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

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

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

Earlier this month, Nepal received Rs1.6 billion from the World Bank as part of its <a href="https://nepalitimes.com/news/will-nepal-ever-be-paid-for-saving-trees">Forest Carbon Partnership Facility (FCPF)</a>, rewarding the country for increasing its carbon sink capacity. Nepal is the first in South Asia to benefit from this facility, and it is specifically to recompense the country for increasing forest cover in 13 Tarai districts between 2018-2024. “We are also trying to get another Rs13 billion from the facility while also preparing for free market-based carbon trading in the international market,” says Nabaraj Pudasaini of the REDD (Reducing Emissions from Deforestation and Forest Degradation in Developing Countries) Implementation Centre. Big emitters of greenhouse gases are under pressure to reduce their carbon emissions, and many have signed agreements to do so by investing in decarbonisation projects in developing countries. Countries that emit more than a specified amount of carbon would be able to buy emission rights from countries that emit less. Nepal is internationally known for its community forestry program which has been largely credited for <a href="https://nepalitimes.com/banner/tree-mendous">increasing tree cover to over 45%</a> in less than three decades. But this achievement had not been adequately recognised or rewarded internationally before. Forests, especially in the tropics, absorb and store large amounts of carbon while releasing oxygen in a process known as photosynthesis. <a href="https://www.fao.org/forest-resources-assessment/en/">Preventing deforestation</a> and increasing canopy cover is considered a much more achievable goal than reducing emission in the scale necessary to limit global average temperature to 1.5°C above pre-industrial levels. COP11 in Montreal in 2005 first proposed reducing carbon emissions by improving forest quality by halting degradation. By 2015, a new mechanism of financial assistance was created to help less developed countries with sustainable management of forests <a href="https://www.un-redd.org/">(called REDD+)</a>. Under this new mechanism, countries receive aid based on their efforts to prevent forest degradation and increase carbon sink, and in 2021 the World Bank was entrusted with implementing it. Nepal’s FCPF receipt this month was calculated on the basis of 2.4 million tons of carbon stored at a rate of $5 per ton. In the second phase, Nepal will receive more than Rs4 billion within the next year for storing an additional 7 million tons of carbon. Eighty per cent of this amount obtained from carbon trading needs to be spent on local beneficiaries and indigenous communities.&nbsp; But carbon trading is not easy, Nepal needs to prove that protected forests will not be destroyed in future.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241121091132_c8a381c9a95aa86fec558951650d97bb87914741f01766982ba2b086af001f16.jpg" data-media-id="editor_4" data-image-id="20241121091132_c8a381c9a95aa86fec558951650d97bb87914741f01766982ba2b086af001f16" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="Greenbacks for greenery NT "> <figcaption>Photo: KUNDA DIXIT</figcaption> </figure>  Explains carbon trading expert Yugan Manandhar. “Forests should be handed over to the community and shown that they are managed sustainably. Proving this will be particularly challenging; forest encroachment and degradation is rife in the Tarai.” <a href="https://nepalitimes.com/multimedia/nepal-is-going-up-in-smoke">Deliberate forest fires</a> have also added to the challenge because they increase carbon emissions and reduce the sink capacity of forests. The basis for the amount that Nepal received was set five years ago by calculating the carbon reserves of forests in the 13 Tarai districts. In the meantime, sustainable forest management, tree plantation, forest destruction and erosion control were prioritised to increase carbon reserves in those forests. Nepal is signing another carbon trading agreement during the ongoing Baku climate conference. The <a href="https://www.leafcoalition.org/">Lowering Emissions by Accelerating Forest finance (LEAF Coalition) </a>proposes to sell the carbon stored in the forests of Bagmati, Gandaki and Lumbini provinces. For this, Nepal signed the letter of intent three years ago at COP26 in Glasgow. The target is to store 70 million tons of carbon in 32 million hectares of forest in the three provinces per which Nepal will receive Rs13 billion in four years at $10 per ton with provisions to increase the rate if various conditions are met. However, the agreement in itself doesn’t guarantee the amount. According to the targets set by Nepal, forest degradation should be stopped and carbon reserves increased by protecting tree cover. Preparations are also underway for clean air carbon trade because it has offset fossil fuel use by introducing 30,000 electric vehicles. Nepal has been selected for the first round to receive $40 million within one and a half years through the Clean Air System of the World Bank. Given that most of Nepal’s energy mix is from biomass, replacing them with electric stoves can significantly improve health by reducing indoor pollution as well as strengthen the country’s capacity for carbon trade. “Nepal's goal now is to sell carbon in the free market where carbon credits are bought and sold based on supply and demand in an open and transparent manner,” adds Pudasaini of the REDD Implementation Centre. “Nepal can now set its own price and bargain with interested buyer countries and organisations.” Lately, India has been discussing setting up a carbon market. Nepal has exported Rs12.72 billion worth of electricity to India so far this fiscal year, which can be traded under Nepal’s carbon market. “Carbon trading can create significant economic benefits for Nepal, which will help reinvest in development and environmental protection projects,” says Manandhar. “But we must prioritise sustainable management of forests, cutting older trees and allowing regrowth as well as promoting electric stoves and electric vehicles.”

Greenbacks for greenery

Khukri Rum is <a href="http://archive.nepalitimes.com/news.php?id=3719#.WurBk6SFPIU">one of Nepal’s most iconic brands</a>, and is now launching a new Cask Series premium product to sell in Nepal and abroad. The Cask Series Smoked Finish Khukri Rum is a limited edition with only about 7,000 bottles, most of it for export and rest to be sold to rum connoisseurs in Nepal itself. Each bottle is numbered and will mention the cask from which it is derived. “We are working on taking a classic Nepali rum to a new luxury premium brand category, the Cask Series will only be produced this year with new product ranges in future,” explains Subash Lamichhane, managing director of Nepal Distilleries that first started making Khukri rum in 1959 in Balaju and has never stopped. Fermented from molasses in Bara district in the Tarai after the annual sugarcane harvest, the rum is matured for at least eight months during distillation. The distillery bottles the classic Khukri XXX, Coronation Khukri XXX, Khukri White Rum and Khukri Spiced Rum.&nbsp; The distillery is now adding this limited edition of its ‘Cask Series’. While the original rum is stored in huge wooden vats, the rum used for this more exclusive line is in smaller casks made either from oak or sal, with charred insides to give the rum a smoky flavour. The Cask Series rum is indeed smokier than the classic, while the spiced rum tastes toasty and mostly of cardamom. The company has a tasting suite with a master blender and tasters who have to approve the palate test.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241122131124_10b8ddca93b37b0348bf964b4f09e7fac6ef4e754cca6231368850539cd558e2.jpg" data-media-id="editor_1" data-image-id="20241122131124_10b8ddca93b37b0348bf964b4f09e7fac6ef4e754cca6231368850539cd558e2" data-rendition-name="original" width="1498" height="1000" loading="lazy" alt="Khukri Rum"> </figure>  The packaging for the Cask Series is as special as the process. A sturdy patterned box that opens up to a black glass bottle with gold lettering, and an indication of which cask the rum is from. These are then shipped to premium customers around the world One of the reasons this is the more expensive premium line is because the casks are smaller than the vats and the blenders reject more than half of the rum in the casks when the aging period is complete. The trick for the blender is also to decide when to take the run out of the cask.&nbsp; Says Lamichhane: “If we have 25 casks, we expect to throw away about fifteen.”Over the decades, Nepal Distilleries have created and maintained a brand that feels quintessentially Nepali, and has served as Nepal’s ‘ambassador’ with exports to Germany, Korea, Belgium, Finland, the Czech Republic, besides the existing markets among Nepalis in the US, UK, Hong Kong and Australia. &nbsp;Its unique <a href="https://nepalitimes.com/here-now/khukri-rum-sharpens-its-act">khukri shaped bottle</a> first introduced for King Birendra’s coronation in 1975 has been a collector’s item. The bottle and rum have been a staple for Nepalis and visitors to take as gifts when they leave the country, and is used as decoration on bar tables around the world. Now, nearly 40 years later, even that bottle will soon be getting a makeover with a sharper design and sleeker handle. “Our bottle design has always been instantly recognisable, and it is,” says Lamichhane. The Himalayan restaurant at The Hague, for example, has a Khukri Coronation bottle adorning its bar (page 6-7). In Washington DC Himalayan Heritage Restaurant &amp; Bar offers ‘Nepalese Khukri Rum’ mojito in its drinks menu with fresh mint, soda water, lime juice and sugar syrup, for $12.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241122131124_b9474db3fc83c85845348dddc30c49652ee1f17229531867fa241de50849cedc.jpg" data-media-id="editor_3" data-image-id="20241122131124_b9474db3fc83c85845348dddc30c49652ee1f17229531867fa241de50849cedc" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Khukri Rum NT"> <figcaption>Christopher Armes, master blender of the Cask Series.</figcaption> </figure>  A distinct element of the award-winning <a href="https://nepalitimes.com/business/khukri-rum-gets-award">classic Khukri rum</a> is its burgundy colour from caramel sourced from cooking sugar and blended with the raw rum. The spirits are then stored in a warehouse with floor-to-ceiling vats. The vats are not just for storage, the wood in the vats imparts flavour into the rum, and removes a lot of the harshness. &nbsp; On a visit this week, the bottling room was just about to begin for the day and the production line was churning out different shapes and sizes of Khukri Rum bottles. Most of the process is automated, including screwing bottle caps, sticking labels, placing the government seal, and packaging. The only manual intervention is the quality control where bottles are held against the light to check for sediment and colour. A mural on the wall of the distillery in Balaju depicts the rum-making process. A lady slings sugarcane on her shoulder, the molasses is churned in a pot, water is channelled into the distillation process, cinnamon, cloves and cardamom are added to a container, and finally there is a bottle of the classic Khukri Rum against a Kathmandu backdrop.

Khukri goes premium with new rum

Turkish Airlines has introduced a new amenity kit collection designed in collaboration with French fashion house Lanvin for international business class passengers on flights more than five hours. It consists of five pieces designed for sustainability and elegance. Bags are reusable and will consist of Lanvin cosmetic products like hand and body lotions and lip balm. Eye masks and socks are made from recycled materials, earplugs are packaged in paper and the toothbrush is bamboo.

Turkish amenity kit

Nepal now generates a surplus of electricity and it is all from renewable hydropower. Nearly half the country is under forest cover. Despite meeting these decarbonisation goals, Nepal’s hydropower plants are threatened by increased risk due to climate impact.&nbsp; Till <a href="https://nepalitimes.com/editorial/when-it-rains-it-pours-ksqprbu3">28 September</a>, Nepal was <a href="https://nepalitimes.com/news/india-nepal-sign-power-exchange-deal">exporting just over 1,000MW</a> of electricity to power-hungry India, when flash floods and landslides unleashed by historically heavy rains damaged over 30 hydropower plants across the country, temporarily <a href="https://nepalitimes.com/news/power-to-the-people">slashing nearly half the power generation.</a> The 456MW Upper Tamakosi in Dolakha was the hardest hit and it will take six months and Rs2 billion to repair. This has significantly reduced exports as well as domestic generation. Two months later, Nepal has still not been unable to fully keep its export commitment, and is actually paying Rs100 million in fines to India. Thirty-seven existing and under construction projects under the Independent Power Producers' Association Nepal (IPPAN) suffered Rs2.5 billion in damage. One of them is the 22MW Bagmati project in Makwanpur which was almost completely buried in flood debris. Even before <a href="https://nepalitimes.com/news/60-dead-64-missing-in-nepal-floods">record-breaking rain in September</a>, 15 other hydropower projects had been damaged by floods. Last year, floods caused by heavy localised rain damaged 28 hydropower plants. World governments met in Baku for COP29 to discuss the Loss &amp; Damage Fund and the Adaptation Fund, but for countries like Nepal the commas and brackets are meaningless until they are turned into $ and €. And likelihood of adequate compensation for climate-related damage is a long way off, if ever. Nepal’s national strategy is to use its vast hydropower resource as clean energy to spur economic growth, job creation, and boost export revenue. But the plants are located in narrow Himalayan valleys prone to landslides and floods even at the best of times. Now, those <a href="https://nepalitimes.com/opinion/comment/changing-climate-for-investment-in-nepal">risks have been heightened by weather extremes</a> due to climate breakdown. At present, Nepal generates over 3,300MW of clean hydropower, and the target is to reach 12,700MW in the next five years. Projects equivalent to 6,000MW are under construction or ready to start. The Ministry of Energy, Water Resources and Irrigation has an Energy Development Roadmap and Action Plan with the target of producing 28,500MW by 2035 by when more than half of it will be exported.&nbsp; “The climate crisis will further change the rainfall patterns making hydropower generation a big question mark in the future,” Manjeet Dhakal in Baku, who is also the Nepali adviser to the LDC Chair at the United Nations Framework Convention on Climate Change (UNFCCC). “We are building hydropower projects on rivers without evaluating risk. This whole process needs to be reviewed and reconsidered.” The report of the National Adaptation Plan published by the Ministry of Forest and Environment last year mentions that hydropower production, transmission and distribution will be at risk from flash floods, debris flows, glacial lake outbursts and rising temperatures.&nbsp; This risk is not confined to Nepal. Average global temperatures have increased by 1.3°C compared to the pre-industrial era. Worse, the Himalayan mountains are warming faster than the global average by 0.7°C because of elevation-dependent warming. A study conducted by our own Department of Hydrology and Meteorology in 2017 showed that the average temperature in Nepal has increased in the last four decades. Scientists say this is leading to extreme weather unleashing floods and landslides on slopes already destabilized by seismicity.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241124071128_d22901a360e8958f606d80ffa21defba05a671f65afec65539dc21a6885d8345.jpg" data-media-id="editor_5" data-image-id="20241124071128_d22901a360e8958f606d80ffa21defba05a671f65afec65539dc21a6885d8345" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Right climate for Nepal’s energy transition NT"> <figcaption>BIBLICAL RAIN: Photo taken during catastrophic rain on 27-28 September at the Upper Tamakosi project site that destroyed the control room, killing four staff and burying the sedimentation tanks. Photo: RSS</figcaption> </figure>  Increased atmospheric temperatures has made the monsoon rains more erratic. It does not rain when it is supposed to, and it comes down in torrents when it is not supposed to. The September floods happened two weeks after the monsoon was supposed to retreat from central Nepal. Kathmandu Valley received half its annual precipitation in just over a day. &nbsp; Winter precipitation has also failed, especially in the high mountains and trans-Himalayan valleys. Thirteen of the past 19 years experienced winter drought. This impacts on dry season flows of the rivers, reducing hydropower generation. Nepal’s power capacity normally goes down by one-fourth during winter, but the gap is widening. The Kabeli corridor could only generate 20MW November-March even though plants there have an installed capacity of 200MW. Similarly, Upper Tamakosi only produced 65MW at most against its 456MW capacity last winter. The Nepal Electricity Authority (NEA) pays producers double the price for winter electricity, Rs8.40 per unit. Even though winter operation is highly profitable the rivers run low and NEA has to import from India to meet the winter demand. “This is not just a weather problem but a serious challenge also for the country's energy future, good climate-friendly design should be combined with policy and effective implementation,” says Subarna Das Shrestha, a hydropower investor and CEO of Sanima Mai Hydropower. “Insurance premiums have gone up as well, and settlement for damage is not timely.” <a href="https://nepalitimes.com/opinion/climate-risk-to-hydropower-investment">Hydropower investment</a> at one time was regarded as having a high rate of return. Now, some investors have become <a href="https://nepalitimes.com/banner/climate-smarter-himalayan-infrastructure">wary of the risks involved</a>. Says IPPAN’s Uttam Blon Lama: “Hydropower projects expected to give stable returns are now looking risky. Not only is climate adaptation design and planning expensive, but future repair and maintenance costs will also skyrocket.” Nepal has only one storage type dam <a href="https://nepalitimes.com/multimedia/rivers-be-dammed">in Kulekhani</a> and another one is being built in <a href="https://nepalitimes.com/multimedia/missing-pieces-of-the-hydropower-jigsaw">Tanahu</a>, but they are also at risk. In September, the sluice gates of Kulekhani Dam had to be opened causing loss of life and destruction downstream. Nepal has to learn lessons from the deadly collapse of the $1 billion <a href="https://nepalitimes.com/news/sikkim-flood-is-warning-to-nepal">Chungthang Dam in Sikkim</a> in October 2023 cause by a glacial lake burst. Glacial Lake Outburst Floods (GLOFs) in Nepal pose potentially catastrophic risk to infrastructure. The <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">Thame flood in August</a> was a relatively minor debris flow that damaged half of this village in the Everest region when <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">two glacial lakes at 4,760m burst</a>. Luckily there was no loss of life. Of the <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">47 high-risk glacial lakes</a> in the eastern Nepal Himalaya, 21 are in Nepal and the rest are in rivers in China that are tributaries of the Arun and Bhote Kosi where Nepal has major hydropower plants under construction, or planned.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241123021128_b596cd8520c57a6c5476031e7a3ea6510f26b464c4d5351d2bc10f6f7d6b70d8.jpg" data-media-id="editor_14" data-image-id="20241123021128_b596cd8520c57a6c5476031e7a3ea6510f26b464c4d5351d2bc10f6f7d6b70d8" data-rendition-name="original" width="871" height="648" loading="lazy" alt="Page 10-11 map #1236 NT"> </figure>  Global temperature rise is accelerating the melting of Himalayan snow and ice, increasing the <a href="https://nepalitimes.com/here-now/living-below-nepal-s-melting-mountains">number and size of glacial lakes</a> so that we do not even have names for them. Imja Tso did not even exist in the old trekking maps until 25 years ago, but is now a 2km long lake. “Natural moraine dams in the mountains are weak, and the projects downstream can face major destruction if they burst, and the risk will only increase in future,” warns climatologist Arun Bhakta Shrestha at the <a href="https://www.icimod.org/">International Centre for Integrated Mountain Development (ICIMOD)</a>. <a href="https://nepalitimes.com/here-now/terrifying-assessment-of-a-himalayan-melting">An ICIMOD assessment in 2019</a> projected that if present heating trends continue, as they probably will, the Himalaya will lose two-thirds of our glaciers by the end of this century. “Generally speaking, hydropower developers hand over the project to the government after 30 years but by that time given the climate risks, they may not be an asset anymore,” says Manjeet Dhakal. Indeed, the cascade of expensive projects India is building on the Arun River are supposed to be handed back to Nepal in 25 years, but there is a big ‘if’ about whether they will survive that long. &nbsp;&nbsp; Planning of hydropower projects is still based on historical hydrological data, and does not take into account future temperature rise and its consequences. Investors, on the other hand, say that planning hydropower projects with climate components would make them even more expensive.&nbsp; “It’s not that we aren’t preparing for climate risk, we design keeping in mind the once-in-100-year flood,” says Blon of IPPAN. “But if we start designing based on once in 1,000 years flood, the cost would be so high that we won’t be able to build them at all.” Nonetheless, Subarna Das Shrestha of Sanima Mai Hydropower says that there is no option but to go for climate smart infrastructure despite the higher cost. Sanima Mai's powerhouse, for example, is completely underground. The strategy could also be to spread the risk by building less expensive plants located on rivers all over the country. Nepal is also diversifying away from its sole reliance on hydroelectricity, which at present supplies 92% of the power in the grid. Most of the rest comes from solar plants, where the total potential has not even been scratched. &nbsp; This article is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758.jpg" data-media-id="editor_21" data-image-id="20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758" data-rendition-name="original" width="680" height="103" loading="lazy" alt="SDG logo"> </figure>  &nbsp;