<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637204589c7e80680e0b2859jpeg.jpg" alt="" width="1400" height="534"/><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372045a9c7e80680e0b285ajpeg.jpg" alt="" width="1400" height="547"><figcaption> </figcaption></figure>The <a href="http://archive.nepalitimes.com/news.php?id=5065#.YeJVJKBBzOQ" target="_blank" rel="noopener noreferrer">8.3M earthquake that struck at 2:28PM on 15 January 1934</a> was the last major quake to hit Kathmandu before the 2015 Gorkha earthquake. Nearly 17,000 people were killed in Nepal and India.The disaster is commemorated in Nepal every 15 January as National Earthquake Safety Day.The Rana rulers at the time went about quickly rebuilding the heritage sites, with many thinking even today that the reconstructions closely resembled how the monuments looked before 1934. However, evidence indicates otherwise.“It may not be evident to the naked eye, but upon closer inspection one can see there are many anomalies in the way the reconstruction was handled after the 1934 earthquake,” says Rohit Ranjitkar of <a href="https://kvptnepal.org" target="_blank" rel="noopener noreferrer">KVPT</a>, who is documenting the changes and is working on a book about the same.Following the earthquake, rebuilding Kathmandu Valley was of utmost priority as it was the capital and had faced severe damages. Engineer Dilli Jung Thapa, who was 93 years old when Ranjitkar met him in 1990s, was tasked with the project.“According to him, the rulers had given a timeframe and the job was expected to be completed within that period," says Ranjitkar. "So, replicating them to look as they did in the Malla era was not possible. Temples around the palace complexes were given more priority, and materials from the peripheral monuments were used to rebuild them."Read also: <a href="https://www.nepalitimes.com/banner/the-historic-kathmandu-beneath-our-feet/">The historic Kathmandu beneath our feet</a>, Sahina ShresthaWhen KVPT was renovating seven temples in the Kathmandu Darbar Square around 2007, they found that the struts used in the Narayan temple east of Kaal Bhairav were taken from other temples around it.In Patan, the Taleju Temple and the wings of Sundari Chok also have struts from other monuments. It is difficult to track their origins now because of lack of documentation.Using materials from one temple to reconstruct another also means that many temples lost their true forms or their history was completely erased.In Bhaktapur, while the city rebuilt the Bhairav temple in its original size, four temples in the Darbar Square were rebuilt as a one-storeyed structure, and four other buildings were never rebuilt.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372045d9c7e80680e0b285bjpeg.jpg" alt="" width="1500" height="1217"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637204619c7e80680e0b285cjpeg.jpg" alt="" width="3156" height="2220"><figcaption> </figcaption></figure>A black and white photo of <a href="http://archive.nepalitimes.com/page/Patan-town-as-a-museum-piece" target="_blank" rel="noopener noreferrer">Patan Darbar Square</a> taken by Kurt Boeck in 1890 shows three shikhara-style stone temples. Only one, Chaysin Dega is still around in the original style. Materials from the other two, a Shiva temple and a Narayan temple, were used in rebuilding it.Further, individual materials from temples were not only used to rebuild structures in the same area. Some travelled in-between the cities too.For example, in the 1980s when the Germans were helping with the <a href="https://www.nepalitimes.com/banner/clash-of-cultures-in-bhaktapur/" target="_blank" rel="noopener noreferrer">reconstruction of Bhaktapur</a>, they found that the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-beginning-of-history,3225" target="_blank" rel="noopener noreferrer">Chyasalin Mandap</a>, which had collapsed nine hours after the 1934 earthquake, was missing its original pieces.The priests knew that parts of the building had been recovered and were used elsewhere. They finally located the former chauffeur of the-then governor who reported that 32 roof struts with depictions of Krishna had been transported to Kathmandu to be used in the New Road Gate.According to an article by <a href="https://www.nepalitimes.com/banner/niels-gutschow-leaves-home/" target="_blank" rel="noopener noreferrer">Niels Gutschow</a> and <a href="https://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20Götz%20Hagmüller,3352">Götz Hagmüller</a>, they also found that the pillars, consoles, capitals and pedestals from the pavilion had been used as timber to construct a one-storeyed arcade in Sallaghari.The capitals had been shortened and lintels shred to pieces. Some of the pieces that had been preserved were reused in the reconstruction of the Chyasalin Mandap, but the struts from Kathmandu could not be returned.The team deliberately refrained from copying the design of the struts, and the roof was reconstructed with plain timber. They hoped that in the long-run, the components may be recovered.In Patan the once Shikhara-styled Shiva temple and Narayan Temple today are housed in stucco-dome style structures. As was the Bhaidega Temple after the original three-story structure fell down, but <a href="https://www.nepalitimes.com/banner/restoring-a-piece-of-nepals-history/">it is currently being rebuilt in its original style and design</a>.The north wing of Mulchok, the largest and oldest of the three main choks in Patan Darbar was also damaged by the earthquake. During the renovation, the intricately carved window was replaced by another much simpler wooden window which can be seen today.Old photos also show that the dabali north of <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Raze-retrofit%20-or-rebuild,3963" target="_blank" rel="noopener noreferrer">the Gaddhi Baithak</a> actually had houses which did not go down completely but were later cleared to make the open space as we see it today.There is also photographic evidence of the original three-storeyed Patan District Court House. Nonetheless, after the top floor was damaged in 1934, it was renovated as a two-storeyed structure.Currently, there are plans to reconstruct the wing with support from the Indian Embassy but it has not moved ahead yet. In the case of Bhaktapur, Gutschow's and Hagmüller's team were assisted by oral history. But today, there are very few people around who can remember the details from before 1934. And without proper documentation, it is difficult to know what the monuments looked like originally.Says Ranjitkar: “While it is a given that the architecture of a place can change over time, there needs to be proper documentation of everything so that when the time comes to reconstruct and renovate, we <a href="https://www.nepalitimes.com/banner/lessons-not-learned-from-2015/" target="_blank" rel="noopener noreferrer">don’t repeat the same mistakes</a>.”Read also: <a href="https://www.nepalitimes.com/editorial/lessons-still-not-learnt/">Lessons still not learnt</a>

Sahina Shrestha

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Kathmandu’s temple restoration after 1934 quake

https://youtu.be/aDKMAc6MxuYKing Pratap Malla built Nhu Pukhoo, the ‘new pond’ on the northern outskirts of Kathmandu in the 17thcentury CE to console his grieving wife. To sanctify Rani Pokhari, as the pond was eventually called, he toiled four years to bring water from 51 holy rivers, ponds and oceans of the subcontinent.Now, more than four years after the desecration of Ranipokhari by Kathmandu Metropolitan City (KMC) in the name of ‘beautification’, the pond remains unfilled. All is not lost, however. The ongoing rebuilding process of Rani Pokhari is to some extent fulfilling.The 2015 earthquake damaged the Bal Gopaleswor Temple in the middle of the pond. The water body itself and the embankment walls remained intact, but the KMC misguidedly drained all the water, demolished the centuries-old brick embankment and replaced it with reinforced concrete in an effort to ‘modernise’ the pond.Read also: <a href="https://www.nepalitimes.com/here-now/deconstructing-reconstruction/" target="_blank" rel="noopener">Deconstructing Reconstruction</a>, Alok Tuladhar<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a50679c7e80680e04fd5ajpeg.jpg" alt="" width="1500" height="1125"/><figcaption>Photos: Alok Tuladhar</figcaption></figure>Despite public uproar over the vandalism of this holy site, Mayor Bidya Sundar Shakya refused to back down from the project, vowing to build a coffee shop and recreation facilities in and around Rani Pokhari. Outraged activists finally threw the construction workers out and locked the premises in December 2017. Mayor Shakya was forced to remove the concrete he had poured.The National Reconstruction Authority (NRA) stepped in, taking responsibility for the reconstruction. It formed a local group to oversee the process and manage funds, and enlisted the technical expertise of Bhaktapur Municipality, which had recently revived several ponds on its lands that had dried up.Read also: <a style="background-color: #ffffff; letter-spacing: 0.15px;" href="http://archive.nepalitimes.com/blogs/thebrief/2017/12/28/reconstruction-of-rani-pokhari-halted/" target="_blank" rel="noopener">Reconstruction of Rani Pokhari halted</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a506a9c7e80680e04fd5bjpeg.jpg" alt="" width="640" height="480">A team of 40 workers from Bhaktapur are now hard at work at Rani Pokhari every day. After clearing the overgrown vegetation, women are levelling the ground and lining the pond with a layer of impermeable black clay.  They are also building an embankment wall on the sides of the pond, using bricks specially manufactured with lime-and-brick-dust mortar.Subhadra Dhoju from Bhaktapur says the black clay (‘dyo cha’) has been chosen for its water retention capability. Dyo cha means ‘god soil’ in Newa. The large surface area of Rain Pokhari poses a challenge not faced elsewhere.“We have brought in 40 truckloads of black clay so far from Sankhu and Bhaktapur, but we need another 3,000,” says Ajay Sthapit, who heads the local group overseeing the project. Even though the NRA wanted to use cheaper ordinary bricks for the walls of the pond, Sthapit insisted on high quality custom-made one.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a506e9c7e80680e04fd5cjpeg.jpg" alt="" width="640" height="480">For now, Rani Pokhari reconstruction is progressing steadily, using appropriate technical knowhow and following ancient pond construction methods. But this is true only for preventing the pond water from seeping into the ground. Getting water into the pond will be another story altogether.In addition to rainwater, the NRA is thinking of drilling a deep well and a dedicated Melamchi pipe to fill the pond. But the long-term sustainability of this method is contested by Sudarshan Raj Tiwari, a historian and member of the expert committee formed by KMC in 2018 to guide Rani Pokhari rehabilitation.“According to Vastu principles, Pratap Malla must have dug separate wells to fill and to drain the pond in the northeast and southeast corners respectively,” says Tiwari. “This was the ancient, proven and sustainable way of keeping the water flow under human control. The present reconstruction method is not investigating this method.”Cultural preservation activist Sudin Manandhar feels Rani Pokhari is being turned into a traditional swimming pool. “If the ancient system of natural water flow is not revived, the valuable engineering knowledge of our ancestors is lost forever. That lowers the value of the historical pond,” he says.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/blogs/thebrief/2016/08/24/save-rani-pokhari/" target="_blank" rel="noopener">Save Rani Pokhari</a>https://youtu.be/moY2eji6loETiwari’s committee had also recommended that the Bal Gopaleswor temple be rebuilt in Shikhara architecture keeping with king Pratap Malla’s original style. The Department of Archaeology, however, ignored that advice and went on to rebuild the temple with a dome roof following the Rana-era reconstruction model. Once more, sustained public pressure forced the government to correct its mistake, and the NRA has now published a design to rebuild the temple in the Shikhara style. This is another major win for heritage conservation.Maharshi Prasad Rajbhandari, a young heritage enthusiast from nearby Asan, sums up the resurrection: “We were about to forget what we stood on. But sustained activism prevented that from happening. From the Rani Pokhari episode, we have learnt that if we raise our voices and are persistent, we can bring even the most powerful government to heel and set things right.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a50729c7e80680e04fd5djpeg.jpg" alt="" width="640" height="532"></figure>Rani Pokhari with the Bal Gopaleswar temple in Shikhar style, before it was destroyed by the 1934 earthquake. The sketch was drawn by an artist who accompanied Prince Waldemar of Prussia on his visit to Nepal in February 1845.Read also: <a href="https://www.nepalitimes.com/opinion/draining-the-swamp/" target="_blank" rel="noopener">Draining the swamp</a>, Sumana Shrestha

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Resurrecting Rani Pokhari Right

https://youtu.be/aG3NqSX0Sk8Woodcraft embellish Kathmandu Valley’s traditional architecture, adorning columns, eaves, windows and door frames with meticulously carved figures of gods and goddesses. Historically, these anonymous works of devotional art were carved by generations of the Shilpakar clan, whose surname was derived from their ancestral profession.Indra Prasad Shilpakar is from a long line of the woodcarvers from Bhaktapur who has decided to give new life to the craft by using traditional motifs, but adding artistic license with new elements. He has separated these pieces from architecture and created them as freestanding structures of art, modifying some background designs and poses of the gods.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebb9c7e80680e04fcd0jpeg.jpg" alt="" width="1500" height="1000"/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebe9c7e80680e04fcd1jpeg.jpg" alt="" width="640" height="853">"Woodcarving on temples are strictly defined by rules that follow the storyline of the scriptures,” Shilpakar explained during a walk around his ongoing solo exhibition at the Taragaon Museum this week. “But outside of the architectural frame, I try to experiment.”Shilpakar has a degree in fine art from Tribhuvan University and he says the background in  contemporary art helps him try out new aesthetics so that traditional woodcarvings can also be viewed separately as individual pieces of art.In his day job these day, Shilpakar works in the restoration of Patan’s Bhai Dega temple which was destroyed in the 1934 earthquake. There he tries to replicate missing pieces of the temple based on old photographs and damaged pieces. After work, he is back at his basement workshop in Bhaktapur where with his father Indra Kaji Shilpakar he works on traditional carvings.Indra Kaji is not too enthusiastic about his son trying out new styles and selling them in galleries. He says: “Work in exhibitions ultimately end up in private collections, and only a few people will see them. On the other hand, when your carving adorns a temple everyone sees them, and it spans generations.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec19c7e80680e04fcd2jpeg.jpg" alt="" width="640" height="853"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec59c7e80680e04fcd3jpeg.jpg" alt="" width="1500" height="1000"></figure>Artist Indra Prasad Shilpakar (right) with his father Indra Kaji ShilpakarNonetheless, the younger Shilpakar says it is difficult to make a living making traditional wood carvings for temples, whereas experimenting with modern forms of traditional art and exhibiting them in galleries can earn the artist extra money.Shilpakar's Taragaon exhibition that ended on Tuesday depicted the best of woodcarving found in temples: windows with intricate patterns of flowers, deities like the Buddha, Ganesh, and Matrika, animals like crocodiles and Garuda, a pair of singing Gandharva and dancing Kinnara.Even more modern renditions of traditional wood carvings are strewn around Shilpakar’s workshop in Bhaktapur. Senior Shilpakar and his son share a passion for traditional woodcraft, and have designed their home keeping true to their Newa heritage. Carved wooden pillars line the ground floor, a traditional wooden staircase leads to the second floor which has intricately-carved wooden windows.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec89c7e80680e04fcd4jpeg.jpg" alt="" width="1500" height="1000"></figure>Photos: Monica DeupalaThe attic kitchen has a high, triangular roof supported by wooden balustrades, and the balcony outside is lined with woodwork. The walls have a museum feel with displays of mallets, chisels, gouges and skews in various sizes that were used by their ancestors. "We wanted our house itself to reflect and preserve traditions," says the younger Shilpakar.Indra Prasad Shilpakar feels his family’s ancestral work is still seen as a lowly occupation, and he wants to be recognised as a creative artist as well. He says: "It is sad that we don’t know the names of the masters who created the exquisite carvings on our temples. They were never known as artists. But here in this gallery I am known as an artist in my own right.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ecb9c7e80680e04fcd5jpeg.jpg" alt="" width="4000" height="3000">Wood Carving: The Art of the Newars of Nepal Solo exhibition of wood art by Indra Prasad ShilpakarTaragaon Museum, 1-9 July

In with the old, in with the new

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35199c7e80680e048290jpeg.jpg" alt="" width="1000" height="998"/><figcaption>Photos: SHEILIN TEO</figcaption></figure>The <a href="https://archive.nepalitimes.com/page/Patan-town-as-a-museum-piece" target="_blank" rel="noopener">Patan Museum</a> is a must-visit among the draws of Kathmandu Valley: tastefully designed and informative, its curation is logical yet sensitive to the nuances of the richly-layered heritage and local traditions. Visitors can trace chronological lines in Nepal’s cultural history, and are guided to recognise stylistic themes in the faces of gods and goddesses and the iconography that they pass on the streets of the Valley’s old towns.Visitors get an introduction to the symbiosis of Hinduism and Buddhism in the Nepa civilisation. Besides the artifacts on display, the corridors provide an unassuming serenity, places of repose and leisure of rulers past. We see courtyards where the public would gather to celebrate, debate or venerate, and sense a graciousness, a deep attention to detail. And most striking: these are living traditions that carry on to the present day.Read also: <a href="https://www.nepalitimes.com/here-now/saving-kathmandus-past-for-the-future/" target="_blank" rel="noopener">Saving Kathmandu's past for the future</a>, Sonia Awale<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a351b9c7e80680e048291jpeg.jpg" alt="" width="1250" height="1252">There is the bathing well, (tusha hiti) of King Siddhi Narasimha Malla in <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=17399#.XKXurlUzaUk" target="_blank" rel="noopener">Sundari Chok</a> with its gilded garuda spout. Or, a large display of a gilded pair of the Buddha’s hands, ‘calling the earth to witness’, depicting the moment he attained enlightenment.In these days of quick-fix concrete and steel, visitors sense a dwindling appreciation of lingering around a water well, resting on a courtyard ledge, or leaning in to admire the intricate carvings of a temple’s eaves.Which is why it is important to accept the invitation to spend a day at the museum, to explore, to rest, to compose one’s impressions of the city, and even rekindle the divine spark with greenery, nourishing food and inspiring architecture.Monuments are kept alive by their relevance to the community. In Nepal, they have been maintained by devotion: annual rites and festivals that ensure places of worship are regularly tended to and repaired by devotees. In cases where monuments are given into state care, they have often fallen into disrepair.Luckily, the team led by <a href="http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352" target="_blank" rel="noopener">Austrian architect Götz Hagmüller</a> that was given the charge to restore Patan Durbar in the 1990s, took to the task with an intention to turn the palace complex into a self-sustaining cultural institution, capable of withstanding not just natural shakeups but also political instability.In its modernisation into a world-class cultural treasure, the palace complex underwent a significant rearrangement to house not only artifacts, but a constant flow of people within what would once have been quiet, private quarters of the royal court. Amid the mostly faithful restoration of the palace to its Malla heritage, the Patan Museum also features a clutch of modern elements: new materials and motifs seamlessly worked into the intricate historical fabric of the East Wing’s Malla and <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-rana-reign-a-recap-of-history,3751" target="_blank" rel="noopener">Rana styles</a>. As part of the rearrangement, a graceful timber staircase leads from a new foyer to a stunning display of iconic tundaal: intricately carved timber struts featuring deities in various poses.The columns and capitals supporting the restored Rana-style wing are detailed in steel and timber, to clean modernist lines, and hold their own within the simple brick and white plastered detailing of the period. They also feature a postmodern take on the scrolls of old Newa capitals, reinterpreting the decorative art of traditions past, whilst acknowledging the architectural language of the restoration’s own timeline. At the Museum Café, new metal-roofed pavilions also feature similar modern detailing in timber, a graceful reminder within the new construction of its heritage.The restoration efforts that led to the establishment of Patan’s Royal Palace as a public museum in 1997 features modern twists on traditional motifs, designed in timber and steel by Hagmüller’s team. The clean lines and geometric postmodern interpretation of decorative Newa carving presents a nod to the architectural language of the restoration’s own timeline.Patan Museum8am-6.30pmCourtyards and access to the Museum Cafe are open 7am-6.30pm.Entry fees to the Museum:Foreigners: Rs1,000 (included in Patan entry fee)SAARC: Rs250Nepali Rs30Nepali Students Rs5 (with ID)<a href="http://www.patanmuseum.gov.np/" target="_blank" rel="noopener">http://www.patanmuseum.gov.np/</a>Read also:<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/In-perfect-harmony,3251" target="_blank" rel="noopener">In perfect harmony</a>, Sahina Shrestha<a href="http://archive.nepalitimes.com/news.php?id=15470#.XKXxaFUzaUl" target="_blank" rel="noopener">Ancient mordern</a>https://www.youtube.com/watch?v=ViWX21zLjVQ&amp;feature=youtu.be<h2>Heritage gastronomy</h2><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a351f9c7e80680e048292jpeg.jpg" alt="" width="1250" height="833"><figcaption> </figcaption></figure>Ever since it opened more than 20 years ago, <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/patan-museum-updated,1304" target="_blank" rel="noopener">Patan Museum</a> has been a quiet sanctuary hidden away from the densely-packed city outside. And in a tranquil, leafy corner of the complex is an oasis within an oasis: the Patan Museum Café.Under new management by Dwarika’s Hotel, the restaurant offers a delectable selection of continental cuisine, as well as finessed pickings of Nepali and Asian dishes. The menu features healthy salads, brunch specialties, snacks and full-portioned meals, hinting at the raison d’être of the place: all-day dining, whether you choose to start, continue or end your day at the museum.Lush greenery reaches up to rooflines of weathered jhingati tiles. Artfully contained shrubs spread against the geometric curves of patterned brick and into dining nooks and inviting enclosures. Low-slung pavilions reminiscent of Patan’s many resting platforms (pati) provide shady private cubicles, as do cafe-style umbrellas dappled with shadowplay as the trees dance with the wind.Austrian <a href="http://archive.nepalitimes.com/blogs/thebrief/2016/06/15/gotz-hagmuller-awarded/" target="_blank" rel="noopener">restoration architect Götz Hagmüller</a> also transformed the Kaiser Café in the Garden of Dreams in Thamel into the popular destination it is today. It seems fitting, then, that both these treasured historic restorations now feature bars and cafés managed by Dwarika’s Hotel whose revenues contribute to the upkeep of the sites. Patan Museum Café now has a menu and service that places quality and consistency foremost.Read also:<a href="http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352" target="_blank" rel="noopener">The guardian of the shadows</a>, Sebastian Gansrigler<a href="http://archive.nepalitimes.com/news.php?id=19497#.XKXvEFUzaUk" target="_blank" rel="noopener">Living in Bhaktapur the Austrian way</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35229c7e80680e048293jpeg.jpg" alt="" width="476" height="1024">Museum menuOrganic produce from Dwarika’s own organic farm in Dhulikel features on the cafe menu.Caprese saladCreamy buffalo mozzarella, organic tomatoes and torn holy basil, drizzled with rich, flavourful olive oil, and a selection of viscous balsamic or crisp white wine vinegar to liven the palate.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35259c7e80680e048294jpeg.jpg" alt="" width="1250" height="1671">Baked Jalkapur fish with quinoa and vegetable saladA sweet sticky sauce accentuates the mouthwatering caramelisation of a fried Jalkapur fillet, cooked to moist, breakaway softness. Soft quinoa and hearty vegetables complete the healthy ensemble.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35289c7e80680e048295jpeg.jpg" alt="" width="1250" height="938">Shrimp bisqueA rich bisque, perfectly sweet and buttery, with pieces of cooked shrimp and a hint of cream, garnished with a sprig of micro herbs.AffogatoA generous double shot of espresso with a double scoop of vanilla ice cream, served in style in a martini glass.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a352c9c7e80680e048296jpeg.jpg" alt="" width="1250" height="1568"><figcaption> </figcaption></figure>Almond chocolate cakeA luscious log of nutty chocolate cake, smothered in rich chocolate ganache, accompanied by an assortment of fresh fruits and slivered almonds.Read also:<a href="https://www.nepalitimes.com/banner/nepoli-nepali/" target="_blank" rel="noopener">Napoli Nepali</a>, Kunda Dixit<a href="https://www.nepalitimes.com/here-now/northeast-indian-cuisine-is-a-hot-new-sensation-in-nepal/" target="_blank" rel="noopener">Northeast Indian cuisine is a hot new sensation in Nepal</a>, Sewa Bhattarai

Patan's museum piece

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934179c7e80680e03dfd7jpeg.jpg" alt="" width="640" height="455"/><figcaption>Vishumati House with the Shivapuri Peak.</figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/6369341b9c7e80680e03dfd8jpeg.jpg" alt="" width="640" height="502">With the privilege of building a house from scratch in Kathmandu Valley comes a sneaking suspicion that in reality it is more akin to an onerous curse. The only land we could afford was way out on the far rim of the Valley, roads were rough, building supplies unreliable, and contractors even more so.By 1990 Tenzin and I were weary of Kathmandu landlords – something about renting their houses turned the most civilised owners into unreasonable fiends. Sangjay was six and Rinchen at four years old had already lived in four different homes – not that he seemed to mind the endless upheavals.A systematic scan of outlying areas took us on weekend searches down the radial roads that stretch outside the Ring Road. Having scoured the possibilities of Godavari (no sun), Bhaisepati (too far south), Thankot (too many trucks) and Sankhu (too tortuous), we eventually settled on the north, beyond Bansbari.We struck lucky one kilometre past the huge Vishnu who reclines on his watery snakes, sculpted in mysterious black stone protecting the Valley from his Budhanilkantha eyrie, high above what used to be the sacred lake before being drained by Lord Manjushri’s sword.On the hill to the gate of the <a href="http://archive.nepalitimes.com/news.php?id=6950#.W-qFgtIza70">Shivapuri National Park</a>, accessible only by a dirt lane with no telephone links and minimal electricity, we settled on a series of rice terraces bordered on one side by the headwaters of the Vishnumati River and on the other by a sylvan stream that has long since dried up. Mr Vaidya had the foresight to buy up large tracts along the river, and offered us first choice of whichever plot we preferred.Of course we chose the topmost section with the best aspect and shaded by Nepali poplars lining the river bank, but what clinched it for us was the scattering of huge granite boulders, vestiges of a massive avalanche rockfall many centuries ago. We oriented the house around those ancient stones, creating a series of small pools with the sound of running water and a rock garden by the veranda through which generations of children have scrambled and explored. A surprising number of guests remark: “It must have been a job moving those rocks!”Sheltered by the Shivapuri forest rising behind us, we had no glimpse of white peaks but were compensated by the benefits of all day sun, plentiful water and extensive views south across the entire Valley. Being a thousand feet above the Valley floor, the microclimate kept us cool in summer and warm in winter, sited safely above the chill morning mists that shrouded the view beneath us like the legendary lake, with Swayambhunath peeking above the fog, the mythical floating lotus island with its hallowed blue flame.It was two years before the first sod was turned, if that is the right expression, and two more years to build – no wonder the process is considered a curse. Inspired by the work of <a href="https://kvptnepal.org/">Kathmandu Valley Preservation Trust</a> and <a href="https://nepalitimes.atavist.com/in-perfect-harmony">Goetz Hagemuller’s</a> restorations of Bhaktapur, Patan Durbar and <a href="http://archive.nepalitimes.com/news.php?id=12488#.W-qDwdIza70">Kaiser Mahal</a>, we were fortunate to have <a href="https://archive.nepalitimes.com/regular-columns/So-far-so-good/preserving-our-valley,908">Eric Theophile</a> design the house, but it was the brilliant <a href="http://archive.nepalitimes.com/blogs/kundadixit/2010/08/17/good-job/">Rohit Ranjitkar</a> who had the hard grind of supervising the construction and managing all the component parts: brick-layers, plasterers, engineers, plumbers, electricians. Once the building chaos had retreated, Muni Rana helped with the planting.We were very particular to use vernacular architecture and traditional design themes with thick mud mortar and brick walls, local materials and chingati tiled roof. Strengthened to withstand earthquakes, which it did in 2015, we used a minimum of concrete but lots of wood imported from Malaysia. Not everything worked and there have been compromises along the way – loo flushing and water heating is less than perfect, the chimney still smokes, central heating never worked and damp patches persist on some walls.Tenzin complained that one third of the cost of the house went into timber floors and ceilings, but despite all the frustrations we were delighted with the result – a peculiar blend of neoclassical Rana meets <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/patan-museum-updated,1304">Patan Museum</a> Malla Newar, with Tibetan chests and carpets. The newly created spaces and empty rooms soon filled with echoes of family life, permeated with memories of friends and visitors.This month is the 24th anniversary of the auspicious day that we first moved in on 12 November 1994. Since then the boys have grown up and left, the garden and birdlife have flourished, and willow and bamboo cut back to protect the foundations. Generations of family dogs have raced around the lawn, disturbed the flowerbeds and, amidst much grief, been buried in the grove at the bottom of the garden.Other than that, very little has changed. When the earthquakes dislodged a few tiles, caused some superficial cracks in the plaster and separated the veranda roof from the main house, we chose to repair it exactly as before: even the colours we painted the walls did not change.Vishnumati House has stood the test of time for our needs, but we did not succeed in convincing others that it was a desirable architectural model that reflects the glorious heritage of historic Nepal. Although thousands have since undertaken the onerous task of building a home in the Kathmandu Valley, very few have attempted to emulate the sublime architectural styles of their Malla and Newar ancestors.Even our book <a href="http://archive.nepalitimes.com/news.php?id=15470#.W-qEFtIza70">Kathmandu Valley Style</a>, published in 2008 to celebrate the adaptations of traditional design to modern living in private houses and hotels, has failed to stem the tide of comfortless concrete <a href="http://archive.nepalitimes.com/news.php?id=19765#.W-qFUNIza70">monstrosities</a> that cloak our once-emerald Valley.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/6369341e9c7e80680e03dfd9jpeg.jpg" alt="" width="3785" height="1483"><figcaption> </figcaption></figure>

Lisa Choegyal

A house in Budanilkantha

<h2>The cultural legacy of Nepal’s famous son can still be seen across East Asia</h2> <figure><img width="1000" height="614" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6609c7e80680e03147ejpeg.jpg" alt=""/><figcaption>An artist's rendering of the White Dagoba (stupa) built by Arniko, that still stands at the Miao Ying temple in Beijing. </figcaption></figure>Stamps have been issued, a highway has been named after him, he has been declared one of Nepal’s national icons. But 900 years later Arniko still remains very much an enigma in the country of his birth. In China, however, where Arniko went as a master architect to the court of Kublai Khan in 1260, he is still respected. He was given the title of Duke of Liang, and a memorial stele marks the spot where he was cremated in Hsiang Sheng near Beijing. A biography was written about him, and the Yuan genealogy contains a chapter on him.It is because of these reliable sources from Chinese sources that today we are able to trace the story of this remarkable historical figure from Kathmandu, even though details about him in Nepal itself are patchy.In 1260, the Mongol leader Kublai Khan asked his spiritual guru Phags-Pa to build a golden stupa in Tibet. When the patriarch of Tibetan Buddhism’s Shakya sect asked the king of Nepal, Jaybhimdev Malla, for a hundred artists the king could muster only 80. Sixteen-year-old Arniko, already known as a child prodigy, volunteered to lead them. “The fact that they needed Nepali artists proves just how developed Nepal’s art and architecture were at that time,” explains art historian Manuj Babu Mishra. “In fact, the sixth-century Changu Narayan Temple pre-dated Arniko and indicates the richness of Nepal’s artistic past.”Due to the decline of Buddhism in the subcontinent Tibet looked upon Nepal as the source of Buddhist wisdom and philosophy. Phags-pa was so impressed with Arniko’s stupas that he trained him into  monkhood and sent him to Beijing to meet the Great Khan himself. Arniko impressed Kublai Khan (Genghis Khan’s grandson) by repairing a bronze statue, and went on to build the White Dagoba, which is a Beijing landmark to this day.  <figure><img width="1750" height="2091" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6629c7e80680e03147fjpeg.jpg" alt=""><figcaption> </figcaption></figure>“China’s art and architecture were already highly developed, so China was not looking for just any architect from Nepal. What Arniko took to China was Buddhist architecture with its philosophy and symbolism,” says historian Satya Mohan Joshi, whose treatise on Arniko was published in 1988.  “for example the Chaitya in Swoyambhu and Baudha symbolised Chaitanya, or consciousness.”It is supposed to be Arniko who took Kathmandu Valley’s famous tiered temple style to China, from where it travelled to Korea and Kyoto. But while that is difficult to prove, Satya Mohan Joshi says Arniko took many other Nepali  elements north: the wooden gate, stone steps and carved windows (tikijhya) at the White Dagoba, its bronze spire (gajur), Nepali-style statues of Dipankar, Shakyamuni and Maitreya Buddha, Paubha paintings of deities like Mahakala, White Tara, Green Tara, Avalokiteswar.Amidst the ruins of the Cloud Terrace near the base of the Great Wall is a huge stone arch containing  images like the Garud, Nagkanya, crocodiles, elephants, and Panchabuddha. The white stupa in Nanking and other sites actually have inscriptions in Ranjana script – all vestiges of Arniko’s influence in China.Read Also: <a href="http://archive.nepalitimes.com/news.php?id=7263#.WvqndKSFPIU" target="_blank" rel="noopener">Resurrecting Arniko</a> After Arniko constructed three stupas, nine great Buddhist temples, two Confucian shrines, one Daoist temple, he was made the ‘master of all classes of artisans’. Prof Jing Anning at Michigan State University writes that Arniko made ‘new symbols of the emperor’s sovereignty, based on designs from Indic culture such as the dharmacakra (Wheel of the Law) which was used to lead imperial processions, and the image of Garuda, the celestial bird that was displayed over the imperial throne’.In another research paper, late historian Dina Bangdel states that Arniko’s works were instrumental in the conversion of Kublai Khan to Tantric Buddhism. ‘Phags-pa directed Arniko to create an image of Mahakala that was used in a protection ritual to aid Khan in his battles (which he won). Arniko’s Mahakala image became a powerful symbol of a leader’s authority to rule,’ Bangdel has written.Arniko also crafted scientific instruments like armillary spheres and water clocks. However, art works  that can be definitely attributed to him are rare. The Cleveland Museum says its image of Green Tara is by Arniko, while portraits of Kublai Khan and his wife Chabi at the National Palace Museum of Taiwan are believed to be by Arniko. <figure><img width="1250" height="1613" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6669c7e80680e031480jpeg.jpg" alt=""><figcaption> </figcaption></figure>Although these claims cannot be proven, Prof Anning says a bronze statue of Manjushri (dated 1305) now in the Palace Museum in Beijing and a brocade image of a three-faced, six-armed Guhyasamaja now in the Potala Palace in Lhasa are by Arniko. Arniko established a school of Nepali art in China which trained at least two of his own sons and thousands of Chinese artists. ‘By drawing inspiration from the artistic traditions of Pala, Nepal and China, Anige (Arniko) single-handedly created a new form of court art and promoted it through the huge artisan agencies under his leadership,’ Prof Anning writes.   The Italian traveller Marco Polo, who journeyed to China from 1271-1295, was a contemporary of Arniko. If they ever met, history has no record of it. Marco Polo is not even named in Chinese history. Ironically, while Marco Polo gained lasting fame after he returned home and wrote of his travels, Arniko despite the respect he commanded in the Chinese court, disappeared from world history after his death in 1306 at age 62.Satya Mohan Joshi thinks Arniko’s legacy is the enduring bond between Nepal and China, and cites the White Dagoba which was left alone even during the Cultural Revolution, and is still cared for and renovated with high priority by the Chinese state.He adds: “Nepal needs to live by the policy of panchasheel, and we have historic proof that Arniko espoused it. That is why he deserves to be our national icon.” <h2>Arniko meets Kublai Khan in Beijing</h2> After he arrived, the Emperor looked at him at some length before asking, “Are you afraid to come the big country?”He answered, “The sage (Kublai Khan) regards people in all directions as his sons. When a son comes to his father, what is there to fear?”“Why do you come?”He replied, “My family has been living in the west (Nepal) for generations. I took the imperial edict to build the stupa in Tibet for two years. I saw constant wars there, and wish Your Majesty could pacify them. I come for sentient beings.”“What do you practice?”He said, “I take my mind as my teacher and know roughly painting, casting and carving.”The Emperor was greatly pleased.(Extract from Arniko’s biography) <figure><img width="360" height="480" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6689c7e80680e031481jpeg.jpg" alt=""><figcaption> </figcaption></figure>

The life and times of Arniko

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

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