The oil on canvas shows an artist painting an image of Lord Brahma on a clay pot.&nbsp; The One Who Creates a Creator is the work of Tej Bahadur Chitrakar, considered the pioneer of contemporary art in Nepal.&nbsp; The painting was bought from a gallery in Darbar Marg by former Danish diplomat and anthropologist Dr Michael Vinding in 1986. It remained in Denmark until Rajan Sakya of the Museum of Nepali Art (MoNA) bought the painting and brought it back to Nepal this year.&nbsp; Tej Bahadur, who died in 1971, &nbsp;was himself the son of artist Shiva Das Chitrakar. Tej's son Madan Chitrakar, who is also an artist and art historian, unveiled the painting at MoNA this week. Vinding, now in his seventies, was also present.&nbsp; Vinding had contacted Madan after reading his books on the painting that he bought, and their mutual admiration for Nepali art kept them in touch. &nbsp; “One of my very favourite paintings of my father’s is right here after a long absence from Nepal,” said an emotional Madan at the unveiling. “I have a special attachment with this series of paintings, which is a celebration of Nepal’s art heritage and social life.” Madan was back home from college in Bombay in 1967, and his father was planning to work on a series depicting the lives and struggles of Nepal’s mountain communities.&nbsp; Madan felt it was important to document the heritage and the profession that the Chitrakar community had inherited. When he suggested this to his father, Tej Bahadur agreed to do it right away, and depicted pottery, paubha, and wooden strut paintings in his series.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240426060416_b4d75ebfac77bfe5e660996da861f95b59e4ecb6b86c0ad0b3a72b10d93c2309.jpg" data-media-id="editor_0" data-image-id="20240426060416_b4d75ebfac77bfe5e660996da861f95b59e4ecb6b86c0ad0b3a72b10d93c2309" data-rendition-name="original" width="2100" height="1500" loading="lazy" alt="Painting a Painter Page 9 NT #1209"> <figcaption>The first painting in the Tej Bahadur Chitrakar series, Tribute to My Forefather (left) and Ancestor at work, the third in the series documenting the heritage of the Chitrakar community. Photos: FUKUOKA ASIAN ART MUSEUM (left)/MUSEUM OF NEPALI ART (right)</figcaption> </figure>  But Tej Bahadur needed a reference for his work. So Madan sat his father down as a model and made various sketches of his face, as well as hand, eye, and sitting positions. Tej Bahadur did his paintings based on those sketches of himself, and this became a collaborative project between father and son.&nbsp; The three paintings in this series, of which The One Who Creates a Creator is the second, took Tej Bahadur six months to complete. The first, titled Tribute to My Forefather, depicts a man working on a paubha, and is at the Fukuoka Asian Art Museum. The third, Ancestor at Work, shows an artist painting a temple strut was the only one in the series still with Madan Chitrakar. The second and third paintings are now reunited and are on display at MoNA. “I was in tears when I saw the painting,” Madan told Nepali Times, “I recalled sketching my father, and he creating these paintings all those years ago. It all flashed before my eyes.” Rajan Sakya got in touch with the Vinding family, who agreed to sell it to MoNa. &nbsp; “Luckily it belonged to a collector who has deep roots in Nepal, and he had taken care of it,” says Sakya. “This is the homecoming of a painting that started the contemporary art movement in Nepal.” &nbsp;

Shristi Karki

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Painting a painter

With over 80 participating artists and 100 paintings, sculptures and installations, the Kathmandu Art Biennale has kicked off and will be showcasing contemporary works till 18 April. The <a href="https://nepalitimes.com/review/nepali-art-finds-a-new-home">Museum of Nepali Art (MoNA) </a>housed at Kathmandu Guest House in Thamel has grown into a hub for artists and the public through landmark exhibitions and workshops. Now, the museum and gallery has launched its inaugural Biennale. “Nepali visual arts breathe life into the country's culture, traditions, and way of life,” says MoNA’s founder Rajan Sakya. “Despite the recent impact of technology and the rise of artificial intelligence, these exhibitions remain crucial for recognising and expanding the artistic capabilities of individuals.” Despite state neglect of the arts and artists, private galleries have been building on Nepal’s artistic heritage to promote contemporary works. This has contributed to stepping the outflow of professionals from the country, potentially resulting in a shortage of creative talent. “We need a concerted effort to safeguard art and support artists, which is why the Biennale has an important function,” Sakya adds.&nbsp; Here we feature three artists Udaya Charan Shrestha, Meena Kayastha, Manish Dhwoju, and their noteworthy creations. Read also: <a href="https://nepalitimes.com/here-now/nepal-s-pavilion-afloat-in-venice">Nepal’s pavilion afloat in Venice</a>, Ashish Dhakal <div class="embed-block"><div><div style="left: 0; width: 100%; height: 0; position: relative; padding-bottom: 56.25%;"><iframe src="//cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fwww.youtube.com%2Fembed%2FfXaGqNTR_wI%3Fsi%3DsfPoEItpCdQfr-1E&key=87ca3314a9fa775b5c3a7726100694b0" style="top: 0; left: 0; width: 100%; height: 100%; position: absolute; border: 0;" allowfullscreen scrolling="no" allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div></div></div> Patan in pencil Manish Dhwoju, 23, depicts the iconic golden window of the Patan Darbar Square in ‘Hyperrealistic Drawing’ meticulously crafted using pencils. He has an intricate fusion of wood and gold on the window to represent Hindu and Buddhist gods and goddesses. The golden window is one of the first things that visitors to the old palace square notice, and at the Biennale too, the artwork gets special prominence on the second floor. For up-and-coming artists like Dhwoju, who spend months or even years creating a piece of art, an opportunity to showcase their work at a grand exhibition is a dream come true. Says Dhwoju: “New artists need a platform more than those who are already established. Exhibitions are not held that frequently, and even when they are, established artists dominate, making it difficult for new artists to find space.” Read also: <a href="https://nepalitimes.com/review/seeing-the-forest-and-the-trees">Seeing the forest and the tree</a>s, Alisha Sijapati Giving faces to a deity  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240124070152_f09e6c09c96f49149ca6be4f802cbe4d975b2dfae410762d2ca785c443132a66.jpg" data-media-id="editor_4" data-image-id="20240124070152_f09e6c09c96f49149ca6be4f802cbe4d975b2dfae410762d2ca785c443132a66" data-rendition-name="original" width="1625" height="1083" loading="lazy" alt="Kathmandu Art Biennale NT"> </figure>  Titled <a href="https://nepalitimes.com/opinion/comment/giving-a-face-to-a-deity">Gayatri</a>, this masterpiece in devotional art by Udaya Charan Shrestha took over 20 years to complete and is the first time an artist has given a face to the goddess of the revered Gayatri Mantra. The goddess, crowned with a crescent moon, gracefully holds various objects in her ten hands, including a conch, discus, mace, skull, and lotus flower. She is portrayed in a state of deep meditation and has a serene disposition. “I started working on this during my studies at Lalitkala College, and I was initially inspired by a postcard of Gayatri,” says Shreshta. “I am rather pleased with the outcome, if I may say so myself.” The artist diligently researched sacred texts, tantric literature, periodicals, the Swasthani, Purana, and other references to authentically represent the goddess. Read also: <a href="https://nepalitimes.com/opinion/comment/giving-a-face-to-a-deity">Giving faces to a deity</a>, Shaguni Singh Sakya A wedding for the ages  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240124070152_fa882524595fe70ac94688b3c74a69701145eaaefb7e2386963061f161fd3d14.jpg" data-media-id="editor_7" data-image-id="20240124070152_fa882524595fe70ac94688b3c74a69701145eaaefb7e2386963061f161fd3d14" data-rendition-name="original" width="3000" height="1909" loading="lazy" alt="Kathmandu Art Biennale NT"> </figure>  Meena Kayastha invested nine months in crafting this distinctive sculpture titled Gham Pani Gham Pani Syal Ko Bihe that takes off from a Nepali ditty about the sun shining through the rain. The sculpture portrays a one-of-a-kind marriage ceremony, with a Brahmin cat officiating the matrimonial joy of a fox couple. In this whimsical celebration, a dog, donkey, lion, frog, monkey, among others, are seen frolicking. Kayastha is working from childhood memories in Bhaktapur when she used to go home from school drenched in the rain and get scolded by her grandparents who were worried about her catching a cold. “In retrospect, those days feel like a spiritual journey and meditation,” she explains. Kayastha created numerous prototypes until she drew a cat in a palanquin and a donkey carrying a bride. Two additional donkeys were crafted for the musical and dance elements of the wedding, and a Bhairab and a cat were added to further showcase the celebration. “Seeing everything come together was a good feeling, and the joy in the sculpting process was profound,” says Kayastha. &nbsp;“If it sells, that will be an encouragement to create another.” Read also: <a href="https://nepalitimes.com/here-now/unnamed-masters-of-nepal-s-art-identified">Unnamed masters of Nepal’s art identified</a>, Shaguni Singh Sakya

Kathmandu Art Biennale begins

<figure><img width="1500" height="1001" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208da9c7e80680e0b550djpeg.jpg" alt=""/><figcaption>Nāmasaṅgīti Teaching of Buddha, Oil on Canvas. Photo: MoNA</figcaption></figure>As visitors walk down the steps to <a href="https://www.mona.com.np" target="_blank" rel="noopener noreferrer">the Museum of Nepali Art (MoNA)</a>, little by little, as though a curtain were being slowly raised, a frame opens to reveal a richly detailed painting of the Buddha and Bodhisatva Vajrapani.The Buddha dressed in golden robes sits with his left hand outstretched. Star-like dots emanate from his palm and reach for the kneeling figure of the blue-skinned Bodhisatva, around whom fiery shapes dance as he receives the sermon. Seen from the right angle, the deities on the wall of the sacred room look like they too are huddling together to receive the teaching.Completed in 2020, this 178cm x 132cm painting Nāmasaṅgīti Teaching of Buddha, is representative of artist Samundra Man Singh Shrestha’s neo-traditional body of work currently on exhibition at MoNA.Shrestha’s clever, confident brushstrokes add unique aesthetic expression to established iconography of familiar figures from the Hindu-Buddhist tradition without erasing their history and significance. <figure><img width="4032" height="3024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208dd9c7e80680e0b550ejpeg.jpg" alt=""><figcaption> </figcaption></figure>For instance, the painting of Saptalochani, or White Tārā, shows the deity surrounded by green wisps that cover her body. Traditionally, the full figure of the goddess is drawn (compare left, above), but Shrestha’s rendition gives new meaning to <a href="https://www.nepalitimes.com/opinion/the-compassionate-white-tara/" target="_blank" rel="noopener noreferrer">the calming waves of quietude inspired by the goddess</a>. Here, the ancient teachings and depictions are communicated to a newer generation, while retaining their levels of intimacy and intensity.“I did not consciously decide that I would only paint deities,” Shrestha explains, smiling widely as his eyes dart to Manjushree on a lotus. “I have always been a believer and it subconsciously took an artistic direction. When I am finished with the painting, I feel like the god has taken form before me.”Indeed, it is as though the gods populate a sacred space. Each deity is depicted in the tribhanga pose, with hands and palms illustrating various mudra. This is literally a pose with three bends, expressing rhythmic fluidity.  <figure><img width="1440" height="960" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208e19c7e80680e0b550fjpeg.jpg" alt=""><figcaption> </figcaption></figure>“Deities are sources of energy,” the artist explains, “and this energy flows in a rhythm. There is no stiffness in the gods.” The angles of the limbs of the gods give the paintings volume and depth – and the tribhanga guides our eyes and accentuates their divine vigour.The current exhibition is Shrestha’s second solo show, and each painting is paired with its starting study. This encourages the viewer to imagine the steps the painting took from start to finish.  Shrestha’s earliest artworks are also on display, adding another layer to the exhibition’s focus on journey. These are watercolours of Swyambhunath, and his simple coloured depiction of Laxmi – both dated 1991. There are also his studies of human anatomy, minimalistic portrait sketches and an evocative painting of his own childhood home near Kathamandu Darbar Square where he grew up watching jatra, celebrations and expressions of deep-rooted faith and reverence that has influenced his work.  <figure><img width="727" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208e49c7e80680e0b5510jpeg.jpg" alt=""><figcaption> </figcaption></figure>Similarly, the drawing of an Indian superhero Dhruva, the ‘Super-Commando’, provides a perfect antithesis to his later depictions of Bhairab, Kaumari, Vajrapani and Mahakala. Imitation has given way to Shrestha’s self-assured style which captures the dynamism of his subjects, revealing an inspired composition of colours and symbolism.  <img width="1029" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208e69c7e80680e0b5511jpeg.jpg" alt=""><img width="1029" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208e99c7e80680e0b5512jpeg.jpg" alt="">Ārya Tārā, Oil on Canvas, and its early-stage study (right). Photo: MoNAThe best example of symbolism in his works is perhaps the Trikula Nath (Eathquake series) painted in 2018. The triptych depicts the figures of Sadaksari Lokeshvara, Manjushree and Vajrapani painted across a cracked wall of a monastery. The dangers of destruction loom over beliefs of eternity and compassion, reflecting the contemporary state of cultural heritage in Nepal.The fresco forces the viewer to imagine a wall materialise around it, and then wooden beams, golden roofs and incense punctuated by the sounds of bells. A square quickly takes form and is populated by playing children, shuffling feet and the spread of drying grain. The memory of <a href="https://www.nepalitimes.com/banner/lessons-not-learned-from-2015/">the 2015 earthquakes</a> is fresh among the chipped paint and gaping cracks that cut across the deities, and the series calls our attention to the urgent need for the <a href="https://www.nepalitimes.com/banner/the-historic-kathmandu-beneath-our-feet/">conservation and protection of our monuments and heritage</a>. <figure><img width="4032" height="3024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208ec9c7e80680e0b5513jpeg.jpg" alt=""><figcaption> </figcaption></figure><img width="1013" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208f09c7e80680e0b5514jpeg.jpg" alt=""><img width="1010" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208f39c7e80680e0b5515jpeg.jpg" alt="">Two early works by Samundra Man Singh Shrestha. Photo: MoNA“Art takes time,” Shrestha says. “Many current young artists want immediate results from their work, they want perfection from the first piece they make. But it isn’t like that. If I had felt disheartened by my early work, I would not be here today.”Shrestha hopes that when viewers and aspiring artists look at his childhood drawings, the studies of his paintings, they may find some inspiration to not give up on their passion for art. “The secret lies in focus,” the artist adds. “Consistent focus leads to perfection.”  Solo ExhibitionBy Samundra Man Singh ShresthaMuseum of Nepali Art, KGH Courtyard, Thamel10am-7pm (Limited visitors in the gallery)Till 19 February 2022.

Ashish Dhakal

Attaining divinity through art

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161124/636d17f49c7e80680e0ac796jpeg.jpg" alt="" width="768" height="967"/><figcaption>Meditation, Poster Color, 74 x 58 cm, MoNA Collection</figcaption></figure>In a society where we spiritualise the tangible through our imagination and creativity, we also turn into tangible art forms our spiritual experiences.Traditional devotional art uses various imaginative forms to represent a thought or emotion: compassion, impermanence, detachment. To this day we echo the artists who thousands of years ago translated mudra, objects, and nature into iconography.The very form of everyday devotion and ritual in our culture and religion is an abstraction of our imagination for practical, tangible, and visual purposes – most vividly in stones and rocks.For example, an oval rock, when powdered with red tika, turns into a Ganesh. An oblong stone becomes a Shiva linga just by having milk sprinkled on it. Any roadside rock when smeared with vermillion and covered in flowers is revered as a deity. We dare not pass these totems without bowing our heads as a manifesstation of unshakeable faith.This is because in those objects we see what is not there, and interpret it according to what we want, imagine, and believe.Abstract art, on the other hand, is a purposeful collision of an artist’s conscious and subconsious minds to give instinctual expression. The subconscious mind is best understood as a recollection of actions and experiences, which the contemporary abstract artist piques when crafting and contemplating a masterpiece.<a href="https://www.nepalitimes.com/opinion/jeevan-rajopadhyays-untitled/" target="_blank" rel="noopener noreferrer">Jeevan Rajopadhyay’s Untitled</a>, Rajan ShakyaSuch is the case of Uttam Nepali’s I.M.A.G.I.N.A.T.I.O.N. which brings out untainted, unbiased, and unsolicited inquisitiveness in all of us. Staring in-depth into this painting screams out the purity of childlike innocence. The conscious and the subconscious instincts are unleashed, evoking a time when right and wrong were not determined by rigid rules, but through love and affection.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161124/636d17f79c7e80680e0ac797jpeg.jpg" alt="" width="960" height="1200"><figcaption> </figcaption></figure>Uttam Nepali merged art and poetry into a kind of original expressionism not seen before in Nepal. The artist died on 21 July 2021 in a Kathmandu hospital aged 84, and as a tribute the <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/" target="_blank" rel="noopener noreferrer">Museum of Nepali Art (MoNA)</a> in Thamel organised an individual and group viewing of his painting  I.M.A.G.I.N.A.T.I.O.N.This is what we saw and what we felt, how this work by Uttam Nepali moved, and moved us. We were very lucky to have met and interviewed the artist about this particular work before he passed away.The acquisition of I.M.A.G.I.N.A.T.I.O.N. came out of a necessity. I did not even look at the painting and I did not ask for its price. I had been looking to acquire one of Uttam Nepali’s pieces for a long time.The only thing I knew was that I wanted his work in MoNA because a museum dedicated to Nepali artists would not be complete without Uttam Nepali in it.The painting hung in my office wall for at least six months, and it was amazing to observe how a painting of this calibre speaks differently from different perspectives and temperaments. After all, moods and emotions dictate the emergence of different shapes and colours as a form of artistic expression.Some days the red seemed prominent, other days it was the blue that provoked, and strokes of white suddenly made sense. When I am alone, I see something but when looking at the painting in a group, something else emerges. It feels like a different painting every time you look at it. What an investment!Eventually, the painting becomes a part of the viewer's personality, and adds to it. How you explain this artwork to others hints at your own depth of understanding and place in the world.I met Uttam Nepali only a month before he passed away, and at that time I.M.A.G.I.N.A.T.I.O.N. communicated with me in an entirely new way. Here was a man who had devoted his entire life to art and Nepal's art community. His studio stacks over 300 of his paintings. Some of the artwork is as personal as his representation of his grandchildren in the womb.<a href="https://www.nepalitimes.com/opinion/n-a-r-i-by-mukti-singh-thapa/">N A R Ì by Mukti Singh Thapa</a>, Rajan SakyaUttam Nepali rarely sold his art. Instead, he presented them to people he met and who showed interest in his work. I was trying to persuade his family to allow us to hold a solo exhibition at MoNA of his incomparable contribution to the contemporary art of Nepal.We had only given a day’s notice before visiting Uttam Nepali at his home. As we sat down, his son Udhyam told us how his father had become rather forgetful after a surgery five years ago. He was on oxygen support most of the time, and his memory was deteriorating day by day.But when we showed him his painting that we were acquiring, there was a sudden sparkle in his eyes. He sat up and spoke nonstop for 20 minutes about when he made it, why he made it, and what feeling he had at the time. This is what he said:“When everyone comes to a state of quietness and calm, every person shares a similar kind of impression and expression. However, they have different façades. The temptations on their faces are different. Their attitudes differ as well. Nevertheless, the emotions that they portray may be the same ... in the sense that everyone looking at the same painting will be observing the same feelings. The closeness of the visitor’s expression and emotions with what is depicted in the painting will be unavoidable after a certain time.”He added, “Abstract art depicts something that is expressed without saying a word. It shows what is hidden. It is simultaneously easy and hard to understand. Hence, the power of impression and expression is like walking upon a dark alley without the light and discovering its rare and unique idiosyncrasy. It will have the verity of essence.”MoNA manager Jenisha Maharjan is also moved by what the painting depicts, and the emotions it evokes in her. “At first glance, one can see half a face with its eyes closed,” she says. “They express serenity and tranquillity as the subject is in a deep state of meditation. Then upon deeper reflection, the face looks like the meditating Buddha.”“The other half of the face has a darker coat. We also see brush strokes in the middle of the canvas with a red rectangular shape towards the edges, resembling a thumb with the nail painted red, maybe a woman’s hand. Could this be a modern depiction of Buddha Maar?”<a href="https://www.nepalitimes.com/opinion/lain-singh-bangdels-sigh/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel’s ‘Sigh’</a>, Rajan SakyaMaharjan says the grip looks very powerful, yet, surprisingly, the face remains calm, peaceful, and unbothered. “A little too dramatic and explosive use of colours,” she says, “yet amazing how even closed eyes can be so expressive.”Ursula Manandhar is head of research at MoNA and says I.M.A.G.I.N.A.T.I.O.N. may actually represent what concentration, or trying to concentrate, may look like. It feels as if a person is struggling, or fighting their inner demons with brighter and more positive thoughts.“The power of our mind and its capacity for imagination is so vast that it could be a joyous journey across, or overwhelming. Sometimes darkness overshadows the mind and at other times a bright light dispels the darkness,” Ursula Manandhar says. “The curiosity for abstract art starts in us before we even know how to speak or write. As toddlers we looked into the sky and interpreted the formation of clouds as we wanted and felt.”But as we grow older our unique creativity is eclipsed by other people’s perceptions, and what is brought in front of us. Individual creativity has been blighted by the transient mass-market visualisations and the decadence of modern-day superficiality.Rajan Sakya is the founder of the <a href="https://www.mona.com.np/" target="_blank" rel="noopener noreferrer">Museum of Nepali Art</a> at Kathmandu Guest House, Thamel and contributes this monthly column For Art's Sake in Nepali Times.  Turkish Airlines has partnered with Museum of Arts Nepal (MoNA) to bring 33 Nepali artists together for a day-long live art congregation at Kathmandu Guest House, Thamel from 7-9 October. Visitors also have the chance to win a trip to Europe via lucky draw.

Rajan Sakya

I.M.A.G.I.N.A.T.I.O.N by Uttam Nepali

<figure><img width="1000" height="1016" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110131116/636cebca9c7e80680e09ad29jpeg.jpg" alt=""/><figcaption>Ulrich von Schroeder at age 22 in Kwa Baha, Patan in 1965. Photo: Nepalese Stone Sculptures</figcaption></figure>Ulrich von Schroeder first came to Nepal as a student of architecture in the summer of 1965 aged 22, backpacking overland from Switzerland. While other young westerners hung around Freak Street in those days, he would rent a bike and pedal around the Valley, systematically taking pictures of <a href="http://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986" target="_blank" rel="noopener noreferrer">stone sculptures</a>.Von Schroeder’s lifelong labour of love has now been published in two bulky volumes titled Nepalese Stone Sculptures that is an encyclopaedia with nearly 3,000 illustrations, and 15,000 digital photographs of stone sculptures on an SD card embedded into the inside back cover.“This is unrestricted love for Nepal, my gift to the country,” says von Schroeder at the <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/">Museum of Nepali Art</a>, which invited him to Kathmandu this month for the launch of the books. “The market for Nepali stone figures is dead with this documentation. Auction houses won’t buy them anymore, and museums won’t display them.” <figure><img width="1500" height="1028" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110131116/636cebcd9c7e80680e09ad2ajpeg.jpg" alt=""><figcaption>Pages from Nepalese Stone Sculptures</figcaption></figure>The monumental work is divided into Hindu and Buddhist volumes that contain the result of 55 years of research and over 50 trips to Nepal. The books cost $750, and limited numbers are available at Vajra Books.Of the 2,960 illustrations of stone sculptures in the books, half of them have been stolen are now in <a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/" target="_blank" rel="noopener noreferrer">museums and private collections outside Nepal</a>. Of these, 1,150 have never before been catalogued, including those of the Mohan Chok Hiti of the Hanuman Dhoka Palace, the Kumari Pati of the Royal Palace at Bhaktapur and the inner courtyard of Pashupatinath temple.Von Schroeder is the global authority on Buddhist art and culture studies and has six other volumes on Tibetan, Sri Lankan and Indian iconography but it is the Nepal edition he is most emotionally attached to and calls it his “meditation”.The book is dedicated to Nepali historian the late Sukra Sagar Shrestha, whom von Schroeder regarded as his mentor. <a href="https://www.nepalitimes.com/banner/nepals-gods-return-from-exile/">Nepal's gods return from exile</a>, Alisha Sijapati“Documentation is important because it will render stolen objects unsalable, eventually leading to their return home, so it doesn’t matter where they are at the moment,” says the scholar. “But I’m not for restitution, Nepal is not ready to bring them back and value and protect them.”This is in direct contrast to the growing activism for the<a href="http://archive.nepalitimes.com/news.php?id=5021#.YJHyCC8w3BJ" target="_blank" rel="noopener noreferrer"> repatriation of stolen figures</a><a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/" target="_blank" rel="noopener noreferrer"> </a>from museums and galleries around the world. The <a href="https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/" target="_blank" rel="noopener noreferrer">homecoming of Patan’s Laxmi Narayan</a> from the Dallas Museum of Art last month has raised hopes for the<a href="http://archive.nepalitimes.com/article/nation/Christie-removes,257" target="_blank" rel="noopener noreferrer"> return of thousands of other religious objects</a>.The documentation of 15,000 Nepali stone images by von Schroeder, however, is a milestone for researchers and institutions to identify stolen images, where they were originally from, and to help in their restoration. <figure><img width="960" height="1280" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110131116/636cebd19c7e80680e09ad2bjpeg.jpg" alt=""><figcaption>Ulrich von Schroeder at the Museum of Nepali Art in Kathmandu in April 2021 for the launch of his two-volume 'Nepalese Stone Sculptures'. Photo: LISA CHOEGYAL</figcaption></figure>“His lack of support for repatriation doesn’t justify his own work but with his book, we are in the position to go beyond and further in terms of restitution, we now have a comprehensive record of stolen images from the 1960s onward, previously we had to rely on incomplete information,” says Roshan Mishra, director of <a href="https://taragaonmuseum.com" target="_blank" rel="noopener noreferrer">Taragaon Museum</a> and curator of the <a href="https://globalnepalimuseum.com" target="_blank" rel="noopener noreferrer">Global Nepali Museum</a>, an online database of Nepali objects housed in the museums around the world. The good news is that there is now a trend of voluntary <a href="https://www.nepalitimes.com/latest/us-support-to-restore-stolen-nepal-gods/" target="_blank" rel="noopener noreferrer">return of stolen images</a> from the western collectors, galleries and museums as the wave of decolonisation takes root. This means that sooner rather than later, Nepal will be getting back many of its <a href="http://archive.nepalitimes.com/news.php?id=7311#.YJHx4S8w3BI" target="_blank" rel="noopener noreferrer">religious objects</a>. Unfortunately, the government and local communities are not prepared for restitution.  “Everything need not come back at once. But at the very least we must get these museums and collectors to hold it in trust for us until such time we are ready to bring them back,” says activist Kanak Mani Dixit.  Currently, most of the <a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/" target="_blank" rel="noopener noreferrer">repatriated religious objects</a> are housed at the <a href="http://www.nationalmuseum.gov.np" target="_blank" rel="noopener noreferrer">National Museum</a> in Chhauni, poorly-lit and in dusty and dismal condition, much to the dismay of heritage activists—another reason why von Schroeder does not mind if the stolen objects do not return to Nepal right away. <a href="http://archive.nepalitimes.com/news.php?id=2710#.YJHyOy8w3BJ">Here today, in Europe tomorrow</a>, Janki Gurung   There is also an ongoing discussion about the fate of objects with damage or cracks, as was the case with Laxmi Narayan. One of its hands was broken during transportation across the world. According to local belief, deities that are damaged cannot be kept as the central idol in the temple even though they are worshipped. In a country that is prone to disasters ranging from fires to earthquakes, risk assessment of buildings where returned artefacts are housed is also of utmost importance. Municipalities can also assist the central government in local housing and proactive restoration, say experts like Roshan Mishra He adds: “The end goal is to restore the objects to their original place but until we can do so with security, we should decentralise them to museums closest to their actual location for the public viewing while also strengthening the community’s sense of ownership.”

Cataloguing Nepal's idols to stop theft

<figure><img width="1000" height="1016" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109111140/636b83a89c7e80680e06774cjpeg.jpg" alt=""/><figcaption>Ulrich von Schroeder at age 22 in Kwa Baha, Patan in 1965. Photo: Nepalese Stone Sculptures</figcaption></figure>Ulrich von Schroeder first came to Nepal as a student of architecture in the summer of 1965 aged 22, backpacking overland from Switzerland. While other young westerners hung around Freak Street in those days, he would rent a bike and pedal around the Valley, systematically taking pictures of <a href="http://archive.nepalitimes.com/article/nation/Nepal-needs-to-be-prepared-for-the-return-of-stolen-religious-figures,986" target="_blank" rel="noopener noreferrer">stone sculptures</a>.Von Schroeder’s lifelong labour of love has now been published in two bulky volumes titled Nepalese Stone Sculptures that is an encyclopaedia with nearly 3,000 illustrations, and 15,000 digital photographs of stone sculptures on an SD card embedded into the inside back cover.“This is unrestricted love for Nepal, my gift to the country,” says von Schroeder at the <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/">Museum of Nepali Art</a>, which invited him to Kathmandu this month for the launch of the books. “The market for Nepali stone figures is dead with this documentation. Auction houses won’t buy them anymore, and museums won’t display them.” <figure><img width="1500" height="1028" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109111140/636b83ab9c7e80680e06774djpeg.jpg" alt=""><figcaption> </figcaption></figure>The monumental work is divided into Hindu and Buddhist volumes that contain the result of 55 years of research and over 50 trips to Nepal. The books cost $750, and limited numbers are available at Vajra Books.Of the 2,960 illustrations of stone sculptures in the books, half of them have been stolen are now in <a href="https://www.nepalitimes.com/here-now/replicating-nepals-stolen-gods/" target="_blank" rel="noopener noreferrer">museums and private collections outside Nepal</a>. Of these, 1,150 have never before been catalogued, including those of the Mohan Chok Hiti of the Hanuman Dhoka Palace, the Kumari Pati of the Royal Palace at Bhaktapur and the inner courtyard of Pashupatinath temple.Von Schroeder is the global authority on Buddhist art and culture studies and has six other volumes on Tibetan, Sri Lankan and Indian iconography but it is the Nepal edition he is most emotionally attached to and calls it his “meditation”.The book is dedicated to Nepali historian the late Sukra Sagar Shrestha, whom von Schroeder regarded as his mentor. <a href="https://www.nepalitimes.com/banner/nepals-gods-return-from-exile/">Nepal's gods return from exile</a>, Alisha Sijapati“Documentation is important because it will render stolen objects unsalable, eventually leading to their return home, so it doesn’t matter where they are at the moment,” says the scholar. “But I’m not for restitution, Nepal is not ready to bring them back and value and protect them.”This is in direct contrast to the growing activism for the<a href="http://archive.nepalitimes.com/news.php?id=5021#.YJHyCC8w3BJ" target="_blank" rel="noopener noreferrer"> repatriation of stolen figures</a><a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/" target="_blank" rel="noopener noreferrer"> </a>from museums and galleries around the world. The <a href="https://www.nepalitimes.com/banner/the-homecoming-of-nepals-gods/" target="_blank" rel="noopener noreferrer">homecoming of Patan’s Laxmi Narayan</a> from the Dallas Museum of Art last month has raised hopes for the<a href="http://archive.nepalitimes.com/article/nation/Christie-removes,257" target="_blank" rel="noopener noreferrer"> return of thousands of other religious objects</a>.The documentation of 15,000 Nepali stone images by von Schroeder, however, is a milestone for researchers and institutions to identify stolen images, where they were originally from, and to help in their restoration. <figure><img width="960" height="1280" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109111140/636b83ae9c7e80680e06774ejpeg.jpg" alt=""><figcaption> </figcaption></figure>“His lack of support for repatriation doesn’t justify his own work but with his book, we are in the position to go beyond and further in terms of restitution, we now have a comprehensive record of stolen images from the 1960s onward, previously we had to rely on incomplete information,” says Roshan Mishra, director of <a href="https://taragaonmuseum.com" target="_blank" rel="noopener noreferrer">Taragaon Museum</a> and curator of the <a href="https://globalnepalimuseum.com" target="_blank" rel="noopener noreferrer">Global Nepali Museum</a>, an online database of Nepali objects housed in the museums around the world. The good news is that there is now a trend of voluntary <a href="https://www.nepalitimes.com/latest/us-support-to-restore-stolen-nepal-gods/" target="_blank" rel="noopener noreferrer">return of stolen images</a> from the western collectors, galleries and museums as the wave of decolonisation takes root. This means that sooner rather than later, Nepal will be getting back many of its <a href="http://archive.nepalitimes.com/news.php?id=7311#.YJHx4S8w3BI" target="_blank" rel="noopener noreferrer">religious objects</a>. Unfortunately, the government and local communities are not prepared for restitution.  “Everything need not come back at once. But at the very least we must get these museums and collectors to hold it in trust for us until such time we are ready to bring them back,” says activist Kanak Mani Dixit.  Currently, most of the <a href="https://www.nepalitimes.com/banner/us-museum-returns-stolen-nepal-god/" target="_blank" rel="noopener noreferrer">repatriated religious objects</a> are housed at the <a href="http://www.nationalmuseum.gov.np" target="_blank" rel="noopener noreferrer">National Museum</a> in Chhauni, poorly-lit and in dusty and dismal condition, much to the dismay of heritage activists—another reason why von Schroeder does not mind if the stolen objects do not return to Nepal right away. <a href="http://archive.nepalitimes.com/news.php?id=2710#.YJHyOy8w3BJ">Here today, in Europe tomorrow</a>, Janki Gurung   There is also an ongoing discussion about the fate of objects with damage or cracks, as was the case with Laxmi Narayan. One of its hands was broken during transportation across the world. According to local belief, deities that are damaged cannot be kept as the central idol in the temple even though they are worshipped. In a country that is prone to disasters ranging from fires to earthquakes, risk assessment of buildings where returned artefacts are housed is also of utmost importance. Municipalities can also assist the central government in local housing and proactive restoration, say experts like Roshan Mishra He adds: “The end goal is to restore the objects to their original place but until we can do so with security, we should decentralise them to museums closest to their actual location for the public viewing while also strengthening the community’s sense of ownership.”

Sonia Awale

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a19c7e80680e08f924jpeg.jpg" alt="" width="1000" height="1781"/><figcaption>Museum of Nepali Art (MoNA), a private museum, opened to the public in February 2020. MoNA has traditional and contemporary art on display. Photos: DRISHNA STHAPIT</figcaption></figure>Just entering into the basement museum inside one of the new blocks at the <a href="http://archive.nepalitimes.com/news.php?id=3761#.YAGk8y2B3R0" target="_blank" rel="noopener noreferrer">Kathmandu Guest House</a> complex in Thamel, visitors may feel their eyes are playing tricks.Is this the Rubin Museum in New York? Visitors can be forgiven for doubting if they are still in Nepal--the subdued lighting, elegant interior exude a perfectionist attention to detail, a place where modern melds seamlessly into traditional.Right away on entry, there are paintings of Ganesh, the auspicious elephant deity, and right after that the eyes are arrested by Raj Prakash Tuladhar’s Five Yoginis, a depiction of the Buddhist guardian deities of Kathmandu.The <a href="http://www.mona.com.np" target="_blank" rel="noopener noreferrer">Museum of Nepali Art</a> (MoNA) was set up by Rajan Shakya (pictured below), the CEO and scion of the <a href="https://ktmgh.com/kathmandu-guest-house/" target="_blank" rel="noopener noreferrer">Kathmandu Guest House (KGH) group</a>, who believes strongly that contemporary Nepali art compares to the best the world has to offer.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a39c7e80680e08f925jpeg.jpg" alt="" width="1500" height="844"><figcaption> </figcaption></figure>“Religion and art are interwoven so deeply in Nepali society. Yet most people here do not know about art even as they worship idols and temples,” says Shakya. “Think about the hands of those artists, and the talent it takes to be able to invoke <a href="https://www.nepalitimes.com/banner/new-newa-art/" target="_blank" rel="noopener noreferrer">gods in idols</a>, and inspire such deep faith in another human being.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a69c7e80680e08f926jpeg.jpg" alt="" width="606" height="580">Shakya’s passion shows in the museum that he has helped create. He has long known that <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">Nepali art makes the rounds in international exhibitions</a>, and that buyers wait in line to snap up work by Nepali artists.“I wanted Nepalis to know that there is a place in Nepal for Nepali art, and be proud of our artists, whether they construct temples, make paubha, or sculpt statues,” says Shakya whose MoNA houses contemporary and traditional art by living Nepali artists, around 85% of which is from Shakya’s private collection.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a79c7e80680e08f927jpeg.jpg" alt="" width="1500" height="947"><figcaption> </figcaption></figure>“There is nothing more meaningful to Nepali artists than having a permanent space in Nepal itself,” says Raj Prakash Tuladhar, whose paintings have been exhibited internationally.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2ac9c7e80680e08f928jpeg.jpg" alt="" width="225" height="225">MoNA’s walls are dedicated to <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener noreferrer">contemporary art</a> that spans styles and methods, from golden prints of Kathmandu’s temples to vibrant acrylic abstracts. Up-and-coming artist Rashana Bajracharya’s reimagination of Mona Lisa as a cancer survivor—serenely smiling, without hair—hangs front and centre, one frame away from <a href="https://www.nepalitimes.com/here-now/lain-singh-bangdels-legacy-lives-on/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel</a>'s painting of casually geometrical, multi-coloured roofs, titled Huts of Kathmandu. <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2ad9c7e80680e08f929jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Sarada Man Shrestha’s In Quest of Water, a murky mixed media piece portraying a woman at a ढुङ्गे धारा stone spout done in earthy browns and greens, hangs close to a pencil sketch of Queen Aishwarya.“The museum was created for present-day artist, they should be able to enjoy fame in their lifetime,” says Shakya. But some of the paintings span generations of artists. Indeed, four out of six paintings from Manik Man Chitrakar’s Buddha’s Life series are on display at the museum.Three paintings hang on the Arya Tara Wall of the museum, two among them completed decades apart by Anandamuni Shakya, the Nepali pioneer of 3D sketches, in 1938 and his grandson Surendra Man Shakya, in 2017.The third Arya Tara painting, Samundra Man Singh Shrestha’s oil on canvas, compared with Anandamuni Shakya’s mineral pigment on canvas serves as historical documentation of how the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener noreferrer">traditional Nepali art-form</a>, and 3D art, has evolved.Shrestha’s Green Tara is so detailed, the gold ornaments against her skin so intricately painted, that one almost expects to feel the ridges of gold and gemstones should they reach out and touch the painting.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2b09c7e80680e08f92ajpeg.jpg" alt="" width="1500" height="842"><figcaption> </figcaption></figure>The museum is dedicated not just to showcasing art, but also to the work and resources that go into the process. Purna P Hyoju’s mineral paints are staged along with one of his incomplete paintings, as are Anandamuni Shakya’s paintbrushes, Surya Bahadur Chitrakar’s inkwell, and Raj Prakash Man Tuladhar’s eyeglasses, a way of connecting the art to the artist, and the artist to the viewer.The museum also has sculptures ranging from floor to ceiling bronzes to black stone busts. Besides curated artwork, attention is also paid to the interior, the deep red walls providing a textured backdrop to some of the exhibits. There are carved wooden columns salvaged from a building destroyed by the earthquake.Gold frames, sleek and streamlined, hold the contemporary artwork, while the ones that display the traditional paintings are ornate and detailed. The ambient conditions also need to be just right, and MoNA has humidifiers, air purifiers and temperature control.https://www.youtube.com/watch?v=pTNHpYk4ZvwMoNA opened in February 2020, but <a href="https://www.nepalitimes.com/review/a-single-brushstroke/" target="_blank" rel="noopener noreferrer">could not welcome visitors because of the pandemic</a>. It did hold two online exhibitions during the lockdown: a virtual 360° Covid-themed show titled tangential stress 2020 was the first of its kind in Asia.The year of isolation gave Shakya and his team the time to iron out the kinks for the <a href="https://www.nepalitimes.com/banner/nepal-museums-reopen-after-8-months/" target="_blank" rel="noopener noreferrer">physical opening after the lockdown</a>. Shakya hopes to eventually set up different museums for contemporary and traditional art, and hopes to expand to Patan and Pokhara, while collaborating with museums internationally.“Art is at the forefront of the preservation of our culture and heritage,” says heritage conservationist Alok Tuladhar. “But Nepali art is only accessible to the über elite, and we need to expand that circle so that more people appreciate the artwork and the artist.”For people who are unable to visit the museum, all the artwork is available for free perusal online. Says Shakya, “In Nepal, visiting museums has never been an activity like shopping, or going to the movies or restaurants. Nepalis also need entertainment that is more stimulating and meaningful.”

Nepali art finds a new home

This week at the National Population Policy launch Prime Minister K P Oli exhorted Nepalis to get married by age 20 and have three babies by the time they are 30. This was the first indication that the highest office in the land has understood the need to address Nepal’s dramatically <a href="https://nepalitimes.com/news/nepals-demographic-window-is-closing">falling birth rate</a>, but Oli’s statement was greeted with ridicule on<a href="https://nepalitimes.com/banner/avoiding-the-quicksand-of-social-media"> social media</a> — especially by women. Most urban young are already grappling with economic pressures and shifting life priorities. Even with a university degree,<a href="https://nepalitimes.com/here-now/workers-return-to-jobless-nepal?%2F"> many cannot find jobs</a>, and are taking the first flight out for overseas employment. Having a child is now a fraught decision shaped by income, individual autonomy, and family pressure. The <a href="https://www.unfpa.org/swp2025">UNFPA’s State of the World Population report </a>released last month, highlighted a significant <a href="https://nepalitimes.com/here-now/migrating-males-and-population-decline">decline in fertility rates </a>around the world. The global average fertility rate is 2.25 children per woman, and 18% of the reproductive adults said they will not be able to have the number of children they desire. The total fertility rate in Nepal has plummeted to 2.1 births per woman — down from 5 just 30 years ago. This is considered replacement level, meaning the newborns will replace their parents.&nbsp; However, birth rates are not declining as rapidly everywhere. The Tarai in has a total fertility rate of 2.20, and northwestern mountains is still 2.24.&nbsp; There are multiple factors in play, and the report broadly divides them into four categories: health issues, economic concerns, fears about the future, and lack of a supportive partner or their absence. More than half of the respondents said finance, which includes unemployment and increased cost of housing, as well as parenthood, was a barrier to having children. “More and more people prefer one or two children at maximum. Many women also decide to have children at a much later age,” says Kamala Devi Lamichhane of Tribhuvan University. “The opportunity cost is far higher for women.” But there is also a cost for the country, as the National Population Policy notes. At the rate the total fertility rate is falling it will soon be below replacement level — meaning that in the next three decades Nepal will be confronted with an <a href="https://nepalitimes.com/opinion/the-future-is-older">ageing population</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250714140740_bac3e5a284b69a77d97b3b99daf2e7fd3019bc48f1a399fb2771381c751d8291.png" data-media-id="editor_6" data-image-id="20250714140740_bac3e5a284b69a77d97b3b99daf2e7fd3019bc48f1a399fb2771381c751d8291" data-rendition-name="original" width="1302" height="501" loading="lazy" alt="Nepalis having fewer babies. Why?"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250714140740_251115b0a88d4e82be70245c43cb74477f3be18042ef1aa3b904c597d815f13b.png" data-media-id="editor_7" data-image-id="20250714140740_251115b0a88d4e82be70245c43cb74477f3be18042ef1aa3b904c597d815f13b" data-rendition-name="original" width="1125" height="500" loading="lazy" alt="Nepalis having fewer babies. Why?"> </figure>  Besides income, there are also cultural factors at play in women having fewer babies — they are expected to do all the childcare duties, even putting their careers on hold. In general, there is little help from spouses, and with more nuclear families there is less support from relatives. “Women today are well educated, career-oriented, and economically independent, allowing them to delay marriage as well as being conscious about their body and <a href="https://nepalitimes.com/multimedia/nepal-far-from-hitting-contraceptive-target?%2F">reproductive rights</a>,” says Laxmi Tamang of the International Confederation of Midwives (ICM). Also present at the policy launch was demographer Yagya Bahadur Karki, who said that women are more educated and hence, empowered to take their own informed decisions regarding having children.&nbsp; He adds, “But the fertility rates have reached replacement rate, and that stands as a warning for the future.”&nbsp; Fertility rates have fallen in inverse proportion to the rise in female literacy. The regions of Nepal where couples have more babies is where women are less educated. Couples in Madhes and Sudur Paschim provinces, where child marriage, gender-based discrimination, menstrual huts and dowry are still widespread are where the fertility rate is still high.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250717120740_ababfd31ed5ff79ded427e1f1adfff02e6af2384bd541e51dfe05e52fbbccb39.jpg" data-media-id="editor_9" data-image-id="20250717120740_ababfd31ed5ff79ded427e1f1adfff02e6af2384bd541e51dfe05e52fbbccb39" data-rendition-name="original" width="994" height="682" loading="lazy" alt="TFR Map"> </figure>  And because female literacy also has a direct correlation with <a href="https://nepalitimes.com/news/fatal-discrimination">infant and child mortality</a>, couples in those regions tend to have more babies so some of them survive.&nbsp; But it is Nepal’s urban centres among the educated where the increased choices in reproductive health, including alternative methods of conception like IVF and treatment for infertility, as well as <a href="https://nepalitimes.com/banner/implant-service-providers-take-contraception-to-nepals-poor">contraceptives</a> offer more options for family planning. “There are more choices regarding reproductive health, and there is more awareness as well, which is why people decide carefully on whether or not to bear a child,” says population expert Yogendra Gurung. <a href="https://nepalitimes.com/here-now/migrants-returning-from-the-gulf-with-infertility">Migration is another factor</a> adding to the decline in fertility rates. Many young Nepalis of reproductive age leave every day in pursuit of better jobs overseas. Spousal separation means fewer children.&nbsp; “Once away, even if not educated, they realise that child-rearing costs are high, and try to have fewer and even no children in some cases,” Gurung adds. Recent studies have also shown that men returning after their stint in the Gulf and Malaysia, where they are <a href="https://nepalitimes.com/news/gulf-workers-need-protection-from-heat">exposed to extreme heat </a>for extended periods as well as various chemicals and toxins in their work environment &nbsp;have a range of health problems, including infertility. To increase the birth rate, Nepal will have to reverse its family planning strategy of the past 40 years. Complicating this is that some regions of Nepal will need measures to control the birth rate, while urban areas will need a strategy to help parents have more babies. One way to help families have more children is to develop more <a href="https://nepalitimes.com/here-now/future-proofing-nepal-s-population-strategy?s=04&amp;fbclid=IwY2xjawFQf-NleHRuA2FlbQIxMQABHRxSwwGPfm7_2cBhDVAowPxEmFXP0Os-KRs1DXqIW_84wDhciExtZuNi1g_aem_jzRqN2cEVAppfwr5qedxRg">family-friendly policies</a> that favour women and youth as the Nordic countries, which also have falling birth rates, have done. They have introduced flexible parental leaves for both parents, including financial and health incentives. China, also concerned about its declining birth rate and an ageing population, now has a three-child policy as well as tax deductions, expanded childcare services, and leave policies to encourage couples to have more children. “We must work towards childbirth and childcare policies and plans that are suitable for Nepal, so that couples planning for children do not have to think twice about it because of finances or other reasons,” adds Gurung. Tamang of the International Confederation of Midwives says a gender transformative approach is needed to address the issues of the gender gap which is adding to the decline in childbirth. Husbands need to play a more important role in child-rearing. Instead of increasing fertility for the sake of it, the objective should be to assist young people to start the families they desire, at a point and time of their choice. Respect for everyone’s rights and dignity lays a foundation for a more balanced demographic trend. Lamichhane sums it up: “If fertility rates are to be sustained, it requires changes in the gender roles and behaviour, keeping the youth’s aspirations in mind.”

Nepalis are having fewer babies. Why?

Does anyone know that 2023-33 was declared the <a href="https://nepalitimes.com/banner/visit-nepal-again">Visit Nepal</a> Decade? Or that Pokhara announced that 2025 is a Special Tourism Year? The fuselage of Nepal Airlines jets still carry the Visit Nepal Year 2020 logos. Such ad hoc and unnoticed promotion is emblematic of the way Nepal has tried to increase visitor arrivals <a href="https://nepalitimes.com/news/nepal-hopes-for-tourism-rebound-in-2021-rk4dlo9t">post-Covid</a> — and of the country’s wider political disarray. Deepak Raj Joshi of the Nepal Tourism Board (NTB) has his work cut out to coordinate various agencies of the government to boost arrivals.&nbsp; He says, “We have been working on marketing strategies to revive the tourism sector, and are hopeful that this year will mark a 8-10% increase in arrivals compared to the pre-pandemic times.” On paper, tourist numbers have rebounded to pre-Covid numbers with over 1 million last year, but official figures do not give a true picture of duration of stay, average spending, and the fact every visitor is counted as a ‘tourist’, even repeat visitors who come on business. The few bright spots are largely a result of private sector promotion of niche tourism products, individual social media posts of <a href="https://archive.nepalitimes.com/page/top-10-treks">adventurous treks in Nepal</a>, or the fact that Indians are allowed to enter China again to visit Lake Mansarovar and Mt Kailash via Nepal. Indeed, Simkot airport has up to 15 flights a day from Nepalganj bringing in <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds">Indian pilgrims</a> who are then ferried by helicopter to the border in Hilsa, or Lapcha Pass from where the holy sites in Tibet are visible. The rudimentary hotels and rest houses along the route in Humla have been bursting at the seams for the past month, to the point that some establishments are no longer able to provide patrons basic amenities.&nbsp; Last year, 1.14 million tourists visited Nepal, and the government has projected up to 10% increase in tourist arrivals this year. International tourist arrivals to Nepal have been steadily increasing, especially from the US, Europe, and India. Domestic and regional travel has also increased after the <a href="https://nepalitimes.com/news/lockdown-5-utlzqtvs">Covid lockdowns</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250717120756_e1c8f08e7e26496d2b2394e0be776e147fb46c415347b781ed9e5c64d9c9e505.jpg" data-media-id="editor_5" data-image-id="20250717120756_e1c8f08e7e26496d2b2394e0be776e147fb46c415347b781ed9e5c64d9c9e505" data-rendition-name="original" width="1145" height="668" loading="lazy" alt="Tourist numbers"> </figure>  The tourism industry employs at least 1 million people, trekking injects money directly into the <a href="https://nepalitimes.com/editorial/not-rising-nepal">rural economy </a>and sustains ancillary sectors like handicrafts and domestic aviation. In the last fiscal year, tourism brought in Rs82.33 billion, according to Nepal Rastra Bank. But the industry has been affected by negative publicity about poor infrastructure, air pollution in Kathmandu, travel safety and news of disasters like the <a href="https://nepalitimes.com/news/rasuwa-flood-likely-a-glof">China-Nepal flood last week</a> that made international headlines. Growing worries about the climate crisis is also affecting youth travel, especially from Europe. Read also: <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">Missing out on Nepal’s tourism potential</a> “The limitations of airport and road infrastructure has hindered the development of the tourism sector,” admits Joshi. “And many are put off by the appalling state of our road network, especially during <a href="https://nepalitimes.com/opinion/managing-the-monsoon">the monsoon season</a>.” Nepal is home to 20 protected areas, 10 heritage sites, and eight out of the world’s 10 highest mountains, and despite all the obstacles it is still the perfect destination for the modern social media savvy traveller, who are experience-driven and inclined to look for itineraries that emphasise wellness and cultural immersion.&nbsp; Some hotels around Kathmandu, Pokhara, Jomsom and the Khumbu have strived to adapt to this new tourism landscape, expanding facilities with significant international investment. <a href="https://nepalitimes.com/business/a-thamel-within-thamel">Luxury hotels like Aloft Kathmandu</a> in Thamel were inaugurated just before the pandemic lockdowns, survived the crisis and thrived as it. Says General Manager Vikram Singh (pictured, below): “Our prime location in Thamel enhances the guest experience, especially for those seeking convenience and immersion in the local scene and travellers who want to be in the centre of it all.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071805070_8d29803e8b52bcd4439422e7b7a0bc25aa68ef3d227b9130bd0e079af626677d.jpg" data-media-id="editor_11" data-image-id="2025071805070_8d29803e8b52bcd4439422e7b7a0bc25aa68ef3d227b9130bd0e079af626677d" data-rendition-name="original" width="1066" height="1600" loading="lazy" alt="Aloft GM"> </figure>  <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">Sustainability </a>and environmental consciousness has also become an integral part of the hospitality industry. ISO certifications as well as sustainability initiatives like the Travelife sustainability certification for eco-friendly resorts validate credibility of hotels. Aloft is the first five-star hotel in Nepal to have earned the Waste Smart Certificate, and it has also been awarded the ISO 14001:2015 certification, which is the internationally recognised standard for environmental management systems (EMS). But such investments will not amount to much unless Nepal makes serious efforts to promote itself as a<a href="https://nepalitimes.com/here-now/peak-tourism-in-2023-9ukoi8iz?utm="> tourism destination</a>, especially to its two giant neighbours. More importantly, the country needs to increase activities in which tourists can spend the money they want to. “While <a href="https://nepalitimes.com/here-now/nepal-pushes-mountain-bike-tourism?fbclid=IwAR1MNH0iFGv1vRz5G9uZ4AzUlKxB6nY7JKq0qT6je_FV4_SuxPZqviwKGn0">mountaineering and adventure tourism</a> are extensively promoted, we have fallen short of marketing other elements such as wildlife, pilgrimage and cultural heritage,” says Joshi. “There is a need to diversify promotion to increase income from the tourism sector.” Meanwhile, making Nepal more accessible to international and domestic visitors, must also be a priority. Kathmandu remains the sole aerial gateway despite new airports in Pokhara and Bhairawa. “International airlines have shown interest, and if access and flights are increased these airports can be fully functional,” says Joshi. But Sichuan Airlines has stopped flying to Pokhara, and there does not seem to be much interest from Thai, Vietnamese and Cambodian carriers to fly directly to Lumbini. Says Singh: “There’s tremendous opportunity to strengthen Nepal’s destination marketing by telling richer, more compelling stories that <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">connect travellers with our culture</a>, nature, and people.”

Tourism needs a new push

Many of us former Nepal Peace Corps volunteers (PCVs) would agree that our time in Nepal changed in significant but very different ways our perspectives on life if not the future paths we chose to follow. Of no one was this truer than Dorothy Mierow. Dorothy was born in 1920, in Colorado Springs. Her father Charles C Mierow was a classics scholar and Latin professor, who served for ten years as president of Colorado College.&nbsp; Dorothy developed an interest in animals as a child, graduated with a BA degree in natural history from Carlton College in 1942, a Master’s in biology from the University of Pittsburgh, and another Master’s in geography from the University of Minnesota.&nbsp; As a young woman, Dorothy traveled with her father throughout Europe, including a visit to ancient Greek ruins, and took a Magellan Tour by cruise ship around the world in 1958.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_0bad133ab22aada319e74bbad95d563e191371db291c08f373839fbd15440262.jpg" data-media-id="editor_0" data-image-id="2025071901074_0bad133ab22aada319e74bbad95d563e191371db291c08f373839fbd15440262" data-rendition-name="original" width="903" height="1178" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>HOME AWAY FROM HOME: Dorothy Mierow as a college student in her native Colorado.</figcaption> </figure>  She was a college teacher during much of the 1940s, also teaching at a girls’ school in Hawaii. Then back to her native Colorado in 1953, where she became a curator and later director of the Colorado College Natural History Museum. She taught geography classes, and in her free time, Dorothy climbed 22 of Colorado’s 14,000-foot peaks. Traveling in India in 1960, Dorothy decided to spend two weeks in Nepal. In late 1961, she filled out an application to join the Peace Corps and specified that she wanted to go to Nepal, ‘because I admired the people so much when my father and I were there on our trip’.&nbsp; Dorothy reached Kathmandu in September 1962 as the first group of American Peace Corps volunteers in Nepal. She stood out from the others: one of the few women in that group, surely the oldest at age 41, a world traveler, and a woman who already had established a professional career.&nbsp; One doubts if Dorothy had had a husband and children whether she would ever have gone to work and spend much of the rest of her life in Nepal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901078_68e84ade1ffb0f6c83c7f8fa5c1e7315b5f6c543217f96cde012e4d86f171515.jpg" data-media-id="editor_1" data-image-id="2025071901078_68e84ade1ffb0f6c83c7f8fa5c1e7315b5f6c543217f96cde012e4d86f171515" data-rendition-name="original" width="1259" height="910" loading="lazy" alt="How th Peace Corps changed a volunteer's life NT"> <figcaption>Pokhara Bazar in 1962.</figcaption> </figure>  The Peace Corps assigned Dorothy to teach geography at Tri-Chandra College. After the school closed in the winter due to lack of heating, USAID and the College of Education asked Dorothy to help train general science teachers.&nbsp; She taught for two months and became involved in a textbook-writing project, commenting: ‘I would like the children to know something about public health, conservation (the trees are going fast and so is the soil), and learn the names of some of their common birds, trees, and flowers. They are more impressed with electricity, airplanes, and cell structure.’ When a new college opened in Pokhara in 1963, Dorothy was transferred there and lived with a Nepali family. The college boasted 30 students and no permanent buildings.&nbsp; In October 1963, Dorothy wrote: ‘Pokhara is a town of almost 5,000 people … We are in a fertile valley surrounded by foothills … There is a small Mission Hospital … a Leper Hospital and Tibetan Refugee Camp started by the Red Cross and now run by the Swiss. With winter approaching, more Tibetans are appearing in town, often with pack horses or donkeys. Some have been carrying large boxes of powdered milk,donated (by USAID) to the camp from the airport … There is no electricity, and the transportation problems make many items scarce and expensive. I am really a sort of a museum. The landlord brings all kinds of people in to see how I live and count my shoes and dresses. They express amazement at my books, pictures, tin oven, Nepali dolls from Kathmandu, screened food shelves and curtained closet.’ The standard term for Peace Corps volunteers was two years, but Dorothy extended her term and was still at Prithvi Narayan College at the end of 1965, when she wrote that she had 20 Geography students in the first-year class and 6 in the second year preparing for the IA Examination. The college enrollment was 125 students, and the foundation for a new science building was being excavated.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_c6a80e5e0db0c705b2f8733c6d30dc0386fe3abbd2238ea9d947b7d746f94a29.jpg" data-media-id="editor_2" data-image-id="2025071901074_c6a80e5e0db0c705b2f8733c6d30dc0386fe3abbd2238ea9d947b7d746f94a29" data-rendition-name="original" width="902" height="605" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>Mierow and friends at Phewa Lake.</figcaption> </figure>  Dorothy noted that she ate one meal a day at the (Shining Mission) Hospital but otherwise lived on dal-bhat, momo, and potato curry at local shops. However, she had developed a new passion: to build what she initially called the Pokhara Museum of the Himalaya. In commendable Peace Corps fashion, Dorothy always worked with Nepalis and respected the culture. ‘The greatest joy and satisfaction I have had has been from the building of a Museum-Library in memory of my parents … It has been possible to feel like a wealthy benefactor with the money saved by father for the family’s education and now available for the education of others… (Father) would have loved to be in on the founding of a new college and be able to plan a library. Several hundred of the books to be in the museum-library came from his collection and were carefully selected to be of use for students in Nepal…’&nbsp; ‘The museum part is to satisfy my own inclinations and was thought of when I found how little diversion there was for the people of Pokhara… It is part of the University requirements for the college that it should have a geography and biology museum. The museum building is small but adequate.&nbsp; I have tried to design it in harmony with Nepalese architecture and decorate it with some of the art of the best artists or woodcarvers… Posts holding up the porch roof are carved by Cottage Industries to represent different peoples of Nepal in typical costumes. The door was carved by a local wood carver and has typical birds of Nepal around it. Inside are 10 roof-support carvings designed by the retired Director of the National Museum in Kathmandu, Mr. C.M. Maskey.&nbsp; They were carved by the best wood carvers in Patan very skilfully. The building has three rooms: the library, the exhibition room, and a smaller workroom which can be used by our newly formed Woman’s Club as well as other groups or classes.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_03d3359c65389d30a0134e9a4862778994121e7e833b7d28b18e06e36fc76ff8.jpg" data-media-id="editor_3" data-image-id="2025071901074_03d3359c65389d30a0134e9a4862778994121e7e833b7d28b18e06e36fc76ff8" data-rendition-name="original" width="629" height="599" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>Mierow with local women in Pokhara in 1969.</figcaption> </figure>  Dorothy promoted her project to influential Nepalis connected with organisations whose support she solicited: The Department of Archaeology, the Department of Agriculture, the Godavari Botanical Gardens; Tribhuvan University’s Science and Education Department, Nature Conservation Society.&nbsp; The museum was opened officially in early 1967. The Annapurna Natural History Museum, the building Dorothy designed and had constructed, is still open and features some exhibits which she created many years ago.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_54326a8a0685e980e782378076de2f5cd02d2426e9b0d94eed972d3dbe83af26.jpg" data-media-id="editor_4" data-image-id="2025071901074_54326a8a0685e980e782378076de2f5cd02d2426e9b0d94eed972d3dbe83af26" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>The Annapurna Natural History Museum.</figcaption> </figure>  Dorothy returned to America in 1967, but she longed for Nepal. In the spring of 1969, she again tried to enroll as a Peace Corps volunteer but was told that as she had spent more than four years, she would not be eligible for another assignment. Undeterred, she persuaded the college in Pokhara to invite her to return as a teacher.&nbsp; UNICEF and the Forestry Department sponsored Dorothy to prepare charts on trees, birds, animals and flowers in colour for distribution to the schools of Nepal. Dorothy, back in the Peace Corps, returned to Pokhara and the Museum in 1972. She formed a friendship with her former geography student from Sikles, Chandra Prasad Gurung, and in 1974, she brought Chandra to America, where he enrolled in Colorado College and studied cultural anthropology.&nbsp; Chandra subsequently earned his PhD in geography from the University of Hawaii and returned to Pokhara to become director of the Annapurna Conservation Area Project. Gurung actively promoted ecotourism, landscape conservation, and biodiversity conservation in Nepal. His life was cut short along with those of 23 other Nepalis and foreigners who perished in a helicopter crash near Taplejung in September 2006.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_322d3c3ac6f1b08ffa07c44a19998b937a7db9eb43527f7539cf6481e1546314.jpg" data-media-id="editor_5" data-image-id="2025071901074_322d3c3ac6f1b08ffa07c44a19998b937a7db9eb43527f7539cf6481e1546314" data-rendition-name="original" width="2500" height="1000" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>Mierow's four books on Nepal and its biodiversity. </figcaption> </figure>  Dorothy worked with several well-known Nepalis to publish her paintings and photos in beautifully illustrated books. She and Hemanta Mishra of the National Parks and Wildlife Service wrote Wild Animals of Nepal (Ratna Pustak Bhandar, 1976). More than 400 photos Dorothy took on treks to the Everest region, Gosaikunda, Muktinath, Jumla and Rara Lake, as well as travels in the Tarai, appeared in Himalayan Flowers and Trees (Sahayogi Prakashan, 1978).&nbsp; The botanist Tirtha Bahadur Shrestha identified the species. Dorothy and Kesar Lall published This Beautiful Nepal (Sahayogi Press, 1981). Birds of the Central Himalayas (1988) contained Dorothy’s paintings of 250 species of birds found along the areas of the Kali Gandaki River, Pokhara, Chitwan and the central Tarai. Dorothy summed up her life and work in Nepal in Thirty Years in Pokhara (Pilgrims Book House, 1997). Dorothy returned to Pokhara and her adopted Gurung family several times during the 1980s and 1990s to celebrate festivals and meet old friends. Her final years were spent at her mountain cottage in Green Mountain Falls north of Colorado Springs. She died at the age of 79 in August, 2000. Nepal gave new meaning and purpose to Dorothy Mierow’s life. Daniel W Edwards was a Peace Corps volunteer in 1966 and is the author of several books on Nepal. The author thanks Special Collections, Tutt Library, Colorado College.

How the Peace Corps changed a volunteer’s life

Local residents of Mustang, including a sitting MP and several politicians, submitted a petition to Prime Minister KP Oli in Kathmandu this week urging the government to lift the region’s ‘restricted’ status. This is not the first time such a demand has been raised, and as infrastructure the region’s accessibility improved over the years, calls to remove the long-standing restriction have grown louder.&nbsp; Upper Mustang is no longer weeks away <a href="https://nepalitimes.com/here-now/postcards-from-kathmandu">from Kathmandu.</a> Nearly 85% of the road from Beni to Kagbeni has been blacktopped, and one can drive from Kathmandu to Lo Manthang with an overnight stop in Pokhara. Between April 2024 and April 2025, Lower Mustang received 144,745 international tourists, a near 50% increase compared to the previous year. Most of these were <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds">Indian pilgrims </a>travelling to Muktinath. <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a> is also gaining popularity among Nepali visitors, with 700,000 visiting the region in 2024. A hotel operator in Kagbeni estimated that about 20% of Nepali visitors to Muktinath also travel to Korala, the trade and transit checkpoint on the <a href="https://nepalitimes.com/latest/north-of-the-border">China border</a>. That would mean that nearly 100,000 domestic tourists visit Upper Mustang annually. In stark contrast, international tourist numbers to Upper Mustang (north of Kagbeni) have remained stagnant, hovering around 4,000 visitors per year. The primary reason is the continued enforcement of the region’s restricted status. Foreign visitors must pay a steep permit fee: a minimum of $500 for 10 days, with an additional $50 per day thereafter. Tourism some entrepreneurs, politicians, and residents want these fees to be abolished so Upper Mustang can attract a broader range of international travellers. The success of Lower Mustang, where relaxed restrictions have led to a<a href="https://nepalitimes.com/here-now/boom-time-in-central-tarai"> tourism boom</a>, is often cited as proof of what lifting restrictions could achieve. Upper Mustang is not the only region in Nepal with a restricted status. Several northern areas prefixed with ‘Upper’ (Upper Manaslu, Upper Dolpo, Upper Kanchenjunga, and Upper Arun) also need similar permits and fees. Although no clear official explanation exists, these areas were primarily restricted due to historical inaccessibility, ecological and cultural fragility and security concerns. Read also: <a href="https://nepalitimes.com/news/upper-mustang-opposes-prohibited-areas">Call to scrap Upper Mustang tourist fee</a> In the 1960s and 1970s, these remote regions served as shelters for Khampa guerrilla fighters who launched cross border ambushes on the <a href="https://nepalitimes.com/here-now/the-last-days-of-the-khampa">Chinese military </a>across the border.&nbsp; Though the Khampa have long gone, security concerns rooted in that era seem to persist. The government in Kathmandu is seemingly unaware of the changed political and security landscape. If concerns do remain, they are not made public. One of the main reasons for maintaining the restricted designation is to limit visitor numbers. But with <a href="https://nepalitimes.com/opinion/the-road-out-of-nepal">improved road access and services</a>, as Upper Mustang has seen, this justification no longer holds. When Upper Mustang first opened to international tourists in 1992, it had no formal lodges or hotels, and it took four to five days of trekking from Jomsom to Lo Manthang.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250716120744_4e4405cf10e6f127f90a1cd40feda0b9d8d69efd13093a2563530ca31489ba9f.jpg" data-media-id="editor_8" data-image-id="20250716120744_4e4405cf10e6f127f90a1cd40feda0b9d8d69efd13093a2563530ca31489ba9f" data-rendition-name="original" width="2000" height="509" loading="lazy" alt="Lift restrictions on Upper Mustang"> <figcaption>Photo: SHRIJAN PANDEY / NT ARCHIVE</figcaption> </figure>  Without a nechyang (a household with traditional friendship), it was difficult to find a place to stay or get a proper meal. Only a few elite households offered accommodation. Today, there are now more than 80 lodges and hotels above Kagbeni, spread across nearly every village. Several upmarket hotels now struggle to stay afloat during the off-season, relying on low-spending domestic visitors to survive. Lo Manthang, once a remote destination, is now just a few hours’ drive from Jomsom, easily reachable by lunchtime for early starters. Once the remaining road sections are blacktopped, travel time will be further reduced. Yet, the government still charges a flat $500 fee for a 10-day permit based on outdated &nbsp;assumptions from a bygone era. There has been no serious review of the permit structure to align with current realities, nor any response to local aspirations to attract more international tourists and <a href="https://nepalitimes.com/here-now/peak-tourism-in-2023-9ukoi8iz">harness tourism for economic development</a>. Concerns about over tourism are valid. There is a risk that increasing visitor numbers could erode Upper Mustang’s <a href="https://nepalitimes.com/here-now/a-million-mantras-in-mustang">cultural heritage</a>, social fabric, and fragile natural environment, precisely the features that make it special. However, the region’s 33 years of tourism experience have been largely positive.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250716120744_5c7e5e05097cd0e5a1027b51c7e3db3be0bd67e0f7cbaea6d2c447b1dacafc8a.jpg" data-media-id="editor_11" data-image-id="20250716120744_5c7e5e05097cd0e5a1027b51c7e3db3be0bd67e0f7cbaea6d2c447b1dacafc8a" data-rendition-name="original" width="1400" height="1050" loading="lazy" alt="Lift restrictions on Upper Mustang"> <figcaption>Photo: MUKESH POKHREL / NT ARCHIVE</figcaption> </figure>  Tourism has contributed significantly to the restoration and <a href="https://nepalitimes.com/here-now/the-history-of-heritage?%2F">preservation of religious and historical sites</a> like the Thubchen and Jampa monasteries in Lo Manthang, the ongoing conversion of the old palace in Ghami into a premium hotel, and the rehabilitation of many monasteries and chortens.&nbsp; These efforts, supported by international donors and heritage experts, demonstrate that tourism—when well managed—can be a powerful driver of <a href="https://nepalitimes.com/here-now/shrinking-tourism-s-ecological-footprint">conservation</a>. The high permit fees have been somewhat effective in limiting international visitors, but they have no influence on the growing number of domestic tourists, particularly during the Dasain and Tihar holidays. The most pressing need now is for all levels of government—federal, provincial, and local—to<a href="https://nepalitimes.com/news/why-invest-in-nepal"> invest in </a>managing tourist flows and maintaining tourist sites. These efforts are essential not only to enhance visitor experience but also to build long-term resilience and sustainability for the destination. Read also: <a href="https://nepalitimes.com/news/greening-nepal-s-tourism">Greening Nepal’s tourism</a>, Hanna Wells Visitor numbers are central to any tourism development strategy that aims to balance economic, social, and environmental goals. Clinging to obsolete policies and concerns to justify Upper Mustang’s restricted status is not only unfair, it also suggests an undemocratic and discriminatory attitude toward a remote district.&nbsp; Shailendra Thakali, PhD, is from Jomsom and is a freelance consultant on protected areas, tourism, conservation, and sustainable livelihoods.

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