In the middle of the first floor of the Rasa Lila exhibition at the Nepal Art Council is a model of Patan’s Krishna Temple made of Jenga blocks (pictured above). Inside the temple is a red holographic Radha, dancing. The temple here represents Vraja, a realm that lies far away from the universe in the heights of paradise. This mystical place is the setting of the Rasa Lila: a long lyric poem in the 10th book of the Bhagavata Purana that describes Krishna’s circular dance of love with his female devotees. So the choice of material makes sense: Vraja, much like buildings made out of Jenga, is more an impermanent zone where players dance with focus and balance.&nbsp; Read also:<a href="https://nepalitimes.com/banner/my-sweet-lord"> My Sweet Lord</a>, Sewa Bhattarai Rasa Lila is put together by Priyam Pradhan and team and is made up of various media, including paintings, sculptures, songs, and films.&nbsp; The exhibit spans two floors of the Bagmati Art Gallery atop the Nepal Art Council in Baber Mahal. The first floor is about the Rasa Lila (Rasa: divine dance, Lila: divine play). The start of the exhibit plays with the story of Shiva being stopped from entering the Rasa Lila, because he is nine feet tall and not a woman. So he takes a dip into the Yamuna River and emerges a beautiful lass ready to take part.&nbsp; Referring to this story is Gopeshwar Mahadev, a sculpture made out of concrete hands and feet joined by rods of carbon steel. The pre-dip hands are masculine, and the post-dip feet, adorned with ghungroo beads, are feminine.&nbsp; Next is a river of letters that represents the Yamuna River and contains the initials of the team who worked on the project. Explains Pradhan: “I want visitors to the exhibit to feel like Mahadev, crossing the river into Vraja." A description reads, "The Yamuna is a bridge spanning the celestial and physical realms, and bathing in its waters is the final act after which the Gopis return to everyday life." Read also: <a href="https://nepalitimes.com/review/swasthani-lecture">Swasthani lecture</a> Next to this piece are two large wiry structures of Gopis in dance. They have black metal rod skeletons and wire bodies: one red, and one yellow.&nbsp; Inside an alcove in the gallery is a five minute film on loop titled ‘There is no perfection, only life’ made by Urza Acharya. It depicts the life of a Gopi after participating in the Rasa Lila. She is initially struck by depression and lethargy, but slowly finds the motivation to dance and be creative again.&nbsp; The short movie describes the fleeting nature of transcendental moments of pure creativity, and how most other moments are boring and mundane. Reads the description: ‘The banality of everyday, in fact, is what fuels those exceptional moments.’ &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024072812074_21e2b50f2ac9f7a30a596f110d957ede1f9569e59c716688bf63b6befcb01447.jpg" data-media-id="editor_2" data-image-id="2024072812074_21e2b50f2ac9f7a30a596f110d957ede1f9569e59c716688bf63b6befcb01447" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="Vastraharan NT"> <figcaption>'Vastraharana,' a scene from the Mahabharata where the Pandavas gamble away Draupadi's honor </figcaption> </figure>  While the first floor was about the Rasa Lila, the second floor depicts scenes from the <a href="https://nepalitimes.com/review/being-good-is-not-easy">Mahabharata</a>, especially ones where Krishna features heavily. Vastraharan (pictured above) is a striking piece of a female figure in a white dress in the middle of a gambling board. Rectangular dice lie on the board and instead of a head the sculpture has a red light. The story depicted is from the Mahabharata of a game of chance between the Pandavas and the Kauravas where Duryodhana cheats the Pandavas out of all that they have, to the point where Yudhishthira puts up the Pandavas' wife Draupadi, promptly losing her too.&nbsp; Duryodhana orders his Kaurava brother to disrobe Draupadi in the court, and although the game has clearly gone too far, nobody in the court, not even Bhishma and Drona, intervene. The clear identical masks represent their shared passivity.&nbsp; As her sari is being unravelled, Draupadi has no other option but to pray to Krishna, who saves her by extending her sari infintiely. Yet she is still ashamed and angry, represented by the red light.&nbsp; Read also: <a href="https://nepalitimes.com/review/the-violence-of-violation">The violence of violation</a>, Sewa Bhattarai In the next room is a blue angular metal sculpture of Krishna waking up on a bed of coins.&nbsp; “Coins represent Lakshmi, who is present wherever Krishna is,” explains Pradhan. “To make the sculpture we first 3-D printed a mould, then laser cut metal sheets and welded them together.” The last piece in the exhibit is a large painting of Krishna’s mother Devaki, a divine, pure figure who kept giving birth to divine incarnations even when locked up in a dark murky jail by her brother Kansa.&nbsp; The exhibition follows a cohesive theme overall and is well timed for the upcoming Krishnashtami festival which this year falls on 27 August. &nbsp; Rasa Lila Nepal Art Council Baber Mahal 10AM-5PM, until 3 August

Vishad Raj Onta

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Deity, devotion, and divine dance

“Maybe you are a dragon,” says M.
She wants to know what Mi-malaa in Newa translates to. I say, it is a fire-breathing dragon. And I immediately slide into a ramble about dragons, which is when she says she thinks that I might be a dragon.
I laugh.
…
I am five, sickly, forever dodging all kinds of arrows life darts at me, throwing me into fits of cough that cause asthma. It means I am not as athletic as my cousins or my classmates. I am the youngest in class and the littlest of all cousins. I am the runt of the pack. My oldest cousin sister, whenever it rains, lifts her frock over my head like a broken umbrella.
Stay in bed! I am told that a lot by everyone. Baa brings me Read-it-Yourself Ladybird classics.
One very dry day in March, Yaama, decides I must join the other children for Malaa ja-- the feast of the dragon. Maa is not entirely sure but she helps me put on my pretty pink frock that has a bunch of dolls embroidered to the front. Yaama leads me to the street before the Taleju temple where wicker mats have been spread out and children are seated in rows, like some picnic is underway.
My heart thumps at the sight. I am assigned a spot.
Men and women appear in a file, walking past us, leaving treats, ranging from cookies to cakes to fruits, on the leafy plates set before each one of us. The girl next to me asks me if she can have some of my sweets and I say yes. Drink your juice, she says.
I feel as though I am part of something important, even though I have no appetite.
Yaama brings me home when the feast is over. Maa asks me how it went. I tell her everything. She explains how in the past, it would have been a proper feast of rice and daal and goodies and that the event was a prayer sent out to the dragon to protect the children from itself-- March being a month of storms and strong winds and contagious diseases. Hence, Malaa Ja.
…
Maa has always owned a pendant with a dragon on it. In fact, all her sisters have one, a family tradition of carving the serpentine mythical creature with fins, scales and fire onto little slabs of metal.
While I still had a penchant for jewelry, I used to ask Maa if she would give it to me someday. I would ask her why the pendant has a dragon. “My birthchart warns me against the Malaa. I am supposed to wear the pendant so a dragon can protect me against dragons.”
Whenever it rained, Maa’s elder sister would rush to her rescue with an umbrella and shove her into the house. Stay indoors! She would make her watch the rain from the window. She was not allowed to be outdoors during storms. And so my mother learned to watch the rain from the window and read her books.
And across the sky, she would see the dragons flashing to the background score of thunder, spreading as far as the horizon in its colours, claws, scales and fins-- the sudden outburst of lightning sending shudders through her heart.
…
“On the main entrance of our old home were two massive, colourful dragons. They were beautiful,” Maa recalls. “The house had little attic windows and I would look at the mountains from those windows.”
When they pulled the house down to build a new one, the dragons came off the walls in broken bricks.
Maa has no idea who painted the dragons, but they were a symbol of the great creatures that would protect the house and its dwellers.
…
We have four kinds of dragons, says Deepak Bajracharya Gurju. They are: Mi Malaa, Bajra Malaa, Gongaa Mall, Pa Malaa, each named after their shape and impact.
“A Malaa is truth, but also an illusion,” he says. “It is as elusive as it is omnipresent.” And he shares anecdotes.
In one instance, a Malaa had drowned in a pot of brew and turned to stone. But when the woman who discovered it tried to hold it, the stone quickly transformed into its ethereal form and flew away.
In some instances, Guruju says, when the sky suddenly darkens, rumbles and the lighting strikes, we believe that a Malaa has flown away.
They have been forgotten over the years, he explains, but they are still present in symbols around us. We have seen them carved on to temple struts, to door knobs, painted on walls of old buildings, written by healers on bodies when people fall sick and sometimes inked on the skin. Sometimes, their form stares at us from the ruins of a house struck by lightning.
…
Dragons, Maa says, are representative of who we are as individuals. They are who we aspire to be -- fierce, cold as serpentine scales but bursting with flames that can burn everything to cinders.
She says, there is always that epiphany whenever the Malaa shows across our skies -- the idea of regenerative possibility all humans are. Of how we reinvent and reappear just as dragons do. That was the original hope every parent carried for their children -- that they be like dragons and they protect themselves from other dragons.
Suburban Tales is a monthly column in Nepali Times based on real people (with some names changed) in Pratibha’s life.

Pratibha Tuladhar

We are fire-breathing dragons

<figure><img width="1310" height="834" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110131156/636cf53b9c7e80680e09da16jpeg.jpg" alt=""/><figcaption>A gory battle scene from the Mahabharata depicted in a Nepali painting from the 1800s. Photo: harekrsna.com </figcaption></figure>Even eleven years after it was first published, The Difficulty of Being Good by Indian author <a href="https://en.wikipedia.org/wiki/Gurcharan_Das" data-saferedirecturl="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Gurcharan_Das&amp;source=gmail&amp;ust=1624856018937000&amp;usg=AFQjCNFSPA3za-pll0LYf5joq4b13sXZ_A">Gurcharan Das</a> is more relevant than ever. Two-thousand years after it was written, so is the Mahabharata.For those who want to read the Mahabharata but are intimidated by the very thought, Das’ interpretation of the epic is well worth the time. Das does not just go to the holy city of Banaras, but to the Regenstein Library in Chicago with its fabulous collection of South Asian text, to explore the Hindu classic.  His ‘academic holiday’ of several years there resulted in this magnificent and riveting book. Das felt that places of learning in Banaras, the natural choice, would discourage him from ‘interrogating’ the text, but that the University of Chicago with its Sanskrit scholars like Sheldon Pollock and Wendy Doniger, would be more suitable. And indeed, the book proves that this was the right decision. The Mahabharata is made up of almost 100,000 couplets, and is seven times longer than Homer’s Iliad and Odyssey combined. But it is just as gory. Besides the length, the big difference with the Greek classics is that every time there is a showdown in the Mahabharata, amazingly, there is a battle-stopping discourse, and the warring parties weigh in and discuss moral pros and cons of the violence they are unleashing on each other. The Iliad, on the other hand, just gets on with the action. Like many religious texts, the Mahabharata also has its share of wacky stories. For example, the Kaurav brothers, who are fighting their Pandav cousins, create an impenetrable military formation called the ‘Chakra Vyuha’ on the twelfth day of the Mahabharata war to kill Pandav warriors like Yudhishthir. When Arjun, from the Pandav side, is fighting elsewhere in the battlefield, his son, Abhimanyu, successfully penetrates the military formation and stops the Kaurav’s menacing advance towards Yudhishthir. However (and this is the incredible part) Abhimanyu had learnt about how to enter the Chakra Vyuha when he was in his mother’s womb, as Arjun was describing it to her. Unfortunately, she fell asleep before Arjun could explain how to exit the treacherous mêlée.As a result, Abhimanyu did not hear about the exit strategy from this battle formation and so he is trapped and mercilessly killed by the Kaurav generals including Karna, Drona and Ashwastthama. Another riveting episode in the Mahabharata is Pandu, the father of the Pandav brothers. He is actually not their biological father because he has been cursed to die if he has coitus. Kunti, his wife, being a resourceful woman, utilises a gift from the ill-tempered sage Durvasha whereby she could invoke any god and have a child by him. And this she does.Gurcharan Das’s book shows us how the Mahabharata differs from other sacred texts, chiefly because rather than handing the reader a clear-cut cook book of instructions for the entry criteria to heaven, it bewilderingly asks more questions than it answers. Almost confirming that the ultimate truth may not even be available here on earth, it shows us that we can only have intimations of the truth -- a core belief in sophisticated Vedic thinking.   <figure><img width="640" height="437" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110131156/636cf53e9c7e80680e09da17jpeg.jpg" alt=""><figcaption> </figcaption></figure>The Mahabarata is also true to life with flawed characters populating the text, quite unusual for a holy book. For example, Yudishthir’s weakness for gambling, Duryodhan’s jealous streak, Karna’s status anxiety, Krishna’s guile  -- all add up to make it more human and readable.  In fact, as Das points out, the Mahabharata almost humanises the Kaurav (who are the bad guys) in an attempt to portray the good Pandav guys with empathy (Tat Tvam Asi), to kindle a universal moral sentiment. In contrast, the Ramayana, the other Hindu holy text from an earlier era has more black and white answers with an idealistic Ram and an evil Ravan.   The climax of the Mahabharata is when Yudhishthir is about to enter heaven. Indra, heaven’s gatekeeper, comes in his celestial chariot and requests Yudhishthir to please get in so they can ride into heaven together. The self-effacing Yudhishthir, looking a bit puzzled, asks Indra’s permission if they can also take in a stray dog who has been following him for a few days.  Indra initially declines, Yudhishthir pauses, looks around and says, “My Lord Indra, in that case I will forgo heaven.” This little episode with the dog was actually Indra’s test of compassion for Yudhishthir, which he passes with flying colours and he enters heaven with the stray. Das posits that the editors of the Mahabharata may have been influenced by the Buddhist concept of 'karunamaya', or compassion, as the book was written much later (between 400 BC – 300 AD) than the actual Mahabharata war in Kurukshetra (950 BC). In fact, the author asks a very important question: what would have been the outcome at Kurukshetra if Arjun’s charioteer had been Gautam Buddha instead of the clever Krishna? The Difficulty of Being Good is replete with graphic, lyrical, and evocative prose, as this passage by Das illustrates:  In the summer, I returned to India to visit my mother. On the way, the train stopped at a very sleepy station, about a hundred miles north of Delhi. I stepped on to the platform and discovered that this was no ordinary station: it was historic Kurukshetra where the Mahabharata’s futile war of annihilation had been fought. In the burning heat of the summer afternoon, I began to imagine the brutal magnificence of the raging, ruthless battles. I saw a dithering Arjun, the greatest warrior of his age put down his Gandiva bow and refuse to fight -- leaving his debonair and confident charioteer, Krishna, who is also God, with a problem on his hands. I visualised ruthless Drona grinding the exhausted Pandav armies into the dust. Suddenly he turns anxiously to his pupil, Yudhishthir to ask if the rumour about his son’s death is true. Yudhishthir -- who has never spoken false -- tells a white lie and his fabulous chariot, which always traveled slightly above the ground, sinks into the dust.  In a sense, this is a book review of The Difficulty of Being Good, which itself is a book review of the Mahabharata 2,000 years after it was written.  As we put down the book, it is hard to erase the image of Arjun folding his hands in front of the flamboyant Krishna, refusing to fight, while the ruthless Drona and remorseful Yudhishthir are carrying on a conversation in the heat of battle.  Buddha Basnyat is a physician at the Patan Institute of Health Sciences. Disclaimer: Gurcharan Das is his phuaju, uncle.The Difficulty of Being Good: On the Subtle Art of DharmaPenguin Paperback, 2012 ₹ 499.00by <a href="https://www.amazon.in/Gurcharan-Das/e/B001HD010S/ref=dp_byline_cont_book_1" data-saferedirecturl="https://www.google.com/url?q=https://www.amazon.in/Gurcharan-Das/e/B001HD010S/ref%3Ddp_byline_cont_book_1&amp;source=gmail&amp;ust=1624856018938000&amp;usg=AFQjCNHo1HTL86FzCkDyhd98zvMw0xvEKw">Gurcharan Das</a><a href="http://https://www.amazon.in/Difficulty-Being-Good-Subtle-Dharma/dp/0143418971"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110131156/636cf5419c7e80680e09da18jpeg.jpg" alt="" width="200" height="313"></a>

Being good is not easy

<figure><img width="1310" height="834" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121152/636b94819c7e80680e06f207jpeg.jpg" alt=""/><figcaption>A gory battle scene from the Mahabharata depicted in a Nepali painting from the 1800s. Photo: harekrsna.com </figcaption></figure>Even eleven years after it was first published, The Difficulty of Being Good by Indian author <a href="https://en.wikipedia.org/wiki/Gurcharan_Das" data-saferedirecturl="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Gurcharan_Das&amp;source=gmail&amp;ust=1624856018937000&amp;usg=AFQjCNFSPA3za-pll0LYf5joq4b13sXZ_A">Gurcharan Das</a> is more relevant than ever. Two-thousand years after it was written, so is the Mahabharata.For those who want to read the Mahabharata but are intimidated by the very thought, Das’ interpretation of the epic is well worth the time. Das does not just go to the holy city of Banaras, but to the Regenstein Library in Chicago with its fabulous collection of South Asian text, to explore the Hindu classic.  His ‘academic holiday’ of several years there resulted in this magnificent and riveting book. Das felt that places of learning in Banaras, the natural choice, would discourage him from ‘interrogating’ the text, but that the University of Chicago with its Sanskrit scholars like Sheldon Pollock and Wendy Doniger, would be more suitable. And indeed, the book proves that this was the right decision. The Mahabharata is made up of almost 100,000 couplets, and is seven times longer than Homer’s Iliad and Odyssey combined. But it is just as gory. Besides the length, the big difference with the Greek classics is that every time there is a showdown in the Mahabharata, amazingly, there is a battle-stopping discourse, and the warring parties weigh in and discuss moral pros and cons of the violence they are unleashing on each other. The Iliad, on the other hand, just gets on with the action. Like many religious texts, the Mahabharata also has its share of wacky stories. For example, the Kaurav brothers, who are fighting their Pandav cousins, create an impenetrable military formation called the ‘Chakra Vyuha’ on the twelfth day of the Mahabharata war to kill Pandav warriors like Yudhishthir. When Arjun, from the Pandav side, is fighting elsewhere in the battlefield, his son, Abhimanyu, successfully penetrates the military formation and stops the Kaurav’s menacing advance towards Yudhishthir. However (and this is the incredible part) Abhimanyu had learnt about how to enter the Chakra Vyuha when he was in his mother’s womb, as Arjun was describing it to her. Unfortunately, she fell asleep before Arjun could explain how to exit the treacherous mêlée.As a result, Abhimanyu did not hear about the exit strategy from this battle formation and so he is trapped and mercilessly killed by the Kaurav generals including Karna, Drona and Ashwastthama. Another riveting episode in the Mahabharata is Pandu, the father of the Pandav brothers. He is actually not their biological father because he has been cursed to die if he has coitus. Kunti, his wife, being a resourceful woman, utilises a gift from the ill-tempered sage Durvasha whereby she could invoke any god and have a child by him. And this she does.Gurcharan Das’s book shows us how the Mahabharata differs from other sacred texts, chiefly because rather than handing the reader a clear-cut cook book of instructions for the entry criteria to heaven, it bewilderingly asks more questions than it answers. Almost confirming that the ultimate truth may not even be available here on earth, it shows us that we can only have intimations of the truth -- a core belief in sophisticated Vedic thinking.   <figure><img width="640" height="437" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121152/636b94849c7e80680e06f208jpeg.jpg" alt=""><figcaption> </figcaption></figure>The Mahabarata is also true to life with flawed characters populating the text, quite unusual for a holy book. For example, Yudishthir’s weakness for gambling, Duryodhan’s jealous streak, Karna’s status anxiety, Krishna’s guile  -- all add up to make it more human and readable.  In fact, as Das points out, the Mahabharata almost humanises the Kaurav (who are the bad guys) in an attempt to portray the good Pandav guys with empathy (Tat Tvam Asi), to kindle a universal moral sentiment. In contrast, the Ramayana, the other Hindu holy text from an earlier era has more black and white answers with an idealistic Ram and an evil Ravan.   The climax of the Mahabharata is when Yudhishthir is about to enter heaven. Indra, heaven’s gatekeeper, comes in his celestial chariot and requests Yudhishthir to please get in so they can ride into heaven together. The self-effacing Yudhishthir, looking a bit puzzled, asks Indra’s permission if they can also take in a stray dog who has been following him for a few days.  Indra initially declines, Yudhishthir pauses, looks around and says, “My Lord Indra, in that case I will forgo heaven.” This little episode with the dog was actually Indra’s test of compassion for Yudhishthir, which he passes with flying colours and he enters heaven with the stray. Das posits that the editors of the Mahabharata may have been influenced by the Buddhist concept of 'karunamaya', or compassion, as the book was written much later (between 400 BC – 300 AD) than the actual Mahabharata war in Kurukshetra (950 BC). In fact, the author asks a very important question: what would have been the outcome at Kurukshetra if Arjun’s charioteer had been Gautam Buddha instead of the clever Krishna? The Difficulty of Being Good is replete with graphic, lyrical, and evocative prose, as this passage by Das illustrates:  In the summer, I returned to India to visit my mother. On the way, the train stopped at a very sleepy station, about a hundred miles north of Delhi. I stepped on to the platform and discovered that this was no ordinary station: it was historic Kurukshetra where the Mahabharata’s futile war of annihilation had been fought. In the burning heat of the summer afternoon, I began to imagine the brutal magnificence of the raging, ruthless battles. I saw a dithering Arjun, the greatest warrior of his age put down his Gandiva bow and refuse to fight -- leaving his debonair and confident charioteer, Krishna, who is also God, with a problem on his hands. I visualised ruthless Drona grinding the exhausted Pandav armies into the dust. Suddenly he turns anxiously to his pupil, Yudhishthir to ask if the rumour about his son’s death is true. Yudhishthir -- who has never spoken false -- tells a white lie and his fabulous chariot, which always traveled slightly above the ground, sinks into the dust.  In a sense, this is a book review of The Difficulty of Being Good, which itself is a book review of the Mahabharata 2,000 years after it was written.  As we put down the book, it is hard to erase the image of Arjun folding his hands in front of the flamboyant Krishna, refusing to fight, while the ruthless Drona and remorseful Yudhishthir are carrying on a conversation in the heat of battle.  Buddha Basnyat is a physician at the Patan Institute of Health Sciences. Disclaimer: Gurcharan Das is his phuaju, uncle.The Difficulty of Being Good: On the Subtle Art of DharmaPenguin Paperback, 2012 ₹ 499.00by <a href="https://www.amazon.in/Gurcharan-Das/e/B001HD010S/ref=dp_byline_cont_book_1" data-saferedirecturl="https://www.google.com/url?q=https://www.amazon.in/Gurcharan-Das/e/B001HD010S/ref%3Ddp_byline_cont_book_1&amp;source=gmail&amp;ust=1624856018938000&amp;usg=AFQjCNHo1HTL86FzCkDyhd98zvMw0xvEKw">Gurcharan Das</a><a href="http://https://www.amazon.in/Difficulty-Being-Good-Subtle-Dharma/dp/0143418971"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121152/636b94889c7e80680e06f209jpeg.jpg" alt="" width="200" height="313"></a>

Fenerbahçe Beko won the Turkish Airlines EuroLeague finals in Abu Dhabi, held 23-25 May, defeating Monaco 81-70 in the final. Olympiacos, who defeated Panathinaikos 97-93, finished the series in third place. The Most Valuable Player (MVP) of the final match, Nigel Hayes-Davis from Fenerbahçe Beko, received a prize of 1,000,000 Miles&amp;Smiles from Turkish Airlines’ Chief Commercial Officer Ahmet Olmuştur. The carrier has been the title sponsor of the Turkish Airlines EuroLeague, a top tier tournament, since 2010.

Turkish Basketball

In the black and white photograph, General Wangdu smiles broadly in front of the dusty cactus garden in Kathmandu’s Annapurna Hotel. With an ill-fitting jacket and shaggy hair he looks benign enough, but this was the last leader of the Tibetan freedom fighters who led the resistance against the Chinese from their remote mountain hideouts in <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a>. Five months later, Wangdu was dead. Snapped in March 1974, I had only recently arrived in Nepal. How did I meet this legendary fighter? Possibly with his devoted camp follower, Lynne Klapecki, and probably in the Om Restaurant near Freak Street which was the preferred <a href="https://nepalitimes.com/banner/hippie-trail-nostalgia-in-kathmandu">hippie hang-out</a>. Om Lobsang and his brother Yeshe were <a href="https://archive.nepalitimes.com/page/earthquake-brings-back-memories-of-camps-for-tibetan-refugees">refugees from East Tibet </a>whose cafe offered a friendly welcome and<a href="https://nepalitimes.com/multimedia/momo-loco"> the best momos</a> - they became my in-laws after I married their eldest brother Tenzin, but that was a decade later.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1.jpg" data-media-id="editor_4" data-image-id="2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1" data-rendition-name="original" width="1000" height="1583" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Photo: LISA CHOEGYAL</figcaption> </figure>  Wangdu’s English was enthusiastically rudimentary, but even riding around town with him on the back of an aging <a href="https://nepalitimes.com/here-now/kathmandu-s-new-motorbike-museum">motorbike</a>, he was a commanding presence. Always flanked by armed outriders, impressive scars marked his forearms and a pistol hung from the cord around his neck. A charismatic guerrilla leader, Wangdu was celebrated by his followers for his tough commitment and respected for his measured pragmatism. He seemed so young to have shouldered such a responsibility of command, leading hundreds of hardened <a href="https://archive.nepalitimes.com/article/nation/50-years-after-the%20raid-into-Tibet,1012#google_vignette">Khampa combatants </a>through what had been a particularly <a href="https://nepalitimes.com/news/heavy-snowfall-over-nepal-himalaya">brutal winter in Mustang</a>, the last bastion to hold out against the Chinese invasion of their Tibetan homeland.&nbsp; The freedom fighters of Tibet, known as the Chushi-Gangdruk, had emerged to resist the <a href="https://nepalitimes.com/editorial/territorialism">Chinese takeover</a> of Tibet during the 1950s. Estimated to be 80,000-strong at the time of <a href="https://nepalitimes.com/here-now/what-or-who-after-the-dalai-lama">the Dalai Lama</a>’s final escape to India in 1959, the sheer number of Chinese deployed into Tibet eventually forced the Chushi-Gangdruk to retreat to Mustang, From this high Himalayan stronghold, they continued cross-border raids on the Chinese People’s Liberation Army (PLA) throughout the 1960s.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd.jpg" data-media-id="editor_10" data-image-id="2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd" data-rendition-name="original" width="1114" height="676" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Guerrillas known as the Chushi-Gangdruk emerged to resist the Chinese annexation of Tibet during the 1950s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>  Their Kathmandu base was a small discreet lodge in a back lane near Rani Pokhari. Sipping sweet tea from a blue mug with a chipped lid, I sat bemused in a corner of the Mustang Hotel room whilst Wangdu and his cohorts received a battered brown suitcase from their CIA connection, a tousle-haired American in a leather jacket. Heaved onto the dingy bedspread that covered the thin mattress, it was clicked open to reveal piles of neatly stacked dollar bills.&nbsp; I cannot think why Wangdu allowed me to witness this handover but I was clearly no threat, a newly arrived world traveller with no understanding of the stakes nor any Nepali or <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan language</a>. Despite armed guards in the corridor,Wangdu radiated confidence and bravado, and there was a practiced familiarity to the tense transaction. This deadly dance for many years had been funded by the Americans, tolerated by <a href="https://nepalitimes.com/here-now/the-kingdom-within-a-republic">Mustang’s residents</a>, and permitted by King Mahendra and the Nepali authorities who it suited to turn a blind eye.&nbsp; But Mahendra died in 1972, and times were changing. Richard Nixon’s ping-pong diplomacy thawed the cold war and signalled a fresh entente with China. Nepal’s yet-to-be-crowned <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">King Birendra </a>was under pressure to curb the irritating incursions against the PLA launched from the Nepali territory of Mustang. Keen to appease his northern neighbour, on several occasions the King summoned Wangdu for peace talks but, despite increasingly overwhelming odds, Wangdu refused to surrender.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb.jpg" data-media-id="editor_14" data-image-id="2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb" data-rendition-name="original" width="1055" height="885" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>General Wangdu flanked by two Tibetan resistance fighters in Mustang in the 1970s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31.jpg" data-media-id="editor_15" data-image-id="2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31" data-rendition-name="original" width="1044" height="792" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>King Birendra with General Wangdu (right in dark glasses) taken in 1974 possibly in Mustang after one of their few attempts at negotiation. Photo courtesy: RAJRNDRA KUNWAR</figcaption> </figure>  While I naively rode pillion around Kathmandu in the spring sunshine, Wangdu was in the midst of what turned out to be his final round of negotiations with the Nepal government. Refusing to cease hostilities with the Chinese, Wangdu must have suspected the cost of his decision, making his cheerful smile in the photograph all the more poignant and brave. It was only much later that I appreciated the significance of the moment. Wangdu had been sent to replace the first resistance leader in Mustang, Baba Gen Yeshe, a much derided corrupt character who stole money meant for his troops and exploited fleeing refugees by seizing their treasures. Baba Gen Yeshe never forgave Wangdu,and sought revenge in May 1974 by betraying him and his commanders to the Nepal authorities. Renewed Chinese incursions from the north, active PLA collusion with the Nepali forces under the new King, and treachery from within the Chushi-Gangdrukranks combined to seal their fate.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0.jpg" data-media-id="editor_16" data-image-id="2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0" data-rendition-name="original" width="1400" height="769" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>British television journalists George Patterson and Adrian Cowell embedded themselves with Khampa guerrillas and accompanied them from Tsum Valley on a cross border raid on a Chinese Army convoy in 1964. Photo: ESSAYS ON NEPAL / SAM COWAN</figcaption> </figure>  Mikel Dunham, renowned author of Buddha’s Warriors, writes: ‘It is possible that Wangdu was waiting for some cue from the Dalai Lama’s government-in-exile in Dharamsala, India. It is equally possible – during that last, <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush?fbclid=IwZXh0bgNhZW0CMTEAAR31-Cqw8oyIwMPzf_35e4Skr0ululJvLf3_vDkzHn-AYG2h8uPw2rqqErg_aem_tGVn5coY1-jA7fze_xqhew">desolate winter </a>– that he made the decision to go out in glory rather than admit defeat. Over the last fifteen years, Wangdu had experienced Tibet’s organized resistance being squeezed and shoved around by every conceivable outside force.&nbsp; First they had been pushed out of their own country by the PLA; then they had been refused sanction while on <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds?fbclid=IwAR0PpJ5zUEbwdug3g_U3ar6FUugngRY0S8Tl2v_7wqzrsHmXWcXsKjvL4t4">Indian soil</a>; then they were abandoned by the Americans because, apparently, Nixon wanted to make friends with Wangdu’s mortal enemies, the communists; then they had been betrayed by the vampiric Baba Gen Yeshe – a Tibetan and, even worse, a fellow Khampa; and now, finally Wangdu’s army was being evicted by the Nepalis. One thing was certain: Wangdu was a warrior. To imagine Wangdu simply giving up and settling down in the pacific squalor of a <a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp">refugee camp </a>was unthinkable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49.jpg" data-media-id="editor_20" data-image-id="2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49" data-rendition-name="original" width="500" height="746" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>The much derided Baba Gen Yeshe, the first Tibetan resistance leader in Mustang, who betrayed Wangdu for personal gain. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3.jpg" data-media-id="editor_21" data-image-id="2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3" data-rendition-name="original" width="500" height="656" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Aditya SJB Rana of the Royal Nepal Army whose team ambushed Wangdu and his cohorts at the top of Tinker Pass in Darchula, West Nepal. Photo courtesy: GAUTAM SJB RANA</figcaption> </figure>  By August 1974 the game was up. Wangdu and six of his exhausted party were killed on their horses by <a href="https://archive.nepalitimes.com/news.php?id=7270">the Royal Nepal Army</a> on the brink of escape. The officer in charge, Aditya SJB Rana, cleverly predicted their route into India after they failed to silence a police radio in Yari. A carefully laid ambush trapped them near the summit of the Tinker Pass in Darchula,at 5,000 meters the highest military operation of its time. Wangdu’s body was helicoptered to Kathmandu, and a big show made of the royal Nepal victory.&nbsp; The Tibetan armed insurgency against China had reached its end.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4.jpg" data-media-id="editor_23" data-image-id="20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The last days of the Khampa NT"> </figure>

The Last Days of the Khampa

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;

Turkish to Seville

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

mythology

Deity, devotion, and divine dance

We are fire-breathing dragons

Being good is not easy

Being good is not easy

Turkish Basketball

The Last Days of the Khampa

Turkish to Seville

Digital protection for Nepal’s art