<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

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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.”

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