Times 28 April-3 May 2005 with cover image by Ajay Joshi of jubilant protesters after street demonstrations sidelined king Gyanendra, paving the way for a ceasfire and restoration of democracy. </figcaption> </figure>  As the conversation developed, it became ever clearer that King Gyanendra had decided to go in alone, relying on the misleading assurances he was constantly receiving from <a href="https://archive.nepalitimes.com/news.php?id=14954">the army</a>, and no doubt his close advisers, that the Maoists could and would be quickly defeated militarily, and taken out of the equation. This would obviate the need for him to do any deal with the political parties.&nbsp; Thus, the way would be clear for him to establish a version of his father’s Panchayat system, under a constitution that would be granted to the people by him, their sovereign, as his father and brother had done in 1962 and 1990. As in those constitutions, ultimate power would have remained in the sovereign’s hands. This proposed direction of travel was very clear from what the king said to me. In sum, King Gyanendra was motivated by a desire to emulate his immediate predecessors by granting his people a constitution that would restore his father’s Panchayat system in a modern form and give him a central role in decision-making. What was particularly dispiriting was that beyond this single objective he had no plan worthy of the name, nor demonstrably did he have the people with the skills to implement an appropriate plan even if one had existed. Crucially and depressingly, there was little or no indication from the king that he realised that such a course of action could put Nepal’s monarchy into serious jeopardy, as indeed proved to be the case. <h2>King Twice</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445.jpg" data-media-id="editor_19" data-image-id="20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445" data-rendition-name="original" width="1302" height="632" loading="lazy" alt="“Tell me what the common man is thinking!”"> </figure>  <a href="https://archive.nepalitimes.com/news.php?id=8371">Gyanendra Bir Bikram Shah has been king twice</a>. In 1950 he was enthroned briefly as a child king (left, above) by the Rana Prime Minister Mohan Shumsher when his grandfather, King Tribhuvan, fled to exile in India. In 2001 he was crowned king again after the massacre in the royal palace in which his brother King Birendra and nine other members of his family were killed by Crown Prince Dipendra.&nbsp; During his second reign, Gyanendra gradually asserted power by sacking Prime Minister Sher Bahadur Deuba in 2002, and then taking full control after the 1 February 2005 coup. He was sidelined after the ceasefire in April 2006, and became a commoner after the Constituent Assembly finally <a href="https://archive.nepalitimes.com/article/from-nepali-press/Ftnp-abolishing,624">abolished the monarchy in 2008</a>. In the past year, Gyanendra has tried to exploit public dissatisfaction with the political parties to restore the monarchy.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788.jpg" data-media-id="editor_22" data-image-id="20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Essays on Nepal by Sam Cowen"> </figure>

“Tell me what the common man is thinking!”

“It's Kathmandu.” Just as the family was sitting down for one of its extended lunches, that jubilant cry was from François Driard’s grandfather announcing the next posting for his diplomat parents.&nbsp; Driard (pictured) was 18 in the summer of 1996,<a href="https://nepalitimes.com/opinion/suburban-tales/chasing-a-nomad"> a bit of a hippie</a> already, and his life was about to change forever with the magical word “<a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu</a>”. “I was awed with that information from my grandfather, nothing else mattered … In France <a href="https://nepalitimes.com/here-now/tales-of-courage-and-suffering-cx95f89e">in the 1990s</a>, Kathmandu had a mythical aura,” Driard recalls. He came to Kathmandu for Christmas that year to visit his stepfather, the French Ambassador Michel Lummaux. It was to be the first of many visits during school holidays, before he decided to permanently settle down in Nepal. “Kathmandu, and Nepal, were very different then, it was magical, I liked the nature, the people, civilisation, temples, trees,” says Driard, who explored the country sitting on the top of buses. “Visitors talk about the crazy <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">urbanisation</a>, traffic jams today, and all that is true. But Kathmandu has not <a href="https://nepalitimes.com/here-now/loss-of-soul-and-soil">lost its soul</a>.” After his stepfather’s tenure in Nepal ended, Driard worked as a business reporter for international publications but decided he did not want to be anyone’s employee anymore. In 2007 he landed in Kathmandu with €20,000 in savings to invest.&nbsp; He knew a few crucial things about himself: he liked food and nature, which is very much tied up with his upbringing--full of lively conversations during lunch and dinner at the family table between <a href="https://nepalitimes.com/here-now/nepals-yak-cheese-is-on-world-map">abundant cheese, wine and cigars</a>. So he decided it would be cheese, and registered Himalayan French Cheese and went to the French Alps for a month to learn how to make Tomme de Savoie. “<a href="https://nepalitimes.com/banner/the-story-of-langtang-cheese">Cheese making is such an ancient craft </a>and so I thought I won’t need much money or studying which I hated and indeed, if you have a tamako bhado and fire you are set,” explains Driard. But Nepal’s temperature and humidity were not ideal, even at higher altitudes. The first customers for his cheese were the Hyatt Regency and Nina and Hager. But he needed to create a market for cheese in a country which only knew hard churpi in the north and soft paneer in the south. He started selling his cheeses at the Summit Hotel weekend market, expanding to his own 1905 Farmer’s Market which later moved to Le Sherpa in Maharajganj, where it is now, and also a market at Labim Mall in Pulchok. He had cow dairies in Nuwakot and Dhulikhel, and finally a yak cheese unit at 3,379m in Ramechhap. It was the yak blue cheese from here that went on to win a Gold Medal in France, putting Nepal’s French cheese on the world map. “People come and try our cheese at the market, they ask questions. There is a lot of education to be done about cheese,” adds Driard, who also has three cheese shops in the Valley. Driard now makes 25 types of cheese. The products are being noticed and every year he has French students coming to Nepal to learn the art of yak cheese making. “In France, one family or company makes one kind of cheese for generations. In that I’m very unique as a cheese artisan,” he says. “The students come in to learn but I tell them to also teach us something too, add another cheese to my collection.” Read also: <a href="https://nepalitimes.com/here-now/langtang-after-10-years">Langtang after 10 years</a>, Sonia Awale Being a foodie, Driard is now also dabbling in meat with his own charcuterie at Meatini with bacon, ham, sausage and pâtés. All of this is now served at his Emilio’s Pizza, a leafy hideaway in Lazimpat. His South Side in Moksh is probably the smallest wine bar in the world. “I call the process sublime,” says Driard of his ventures, which have grown organically. “You need the same temperature and humidity of 12°C and 80% for cheese, meat and wine.” Emilio’s speciality is the eight-cheese pizza (which has eight types of cheeses), and a pizza with bhutan topping (not the country but fried intestines and organs Nepali-style). He has opened a small branch at Courtyard in Pokhara.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3.jpg" data-media-id="editor_8" data-image-id="20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="8 cheese pizza"> <figcaption>Eight-cheese pizza</figcaption> </figure>  With two artisanal cheese units, two farmers’ markets, a <a href="https://nepalitimes.com/here-now/the-meat-of-the-story">meat processing unit</a>, a bakery, and wine bar he now envisions a vineyard so he can add Nepali wine to his repertoire. Another future plan is to start up an agri-tourism business where customers can drink, eat and work in peace. In the past 20 years in Nepal, Driard has not always succeeded in his ventures but this hasn’t curbed his enthusiasm. He is learning as he goes, and like an old wine, Nepal is growing on him. Its slowness suits his French art de vivre with eating slowly outdoors, having conversation, importing less.&nbsp; “I have proven that with even a little money you can do a lot of things in Nepal,” adds Driard. “In the West, they easily invest half a million euros on a cheese factory, I invested 10 times less.”&nbsp;

Fromage, vin et charcuterie Népalais

Bhuthan भुठान starts with Bishnu Bahadur KC played by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhuwa-smoke-telefilm,2671">Hari Bansha Acharya</a> on a call, requesting to speak to the visa officer. By this point, he had <a href="https://nepalitimes.com/here-now/nepal-should-now-allow-visa-on-arrival">applied for a visa </a>to Bhutan 10 times, but was denied each time. KC was a <a href="https://nepalitimes.com/here-now/nepal-s-women-excel-in-sports-in-2024-z9ramyct">national football player </a>in Bhutan in 1988 before he and other Nepali-speaking Lhotsampa people were forced out of the country in the 1990s as part of the Druk regime’s ‘One Nation One People’ campaign. Over 100,000 Bhutanese Nepalis were forced out, driven across India and dumped in Nepal where they lived in seven<a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp"> refugee camps</a> supervised by the United Nations and other charities until they were resettled in the United States, Australia, New Zealand and some European countries starting in 2007. In the fictional movie with the satirical English title The World’s Happiest Man, KC has resettled in the state of Ohio in the US but wishes to visit his home country once before he dies. Between flashbacks, we learn KC has died without having fulfilled his wish. &nbsp; The drama then focuses on KC’s two families from two marriages as they debate whether to cremate him as per <a href="https://archive.nepalitimes.com/article/from-nepali-press/muslim-hindu,2996">Hindu rites </a>or give him a Christian burial. A mediator played by Hollywood actor Bruce Dern urges them to take a firm decision before it is too long.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3.jpg" data-media-id="editor_5" data-image-id="20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3" data-rendition-name="original" width="945" height="945" loading="lazy" alt="Bhutan, the movie"> </figure>  There are drawn out scenes of KC being baptised and when he is confronted by his first wife from Darjeeling played by Anuradha Majumdar, he says he changed his religion in the hope that he will be <a href="https://nepalitimes.com/opinion/comment/bhutan-s-refugees-between-hope-and-despair">allowed back in Bhutan</a>.&nbsp; We find out KC has a second wife, a Christian Nepali played by Puja Chand. Dayahang Rai as the younger son doesn’t have much screen time to flex his acting chops. &nbsp; Acharya competently portrays a man that is equal parts haunted by the memories of and longing for his home country. KC’s pain and loss is acute when he is teaching football to Gungun but between mid-scene, he freezes, perhaps lost in memories of being in Bhutan’s national team. &nbsp; In another scene, KC recalls his mother singing a lullaby in Dzongkha. He also has a box filled with medals, photographs and a football which he deflates with a knife in a powerful depiction of his <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home?fb_comment_id=1506516030025634">complicated emotions about his homeland</a>. KC keeps checking his mailbox in the hopes that his <a href="https://archive.nepalitimes.com/news.php?id=4977">visa application</a> has been accepted. He says in Nepali: “If a tree that has already struck roots in one place is shifted to another, it will not survive.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34.jpg" data-media-id="editor_9" data-image-id="20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34" data-rendition-name="original" width="1422" height="2048" loading="lazy" alt="Bhutan, the movie"> </figure>  Dern’s character says that the <a href="https://nepalitimes.com/opinion/comment/nepal-s-transitional-justice-and-the-west-s-recalibration">western world</a> has become “lonely in pursuit of happiness”, another reference to Bhutan’s obsession with its Gross National Happiness index. Scenes shift quickly throughout making the story difficult to follow at times. The use of symbolism is a trite overdone. Nonetheless, भुठान is a nuanced depiction of raw pain and agony of losing one’s homeland. But one cannot help but leave the theatre feeling deflated. KC dies without having visited <a href="https://nepalitimes.com/here-now/small-bhutan-dreams-big">Bhutan</a>, but perhaps he does in his afterlife. It is up to the audience to create its own ending to this sad story of exile. भुठान Mad Monkey Films, 2025 Directed by Binod Paudel 102 minutes In cinemas in Nepal