<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237b29c7e80680e0c7345jpeg.jpg" alt="" width="2304" height="1536"/><figcaption>Photos: SUMAN NEPALI</figcaption></figure>‘Colors of Shared Dreams’ at Nepal Art Council is an act of transference, most notably of the millennia-old traditions of <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/" target="_blank" rel="noopener noreferrer">Mithila art and artists</a>, their heritage, to paper.The key theme here is the dreaming, and 51 women artists give voice to the vision of their lives, trials and tribulations, and dreams.Mithila art is most recognisable by its traditionally drawn, two-dimensional figures adorning the walls of homes in the ancient Mithila kingdom that spans present day southern Nepal and northern India.The origin of this singular art form is rooted in the legend of King Janak who had his subjects paint the walls of their homes to welcome Lord Ram when he came to ask for his daughter Sita’s hand in marriage.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237b59c7e80680e0c7346jpeg.jpg" alt="" width="2304" height="1536"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237b99c7e80680e0c7347jpeg.jpg" alt="" width="2304" height="1536"><figcaption></figcaption></figure>Mithila paintings then were done at weddings, festivals and feasts using flour, clay and cowdung. The artists were mostly the women of the family, and as the art evolved, the paintings became more than a way to beautify homes — they provided women a creative outlet to tell stories of their lives.Then, 30 years ago, the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/colour-play-mithila-art-janakpur,796" target="_blank" rel="noopener noreferrer">Janakpur Women’s Development Center</a> helped to introduce a new medium for this art — paper — in a drive to keep this tradition alive and also encourage women to gain financial independence through Mithila art.Now, ‘Colors of Shared Dreams’ traces this movement in history and form, keeping intact the core values, style and aesthetics of Mithila art, to also include ceramics, mirrors and woolen figures.In sections, ‘Colors of Shared Dreams’ showcases the personal stories of the artists with the dance of the natural life, elephants, bulls, fish and peacocks, adorning the geometric frames. It also serves as a commentary on society, like its reflection were mirrored on a canvas.Read also: <a style="font-weight: 600; letter-spacing: 0.15px; background-color: #ffffff; outline: 0px;" href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">Bhaktapur’s Mithila influence</a>, Bhaskar Koirala<a href="http://archive.nepalitimes.com/news.php?id=8294#.YxLqIc9BxpS">Mythic Mithila</a>, CK Lal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237bc9c7e80680e0c7348jpeg.jpg" alt="" width="2304" height="1536"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237c09c7e80680e0c7349jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Photo: ARIA SHREE PARASAI</figcaption></figure>This transition, or progress, is perhaps more conspicuous in contemporary and experimental feel of the later pieces that still stay true to the unique style and technique of Mithila art: characters facing sideways, elongated almond eyes, expressive hands and the tiered canvas.By depicting the many aspects of daily life, from taking care of children to cooking, cleaning, looking after older family members, the paintings bear the hallmark of the heavy workloads imposed on women — work that is often neglected and undervalued by men.For instance, the ghumto in one artwork seems to represent the restriction on a woman to only perform her household duties. Another painfully highlights the abuse in relationships. How may a caged bird still sing?However, dreams are boundless and in the art one finds comfort, inspiration, drive, and the promise for a better future — both for the artist and viewer.The artists see themselves not just as being confined to the house but in powerful positions, women <a href="https://www.nepalitimes.com/here-now/modern-mithila-art-that-bares-injustice/" target="_blank" rel="noopener noreferrer">taking control of their lives</a> and destinies.One painting depicts a woman raising her children independently, another shows a working professional. Migration has led all the men out of their homes to the Gulf or elsewhere, and in one painting, women break out of the domestic drudgery to learn and express their skills.They drive tractors and are literal breadwinners now, while others pilot airplanes and spaceships. The sky is no longer the limit.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237c39c7e80680e0c734ajpeg.jpg" alt="" width="2304" height="1536"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237c69c7e80680e0c734bjpeg.jpg" alt="" width="2304" height="1536"><figcaption></figcaption></figure>Yet, there is still that haunting voice lingering, one that pauses and reminds us that while it is not all gloom and dark, it is not all sunshine and rainbows either.What makes the artworks distinct is that very voice trying to bridge the vast realm of possibilities with the much harsher reality. Where does tradition fit in the belief systems of today? Can we be truly modern and progressive unless we ditch all that tethers us to the past? The voice prods and ponders.In their frank depictions of the struggles in a patriarchal society, the paintings are relatable and striking. Here is the struggle shared collectively by the artists, women and dreamers trying to break the mould. The art highlights the problems, but it also shows the resilience to fight.Says Sheelasha Rajbhandari, coordinator of the exhibition: “It is very empowering to see all these <a href="https://www.nepalitimes.com/latest/how-art-empowers-nepals-women/" target="_blank" rel="noopener noreferrer">women coming together and working together</a>. Mithila artists do not get the acknowledgement they deserve, especially individual contributions by women.”Colours of Shared DreamsNepal Art Council, Babar Mahal2 – 5 September 202210AM – 6PM

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The dreamscape of Mithila art

<figure><img width="1000" height="667" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203409c7e80680e0b27fajpeg.jpg" alt=""/><figcaption>Photo: MONIKA DEUPALA</figcaption></figure>S C Suman’s 18th solo exhibition Mithila Cosmos: The Cycles of Time is the sixth in a series that juxtaposes traditional form and aesthetics with contemporary issues in Nepal.<a href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/" target="_blank" rel="noopener noreferrer">Suman</a> was the first Mithila artist to do a solo exhibition of this traditional artform of Nepal’s Madhes in 1991, and was recently awarded the International Lifetime Achievement Award by the 2021 Madhubani Literature Festival held at Darbhanga in India’s Bihar state.“An artist is a social creature,” he tells us, “informed by the time and place around them.”Indeed, since 2007, Suman has depicted the aftermath of the Maoist insurgency, the promulgation of the new Constitution, and the 2015 Earthquake in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/mithila-avatar,2861" target="_blank" rel="noopener noreferrer">detailed paintings</a> simultaneously rooted in Mithila traditions and style.His latest is equally timely. Like a liminal deity, his brush looks both ways – at the ancient past and the anxious future – as the artist seeks to explore the tales of creation and analyse the effects of the Covid pandemic in a finesse of colours and intricate lines. <figure><img width="640" height="678" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203439c7e80680e0b27fbjpeg.jpg" alt=""><figcaption> </figcaption></figure>The Cycles of Time is first and foremost a story seeking balance, where the paintings are replete with familiar images of nature and Hindu deities. Snakes coil around branches as fish swim below. Vishnu and Laxmi sit atop the Seshnag as Brahma looks from above. Deer frolic behind leaves and kites take to the textured sky as gods and their creations try to co-exist in the great cosmic sphere.The wide expressive eyes and delicate lattice-like line work flow, curve and bend at sharp angles to lead the viewer in the odyssey of Suman’s inspiration which begins at the footsteps of creation itself (Male female union and creation) and charts the progression of life through the four yug. “I as an artist wonder about how we got to this state,” says Suman. “And to answer this, I turn to look at where we used to be before.” <figure><img width="628" height="900" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203459c7e80680e0b27fcjpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="1052" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203499c7e80680e0b27fdjpeg.jpg" alt=""><figcaption> </figcaption></figure>The cyclical four yug in Hindu cosmology – Satya Yug, Treta Yug, Dwapar Yug and Kali Yug­ – are described not just as the passages of time but of human morality and physical states as well, and SC Suman creates his own interpretations through changing colours and iconography. The use of warm golden hue is overwhelmed by cooler blue as we move from one age to the next, and harmony gives way to disorder.By the time we come to the Kali Yug, the big fish gobble up the little ones as nature is decimated indiscriminately, and houses, people and cars try to climb on top of each other. Elsewhere, bats are scapegoated for the pandemic and oxygen cylinders hanging by parachutes try to make up for deforestation. <figure><img width="487" height="750" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/6372034b9c7e80680e0b27fejpeg.jpg" alt=""><figcaption> </figcaption></figure>When he was a child in Lahan, SC Suman recalls, the East-West highway was just being built and forests were being cut to make room for the bitumen roads. “We would see sap coming from the cut trees and we would say that the trees are bleeding,” he recalls.But not all is dark and foreboding. Progress and possibility for change is offered by the vibrant Ecological Balance and Love Rasa in Nature that call for stability and love that makes all things beautiful. Dashami Mela and Chhath Puja are joyous panoramas that capture the deep link between life, environment and the divine. Meanwhile, subtle sensuality and eroticism permeate Kobhar Painting and Naturally Intoxicated for Each Other in expressions of unity and duality. <figure><img width="1000" height="667" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/6372034d9c7e80680e0b27ffjpeg.jpg" alt=""><figcaption> </figcaption></figure>Mithila Cosmos: The Cycles of Time is a uniquely introspective meditation on flux and the Anthropocene that asks the important question: What’s next? Any sense of nihilism is nullified by the underlying sense of eternal return, while these powerful images reflect our own intrinsic human proclivity to love, care and aspiration – offering us a second look at ourselves: perhaps we ourselves are the redeemer we seek to help us through the dark times. Mithila Cosmos: The Cycles of Time Siddhartha Art Gallery, Baber Mahal Revisited Till 15 January 11:00am – 5:00pm Special Talk ‘Mithila Gaze’: 7 December 3:00pm at the Gallery with Ramawatar Yadav, C K Lal, Sangeeta Thapa and S C Suman. Moderated by Devendra Thumkeli. Read Also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/" target="_blank" rel="noopener noreferrer">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal

Ashish Dhakal

Between an ancient past and anxious future

<figure><img width="1597" height="1064" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d144c9c7e80680e0a996ejpeg.jpg" alt=""/><figcaption>All photos: MONIKA DEUPALA</figcaption></figure>Manjula Thakur was married at age 12. By the time she was 20, she had three children. At 32, she still did not know how to read or write. Her world was limited to the four walls of her house. Instead of taking care of the family, her husband spent the little they had on alcohol.What kept Manjula going was her love of art. Like generations of Maithili women before, her mother had taught her how to make traditional clay murals and <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Return-of-the-past,907" target="_blank" rel="noopener noreferrer">paint the walls</a> of their home. Even after getting married, she spent hours painting the walls and floors of her home. What she did not know was that the art she learnt as a child would help her gain fame and independence now in her 50s.“<a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/">Mithila paintings</a> have taken me not only around the country but also around the world,” says Thakur, who has been to the United States and Spain to exhibit her paintings.https://youtu.be/jnok2HD37VMIn 1988, when American visual artist <a href="https://www.nepalitimes.com/banner/journey-to-the-mountain-of-the-spirit/" target="_blank" rel="noopener noreferrer">Claire Burkert</a> came to Nepal to document <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank" rel="noopener noreferrer">Mithila wall paintings</a>, she asked Thakur to paint something for her. She was paid Rs50. That was the first time Thakur realised that despite being illiterate, she could still earn money.She was then offered a job at the newly established <a href="https://jwdcnepal.org" target="_blank" rel="noopener noreferrer">Janakpur Women’s Development Centre (JWDC)</a> which was set up by Burkert, and is still run by women artists. “I went from living for my family to contributing towards their livelihood,” says Thakur, who now supports her household with earnings from her art. She has now bought a plot of land in her village and supports her children’s education.Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/">Nepali art going places</a>, Kunda Dixit<a href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/">Mithila representations of Kathmandu’s metamorphosis</a>, Sewa Bhattarai <img width="1529" height="1019" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d144f9c7e80680e0a996fjpeg.jpg" alt="">This economic empowerment has also meant that her role in the household has changed. These days, she makes most of the family decisions, her husband playing a supportive role.Living in a society where women are usually relegated to household chores and confined within the walls of their homes, it was not always smooth sailing for Thakur. It took her 25 years to change the perception of the society. “Although it was difficult initially, I am more confident now and have gained a lot of respect and love because of this art,” she says. <img width="1411" height="941" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14539c7e80680e0a9970jpeg.jpg" alt="">Thakur is in Kathmandu this week with three other women from JWDC to prepare a mural for the <a href="https://kathmandutriennale.org">Kathmandu Triennale 2077 festival</a>. Just off the busy streets of Boudha, up the entrance of <a href="https://www.facebook.com/TaragaonMuseum" target="_blank" rel="noopener noreferrer">Taragaon Museum</a>, the four women clad in colourful saris and traditional silver jewellery are busy painting and creating murals using a mixture of clay, husk, and flour. “When we paint, we forget everything. When we travel to new places, we gain more confidence,” says Madhumala Mandal, a part of the art troupe. Mandal’s earnings help pay for care for her son who suffers from spinal chord injury.  <img width="2249" height="1499" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14569c7e80680e0a9971jpeg.jpg" alt="">When Sudhira Karn’s husband died 20 years ago, she struggled to raise her only son. She remembers people gossiping when she went to train at JWDC. Today, her son is a graduate and works at a bank. These days, Karn spends time with books, some of her favourites being Prem Sagar, Ramayana, Sukha Sagar, Bhagwat Gita, Madhavi and Sitaram. “I get more ideas for painting after reading books,” says Karn. In Kathmandu this time, she wants to spend a part of her earnings to buy more books to take back home to Dhanusa.Read also: <a href="https://www.nepalitimes.com/here-now/modern-mithila-art-that-bares-injustice/">Modern Mithila art that bares injustice</a>, Nunuta Rai<a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">Bhaktapur's Mithila influence</a>, Bhaskar KoiralaAnother artist, 53-year-old Rewati Mandal, is also happy to have pursued Mithila art as a profession. “I earn more through painting than toiling the fields night and day,” says Mandal, who is the sole breadwinner in her family. Her sons live separately, but because of her skill, Mandal does not have to ask them for money. “I earn my own keep. I earn up to Rs10,000 per job. That is enough for me to buy groceries for an entire year,” she adds. <img width="1680" height="1120" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d145b9c7e80680e0a9972jpeg.jpg" alt="">All four women believe that <a href="https://www.nepalitimes.com/latest/sisterhoods-empowering-education-in-nepal/" target="_blank" rel="noopener noreferrer">opportunities</a> trump luck, and given a break a woman can do as well as, or better than, menfolk in every sphere of life.Sheelasha Rajbhandary, the curator of Kathmandu Triennale 2077 says that the event will set an example by highlighting traditional women artists. She says: “Traditional art done by women is still not counted as art. That is why we need to highlight art forms like Mithila art. After all, <a href="https://www.nepalitimes.com/latest/the-goal-is-empowerment-and-independence-of-women/" target="_blank" rel="noopener noreferrer">women empowerment</a> begins at home.”Translated from <a href="https://www.himalkhabar.com/news/126792" target="_blank" rel="noopener noreferrer">the original</a> by Sahina Shrestha.

Anita Bhetwal

How art empowers Nepal’s women

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05c49c7e80680e0a5f27jpeg.jpg" alt="" width="1142" height="640"/><figcaption>Photos: SAGLO SAMAJ</figcaption></figure>Janakpur, the birthplace of Sita and the cradle of the Mithila civilisation, is seeing a revival of its heritage, culture and traditional art.The origin of <a href="http://archive.nepalitimes.com/news.php?id=8294#.YN_dOy8w3u1" target="_blank" rel="noopener noreferrer">Mithila art</a> is rooted in the legend of King Janak ordering his subjects to paint walls of homes to welcome Lord Ram when he came to ask for his daughter Sita’s hand in marriage.Mithila paintings then were done at weddings, festivals and feasts using flour, clay, and cowdung. The artists were mostly the women of the family, who bore the decorative responsibility in their homes. As the art evolved, the paintings became more than a way to beautify homes — they provided women with a creative outlet to tell the stories of their lives.This centuries-old art form has now gone commercial, enabling <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/colour-play-mithila-art-janakpur,796" target="_blank" rel="noopener noreferrer">female artists</a> to hone skills passed down from one generation of mothers to the next generation of their daughters. This now gives them financial independence, recognition and respect within Nepal and, increasingly, across the world.<a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">Bhaktapur’s Mithila influence</a>, Bhaskar Koirala<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05c69c7e80680e0a5f28jpeg.jpg" alt="" width="1440" height="807">Madhumala Mandal was born and raised in Kuwa village near here, where Mithila culture is as ingrained into young girls as household duties and responsibilities. Guided by her grandmother and mother, Mandal would paint pictures of deities to decorate the doors and walls of her house.But her interest in the traditional draughtsmanship soon stretched beyond the walls of her home, she would make shapes out of clay and paint idols on trips to the village mela. <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05c99c7e80680e0a5f29jpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>“Even while I was out herding cattle and doing farm work, I was always drawing idols and shapes on the ground,” she recalls.Mandal would eventually have a family of her own, but she retained her passion for Mithila art. She now works at the Women's Development Centre in Janakpur where she creates Mithila paintings on canvas.“It took many years for me to convince family and friends that I was doing the right thing,” she explains.Mandal’s four brothers went to school, but as the sole daughter in the family, she was excluded. Having learnt to be independent from a young age and now with income of her own, she supports her own daughter’s education."The income and respect I earned through my artwork gave me the courage and the means to support my daughter,” she says. “This is the greatest achievement of my life.”Her days of drawing shapes in the mud long behind her, Mandal’s art now stays with traditional motifs but is almost impressionistic. Her work has been exhibited in the US and Hong Kong, and accent the walls of many homes across the world.The ancient Mithila kingdom spanned territory that now lies on both sides of the India Nepal border. Recently, there has been a renaissance of Mithila literature, dance forms and art.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05cc9c7e80680e0a5f2ajpeg.jpg" alt="" width="1440" height="804"><figcaption> </figcaption></figure>Acclaimed Mithila artist Mithileshwari Devi Karna was born and raised in Bihar’s Madhubani district and settled in Janakpur after marriage, grew up learning the Mithila art form from her mother in India.Karna used to train artists at the Women's Development Centre and faced similar experiences of societal pressure as many other women like Mandal in the Tarai who have chosen to become artists.Her community expressed disapproval when she prepared to travel overseas for an exhibition of her art. “People are always going to judge and make comments,” she says dismissively, “but I stood my ground, and went to Japan.”The steadfast pursuit of her art has earned her respect, financial security, and most importantly, self-satisfaction. Now, the 65, Karna was recently honoured by the Nepal Academy of Fine Arts and now only paints as a hobby. Even so, she is never without a paintbrush and canvas within reach.The popularity of Mithila art and handicrafts spread across the world after the 1980s due to Professor Rajendra Bimal and American artist Claire Burkert, who meticulously documented all the existing Mithila murals in Janakpur.Together, they established the Women's Development Center here in 1992 and trained women in Mithila art for the first time in Nepal, making sure that artists were financially independent through their art, and the techniques were preserved.As a result, the women who have received training and worked in the Centre have played a role in making Mithila art famous not only within Nepal but all over the world.<a href="https://www.nepalitimes.com/here-now/modern-mithila-art-that-bares-injustice/">Modern Mithila art that bares injustice</a>, Nunuta RaiSunaina Thakur is among those who institutionalised and promoted Mithila art internationally. Thakur organised Mithila art exhibitions in India, Japan, and the US, and now runs her own art gallery in Janakpur where she employs and trains 30 female artists in the techniques as well as in running an art business.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05cf9c7e80680e0a5f2bjpeg.jpg" alt="" width="1440" height="800"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05d29c7e80680e0a5f2cjpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>“I have been constantly trying to mobilise unrecognised talent to empower artists and encourage gender equality, both through recruitment efforts and through the art itself,” says Thakur, “I now want to pass on what I know to the next generation of women.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05d59c7e80680e0a5f2djpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>Among the artists employed at Thakur’s gallery is Binita Devi Sah, who recently earned her first-ever paycheque through her own Mithila paintings. Family obligations and responsibilities towards her children had confined Sah at home for almost three decades, but when her sons completed their education. It opened the door for her to finally pursue her own interests.“I stepped out of my house 26 years after getting married and earned Rs12,000 through my work. I have not stopped sharing my happiness with other people even as my sons continue to tease me about it,” smiles a proud Sah. “We never thought that this art, which we learned to make as children, could be a means for earning a livelihood.”The Mithila museum at the Janaki temple has also played an important role in documenting and conserving Mithila art. The museum, established under the leadership of Mahant Ramat Peshwar Das, houses Mithila paintings, sculptures, murals, decorative items as well as Maithili music and hymns that showcase the rich history of the art form.Satish Shah, director of the Women's Development Centre, agrees that Mithila art in Nepal has not been able to evolve as much as it has in India where there are more well-equipped institutions. Moreover, the is Center is not as influential as it once was, and has become a cause for concern about the future of Mithila art and artists. The pandemic has made working conditions worse in the last two years, and it is difficult to pay the 40 artists employed.Yet, even as they hope for support from the local and state governments, Shah and Karna both acknowledge that elected officials in Janakpur and Kathmandu do not understand the importance of Mithila art and culture."The government must invest in preserving this institution as well as Mithila art,” says Shah, adding that leaders could start by displaying the paintings in their offices.Mithila art featured heavily during weddings, festivals and celebrations, and even in items of daily use in Janakpur city until two decades ago. The artwork decorating the streets of the city included depictions of ancient earthen houses, artistic interpretations of the traditional jhizhiya dance, daily household items, and vibrantly painted birds. But with modern life, the practice is slowly fading.<a style="font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/" target="_blank" rel="noopener noreferrer">S C Suman</a>, former head of the Department of the Folk Arts at the Nepal Academy of Fine Arts, says the reason is that cement houses have replaced the clay walls where the paintings were done. Nepali galleries now import Indian Mithila paintings and pass them off as originals.“While commercialisation to a certain extent is necessary, hyper-commercialisation can also make it difficult to preserve Mithila art,” he says. “Nepali art is incomplete without Mithila art.”_________________<h2>Crossborder Mithila civilisation</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05d89c7e80680e0a5f2ejpeg.jpg" alt="" width="1280" height="720">Mithila art is the cultural heritage of the entire Mithila region, which was a single kingdom before being divided after the 1816 Sugauli Treaty. And while Colonial India got a bigger chunk of the state, Nepal retained 25% of the territory, including the capital of Mithila in Janakpur where the art form originated.When the state of Mithila was divided, the art form began to be referred to as Madhubani art in India. But Mithila and Madhubani art are one and the same, explains Sunaina Thakur.“As in Mithila art, Madhubani art, too, depicts the marriage of Sita and Ram, and the two art forms have the same style,” she adds. “The difference is that Madhubani art is more well known internationally than Mithila art.”Mithila art conservationist and campaigner Sudarshan Lal Karna says that the art form has not developed, or been promoted in Nepal to the extent that it has been in India, where it was first propagated in 1966.The then Union Minister of Bihar, Lalit Narayan Mishra, who was familiar with the art form, introduced his foreign guests to Mithila paintings. They in turn were amazed how similar they were to Picasso’s paintings.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111015118/636d05db9c7e80680e0a5f2fjpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>“That marked the beginning of the institutional development of Madhubani art in India,” says Karna, while there was no progress in Janakpur. The Women's Development Centre is one of very ew Nepali organisations that actively works to promote and nurture Mithila art.“But although the evolution of the art in Nepal is slower, the quality of the talent with the two nations are at par with each other,” notes Karna, who would like Mithila art to be included in the school curriculum, and not just in Province 2.

Vibrant Mithila art thrives in Nepal

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9799c7e80680e080216jpeg.jpg" alt="" width="1298" height="956"/><figcaption></figcaption></figure><a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/mithila-art-with-a-message/&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGzXhBe09gq1Bzvn7tX9ABeTznuIA">Ranju Yadav’s</a> modern take on traditional art injects progressive messaging into <a href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNG6G0QglI_y52O-zS5JPE6Brdxv3g">Mithila art</a> adorning households in the Nepal Tarai as she transfers heritage from walls to canvas and easel.Touching on issues of patriarchy such as women’s empowerment, dowry and foeticide, Yadav’s work stays true to the <a href="http://archive.nepalitimes.com/news.php?id=8294#.X3vnSS8RoWp" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D8294%23.X3vnSS8RoWp&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGHuEXrpT4CHCMllfEINKFs4zO32w">techniques of Mithila art</a> while communicating the need for reform and social justice.The folk art uses the traditional sideway faces, elongated almond eyes and traditional attire for her figures — all hallmarks of Mithila art. Geometric borders and vibrant colours also add to the traditional look and feel as well as techniques like Mokh Chitra and Arpan that pay homage to her roots.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd97d9c7e80680e080217jpeg.jpg" alt="" width="1470" height="962"><figcaption></figcaption></figure>Despite the organic style, Yadav does not shy from social commentary. Her piece ‘Disaster Tourism’ makes light of the government’s ineffective response to floods in the Tarai, using satire and irony to show feckless politicians ‘inspecting’ the damage from afar.Communicating injustice and societal wrongs through art has always been Yadav’s motivation, and she is an advocate of the real-world benefits of <a href="http://archive.nepalitimes.com/news.php?id=6697#.X3vnbS8RoWp" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D6697%23.X3vnbS8RoWp&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNF4aSsZ473_06fEJYziL_aFh9vPMw">Mithila art in a conservative society</a> skewed by gender imbalance. Many of her painting depict emancipation: women flying helicopters, driving cars, being set free from cages.She says, “I am satisfied if my art manages to enlighten even just one person. Most Mithila women are skilled in traditional art, and if those skills can be applied to canvas, income can be generated, heritage preserved at the same time. The bonus is that they also get to spread message about the need for change.”Her work has catapulted traditional Mithila art onto the international stage, gathering acclaim for preserving cultural values with a painstaking attention to detail. Just one of her pieces, which can take up to a month-and-half to complete, sell for as high as Rs100,000.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9809c7e80680e080218jpeg.jpg" alt="" width="640" height="311">Ranju Yadav was born in Paterawa in Saptari, and was brought up learning to paint scenes from the Ramayana and Krishna-Lila on the walls of her home from her mother, aunts and grandmother – just like the art form has been passed down from one generation of Maithil women to the next in the region of an <a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGUYnSUtf-sOAm3jBVH36Cp-Kmjaw">ancient empire</a> that once spanned today’s India and Nepal and once even included Kathmandu Valley.Despite personal difficulties like losing her father and failing to clear the Civil Service examinations, Yadav persevered and honed her craft after she moved to Rajbiraj to live with her extended family. There, she was called upon to paint walls during festivals.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9839c7e80680e080219jpeg.jpg" alt="" width="1298" height="918">But her big break came when Milthila artist Ajit Sah came across her embroidery and artwork. He encouraged Yadav to move to canvas as a medium. “It was then I realised Mithila art can also be a profession. But I struggled initially to adjust from painting walls to painting on canvas. I used a lot of sketch books before finishing my first piece,” she recalls.Now, her work have been displayed in international and national exhibitions. Her first solo exhibition, Colors of Change, ran <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/mithila-art-with-a-message/&amp;source=gmail&amp;ust=1602043178873000&amp;usg=AFQjCNGzXhBe09gq1Bzvn7tX9ABeTznuIA">last year at the Nepal Art Council</a>, during which she caught the attention of the Swiss Ambassador to Nepal Elisabeth von Capeller. Yadav held her second exhibition in August 2019 in conjunction with the Swiss embassy.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9869c7e80680e08021ajpeg.jpg" alt="" width="622" height="866"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109171144/636bd9889c7e80680e08021bjpeg.jpg" alt="" width="640" height="478">She has also been awarded for her work, winning a national artwork exhibition organised by the Nepal Academy of Fine Arts from the traditional artwork category in April 2019. Yadav’s plans to broaden her artistic horizon have been delayed by the Covid-19 pandemic.A weeklong exhibition planned for 7-14 June was postponed indefinitely, while a trip to Europe planned for April was cancelled. Plans to open a Mithila art training workshop in Jhamsikhel in Patan have also been thrown into disarray.Despite this, Yadav is making the best of the time she has during the lockdowns. She recently welcomed a son to the family, with whom she has got to spend time. She says: “There is no point in distressing about cancelled projects. It is a time for reflection, rebirth and spending quality time with my baby.”

Modern Mithila art that bares injustice

<figure><img width="1500" height="1222" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35719c7e80680e0482aejpeg.jpg" alt=""/><figcaption>Photos: SEWA BHATTARAI</figcaption></figure>Printmaking is as old as Nepal's history itself, and printmakers have brought fame to the country by winning many  international competitions. For all that, little is known about printmaking here. An exhibition at Siddhartha Art Gallery titled Seduction of Printmaking, organised by Print Making Nepal Artists’ Collective seeks to change that.The exhibition features prints by more than 30 artists, reflecting various genres: from traditional arts like Paubha and Mithila art to contemporary pieces on nature and urban life, and fusion works as well. While the pieces are a delight to see, the exhibition is also an opportunity to understand the complex arts of printmaking. The pieces may look like paintings, but in fact, prints are created through a variety of complicated processes.Read also: <a href="https://www.nepalitimes.com/review/etched-in-our-memory/" target="_blank" rel="noopener">Etched in our memory</a>, Prakriti KandelSome methods require carving the basic shape on wood, painting it in colours, and stamping it on paper. In others, motifs are etched on metal and the art emerges by applying acid to the metal which erodes it into different patterns. Still others require the use of a printmaking machine. Prints started out in China and Japan and were used to illustrate Buddhist texts, but now have spread all over the world. <img width="1500" height="1848" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35759c7e80680e0482afjpeg.jpg" alt="">Printmaking is quite difficult and expensive too, as it requires equipment and tools. Until recently, there were only a few private printmakers in Nepal, but now the Printmaking Association has acquired a machine that can be used by all printmakers.“Our aim is make printmaking more known in Nepal, and also to make it easier for future printmakers to work,” says the Association President Uma Shankar Shah, lamenting that the government has neglected the genre. “No printmaker has ever been awarded by the government, and it has conducted no printmaking workshop till date. We hope to work for more recognition.”Set up in 2017, the Association seems to have succeeded in pumping some fresh blood into the printmaking community. Senior printmaker Birendra Pratap Singh, who was the first person to own a printmaking machine in Nepal, had not made a print for 18 years. But he was energised to make one for this exhibition. The exhibition has also managed to rope in renowned non-printmaker into making prints, like the Paubha artist Lok Chitrakar and Mithila artist SC Suman.Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of the gods</a>, Tsering Dolker Gurung<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank" rel="noopener">Mithila art with a message</a>, Prakriti Kandel <img width="1500" height="1749" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35789c7e80680e0482b0jpeg.jpg" alt="">Inaugurating the exhibition this week, French Ambassador Francois-Xavier Leger said: “Printmaking artists are dynamic and creative. It confirms what I always thought, that the new generation is active.”The Seduction of Print MakingTill 24th AprilSiddhartha Art Gallery, Baber Mahal Revisited

Leaving an imprint

<figure><img width="1883" height="1439" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a34fb9c7e80680e048286jpeg.jpg" alt=""/><figcaption>Photos: PRAKRITI KANDEL</figcaption></figure>Artist Ranju Yadav grew up in a village of Rajbiraj of Saptari, and learned Mithila art from her mother, grandmother and aunts who painted the walls and floors of their traditional mud houses. In her first solo exhibition, Colours of Change, Yadav transfers her heritage from walls to paper, creating a collection which represents Mithila art that are a commentary on society.Yadav stays true to the techniques of Mithila art: her human characters face sideways, have elongated almond eyes, and all wear traditional clothing, women in saris and men in kurtas. The paintings feature intricate borders, as well as animals and birds. "Peacock, fish, lotus, elephants, and the detailed borders are defining elements of Mithila art," explains Yadav, whose takes pains on the fine details of her work. The borders and geometries have a consistency that soothes the viewer.Yadav also presents a balanced variety in patterns that the viewer is drawn into the diverse intricacies of the painting. Her paintings are a burst of colour and the red, green, blue, and yellows all combine harmoniously to convey the vibrancy of Mithila art.But the artist is also conveying a message: women’s empowerment is a prominent theme. In Education is Power, Yadav has a woman at the centre, reading and four sections fan out, each showing a woman flying a plane, typing on a laptop, peering through a telescope, and giving a speech. Women can do anything with education. What makes this paining even more powerful is that the women are in traditional Mithila attire: women are carrying on their traditions, but are empowered.  In Equality, Yadav shows a couple handling  household work together, indicating what equality should look like. In another, Yadav shows a woman fighting a bull, and there are many other symbolisms of a woman’s inner strength. While her art highlights the problem, it simultaneously provides solutions and Yadav says that this is her objective. <img width="2592" height="1936" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a34fe9c7e80680e048287jpeg.jpg" alt="">Mokh Chitra and Aripan are tributes to her heritage, featuring intricate patterns. In The World of Fish, Yadav paints six fish with detailed work in design and colour. In Celebration of Beauty, magnificent peacocks interact with women. Disaster Tourism is Yadav's sarcastic portrayal of the government's inability to efficiently handle citizens suffering in disaster, and is poignantly timely with this week’s tornado disaster in Bara.Through her art, Yadav aims to raise awareness about issues of injustice. She says: "There are many themes I have yet to tackle, like the rape cases earlier this year. I hope to paint them all.”Colours of ChangeUntil 5 April, 11am-5pmNepal Art Council, Baber Mahal ranju.painting@gmail.com

Mithila art with a message

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