Journalism as a form of communication is limited by its format and style. After all, it is history in a hurry. Fiction tries to transcend this, and novels are sometimes turned into movies to get the message across more urgently about the human condition. Poetry goes beyond words and employs sonic language to dig deeply into our innermost feelings. Art takes visual cues to go beyond even poetry. But it is often art for art’s sake. Actually, art is a pure form of communication. Only art can reach the subconscious in us to explore existence and expression. Which is what Mukhiya Samridh and Subesh KC are trying to get across to us with their joint exhibition of installations and paintings in WHOARE.YOU at Siddhartha Art Gallery. Subesh KC is a Norway-based artist who is obsessed with how language determines who we are, how we perceive and are perceived. We take words and sentences as a given, the linguistic codes tumbling out from the recesses of our brain and we spout and write words without thinking. KC deconstructs language into a series of paintings ‘We Simply Find Ourselves Here’ with stylised human forms in a backdrop that looks like gibberish – random imaginary hieroglyphics. The underlying message could be that the written language is just a phonetic code of what is spoken, which in turn encrypts our thoughts, feelings and communicates them imperfectly. WHOARE.YOU is not a question, it is an answer. But visitors are not given answers in a platter, each has to find their own meaning and interpretation. Artists are not required to explain the meaning of their work, but we ask KC anyway. “I am trying to investigate the links between language and our perception of reality, using asemic letters and abstraction to question how language determines our understanding of the self,” he says. KC has partnered with Mukhiya Samridh for this exhibition and has two joint works on display. The most striking is ‘Status Quo’ -- an installation with 1,500 nails hammered into an off-white board and arranged in a sine curve running across like a graph.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127130128_4f8399e6a907b404a34a6dbc6d3fe12b7b4014ea737f5d44316bdbb1771b49ea.jpg" data-media-id="editor_0" data-image-id="20250127130128_4f8399e6a907b404a34a6dbc6d3fe12b7b4014ea737f5d44316bdbb1771b49ea" data-rendition-name="original" width="1778" height="1000" loading="lazy" alt="WHOARE.YOU art review"> <figcaption>Status Quo</figcaption> </figure>  “This is the cycle of consciousness,” explains Mukhiya. “We start from a high point where the ego is dominant, then we find out we are not so smart after all, and only after that lesson in humility do we rise up again to be enlightened. And all the time society is trying to hammer in any nail that sticks out.” Mukhiya is the son of artist Tekbir Mukhiya who has designed over 4,000 covers of Nepali books, many of them in wood blocks, in a career spanning five decades. Samridh has obviously inherited some of the abstract ways of expression from his versatile father. Samridh and Subesh went their separate ways from Nepal and came together again last year for this exhibition of conceptual work, and took five months to hammer out the main message which is an inquiry into who we are. And as visitors move from one exhibit to the next, they are left to also ponder: Who am I? Why am I? What am I? Where am I going after this? Samridh’s installations have a bleached faded look with no colours to distract us from the message. In a series called Nepali Time, just the second hand of clocks tick noisily reminding us also of the temporal dimension. While exploring concepts of language, consciousness, illusion and freedom, the collaborative exhibition has a thread running through it: the question of identity. Not a national or ethnic identity but a sentient identity, a being that is capable of pondering the mystery of its own existence and express it in the language of art. WHOARE.YOU forces us to think about why are we in this world at this time. Kunda Dixit  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127130128_946d7cebeacaf615ae468a1cab597badcc1d75e0161a2aa22ae2eaca1a4519d3.jpg" data-media-id="editor_1" data-image-id="20250127130128_946d7cebeacaf615ae468a1cab597badcc1d75e0161a2aa22ae2eaca1a4519d3" data-rendition-name="original" width="1134" height="1000" loading="lazy" alt="WHOARE.YOU art review"> </figure>  WHOARE.YOU Till 19 February Siddhartha Art Gallery Baber Mahal Revisited

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Communicating existence through art

This year’s Miami Art Week brought high-profile openings and exhibitions with some exciting exhibitions and installations from South Asia and Nepal. The event was a dynamic mix of galleries, immersive installations and schedule packed with must-see art fairs, pop-ups, and cultural events with Art Basel taking centre stage.&nbsp; This was the 22nd edition of Art Basel and brought in 286 galleries from 38 countries, the largest contemporary art event in US with 75,000 visitors, collectors and art lovers.&nbsp; The Art Week has the NADA fair featuring the work of Nepali ceramic artist Shushank Shrestha, who had a whole booth by the French Gallery, Galerie Lefebvre &amp; Fils. Louis Lefebvre, director of the gallery had reached out to Shrestha last year after seeing photos of his graduating show in New York. &nbsp; A whole booth for a single artist is an honour, and it showcased Shrestha’s 14 brightly coloured ceramic figures that playfully explore mythical characters from Nepali culture and blends it with the artist’s fascination for super-heroes. The figures evoke a touch of humour, childhood memories of fun and family moments.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122508128_49675d8240747eaa76403605db7a0b6767952b0198ab565f65026e3dc9ec9870.jpg" data-media-id="editor_0" data-image-id="2024122508128_49675d8240747eaa76403605db7a0b6767952b0198ab565f65026e3dc9ec9870" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepali artist at Miami Art Week NT"> </figure>  Shrestha’s mastery in the techniques of ceramic making can be observed from the glazed gigantic, free-standing multi-coloured Garuda with extended wings that take centre stage. It has minute details providing an emotional connection to viewers familiar with Nepali culture.&nbsp; Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a> The exhibition drew much attention from visitors, with many marveling at its attractive presentation and the artist’s ability to maneuver the flexible medium into imaginative characters through the coiling technique.&nbsp; The challenge of <a href="https://nepalitimes.com/banner/take-to-pottery-during-the-pandemic">ceramic making</a> is that the process from the start to the finish is delicate, the clay itself being sensitive to moisture when moulding and to heat when firing.&nbsp; Shrestha’s booth is a powerful reminder that <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali artists have entered the world stage</a> following the footsteps of Lain Singh Bangdel, Siddhimuni Shakya, Lok Chitrakar, Mukti Singh Thapa, Udaya Charan Shrestha, Ang Tsherin Sherpa, Hitman Gurung, Koshal Hamal, Sneha Shrestha, and others.&nbsp; Shushank Shrestha is a Kathmandu-based artist and a graduate of New York State College of Ceramics at Alfred University. He received his BFA from Kathmandu University School of Arts in 2016, and his work has been exhibited in Nepal, Pakistan, China, France, and the United States.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122508128_ebfae6a66c43872b968e76df82ca8189b93ca28a5ffe17e5c93ae295953b4ba4.jpg" data-media-id="editor_4" data-image-id="2024122508128_ebfae6a66c43872b968e76df82ca8189b93ca28a5ffe17e5c93ae295953b4ba4" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepali artist at Miami Art Week NT"> </figure>  Galerie Lefebvre &amp; Fils was founded by Henri Lefebvre in 1880 with an eclectic collection and has a legacy of exchanges with museum curators and ties with private collectors. In 2009, the gallery started to focus on contemporary ceramics, highlighting the renewing nature of the medium and its relevance to society.&nbsp; Read also: <a href="https://nepalitimes.com/banner/nepal-art-now-in-vienna">Nepal Art Now in Vienna</a> Another highlight of the art week was the Great Elephant Migration from India. The installation on Miami’s South Beach featured a hundred life size elephants from the <a href="https://www.unesco.org/en/mab/nilgiri">Nilgiri Biosphere Reserve</a> in South India. The individual elephants were all hand crafted by <a href="https://www.therealelephant.com/coexsistence-collective">Coexistence Collective</a>, a group of 200 local indigenous artisans and designed by <a href="https://www.shubhranayar.com/">Shubhra Nayar</a>.&nbsp; The elephants are made from an invasive weed that crowds out other native species and reduces biodiversity threatening to overtake the natural habitat of Indian elephants. The project also provides sustainable income for the local community through 20 villages with workshops that make the elephants.&nbsp; Ashish Kapoor, a London-based Indian artist, sucks viewers into a vertiginous concavity that confound our perception. &nbsp;Wangechi Mutu, a Kenyan American multi-disciplinary artist presents culturally specific and transnational presentations of contemporary realities, while offering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis.&nbsp; Swosti Rajbhandari Kayastha is curator at the Nepal Art Council.&nbsp;

Nepali artist at Miami Art Week

When Tsherin Sherpa was growing up, his grandmother told him tales about spirits that were attached to mountains and rivers. That bond with the spiritual resides deep within Sherpa’s psyche still, and informs his art to a large degree. After living and working painting thangkas professionally in the United States for 10 years, he realised that he wanted to use the skills he had developed after years in that rigid art form to paint in his own voice, and comment on personal, political, and social issues. “I saw exhibitions adapting traditional art techniques, and thought I could do something similar with thangka,” Sherpa told us in an interview at Takpa Gallery in Lazimpat, which is showing Spirits in Transition, his latest work. “I realized that I needed a secular form of art to communicate to a non-Buddhist, non-Nepali audience.” Sherpa returned to Nepal in 2018, and a lot had changed in the 20 years he had been away, and so had he. The changes in Nepal were both good and bad, but the artist decided to focus on the positive. He was commissioned by the Visit Nepal 2020 Campaign to make 108 larger-than-life fiberglass sculptures of the yeti mascot to be displayed in public places. But because of the pandemic, the Visit Nepal campaign was shelved. The yetis vanished, but not before stirring some controversy because some of them had religious motifs deemed to be irreverent. This was an attempt to create a buzz around Nepal's tourism by having a mascot, just like Berlin’s Buddy Bear, or the New York Cow Parade. But many Nepalis were not exactly ready for it. These days, many of Sherpa’s paintings and sculptures have the figures blowing pink bubble gum. Intrigued, we ask him about it. “It’s a small, modest object that can signify a lot,” he explains. “In my art it tells about the modern time, and also lends a certain playfulness to a rather serious art piece.” He adds, “Having said that, I love it when viewers relate to it in their own way. People see what they see: nobody’s perception of the art is valid or invalid.” Although rooted in Nepali and Tibetan devotional art, Sherpa’s work transcends cultures. It is as if the spirits travelled with the artist to the US, and returned after assimilating the new world. “In our generation, the West had a grandeur about it. We had limited media and no internet, and thought West was best,” he says. “What I found in the US was that many of my heroes, like George Lucas, were inspired by the East. I realised that I had been ignoring my own identity.” Sherpa noticed that the new generation already regarded all cultures, heritage and identity as being valuable, and none of them were superior to any other. “Look at any of my spirits,” he says. “You can see their posture. There’s a confidence, a self-pride in who they are.”  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241212091252_3a6582865573e0ccf9935b76751a3bcbff99b3ce143da9551fb29801fdd7539b.jpg" data-media-id="editor_0" data-image-id="20241212091252_3a6582865573e0ccf9935b76751a3bcbff99b3ce143da9551fb29801fdd7539b" data-rendition-name="original" width="5163" height="4313" loading="lazy" alt="Tsherin Sherpa"><figcaption>Photo: RICCARDO TOSETTO(Photo: Riccardo Tosetto)© Riccardo Tosetto Photography</figcaption></figure>  For the artist, this exhibition also represents a transition as he explores what creative arena he wants to pursue next. He says, “In Buddhism, when a person dies, there is a 49 day period called ‘bardo’ before the consciousness takes rebirth. This work is also a transition, like a layover on a long flight.” All of the paintings at the Spirits in Transition exhibition have already been booked, by the same collector. Each painting takes Sherpa about a week. He starts with a small drawing of a figure, and undertakes a rigorous step-by-step process, influenced by his thangka background. “Once I find a posture I like, I keep playing around,” he says. “Painting the pattern on the spirit takes at least four layers. The first is almost translucent, and each layer adds vibrancy and makes the colours pop. This is the most time consuming part. I add the bubblegum last.” And what’s with the fiery red hair? Sherpa remembers while learning the discipline of thangka, there were very strict, rigid rules. Every line had to be exactly how it should be. But with the bubble gum and red hair, he says he wants to explore an abstract, fluid aspect. Sherpa is drawing from a technique he first did in Grade 3: dipping a thread in ink or watercolour, and dragging it across the page. “It’s what I paint last, because the red hair has to be done in one stroke. You can’t make mistakes. There is no room for a correction.” The artist uses 3D generated models to decide on the postures, starting with a skeleton, and adding features to the shape. “I am very bad at drawing straight from imagination,” he adds, laughing. Despite modern elements in Sherpa’s work, keen viewers can detect elements of thangka painting: rocks, water, curly clouds. And all figures wear snake jewelry. In the context of a thangka painting, that represents conquering your anger. Tiger skins represent overcoming fear. “After I came back to Nepal, I started combining my protector series with the spirit. The meaning is: whatever we are on the outside, we carry an appreciation for our identity on the inside,” he says. He just follows his instincts when painting and lets his imagination take over. He says, “My style has emerged out of a collision of thangka, comics, and Bollywood. I read a lot of Marvel and DC when I was young, and hand-painted billboards of Bollywood movies at the movie theatre fascinated me." Spirits in Transition by Tsherin Sherpa Takpa Gallery, Lazimpat Until 29 December 11am-7pm (Friday to Sunday) 11am-6pm (Tuesday to Thursday)

Vishad Raj Onta

Tsherin Sherpa in body and spirit

At the age of five, Dorjee Karmarong fell sick and his local healer-slash-thangka painter cut him a deal: in exchange for treatment, the young patient had to promise to become a painter. The shaman may have been joking, but 38 years later, Karmarong is a successful international artist, and now has a solo exhibition at the Siddhartha Art Gallery. ‘Karmarong: Hidden Valley in the Himalayas’ is a collection of 27 paintings spread across two floors that give the viewer a comprehensive feel for life among the Karmarong community in the remote Mugu district of Karnali. Karmarong has a distinctive style featuring clean outlines, vibrant colours and detailed natural landscapes. Animals, mountains, trees, and the sun and the moon appear constantly. It is a style that took 20 years to perfect, as the painter practised teaching in monasteries of Bangladesh, India, Singapore, and most recently in Vietnam. Mugu is one of the remotest districts in Nepal, but the Karmarong community of about 3,000 people live in about a dozen small villages in the remotest northern corner of the district near the Chinese border. They speak their own dialect. Read also: <a href="https://nepalitimes.com/review/the-present-meets-the-past">The present meets the past</a>, Pinki Sris Rana  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_46339bbefd7b9007dedde289f8c4db9980a60e19ab5a7e0c11c5f1ba4817ba68.jpg" data-media-id="editor_1" data-image-id="20241004111032_46339bbefd7b9007dedde289f8c4db9980a60e19ab5a7e0c11c5f1ba4817ba68" data-rendition-name="original" width="3600" height="2400" loading="lazy" alt="Dorjee Karmarong NT 1"></figure>  Some of the paintings show general goings-on in Karmarong, such as harvest time. ‘The Hospitality of Karmarong’ shows residents gathering to formally welcome an important guest. “In front is someone who is still lucky to have both parents,” explains the painter. ‘Magic of Milarepa’ is a closeup of a grey, cracked yak horn on the floor. There is water on the ground next to the horn, and inside is a green-skinned monk, meditating in robes. “Milarepa was travelling with one of his students in Tibet, who was starting to act a little arrogant. They were suddenly caught up in a storm, and the saint shrank himself and sheltered in the horn, humbling his disciple,” Karmarong explains. Yaks are a constant feature in the exhibition, and the painter Karmarong has given them sentient eyes, with emotions like anger, introspection, suspicion, and even wide-eyed and crazed. “I was once told to study as voraciously as a yak grazes,” says Karmarong. Read also: <a href="https://nepalitimes.com/review/human-spiritual-existence-in-a-digital-ecosystem">Human spiritual existence in a digital ecosystem</a>, Kashish Das Shrestha  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_271aba25a6f1eb642433ef504880407a9b36fea72a85e793a6d70e12299d9274.jpg" data-media-id="editor_3" data-image-id="20241004111032_271aba25a6f1eb642433ef504880407a9b36fea72a85e793a6d70e12299d9274" data-rendition-name="original" width="2400" height="3600" loading="lazy" alt="Dorjee Karmarong NT 1"></figure>  In the middle of ‘The Dance of the Elements’ is a face that is half yellow and half black holding a cigarette around which is coiled a multi-headed serpent. “Thia represents our animal impulses,” Karmarong explains. “It is about how nature makes beautiful things. But when humans tamper with it, something usually goes wrong.” Other pieces are even more abstract. ‘Mandala Fragment’ shows geometric shapes in vibrant colours. Says Karmarong: “It may seem chaotic to a viewer, but I can step back and see something different.” Behind Karmarong’s extraordinary skill and output is a rare life lived in harmony with fate. Even his birth was auspicious: Karmarong was born in a cave to parents returning from working in Himachal Pradesh in India on the eve of Buddha Purnima and Thursday. By age seven Karmarong’s father took him to a cave to learn Tibetan. At 13, the boy was sent to a monastery in Kathmandu and after six years he decided to pursue painting and became an apprentice to master thangka artist Palden. Karmarong trained intensively under the rigid rules of thangka painting. He then met Tenzin Norbu from Dolpo, who helped develop his spiritual connection to art. Read also: <a href="https://nepalitimes.com/review/turning-legends-into-games">Turning legends into games</a>, Vishad Raj Onta  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_3f2d5f809a4230bbee885a2832c2e6872b743343581a96d177fae87885759d76.jpg" data-media-id="editor_5" data-image-id="20241004111032_3f2d5f809a4230bbee885a2832c2e6872b743343581a96d177fae87885759d76" data-rendition-name="original" width="2000" height="1412" loading="lazy" alt="Dorjee Karmarong NT"></figure>  As Karmarong developed artistically and spiritually, he saw art as a fulfilment of his karma. “I started feeling that, in a past life, I had been a yogi who had wanted to build a monastery but couldn’t find an artist,” he says. The yogi committed to a life of dharma to be reborn as an artist. Indeed, there are records of a yogi from Karmarong region named Jimpa Therchan, who struggled with building a monastery and was also a renowned poet and singer. Karmarong also sings, and has written ‘Turquoise Mountain: A Folktale of the Karmarong.’ The titles of the paintings are evocative: ‘Yak’s Reprieve’, ‘Echoes of the Sacred Route’, ‘The Black Yak’s Grace’, or 'The Yak and His Young Keeper.' He is also a YouTuber and his channel has singing performances, rap songs and travel vlogs. Karmarong has depicted his village as a religious, harmonious Shangri-La, although it leaves the viewer a little curious about the darker realities of the place like Milarepa’s own murky past. Karmarong has perhaps consciously or unconsciously woven his own life into the paintings: stories and destinies that translate into the real world. They show travellers leaving from or returning to Karmarong the place, or going on a pilgrimage, reflecting the artist’s own artistic, spiritual and religious journey that has taken him back to his roots. Read also: <a href="https://nepalitimes.com/review/mask">MASK</a>, Sonia Awale ‘Karmarong: Hidden Valley in the Himalayas’ Dorjee Karmarong Siddhartha Art Gallery

Karmarong in Karmarong

The ongoing Deities of Nepal II exhibition at Nepal Art Council coincided this week with the Conference on the Restitution of Heritage where questions were raised about whether it is appropriate to charge a fee to look at gods in glass cases in museums and galleries. The answer from some experts was that a statue of a deity is a work of art until it is consecrated in a temple, after which it attains a divine status worthy of worship. Only 149 of the tens of thousands of sacred objects stolen from Nepal have been returned.&nbsp; Early guidebooks on Nepal used to say that there were more gods than people and more temples than houses in Kathmandu Valley. That probably has not been true for a long time, but the Deities of Nepal II exhibition tries to do justice to the sheer diversity in the Hindu-Buddhist faith that has enriched Nepal’s art and culture. Much like there are gods and goddesses in every alley corner in Kathmandu Valley, the exhibition’s maze of grey-white corridors lead us to various depictions of deities in sculpture, paubha, painting and carvings. Read also: <a href="https://nepalitimes.com/here-now/the-godhead-of-pharping">The godhead of Pharping</a>, Alisha Sijapati  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_18279b8c0f3396953295dfab001c57cbf672532e0641e8deb670033caedbac63.jpg" data-media-id="editor_1" data-image-id="20240527200524_18279b8c0f3396953295dfab001c57cbf672532e0641e8deb670033caedbac63" data-rendition-name="original" width="1625" height="1000" loading="lazy" alt="Deities of Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_cf028a19ae4d2fb54dbc14707ea55d41c74f89c155e52d2c43a15c64d2f27abb.jpg" data-media-id="editor_2" data-image-id="20240527200524_cf028a19ae4d2fb54dbc14707ea55d41c74f89c155e52d2c43a15c64d2f27abb" data-rendition-name="original" width="1438" height="1108" loading="lazy" alt="Deities of Nepal NT"> </figure>  In the middle of the exhibit is an intricately crafted wooden temple with a bronze Ganesh at the centre. On both sides are wooden pillars with bells, and there is space to circumambulate as if it were a real shrine. Nepal Art Council’s Sagar SJB Rana explains that the exhibition’s design was a deliberate attempt to recreate Kathmandu’s sacred urbanscape in a gallery setting. He adds, “We are trying to look at art galleries beyond the maths of the selling and buying of arts, to have an exhibition that is new, innovative as well as having an educational element.” Read also: <a href="https://nepalitimes.com/here-now/the-house-of-chitrakars">The house of Chitrakars</a>, Anita Bhetwal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_ca458b71917eb6517233ccd081355e9375714ff174d909aa85aad3097f3b0c40.jpg" data-media-id="editor_4" data-image-id="20240527200524_ca458b71917eb6517233ccd081355e9375714ff174d909aa85aad3097f3b0c40" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Deities of Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_1e56a270ad04e9d635070648d44907c08236313d8118b7a4ca8bc347877744ab.jpg" data-media-id="editor_5" data-image-id="20240527200524_1e56a270ad04e9d635070648d44907c08236313d8118b7a4ca8bc347877744ab" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Deities of Nepal NT"> <figcaption>Photos: SAILESH RC</figcaption> </figure>  This is the second Deities of Nepal show, after the success of the first one in 2022. It features over 200 creations by 163 artists. Except for Nelson Ferreira’s Nocturnal Paintings of Kathmandu Valley which gleam only after turning on the phone’s flashlight towards the painting, all the other artworks are by Nepal-born artists.&nbsp; “Deities are popular among both artists and audiences,” says curator Swosti Rajbhandari Kayastha. “The first exhibition gave us the confidence to be more ambitious and have a bigger show.” Deities of Nepal II took a year of preparation, and the featured artworks were selected from a pool of over 500 items from more than 400 artists. “Exhibitions are a way of introducing Nepal’s heritage to the younger generation which may be more interested in going to an exhibition than paying a visit to a temple, and that is why we decided to give this exhibition continuity,” adds Kayastha. Read also: <a href="https://nepalitimes.com/here-now/kathmandu-s-gravity-defying-chariot-festival">Kathmandu’s gravity-defying chariot festival</a>, Alok Siddhi Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_dbb589a2ac205d403a7b12464e6a36aef9926ce096f70b4fc169095e127ff8a4.jpg" data-media-id="editor_7" data-image-id="20240527200524_dbb589a2ac205d403a7b12464e6a36aef9926ce096f70b4fc169095e127ff8a4" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Deities of Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_5b994b5f3520b9d3b743a7c6c8450d2070763a3f2d44d559b8c12a67f02baa4a.jpg" data-media-id="editor_8" data-image-id="20240527200524_5b994b5f3520b9d3b743a7c6c8450d2070763a3f2d44d559b8c12a67f02baa4a" data-rendition-name="original" width="1548" height="1000" loading="lazy" alt="Deities of Nepal NT"> </figure>  The audience one afternoon this week was made up of different age groups and from different walks of life. There were art connoisseurs, college students, the middle-aged, senior citizens and even parents with children. In addition to paintings, thangka, paubha and charcoal drawings, the exhibition features stone and bronze sculptures, and immersive media using the motion graphics of a lotus painting. Says Rana: “Divine art fuses deities and handicrafts, and we have tried to recreate that here.” While the first gallery room is a replica of Kathmandu, an adjacent one is devoted to the stolen deities of Nepal. The second floor has more Hindu gods, and Mithila paintings from the Ramayana and the third floor is mostly made up of sculptures.&nbsp; The exhibition reaches beyond Kathmandu Valley to Tibetan and Mithila art, with some artists having added their own improvisations to reimagine our gods. All this makes Deities of Nepal II a fine showcase of Nepali faith and craftsmanship.&nbsp; Deities of Nepal II 10AM- 5PM (Sundays to Thursdasy) 10AM- 4PM (Fridays) Till 10 June Nepal Art Council, Baber Mahal

Pinki Sris Rana

In the realm of the gods

Manish Dhoju’s parents did not see much prospect in art, and persuaded him to study architecture. But the young man’s passion and creativity could not be quenched. The carefully drawn lines needed for architectural designs pushed him to become a self-taught hyperrealist artist. Watching YouTube tutorials and practicing endlessly on his own, Dhoju started by making exquisitely detailed sketches of people’s eyes and faces. Every strand of hair, pore on the skin, and wrinkle was drawn with photographic accuracy. But it was the eyes that were the main focus, mirroring the soul of the person with more depth than mere photographs.&nbsp; Hyperrealism is a genre of painting resembling high-resolution photography and entails a softer, more detailed focus, differentiating it from photorealism, which is just the copying of a photograph.&nbsp; Read also: <a href="https://nepalitimes.com/opinion/comment/giving-a-face-to-a-deity">Giving faces to a deity</a>, Shaguni Singh Sakya  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022317020_2af8118875413d92fa54ab87bbe820530955bef606ae1b053882ce944632f2d6.jpg" data-media-id="editor_1" data-image-id="2024022317020_2af8118875413d92fa54ab87bbe820530955bef606ae1b053882ce944632f2d6" data-rendition-name="original" width="1438" height="1998" loading="lazy" alt="Manish Dhoju in hyperrealism NT"> <figcaption>Maa (2020), Graphite on Paper, 66 x 55cm</figcaption> </figure>  Hyperrealism creates the illusion of reality not seen in the original photograph as it also imbibes the emotional journey of the artist during the painting process. Through subtle lighting and shading effect, it is a visual illusion that tells a deeper story, not just through the artist’s draftsmanship but the ability to bring out the emotion of the subject more intensely.&nbsp; Hyperrealism is almost surrealistic because, in reality or in photographs, nobody can see or feel such profound depth. Hyperrealists like Dhoju possess the innate talent to understand their subject’s core emotions without even knowing them in person. In the age of Instagram, instant gratification and visual overload, an artist like Dhoju is a rebel. Photographs are no longer ‘real enough’ and exaggerated depictions of tiny details carry a shock factor.&nbsp; Dhoju’s works, Baa and Maa show the tragedy of senior Nepalis living the remaining years of their lives alone, a story familiar in many households in contemporary Nepal. Every wrinkle and line on their faces, their aching eyes express loneliness. Could this be longing to meet children and grandchildren settled abroad? &nbsp; 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  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022317020_7ac1fffa410ca2090d785bb868b5bf14b305724017c4fe7cf1c1e06d48db1173.jpg" data-media-id="editor_3" data-image-id="2024022317020_7ac1fffa410ca2090d785bb868b5bf14b305724017c4fe7cf1c1e06d48db1173" data-rendition-name="original" width="1438" height="2000" loading="lazy" alt="Manish Dhoju in hyperrealism NT"> <figcaption>Baa (2020), Graphite on Paper, 66 x 55cm</figcaption> </figure>  Another painting is of temple architecture with careful renditions of carved struts, doors, and windows that seem even more detailed than the carvings themselves.&nbsp; Dhoju uses hyperrealism to show dimensions that even the carvers may have been amazed by. A sculptor is focused on chiseling the wood, but Dhoju sees beyond this perfecting micro details of the wood, copper, and bronze.&nbsp; The sculpted work is then enhanced through an array of lenses giving a depth of field to the objects and deities. Dhoju first takes pictures and then enhances them in photoshop before sketching with spatial 3D visualisation. The Royal Golden Window of Patan Durbar Square above the entrance to Sundari Chowk is one of Dhoju’s finest hyperrealist heritage pieces. The central figure is the Buddhist deity Shristi Kanta Lokeswor with Shiva, Parvati, Ganesh, Saraswati, other deities on top and the Garuda below.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/history-on-canvas">History on Canvas</a>, Shaguni Singh Sakya  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022317020_55797b3733d3b48d7d86b7630ed24d9bac0c58540bef0cd4e1e7892930432c9e.jpg" data-media-id="editor_5" data-image-id="2024022317020_55797b3733d3b48d7d86b7630ed24d9bac0c58540bef0cd4e1e7892930432c9e" data-rendition-name="original" width="1495" height="1000" loading="lazy" alt="Manish Dhoju in hyperrealism NT"> <figcaption>The Royal Golden Window (2023), Graphite and Charcoal Mixed, 6 x 4ft</figcaption> </figure>  Built in the 17th century by King Srinivasan Malla, it portrays a perfect amalgamation of two religions that the Malla kings promoted to maintain social harmony. The window is an artistic marvel and Dhoju has enhanced the genius of the unknown carver(s) with a three-dimensional effect.&nbsp; Since there are no old reference drawings of many ancient Newari architecture masterpieces, Dhoju’s hyperrealism could serve as blueprints for the future.&nbsp; The Narasimha statue at Bhaktapur Durbar Square is one of the finest stone sculptures in Nepal. Installed in the 17th century by King Bhupatindra Malla, the half-man-lion is a mythical incarnation of Vishnu. The Narasimha is close to Dhoju’s heart as his mother used to take him to the deity to cure his colic.&nbsp; Narasimha is believed to cure sick children, and the hyperrealistic version of this ferocious avatar tearing out the stomach of the demon Hiranyakashipu feels more powerful as the disembowelment is enhanced through lighting, shading, and multi-dimensional layers. &nbsp;&nbsp;&nbsp; Read also: <a href="https://nepalitimes.com/here-now/five-decades-of-lok-chitrakar">Five Decades of Lok Chitrakar</a>, Shaguni Singh Sakya  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022317020_bbd0bcb45a25100aff2623714289eec7df4253505b2ea8f1b4477b1271d60c18.jpg" data-media-id="editor_7" data-image-id="2024022317020_bbd0bcb45a25100aff2623714289eec7df4253505b2ea8f1b4477b1271d60c18" data-rendition-name="original" width="1000" height="1489" loading="lazy" alt="Manish Dhoju in hyperrealism NT"> <figcaption>The Mighty Narasimha (2023), Graphite on Paper, 6 x 4ft</figcaption> </figure>  Dhoju is now using his interest in science, philosophy, and psychology to explain the complexities of our ancient texts in a hyperrealistic form.&nbsp; His conceptual art, Bhairava’s Radiant Embrace, depicts the creation of the universe as explained in the Chandogya Upanishad – the Hindu text that unravels the mysteries of the cosmos. Using the new 3D software Blender, Dhoju chose a 16th-century Bhairav mask, now housed in the Metropolitan Museum of Art in New York, to define the concept of Hiranyagarbha which resonates with the Big Bang theory.&nbsp; Bhairava represents the divine trinity of creation, sustenance and destruction and Dhoju is syncing religious philosophy with astrophysics on canvas in a dynamic and continuum of parallel universes. This is a novel art form in the hyperrealism genre. &nbsp;&nbsp;&nbsp; Dhoju’s technique requires patience and dedication. He spends up to seven hours at a stretch without rest, so engrossed is he in sketching that he does not feel tired or notice the passage of time.&nbsp; Read also: <a href="https://nepalitimes.com/review/kathmandu-art-biennale-begins?utm_source=newsletter&amp;utm_medium=email&amp;utm_id=epaper">Kathmandu Art Biennale begins</a>, Anita Bhetwal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022317020_27aa9cb2aa27e52d0a094b6c92459ca65ccd7db874ae0052ba597edaeea834cb.jpg" data-media-id="editor_9" data-image-id="2024022317020_27aa9cb2aa27e52d0a094b6c92459ca65ccd7db874ae0052ba597edaeea834cb" data-rendition-name="original" width="1506" height="1000" loading="lazy" alt="Manish Dhoju in hyperrealism NT"> <figcaption>Bhairava's Radiant Embrace (2023), Graphite and Charcoal Mixed, 160 x 100cm. Photo: ANISH DHOJU</figcaption> </figure>  The 3D visualisation is not just a technical skill, but the ability to convey and capture feelings at a more intense level, almost having an extrasensory perception.&nbsp; Dhoju has only sketched in black and white, and his next challenge is to paint in colour and further develop the art form. It is said that time and space exist in the 11th dimension, and humans can see and capture only three dimensions. Perhaps the hyperrealist in Manish Dhoju can see and render the fourth dimension? &nbsp;&nbsp;&nbsp; Read also: <a href="https://nepalitimes.com/review/nepali-art-finds-a-new-home">Nepali art finds a new home</a>, Shristi Karki Shaguni Singh Sakya is Director of the Museum of Nepali Arts (MoNA) and KGH Hotels. Manish Dhoju's exhibition is part of the Kathmandu Art Biennale at MoNA, Thamel and is on till April.

Manish Dhoju in hyperrealism

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

As part of a broader series of international displays, <a href="https://www.bonhams.com/auction/28762/lain-singh-bangdel-mountains-and-migration/">‘Lain Singh Bangdel: Mountains and Migration’</a> will be put up at the fine arts auction house and valuer, Bonhams, London till Tuesday. The exhibition turned auction has been held from 11-21 November, and features twenty-four selected paintings by Bangdel, an acclaimed author, art preservationist, and art historian who died in Kathmandu in 2002 at age 83. His daughter, <a href="https://archive.nepalitimes.com/regular-columns/On-the-way-up/complete-projects-of-Dina-Bangdel,977">Dina Bangdel</a>, who was also a scholar of Asian art, died in 2017. &nbsp; The artist’s son-in-law and Dina’s husband Bibhakar Shakya says he is seeking to immortalise the Bangdel family influence, keeping their passion for art alive in the art scene in Nepal and internationally. Read also: <a href="https://nepalitimes.com/opinion/for-arts-sake/lain-singh-bangdel-s-sigh">Lain Singh Bandgel's 'sigh'</a>, Rajan Sakya “The opening night at Bonhams was a huge success and garnered significant attention with a considerable turnout, a testament to Owen Duffy, the curator and the extremely supportive team at Bonhams,” Shakya told Nepali Times over the phone from London.&nbsp; He added: “I was truly delighted at how well the exhibition was received and I know my late father-in-law and late wife would have been proud.” Initially intended for viewing only, the exhibition became an auction in an effort to test the market. One painting, Song of Himalaya, sold to a private buyer for a significant amount, vindicating Shakya’s value of his father-in-law’s works.&nbsp; “Now that we have a record”, he said, of what an original Bangdel is worth, “we can only go up from here”.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023111912110_55d5258fdeec25808e4808b14262ed76a179c600e3065e341b6e10cfff5ff444.jpg" data-media-id="editor_3" data-image-id="2023111912110_55d5258fdeec25808e4808b14262ed76a179c600e3065e341b6e10cfff5ff444" data-rendition-name="original" width="1674" height="1183" loading="lazy" alt="Lain Singh Bangdel"> <figcaption>Lain Singh Bangdel (1919-2002) paints a portrait of Balkrishna Sama in 1975. Photos: AGAINST THE CURRENT</figcaption> </figure>  Born in Darjeeling, <a href="https://nepalitimes.com/here-now/lain-singh-bangdel-s-legacy-lives-on">Lain Singh Bangdel</a> (1919-2002) lived a multifaceted life, embarking on a dynamic journey across continents and cultures. He was a friend of Indian film director Satyajit Ray whom he knew in Calcutta. In the 1960s he was invited to Nepal under King Mahendra’s initiative to bring creative Nepali intellectuals home, and this marked a watershed in Bangdel’s career. He was General Secretary of the Nepal Art Council and fronted a Nepali artistic renaissance, writing many books, one of which, Stolen Images from Nepal (1989), served to return stolen artefacts back to their rightful home.&nbsp; The various socio-cultural influences that surrounded Bangdel's upbringing shaped him into not only a prominent artist, but also an acclaimed author, art preservationist, and art historian.&nbsp; In his early years in art, Bangdel graduated top of his class from the Government College of Art &amp; Craft in Kolkata and continued to pursue his passion at the École des Beaux Arts in Paris. The dynamic artistic atmosphere of Europe at the time meant Bangdel encountered and developed connections with celebrated contemporaries like Pablo Picasso and Georges Braque.&nbsp; Read also: <a href="https://nepalitimes.com/review/lain-singh-bangdel-in-new-york">Lain Singh Bandgel in New York</a>, Ashish Dhakal “These artists had an influence on Bangdel's works in the 50s, one can discern the essence of Picasso's Blue Period, evident in the ‘Lady in Blue’ that employs the palette to evoke a sense of melancholy in the viewer,” explained Shakya. He added: “Bangdel conveyed traditional Nepali concepts through the medium of modern art. This unique harmonious fusion of traditional and modern themes, represent the structures and landscapes that shaped his formative years and highlight inspiration he drew from peoples and culture in Nepal.” Dina Bangdel was a respected expert of Asian art and had her father’s passion for Nepali art as well as a commitment to championing emerging Nepali artists. Her early demise in 2017 created a significant void in the South Asian art scene.&nbsp; Dina had a strong wish to continue the legacy woven by her father and wanted to hold exhibitions of her father’s art. “Tragically, that could not happen,” recalls Shakya.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023111912110_cf3e51425f718d4fc152d87256ceaae52229043119b93d94ccb2ee51672de528.jpg" data-media-id="editor_6" data-image-id="2023111912110_cf3e51425f718d4fc152d87256ceaae52229043119b93d94ccb2ee51672de528" data-rendition-name="original" width="2020" height="1538" loading="lazy" alt="Dina Bangdel"> <figcaption>Dina Bangdel (1963-2017) with husband Bibhakar Shakya who is supervising the auction in Bonhams.</figcaption> </figure>  Shakya is an economist turned art curator, and says he underwent a transformative shift and immersed himself in the art scene after his wife’s death, assuming the responsibility to complete her vision. &nbsp; Shakya acknowledges that Bangdel is not as well-known as his contemporaries in Paris, and through the Bonhams auction and future exhibitions he seeks to broaden his recognition while simultaneously challenging the prevailing belief that one can make a living as an artist in Nepal today.&nbsp; “This perception has hindered the relationship between Bangdel and the modern Nepali, particularly those in the diaspora,” he said. “I’m inspired by the responses of young Nepali professionals in London to the exhibition, and their excitement at having a Nepali artist being exhibited here. I believe that this is what Dina and Lain would have wanted as well.” Shakya says he now wants to fulfill Dina’s vision to trace the artistic journey from Lain Singh Bangdel till the present day art scene, and will be bringing some emerging Nepali artists to Baltimore for an exhibition in 2026.&nbsp; Shakya’s extensive collection holds between up to 770 original Bangdel artworks, with another 60 or so in public institutions. Some of them will be displayed in exhibitions over the next two years in the United States, Hong Kong, and Kathmandu.&nbsp; There is more: Shakya hopes to adapt one of Bangdel’s novels, Langadako Sathi into a movie to be released in early 2024.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023111912118_08433274961c7e02be63e646b94a20e992c5b6bc8ece230ad10068953f478434.jpg" data-media-id="editor_7" data-image-id="2023111912118_08433274961c7e02be63e646b94a20e992c5b6bc8ece230ad10068953f478434" data-rendition-name="original" width="1166" height="1500" loading="lazy" alt="Lain Singh Bandgel"> <figcaption>Lain SIngh Bandel's self-portrait. Not part of the auction. </figcaption> </figure>  ---  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231119121112_8572059366f4b03736be93ebb1ba2a5268bcdc03ee913568dda56742345403ed.jpg" data-media-id="editor_8" data-image-id="20231119121112_8572059366f4b03736be93ebb1ba2a5268bcdc03ee913568dda56742345403ed" data-rendition-name="original" width="3707" height="2880" loading="lazy" alt="Lain Singh Bandgel painting"> <figcaption>Song of Himalaya, Oil on canvas. Bangdel utilises abstraction to capture a moment where the Himalaya emerge out of dense fog. The painting aims to provoke the viewers imagination sonically, to query the sounds from the atmosphere, lending the artwork its name. SOLD</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231119121112_50cc232f510fb2f33aaf986d8a0c9fdab74020c15f69ed13b76e1caf7fadcdc9.jpg" data-media-id="editor_9" data-image-id="20231119121112_50cc232f510fb2f33aaf986d8a0c9fdab74020c15f69ed13b76e1caf7fadcdc9" data-rendition-name="original" width="1936" height="2880" loading="lazy" alt="Lain Singh Bandgel paintings"> <figcaption>Moon Over Kathmandu, Oil on canvas. Bangdel paints a copper full moon beaming over the fragrant urban tapestry of Kathmandu at dusk. The moon glows over twin peaks and reflects on the cityscape below, encouraging a sense of intrigue as to what the following day holds. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231119121116_3056005d630703dba313e0e3fa2eecf0d81dc73f119e20b4b492950ed4553732.jpg" data-media-id="editor_10" data-image-id="20231119121116_3056005d630703dba313e0e3fa2eecf0d81dc73f119e20b4b492950ed4553732" data-rendition-name="original" width="3607" height="2880" loading="lazy" alt="Lain Singh Bangdel paintings"> <figcaption>Kathmandu Valley, Oil on canvas. Bangdel highlights the Kathmandu Valley, and in doing so captures the juxtaposition between the bustling inner city and the calm surrounding landscape.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231119121116_460a14c031a72b1687359ab2e3636c9026539157b0d4dbde3cd5c6100d950c7f.jpg" data-media-id="editor_11" data-image-id="20231119121116_460a14c031a72b1687359ab2e3636c9026539157b0d4dbde3cd5c6100d950c7f" data-rendition-name="original" width="1781" height="2880" loading="lazy" alt="Lain Singh Bandgel paintings"> <figcaption>Lady in Blue, Oil on canvas. The utilisation of a blue palette in this painting nods to Picasso's renowned Blue Period. With a brooding subject at its centre, the strategic use of colour seeks to evoke a specific emotional response from the observer — a sense of melancholy.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231119121116_2961dfaf984246978a1e9739fa82cf4242ca693da62596f43af666a8b3b8ecaf.jpg" data-media-id="editor_12" data-image-id="20231119121116_2961dfaf984246978a1e9739fa82cf4242ca693da62596f43af666a8b3b8ecaf" data-rendition-name="original" width="2008" height="2880" loading="lazy" alt="Lain Singh Bandgel paintings"> <figcaption>Full Moon Night, Gouache on paper. Painted during Bangdel’s time in Paris, this artwork employs distorted scales and non-linear angles to represent the nocturnal modern city scape – empty yet awaiting exploration.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231119121116_8aad13a2d1805f1a0e98f51c0cb190d5f7e4707203a28778c3121d83b9baaecd.jpg" data-media-id="editor_13" data-image-id="20231119121116_8aad13a2d1805f1a0e98f51c0cb190d5f7e4707203a28778c3121d83b9baaecd" data-rendition-name="original" width="2065" height="2880" loading="lazy" alt="Lain Singh Bandgel paintings"> <figcaption>Lady, Oil on canvas. The artwork seeks to represent a recurrent theme in Bangdel’s work: melancholy. The subject is purposefully hunched to address the suffering experienced by an impoverished society. Bangdel wanted to bring awareness to broader social issues.</figcaption> </figure>  &nbsp;

Lain Singh Bandgel lives on

“No other people on earth, Watson, has produced such intricate beauty in as small a space as the Valley of Kathmandu. One trenchant observer has described it best as a kind of coral reef, built up laboriously over the centuries by unrecorded artisans. As a human achievement, it ranks with the creations of Persia and Italy.” This imaginary dialogue between Holmes and Watson, penned by Ted Riccardi, in his novel The Oriental Casebook of Sherlock Holmes, captures the true essence of Kathmandu. These lines have since been repeated in several articles to describe the city over the years. Many artists worked anonymously behind the scenes for Kathmandu to flourish as a hub for devotional art in the Licchavi and Malla periods. Their sculptures, temples, jewellery, paubhas, paintings all perished without a trace of their names. They themselves lived and died without realising the worth of their talent and contribution. A creation of rapturous devotion and dedication never withers with time or age. It is pure and invaluable. Many traditional Nepali artists even today feel that personal aggrandisement ruins the art of its integrity. Such values are ingrained from ancient times when artists simply worked for the higher purpose of their craft and not personal identity.&nbsp; Ego and personal affirmation were qualities limited solely to the ruling class. The rest, however skilled, dared not have any sense of individuality. Their responsibility was solely to obey superiors, priestsor donors. The writing of the artist’s name in paintings was, therefore, uncommon. The only ancient Nepali artist who has been posthumously known is Arniko, primarily because he went to China and earned international renown during the Kublai Khan reign. We did not know the others.&nbsp; Till now. Fortunately, by some stroke of luck, a few names were written.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/history-on-canvas">History on Canvas</a>, Shaguni Singh Sakya <h2>Kesaraja Chitrakar - Manjuvajra and Vajradhatishvari, 1409 (The Jucker Collection)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231027041016_186719f999cc0f0232227aef5bd39ae16f051ae839645de4b51341c4fca33879.jpg" data-media-id="editor_1" data-image-id="20231027041016_186719f999cc0f0232227aef5bd39ae16f051ae839645de4b51341c4fca33879" data-rendition-name="original" width="1000" height="1237" loading="lazy" alt="Kesharaja Chitrakar"> <figcaption>Kesaraja Chitrakar - Manjuvajra and Vajradhatishvari, 1409 The first known artist after Arniko (12th century) who brought developments in paubha painting with richer color tones and more exquisitely sketched deities. Reference: HUGO E. KREIJGER</figcaption> </figure>  The inscription of artist Kesaraja Chitrakar in this painting is a surprise. Was the donor generous enough to include the artist’s name or was he so happy with the artwork that he felt compelled to credit Chitrakar? Was it the priest’s random decision or could the artist have humbly asked for his name to what he felt was a masterpiece? Was he thinking about his legacy? We will never know, but are grateful we know his name. The priest’s name is also written, Acharya Kulabha and the donors who commissioned the paubha are Hrasarama Chitrakar and his wife Raya. The shrine of Manjuvajra (an esoteric form of Manjushree) and his consort Vajradhatishvari dominate the composition. Both are important deities that are considered to have played a role in the formation of Kathmandu Valley. They are bedecked in jewels and their crowns are painted with intricate details. Each detail in their garments is executed elaborately. The backdrop with turquoise scrolling vines, the upper canopy peaks and the base exemplifies extraordinary talent. The paubha showcases the level of artistic accomplishment in the early 15th century, and many continue to draw inspiration from Kesaraja’s pioneering efforts till today. One can also see some evolutionary developments that Kesaraja introduced from this painting when compared to the paubhas of the late 14th century. Every element in this artwork is detailed even the background scrolls, giving the paubha a much richer tone.Perhaps this is why the artist’s name was written in the painting. Post Arniko in the 12th century, Kesaraja is arguably the most well-known artist. Read also: <a href="https://nepalitimes.com/here-now/five-decades-of-lok-chitrakar">Five Decades of Lok Chitrakar</a>, Shaguni Singh Sakya <h2>Adyayaraja Pun and Udrayama Pun - Gagansim and his two wives, circa 1470 (private collection)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231027041016_261d64c9cd369376a1079ce87412846544257f20a8ac69ac6056199fdd32ca34.jpg" data-media-id="editor_3" data-image-id="20231027041016_261d64c9cd369376a1079ce87412846544257f20a8ac69ac6056199fdd32ca34" data-rendition-name="original" width="1000" height="1376" loading="lazy" alt="Adyayaraja Pun and Udrayama Pun"> <figcaption> Adyayaraja Pun and Udrayama Pun - Gagansim and his two wives, circa 1470. The first known artists to paint focusing on people rather than deities. Reference: GAUTAM V VAJRACHARYA</figcaption> </figure>  This painting of Gagansim Bharo, a military governor of Dolakha and his two wives Ashayani Laxmi and Jivatana at 191.8 x 161.9 cm is monumental in many ways. It is the largest Nepali painting discovered so far. The inscription is in Sanskrit and Newari by a priest whose name surprisingly did not make it to the artwork even though it is claimed the concept for the painting was his idea. Artists Adyayaraja Pun from Yambu and Udrayaram Pun from Kisilagla are Kathmandu locals and their work is one of the few depicting personalised portraits and not a deity. The painting shows Gangansim and his wives in their chamber with luxurious bedroom items and traditional Newari toilette requisites. It is both traditional and contemporary in style.&nbsp; It has a deep red colour background as in most paubhas throughout history. The upper portion is flanked by five Hindu deities – Shiva, Parvati, Ganesh, Brahma, Vishnu and Kartikeya, giving it a religious touch. The lotus pedestal and stylised rocks at the bottom are another traditional elements. This piece is also unconventional in that it portrays a bedroom scene with amorous gestures, and is rather audacious for the period. The first wife offers a pan to her husband which is a gesture of passion as prescribed in the Kamasutra. This is also one of the first paintings where the donor and the family is the main focus. The two artists did something novel in placing the donors up front showing their glorious Newari lifestyle with a detailed focus on the facial features, attire and traditional bedroom paraphernalia.&nbsp; In many ways, the artists seem to have introduced a new genre of lifestyle art of the 15th century showing Jain, Indo-Persian, and Rajput influence. Surprisingly, their names are also in another painting titled Vanaratna’s Nirvana which shows the Buddhist monk Vanaratna and his female partner in tantric rituals; an indication that the artists must have been of high prominence to have their names written in all their work. Read also: <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Tsherin Sherpa returns home to Takpa</a>, Aayusha Pokharel <h2>Jivaram – Rakta Ganesh (location unknown)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231027041020_cf0bdd82692a12b0240929e05a45761a0a08efccbad4f8acb1d22d9e5b303c84.jpg" data-media-id="editor_5" data-image-id="20231027041020_cf0bdd82692a12b0240929e05a45761a0a08efccbad4f8acb1d22d9e5b303c84" data-rendition-name="original" width="981" height="940" loading="lazy" alt="Jivaram"> <figcaption>Jivaram – Maharakta Ganesh, circa mid 1400s. The next known artist after Arniko who went to China to teach Newar paubha art. Reference: JIVARAM MANUSCRIPTS, SURESH NEOTIA COLLECTION</figcaption> </figure>  Jivaram was a 15th century Newar artist who went to Tibet and taught Newari paubha art while learning artistic styles himself. Parts of his sketchbook that is now in the Suresh Neotia Collection in Calcutta has 39 remaining pages from an unknown number of the manuscript with records of iconography and artistic style that he learned in Tibet. He captured a variety of Chinese, Tibetan, and Kashmiri techniques. Jivaram infused Yuan and Ming dynasty styles in Newar art and also mastered new expressive facial portrayals. Most facial expressions before his time were flat with hardly any emotions, they were one-dimensional or a Rajput-style side profile. It can be assumed that he introduced vibrant expressions and two-dimensional facial sketching to Nepali art. Another accomplishment is the mastery of Kashmiri motifs which Jivaram levelled up from the previous artists. &nbsp;The vibrancy and intricacy of the vine scrolls are an extraordinary representation. The differences are clear to anyone comparing his work to Kesharaja’s background scrolls. &nbsp;&nbsp; Jivaram's masterpiece that remains today is the Maha Rakta Ganpati which inspired present-day artist Lok Chitrakar to do his version. The piece is an amalgamation of the various styles that Jivaram learned and which many artists henceforth have adopted.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231027041020_37fc475f1842a195a4b624e88e16c94408e6332eadfaf2e8f247dfed153be2fd.jpg" data-media-id="editor_6" data-image-id="20231027041020_37fc475f1842a195a4b624e88e16c94408e6332eadfaf2e8f247dfed153be2fd" data-rendition-name="original" width="1790" height="1000" loading="lazy" alt="Jivarama"> <figcaption>16 Arhats (Buddha's first disciples) and Dharmatala (attendant of the 16 arhats) and also Fa Xiang ( 4th century Chinese traveler to Nepal). The earliest two-dimensional facial sketches from a Nepali artist, Jivaram.</figcaption> </figure>  After Arniko, Jivaram is the only known artist who can be credited with transmitting Newar and Buddhist art forms to Tibet and China. His notebook is dated 1435. This is even before the renaissance period started in Europe and before the birth of Leonardo Da Vinci (1452-1519) and Michelangelo (1475-1564). These three ancient works of our art history lie in private collections or museums abroad. &nbsp;&nbsp;Paintings of Western Renaissance artists are displayed in all the famous museums all over, but we only get to read about ours in books, if at all. Nepal’s art schools should be teaching about Jivaram, Kesaraja Chitrakar, Adyayaraja Pun and Udrayama Pun when in fact we should be studying them. But in a country where the education system has overlooked much of our history, the names of a few pioneer artists hardly seems to matter. Hopefully, now these and other past masters will be given stronger prominence to reinforce Nepal’s historical and cultural identity. Artists also had a role in nationbuilding, not just kings and generals.&nbsp; Read also: <a href="https://nepalitimes.com/review/nepali-art-finds-a-new-home">Nepali art finds a new home</a>, Shristi Karki Shaguni Singh Sakya is the Director of the Museum of Nepali Arts (MoNA) at Kathmandu Guest House in Thamel.

Unnamed masters of Nepal’s art identified

The oil paintings hang in sharp relief against the white walls at Siddhartha Art Gallery, and have a distinct sepia tint reminiscent of historical images from the early days of photography. &nbsp; And just like the sepia tone protects prints and keeps them from ageing, artist Mann Gurung uses the warm monochrome tint to preserve the history and identity of his indigenous community in the mountains of central Nepal.&nbsp; Gurung’s collection of 24 burnt umber paintings titled Lost in Translation II is a continuation of his<a href="https://www.nepalitimes.com/review/lost-in-transition"> 2019 exhibition</a> of the same name. His art depicts real men, women and children from up country villages in his native Gorkha district, and are as much an act of cultural conservation as a homage.&nbsp; Born in Gorkha’s Khorla village, Gurung grew up away from home to attend school in the neighbouring towns. As a child, he would draw pictures of gods and goddesses and create his own comic strips, which eventually gained the attention of an INGO worker who suggested he study art in Kathmandu.&nbsp; For a long time after he left home, Gurung took comfort in the memory of his village where people still wore their customary jama, bhoto, lungi and cholo, sang dohori during Dasain, &nbsp;and were self-reliant in agriculture and trade.&nbsp; But when he returned after completing his Master’s in the United States, Gorkha had changed. The district was just getting over the trauma of conflict, and traditional attire and customs had given way to new influences. T-shirts had replaced bhoto, film songs on mobile phones had taken the place of dohori and ghatu. Just like he had, many young men had left the village, and only the elderly, women and children remained.&nbsp; Read also: <a href="https://www.nepalitimes.com/banner/at-the-edge-of-tomorrow">At the edge of tomorrow</a>, Mark Turin  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230712100744_1da3e2e936ab582955cf91d92c3cf759ac9d89a2e6d539a837e1c2185bc81e3f.jpg" data-media-id="editor_2" data-image-id="20230712100744_1da3e2e936ab582955cf91d92c3cf759ac9d89a2e6d539a837e1c2185bc81e3f" data-rendition-name="original" width="1500" height="1714" loading="lazy" alt="Lost in Transition"> <figcaption>Photo: MANN GURUNG</figcaption> </figure>  “Our identity was being wiped out in front of our very eyes with no visual reference point and archive,” explains Gurung. “I knew that if we did not document our history and culture, they would become a mere memory.” The artist travelled through 13 villages in Gorkha documenting what he saw for his Lost in Transition exhibition in 2019. And in 2021, he started work once again to create a second collection.&nbsp; Gurung paints his subjects as if they are posing in front of a camera, a calculated choice to reflect the indigenous community’s unfamiliarity with modern devices even as they move towards modernity.&nbsp; Their smiles are careful, stances self-conscious. An elderly woman looks out at visitors, clad in lungi, cholo, ghalek, and patuki. Her head is covered with a pachyeuri, and she wears gumboots. Another man has a tungna strapped to his jacket, and a patuki around his sweater, and smiles beatifically as he glances away. &nbsp; But the most striking work in the collection is the only one in which Gurung deviates from his monochromatic style. A single family of eight women and children are standing as if to get a family portrait taken at a photo studio. The men are present only in the background, in colourful signages of remittance companies.&nbsp; In another part of the gallery, Himalayan Light Award 2022 recipient Riti Maharjan is wrapping up her own migration-themed exhibition, Awaiting. The theme here is more contemplative, and portrays the longing and waiting for a faraway relative.&nbsp; Read also: <a href="https://www.nepalitimes.com/here-now/chitwan-s-bote-people-in-a-changing-world">Chitwan’s Bote people in a changing world</a>, Sravasti Ghosh Dastidar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230712100744_a4c5c06b34fdeb7df36d78ab01d20b44d936b3c36fc7f755e5f3cc7b9135d1e7.jpg" data-media-id="editor_4" data-image-id="20230712100744_a4c5c06b34fdeb7df36d78ab01d20b44d936b3c36fc7f755e5f3cc7b9135d1e7" data-rendition-name="original" width="1009" height="1000" loading="lazy" alt="Awaiting"> <figcaption>Photo: RITI MAHARJAN</figcaption> </figure>  Maharjan uses vibrant colours that are also poignant, and feature women and children as they wait for their migrant sons and husbands and fathers to return home. Maharjan completed her Masters in Fine Arts in China, and that was the first time she had been away from her family for an extended period. She says, “It hit me that many Nepalis are far from their loved ones, and on return I began to notice that there wasn’t a family in my community that didn’t have someone living abroad.” Born in Kathmandu, Maharjan married into a family in Lamjung after graduating. On visits to her in-law’s village, like Mann Gurung in Gorkha, she noticed that there were only women, children and the elderly. She also noticed how the women tended their homes with dedication and care, painting murals on the walls that are traditional to Brahmin communities in the region. “These women might not realise that they are folk artists, and I felt that their work should be honoured,” adds Maharjan. Read also: <a href="https://www.nepalitimes.com/banner/no-country-for-young-men">No country for young men</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230712100744_ae35181903d7b20b2bba96b580d04a36c45b0f332c952f40b643e138ab5debe6.jpg" data-media-id="editor_6" data-image-id="20230712100744_ae35181903d7b20b2bba96b580d04a36c45b0f332c952f40b643e138ab5debe6" data-rendition-name="original" width="1000" height="1000" loading="lazy" alt="Awaiting"> <figcaption>Photo: RITI MAHARJAN</figcaption> </figure>  Geometric murals are a recurring motif in her paintings which have rich reds, yellows and greens, providing a backdrop for a depiction of a young girl longing for her father as she sits in her mother’s lap. In My Father’s Hat another toddler has on his father’s too-big Dhaka topi while his mother looks on at a framed photograph of her previously intact family.&nbsp; The Melting Emotion shows an elderly woman standing and waiting for somebody, longing etched in her wrinkled forehead. Maharjan has painted her as if she is dissolving away with age and grief, her entire being dripping with tears.&nbsp; Curator Sangeeta Thapa of Siddhartha Art Gallery notes that although migration is the central theme in both exhibitions, the artists employ differing stylistic approaches which provide entirely different perspectives.&nbsp; “Both of these collections are representative of how communities are impacted by Nepal hurtling from tradition towards modernity for the last seventy-odd years, while our culture and traditions have failed to catch up,” says Thapa. “What we need to figure out is how we balance progress with preserving culture and identities.” Read also: <a href="https://www.nepalitimes.com/multimedia/the-last-of-the-kusunda">The last of the Kusunda</a>, Sewa Bhattarai Mann Gurung’s Lost in Transition II is on exhibit at Siddhartha Art Gallery until 18 July. Riti Maharjan’s collection, Awaiting, can be viewed online <a href="https://www.siddharthaartgallery.com/online-gallery/394-awaiting-riti-maharjan" target="_blank">here</a>.

Shristi Karki

Home and away

Just few days into office, President Donald Trump has brought about a work-stop to ongoing USAID supported projects and complete stop to new grants or aids. The executive order was justified under Trump’s ‘America First’ promise, and it has shaken up recipient countries, including Nepal. Since 1951, USAID has provided $1.5 billion in aid to Nepal. The breakdown for recent years is $105.94 million for 2020-21 and US$ 125 million in 2018-19. In 2022, USAID and Nepal signed a five-year Development Objective Agreement worth $659 million (pictured, above).&nbsp; Some of the key sectors where USAID has supported and supports Nepal with aid include health, education, agriculture, infrastructure; economic growth, humanitarian aid and women and children empowerment. All of these projects will be affected, and grants disbursement suspended. According to USAID’s Country Development Cooperation Strategy (December 2020-December 2025), the overall goal of the USAID’s development cooperation in Nepal is to realise ‘A more self-reliant, prosperous, and inclusive Nepal that delivers improved democratic governance and health and education outcomes.’ Four identified development objectives are:&nbsp; i) More Effective, Participatory, and Equitable Democratic Ecosystem ii) Broad-Based and Inclusive Economic Growth Fostered iii) Inclusive Health and Education Systems Strengthened iv) More Equitable and Improved Natural Resources and Disaster Risk. Under these development goal and objectives as per the data available under Government of Nepal’s Aid Management Platform (AMP) there are currently USAID supported 21 key projects ongoing in Nepal.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250126090140_0bd9163cb9826464409887995eb8f2eff42c7cf1269610c3761773cde59ff52c.jpg" data-media-id="editor_0" data-image-id="20250126090140_0bd9163cb9826464409887995eb8f2eff42c7cf1269610c3761773cde59ff52c" data-rendition-name="original" width="1005" height="825" loading="lazy" alt="USAID fund in nepal after Trump"> </figure>  These 21 projects with some data missing totals a commitment of $178,140,467 from 2021-2029 in Nepal. Of these commitments $89,115,031 (about half) have already been disbursed. With Trump’s executive order the rest of the 50% is now going to be on hold until the review is completed and further decisions are made by the new US administration.&nbsp; Most development goals of USAID in Nepal are embedded with key principles like ‘equity’ and ‘inclusive’. With the Trump government’s aversion to the previous emphasis on Gender, Equity, Inclusion and Accessibility (GEIA) principles, projects focusing on those issues will be hit hardest. USAID upheld policies and actions that promoted equal access and opportunities for all people, with an emphasis on the Tarai, gender issues, family health and through contractors on human rights and democracy. The impact on Nepal’s development aid will be substantial, affecting livelihoods in incomes generated by USAID supported projects. Individual independent consulants already received notices over the weekend that the work they were &nbsp;doing under a USAID contract is subject to work-stop now.&nbsp; The question is whether the 5-year Country Development Cooperation Strategy for Nepal that finishes by end-2025 will go ahead. And when the new post-2025 Strategy is formulated, it is certain that the Trump’s administration will not entertain GDEI, which so far has been people-centered and not political.&nbsp; Kishor Pradhan is an independent development consultant concentrating on development information and knowledge management issues. <a href="mailto:kishorpradhanktm@gmail.com" target="_blank">kishorpradhanktm@gmail.com</a>

How USAID cut affects Nepal

They are rare, they are elusive and they are so well camouflaged, they are difficult to see, even when they are right there. That is why <a href="https://nepalitimes.com/opinion/comment/nepal-brings-back-the-snow-leopard">snow leopards</a> are called the ‘Ghosts of the Himalaya’. And because they are also regarded as being sacred, they are called ‘God’s Pets’.&nbsp; Nepal has <a href="https://nepalitimes.com/news/does-nepal-really-have-too-many-tigers">tripled its tiger population</a> in 12 years since 2010. There have been successive years with zero rhino poaching and the numbers have bounded back. But few know about the country’s success story with snow leopard conservation. Preliminary data from an on-going census shows that Nepal ranks fourth among the 12 snow leopard range countries in central and South Asia. This is despite the country having just 2% of the total area where snow leopards can be found.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070148_0f22a5439d56e5db58d8f65789ee4ff5e87a29c898d5e8cbff60bf8f1814af4b.jpg" data-media-id="editor_2" data-image-id="20250127070148_0f22a5439d56e5db58d8f65789ee4ff5e87a29c898d5e8cbff60bf8f1814af4b" data-rendition-name="original" width="1311" height="724" loading="lazy" alt="snow leopards in Nepal NT 1"> <figcaption>Despite possessing just 2% of the snow leopard range across Central and South Asia, Nepal has the fourth highest number of elusive mammals in the world. Photo: TASHI R GHALE </figcaption> </figure>  Nepal also leads in <a href="https://nepalitimes.com/news/satellite-tracking-snow-leopards-in-nepal-to-study-climate-impact">snow leopard research</a>. Less than 3% of the snow leopard range has been studied through camera traps and genetic studies, but it is Nepal that has done the most. <a href="https://nepalitimes.com/here-now/nepal-leads-in-snow-leopard-study">Over 100 Years of Snow Leopard Research</a> by the World Wildlife Fund (WWF) in 2021 showed that 74% of the snow leopard habitat in northern Nepal has been the subject of research into the species. “We are leading globally when it comes to snow leopard conservation and study, starting from 2013 in Kanchenjunga using GPS to study their habitat,” says <a href="https://nepalitimes.com/here-now/conversation-with-mr-conservation">Ghana S Gurung of WWF Nepal</a>. “We also found via camera traps they went as high as 5,800m and as low as 2,600m.” There are an estimated 300-500 snow leopards across high mountain Nepal with Dolpo, Manang and <a href="https://nepalitimes.com/banner/participating-to-save-kangchenjunga">Kangchenjunga</a> the main hotpots for the endangered species. Unlike with tigers and rhinos which are poached by wildlife traffickers, snow leopard killings are mostly retaliatory for killing livestock. Snow leopards attack yaks, sheep and goats of herding communities in the mountains. One of the most effective methods to protect the species from traps and poisoning is to help local communities build mesh wire corrals. The San Francisco-based <a href="https://snowleopardconservancy.org/">Snow Leopard Conservancy</a> through the Nepal group <a href="https://www.mountainspirit.org.np/">Mountain Spirit</a> has designed and tested portable corrals that can move with herders.&nbsp; “They move all year around so that the livestock have enough pasture to graze on, which is why it was important that our improved corrals could be dismantled and moved around,” explains Shailendra Thakali of the Snow Leopard Conservancy. The team consulted herders in Manang and Mustang while developing the corrals based on traditional design, with a stone base but wire mesh on the sides and the roof as well as strong wire gates for secure closure. They are also using fox lights to deter activities at night.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025012803018_4a166ea1124008cfcf551ffd59c5841acb2bc9c443d9fbe56490b280492eb441.png" data-media-id="editor_9" data-image-id="2025012803018_4a166ea1124008cfcf551ffd59c5841acb2bc9c443d9fbe56490b280492eb441" data-rendition-name="original" width="2244" height="1246" loading="lazy" alt="corraling"> <figcaption>Improved corrals in Manang and Mustang made up fo mesh wires to protect livestock from snow leopard attacks. Photo: PURNA MAN SHRESTHA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070152_009bc57c5d2244a393a8423d56098f921ed29b8d0a60a9c15422dd58615b5e5b.jpg" data-media-id="editor_10" data-image-id="20250127070152_009bc57c5d2244a393a8423d56098f921ed29b8d0a60a9c15422dd58615b5e5b" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="snow leopards in Nepal NT 1"> <figcaption>The corrals are portable allowing herders to move them as they take livestock for grazing in high Himalayan pastures. Photo: PURNA MAN SHRESTHA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070152_3b84ce156de1ed1deea79d23a15c1a3dfa5a412dca3644deec1333bda7f91cd0.jpg" data-media-id="editor_11" data-image-id="20250127070152_3b84ce156de1ed1deea79d23a15c1a3dfa5a412dca3644deec1333bda7f91cd0" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="snow leopards in Nepal NT 1"> <figcaption>Local herders in Manang and Mustang were consulted while developing improved corrals. Photo: BRIAN PENISTON</figcaption> </figure>  Tourism and agriculture in Manang and <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a> dropped during the pandemic, and the Conservancy also helped herder communities with alternative livelihoods.&nbsp; “We trained them in basic hotel business such as lodge management skills but more importantly to restore abandoned pastures by planting jimbu which is highly valued for cooking in Kathmandu and Pokhara,” says Brian Peniston, also with the Snow Leopard Conservancy. “The tourist figures have now increased considerably and this has directly benefited 1,000 households in three municipalities.” <a href="https://www.wwfnepal.org/">WWF Nepal</a> has also collaborated with the Department of National Parks and Wildlife Conservation (DPNWC) to train locals in Dolpo and Kangchenjunga to make their own mesh wire corrals with subsidies on raw materials.&nbsp; WWF has partnered with Amchi traditional medicine practitioners to promote conservation of snow leopard in mountain communities where people trust faith healers. School eco-clubs also involve youth in conservation.&nbsp; “We must trust communities and promote local ownership when it comes to wildlife conservation, and if it were not for the communities there, snow leopards would be long gone,” says Gurung of WWF Nepal. “It is important to revive the belief that snow leopards are sacred because they are god’s pets, tie them up with the spiritual, cultural and traditional belief of the people.” Community-managed livestock insurance schemes have attained zero retaliatory killings in Kangchenjunga where WWF and the government has sent up an endowment worth Rs10 million to compensate herders for snow leopard kills. A similar scheme is being implemented in Dolpo which has double the density of snow leopards compared to Kanchenjunga.&nbsp; But the compensation mechanism is cumbersome and often inefficient. Claimants need to provide photographic evidence with tags of the livestock still attached but snow leopards often go for the head and tags are lost. The evidence has to be submitted promptly, and this is difficult for herders in isolated villages.&nbsp; Insurance agents are based in headquarters like Chame in Manang and are not willing to travel all the way up. Similarly, photographic evidence needs to be assessed by veterinarians who are also reluctant to go to remote areas that take up days. “The compensation policy hasn’t changed in the last 20 years,” says <a href="https://nepalitimes.com/review/snow-leopard-redux">Tashi R Ghale</a>, high-altitude wildlife photographer and conservationist. “Here in Manang, herders would get Rs6,000 in compensation for a yak when the market rate was Rs20,000. The market rate is now Rs150,000 but they still get only Rs6,000. Even then, they have to wait for months.” Brian Peniston feels improving and tailoring compensation suitable to the landscape is of utmost priority, and the schemes need to be more accessible and effective as well as herder friendly. He adds, “Local governments should be handed authority in these matters, and it should be equal parts trust and verify. It is over-verification at the moment.” Climate breakdown has added to the challenge of snow leopard conservation. Either blizzards or winter droughts mean fewer prey for the mountain cats, this in turn has also led to leopards preying on livestock. Usually, the wild prey to livestock ratio in a snow leopard diet is 70:30. Blue sheep (pictured below) are the main prey species for snow leopards, but there is now competition with lowland spotted leopards which have moved up the mountains, while the Himalayan wolf has descended. The prey density may not have decreased, but predator species have more than doubled.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070156_f23ed8414be46782c90df4198d46c30f423d63d59f97343f89760283011c7c0b.jpg" data-media-id="editor_15" data-image-id="20250127070156_f23ed8414be46782c90df4198d46c30f423d63d59f97343f89760283011c7c0b" data-rendition-name="original" width="1400" height="1050" loading="lazy" alt="snow leopard conservation in Nepal"> <figcaption>The climate crisis has meant that lowland spotted leopards which have moved up the mountains, while the Himalayan wolf has descended, leading to a reduced number of blue sleep which is one of the main prey species for snow leopards. Photo: SHAILENDRA THAKALI</figcaption> </figure>  Other disrupters include <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush">overharvesting of yarsagumba</a> and increased movement in this fragile landscape, with adverse impacts on all wildlife, not just snow leopards. Expansion of the road network to the remotest corners of the country is another concern, adding to the risk of human-wildlife conflict and poaching.&nbsp; “There has been much research on snow leopard behaviour in the last 30 years but what we haven’t done nearly enough is study human behaviour,” says Peniston. Despite the challenges, the rebound of snow leopard populations has increased the opportunity to <a href="https://nepalitimes.com/banner/trekking-to-save-nepals-snow-leopards">snow leopard viewing eco-tourism</a>, as is being practiced in Dolpo.&nbsp; Says <a href="https://nepalitimes.com/review/ice-to-water-alv4lorf">Tashi R Ghale</a>: “Local communities here in Manang and Dolpo are doing what they can, but the Nepal Tourism Board needs to step in to promote snow leopard trekking and tourism. The co-benefits would motivate communities to protect the big cats.” &nbsp;&nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070156_698d64632273185cecbcaca626c7c49861ba54a0930119843792572f01114942.jpg" data-media-id="editor_19" data-image-id="20250127070156_698d64632273185cecbcaca626c7c49861ba54a0930119843792572f01114942" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="snow leopard conservation in Nepal"> <figcaption>FIND ME: Elusive in nature, snow leopard sightings are rare and often only detected on camera traps (below). Spot the snow leopard in this picture taken by conservationist Tshiring Lhamu Lama in Dolpo, a hotspot for big cats in Nepal. Photos: TSHIRING LHAMU LAMA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025012708018_42acdb2ba0c5941b1c3a89ede1bac048808d6424f4c70aadb68df6ab5176bbb6.jpg" data-media-id="editor_20" data-image-id="2025012708018_42acdb2ba0c5941b1c3a89ede1bac048808d6424f4c70aadb68df6ab5176bbb6" data-rendition-name="original" width="2041" height="1314" loading="lazy" alt="Snow leopard conservation in Nepal"> </figure>  &nbsp;

Ghosts of the Himalaya

In December, the Nepal government announced it would not allow a Beijing-appointed Tibetan spiritual leader, the Panchen Lama, to attend a Buddhist conference in Kathmandu. Immigration at the airport was put on high alert to ensure he did not try to sneak in.&nbsp; Coming soon after Prime Minister K P Oli’s visit to China, that decision underscored Nepal’s precarious tight-rope act in addressing religio-political sensitivities in its relations with China. The Panchen Lama episode can be seen as a test for Nepal’s handling of the succession of the Dalai Lama, who turns 90 in July. “When the time comes to find a successor to the Dalai Lama, Nepal will face a larger policy dilemma,” predicts Sudheer Sharma, author of two recent books on Nepal-China relations. “The government is still unclear what it will do if the successor is chosen from the Tibetan community in Nepal, or from China or India.” <a href="https://nepalitimes.com/news/dalai-lama-gets-block-of-glacial-ice">The Dalai Lama</a> is the spiritual leader of Tibetan Buddhism and a symbol of Tibetan identity; he is revered as the manifestation of Avalokitesvara, the Bodhisattva of Compassion. He was born in 1935 in northeastern Tibet and was formally recognised as the Dalai Lama in 1940.&nbsp; He has been living in exile in Dharamsala for the past 65 years after fleeing Lhasa following the Chinese takeover. He has been allowed to make a low-profile visit to Lumbini only once in 1987, and never after that due to objections from China.&nbsp; Nepal does not have a national strategy to handle the presence of <a href="https://nepalitimes.com/news/nepal-s-sherpas-mourn-tengboche-abbott">religious leaders</a>. If there are policies, they are ad-hoc or undeclared, depending on the government of the day in Kathmandu. The Nepal government, under Chinese pressure, even prevents public celebrations marking the Dalai Lama’s birthday on 6 July. “The Dalai Lama’s attempts to visit Nepal again have been stopped &nbsp;since Nepal thinks he is not only a religious leader, but a political figure as well,” says Sharma. “There is no discussion in Nepal’s political circles regarding the succession of the Dalai Lama. The topic is regarded as a non-issue.”&nbsp; Over the years, the Dalai Lama has made various statements regarding his succession. At times, he has suggested that he will write a will to select a successor from within the Tibetan community. On other occasions, he has hinted that the next Dalai Lama could be chosen from a “free country”, and could even be a woman.&nbsp; The Panchen Lama succession in 1995 could provide a hint about how the post-Dalai Lama era will play out. The Panchen Lama is the second most important spiritual leader in Tibetan Buddhism, and heads the <a href="https://archive.nepalitimes.com/news.php?id=18580">Tashilhunpo Monastery in Xigatse</a>, the epicentre of the 7 January earthquake, located 250km away from Lhasa.&nbsp; The Panchen Lama traditionally has the role of finding the next Dalai Lama, but the previous Panchen Lama (Lobsang Trinley Lhundrup Choekyi Gyaltsen) has been missing since 1995, after the Chinese installed their own candidate (Gyaltsen Norbu). The present Panchen Lama’s visits are carefully planned, and he has made only one foreign visit so far, to Thailand. “Nepal did not permit Panchen Lama’s visit as he is Chinese Communist Party-appointed, thus making him a political figure,” says Amish Mulmi, author of the book All Roads Lead North.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250124090148_3bb3d803c04c34657d0ac9759ca904073f75734a446506f8a57e50178b381c00.jpg" data-media-id="editor_3" data-image-id="20250124090148_3bb3d803c04c34657d0ac9759ca904073f75734a446506f8a57e50178b381c00" data-rendition-name="original" width="1087" height="697" loading="lazy" alt="Dalai Lama NT"> </figure>  What China was trying to do through the Panchen Lama’s visit for the Nanhai Conference in Kathmandu last month was to project its soft power, and perhaps prepare the ground for the Dalai Lama succession. But the ban raised the question of what Nepal will do if there is a visit by Hindutva figures from India at events in Nepal.&nbsp; Religious leaders and figures from various faiths regularly visit Nepal for devotional events, meetings and conferences. Their trips are often significant for promoting dialogue and cultural exchange, and cannot be banned under the Constitution. “We did the Nanhai Conference, and in future religious leaders will definitely visit Nepal. The question arises whether or not to allow them to engage in political activities or not,” says Mulmi. “Religion has always been political. So Nepal must not take easy decisions and must think it through.” Although Nepal and Tibet fought wars in the past two centuries, they share deep-rooted and ancient cultural, religious and trade ties. After the Chinese annexation of Tibet 70 years ago, Kathmandu gradually started dealing directly with Beijing.&nbsp; Today, Nepal is the only country with a consulate in Lhasa, a city from where the only direct international flight is to Kathmandu. Over the years, these ties have evolved, with shifts in trade dynamics and people-to-people interactions reflecting broader regional and global changes. Despite this, the historical bond between Nepal and Tibet remains a significant aspect of present-day bilateral relations with China, and this is why the selection of the next Dalai Lama has resonance here. “It is clear that China has been trying to adopt Tibetan Buddhism as a soft power. It is trying to co-opt Tibetan Buddhism on the lines of China’s ambitions and narratives,” explains Mulmi.&nbsp; The Dalai Lama’s <a href="https://archive.nepalitimes.com/news.php?id=14733">considerable following</a> in Nepal, India, Europe and the United States is an irritant for Beijing. Recent Sino-American tensions have therefore given the spiritual ownership of Tibetan Buddhism a geopolitical dimension, and in this the Dalai Lama succession will become an important factor.&nbsp; Relations between Washington and Beijing during the second Trump term will have a bearing on this. As a buffer state between India and China, Nepal has historically tried to maintain equidistance between the two powers.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025012308014_95372c819980513e21490c3abe2aa8e712af6c89c5829e04d5f57880ad4f2a23.jpg" data-media-id="editor_5" data-image-id="2025012308014_95372c819980513e21490c3abe2aa8e712af6c89c5829e04d5f57880ad4f2a23" data-rendition-name="original" width="2500" height="1000" loading="lazy" alt="What (or who) after the Dalai Lama NT"> <figcaption>THEIR HOLINESSES: The Dalai Lama, who will be 90 in July (left), and China-installed Panchen Lama (above). Traditionally, it is the Panchen Lama who has a role in finding a new Dalai Lama. Photos: TENZIN CHOEJOR (left) / CHINAN NEWS SERVICE (right)</figcaption> </figure>  But China has rarely stuck its neck out for Nepal. Despite repeated requests for military help during its war with the British East India Company in 1814-16, the emperor in Beijing refused.&nbsp; Explains Sudheer Sharma: “China did not want to get involved with the British. They thought of their own national interests then, and they are thinking of their own national interests now with India.” During the Khampa Uprising in the 1960s, Kathmandu was also squeezed between American support for the guerrillas and China’s objections to Nepal being used as a base. But with the Nixon-Mao rapprochement in 1972, the Americans stopped helping the Khampas. Nepal then yielded to pressure from Mao Zedong to mount a military campaign to drive them out.&nbsp; Nepal was left to manage and host Tibetan refugees, and balance that with China’s security concerns. Explains Amish Mulmi: “Nepal has pretty much done everything China has asked to do, including deporting Tibetans. China doesn’t need to be insecure, but Nepal needs to maintain a careful balance.” Today, despite Donald Trump’s chest-thumping and <a href="https://nepalitimes.com/editorial/trump-s-second-coming">threats of a tariff war against Beijing</a>, he and Chinese President Xi Jinping are on the same page regarding democracy and freedoms. Which may mean Washington could once more leave the Tibetans in a lurch, and this could have a direct bearing on the Dalai Lama succession sequence. The United States' shifting foreign policy has often been criticised for leaving allies and partners to fend for themselves. Trump may revive his pressure on Japan, Korea and Taiwan to pay for the US defence umbrella.&nbsp; Nepal’s stance on the Tibetan community relies on marking boundaries and offering protection. During Chinese President Xi Jinping’s visit to Nepal, China proposed that Nepal sign an extradition treaty which Nepal politely refused. “Nepal has tactfully not let the Chinese side extend a longer hand on the Tibetan issue,” says Sharma. “Possibly, we are learning our lessons from history.” The question of who will choose the successor to the Dalai Lama will be decided by geopolitics, and China’s increased stature as a global economic power.&nbsp; Beijing could insist on sticking to tradition to let its candidate for the Panchen Lama make the final decision. This would allow it to move the seat of the Dalai Lama from Dharamshala back to Lhasa. The present Dalai Lama could also appoint his own candidate, but that person will not be allowed into Tibet by China. In that case, we may have a situation where there are two Dalai Lamas.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127030140_c9048725407641601bc68568db19e48197154cd6396f39d67ab113d94c26e675.jpg" data-media-id="editor_7" data-image-id="20250127030140_c9048725407641601bc68568db19e48197154cd6396f39d67ab113d94c26e675" data-rendition-name="original" width="1910" height="757" loading="lazy" alt="Voice for the Voiceless Dalai Lama"> <figcaption>Dalai Lama's latest book Voice for the Voiceless details his dealings with China over the last seven decades. </figcaption> </figure>

What (or who) after the Dalai Lama?

Between the 1980s and 2000s, over 5,000 <a href="https://download.ssrn.com/11/01/06/ssrn_id1736064_code1383023.pdf?response-content-disposition=inline&amp;X-Amz-Security-Token=IQoJb3JpZ2luX2VjEBkaCXVzLWVhc3QtMSJIMEYCIQCiYUc7BuJ7zaDn%2BOTCFOWBgNKqYarnapqY%2FWZbamFVsgIhAOC%2FPFXHR9Dx6xTicWMj5%2BJXdIEGZ7LxKRyjrCe61Ng9KsYFCPL%2F%2F%2F%2F%2F%2F%2F%2F%2F%2FwEQBBoMMzA4NDc1MzAxMjU3IgzWD1Y1XNz2kaOS3jEqmgX0TbxyBTTrZrpd%2B5N72pFzJAwc%2BxTF8Dc0GnVG2tUGUYyxBt1YmfEqAw5cdOuRCZV23SSKkJwndg9IwI3yrjZGBp9XKxg4lK4Vq0Qy9RMmma5hNCVnA2T0MwGghlnmkgWPZA5ouZPiKFAecf4PE5qml2fu1wj72LEAig5R77cN6nC6%2BxTcygMiuiHrR9yZB4RyvTD9s58avGqUcn9hcIUdku3ydvAGVEgczzgEMCesRMtSgqzHz3E9bju9QLR5RpcDRp0wptfQ89uGXgyBGLCX%2BAl6uareSxQCSaDOthP4PmswWI7y7kBJbQp1pZq8r56Yoa3Qf5WVtmxbsWmDtbOsaSBa0yB6EIS8RKFGeQ%2Bcz%2BnEsOoPHIS%2BqO1k1%2BQuihjN0T66SnWFo8rl8Cv2g4GghY9p9DR3wopBJ6cE%2FtDJMY%2BZ03LkUwS%2Fc7ckyaRpfPX5g6Bb9J56a%2BNA5lnIV5o%2Fpjp%2BZJaVIvEzciyzzTwP58wznmcy3xppvK%2BwXBzBR96cPMXKTdNv9%2FqJ5jlnsgSRJpHWE3UyHbFucwQYXi19i7mCglFSuSkkL5Tg9nQWvXpuP9Z9VmMlQfQ%2F%2FpsfA6KlL81K3UK%2Bp%2FJB2mxQD9SYexZvAf1g21NUSF%2F8I19orsNrT6LutAnoJU%2FOTgO3qMbdgnR%2FuBytI3POnQAEIfbG0Za%2FrEDJ9j8CEbasNXsBMqkx8JKGRG2PUHMRC2xl5Z%2BNIbpsqGB8t%2BvAt40osDpgZStiyeiGdC1nMakUzZtBjWlttzoirCdemwPKJ8M%2BEohj2%2BLEN92yaOKdFewns0gjh%2BUxcotGvBo%2F7QZFappBNjLlR0PyanjcuB4MndEQjeIrd67ntscTKiLDI%2FfzwCHulsl6nbMpewpWFAYwg67guwY6sAGb3VJ2q%2F36hWhrVa8igP2hswnnLlcIU2uhOZa5ge2hCXkUYhL1BcSJfoWy2LwrWCXtdFo%2BT7KMU3p6O3jySdxSop8F4iO%2BJBiXVjSiXm%2FqZo3ri8sVwUgo4ksJI%2BT4AbfK3D3VGYapBgU5LdX%2FjkNwSVoR1vz4vMIyF56i7MKeYG1nFLgc0l9cIjrQI6eY869uIbgZ1XKqqBsuavCbYjSbSy7dMP0QSym%2FgmoWILGE0Q%3D%3D&amp;X-Amz-Algorithm=AWS4-HMAC-SHA256&amp;X-Amz-Date=20250103T172339Z&amp;X-Amz-SignedHeaders=host&amp;X-Amz-Expires=300&amp;X-Amz-Credential=ASIAUPUUPRWE65YAH56X%2F20250103%2Fus-east-1%2Fs3%2Faws4_request&amp;X-Amz-Signature=9b654b526e0779da4fa9f54e2fcde04ac9f7e91fb50d4f8094b1039ebb19e21b&amp;abstractId=1736064">Nepali children were adopted abroad</a>, primarily to the United States, France, and Spain. While international adoption was intended to provide vulnerable children with better opportunities, child trafficking and irregular practices prompted Nepal to suspend adoptions in 2007, and overhaul its policies. By 2010, stricter regulations aligned with the <a href="https://www.hcch.net/en/instruments/conventions/specialised-sections/intercountry-adoption">Hague Adoption Convention</a> drastically reduced adoption numbers. Today, many of these children, now adults, are returning to Nepal in search of their roots, only to encounter a society that no longer recognises them, legally or socially. Behind the statistics lie the <a href="http://hdl.handle.net/1854/LU-01GRNPPXAC1Z3AETV9HARNCG5Q">deeply personal and emotional journey</a> of adoptees returning to reconnect with their past, seek family, and rediscover a sense of belonging. These stories reflect a broader struggle for identity and the complexities of bridging two worlds. Maya Adopted at 9 by a family in Barcelona, Maya carried fragmented memories of her early life in Nepal including the painful recollection of the day her mother and sister vanished, leaving her and her younger siblings behind. She had faint images of her mother, elder sister, and the village where she once lived. In June 2017, Maya came to Nepal accompanied by Chandra Kala and two friends, Jay and Vikram. With only a few photographs of her mother Tulsi, her elder sister Pargati, and her brother-in-law Kamal, along with a street name, Maya arrived in Birendranagar after a 20-hour bus ride from Kathmandu. “Now that we’re close, I feel like I can’t face them,” she confessed to Chandra Kala, wrestling with anxiety about what she might uncover. “I’m nervous. I don’t know if I’ll recognise them or if they’ll recognise me. I don’t know how they’ll react or what they’ll say. And then there’s him [Kamal]. I have such bad memories of him. I don’t know if I can handle this.” Chandra Kala reassured her, reminding her of her courage and the importance of this moment. Maya and her companions asked around the town with little success until a shopkeeper recognised Kamal and directed them to a nearby village. Jay went to confirm and returned excitedly, shouting, “It’s her! It’s your sister!” Maya froze, paralysed by fear and anticipation but she pushed ahead. At the village, Maya’s sister Pargati initially struggled to recognise her. Jay introduced Maya: “Do you recognise her? This is your younger sister. She’s come all the way from Spain to find you.” Slowly, realisation dawned, and the two women embraced, bridging the decades of separation with tears and disbelief. The next day, Maya met her mother Tulsi in an emotionally overwhelming reunion. Tulsi rushed into the room and embraced Maya tightly, sobbing uncontrollably: “Mero chhora-chhori, gaye, gaye… my children they went, they went …” Once the tears subsided, Tulsi and Pargati began recounting the heartbreaking circumstances of their separation. After the death of her husband, Tulsi faced relentless judgment in their village when Kamal stayed with the family before his marriage to Pargati. The villagers accused Tulsi of impropriety, calling her पापी (sinful) and demanded that the family leave. “We didn’t want to leave, but the village didn’t want us here,” explained Pargati. “We left intending to bring you and your siblings later. But when we returned, you were gone.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120140_da7482d222e0a03b783c5e1df25536ed416d7b7475442e7fd40e54451572142e.jpg" data-media-id="editor_3" data-image-id="20250103120140_da7482d222e0a03b783c5e1df25536ed416d7b7475442e7fd40e54451572142e" data-rendition-name="original" width="384" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>An adoptee and companion return to Bal Mandir in Kathmandu after 19 years. Photo: CHANDRA KALA CLEMENTE-MARTINEZ</figcaption> </figure>  Tulsi recalled how she had entrusted Maya and her siblings to relatives, hoping they would be cared for temporarily. However, when she returned, the children had been sent away without her knowledge. “I only trusted them because I had no other choice,” Tulsi said through tears. “I didn’t know they would send my children away. What kind of mother does that make me? They called me a bad mother, but what else could I have done?” The reunion brought healing and answers but it also exposed the societal pressures that had fractured Maya’s family. Despite the challenges, Maya spent the rest of her visit bonding with her sister, nieces, and younger half-sister, Sunita, slowly bridging the gaps created by time and distance. Maya’s journey was a testament to the courage required to confront the past, the pain of uncovering difficult truths, and the hope of rebuilding connections once lost. Her story highlights the enduring emotional complexity faced by adoptees navigating their history and identity. Ashmita Unlike some adoptees whose main focus is reuniting with their biological family, 26-year-old Ashmita’s priority has been to uncover the institutional details surrounding her adoption. She wanted to understand what the orphanage and the government knew about her background and why so much information seemed concealed. “I just want to know where I come from,” she said. “Even if I never find my biological family, having a better sense of the places and people connected to my story would mean so much.” For many adoptees, returning to Nepal is not just about reconnecting emotionally, it is about seeking formal recognition as members of the Nepali community. However, the legal framework in Nepal often fails to acknowledge their unique status.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120144_bf0158b7829cf5db44382d7386d3b123032adad3f9e10e28096b80cd09170ba6.jpg" data-media-id="editor_4" data-image-id="20250103120144_bf0158b7829cf5db44382d7386d3b123032adad3f9e10e28096b80cd09170ba6" data-rendition-name="original" width="384" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>A mother reunites with her don after 18 years. Photo: CHANDRA KALA CLEMENTE-MARTINEZ</figcaption> </figure>  In Nepali law, adoptees are left in limbo: their birth parents are not considered legal parents, and their ties to the country are effectively erased upon adoption. This lack of recognition creates significant hurdles, particularly in two key areas: accessing pre-adoption records and obtaining Non-Resident Nepali (NRN) status. Despite international norms like the Convention on the Rights of the Child, which guarantees the right to know one’s origins, institutions often refuse to cooperate. Orphanages and non-profits in Nepal, which hold critical pre-adoption records such as birth certificates and citizenship documents, frequently withhold this information, reflecting the systemic reluctance to provide transparency. In numerous cases, records that should include family names, addresses, or relinquishment agreements were either incomplete or falsified. These practices not only prevent adoptees from reclaiming their histories but also perpetuate their disconnection from their heritage. Ashmita’s initial requests for information from her adoption agency were met with delays and incomplete responses. When she turned to the orphanage where she spent her early years, she encountered even greater resistance. At one point, the director of the orphanage issued veiled threats. Nevertheless, Ashmita persisted and managed to find the name of the individual who had brought her to the orphanage. However, the person had disappeared, leaving yet another gap in her story. A breakthrough came when Ashmita accessed a police report that suggested she might have been born in a different municipality than the one in her adoption records, prompting her to seek help from local authorities. The police took an interest in her case and began investigating possible connections to her birth family. While progress was slow, they meticulously followed leads to help her trace her origins. “It’s not easy,” Ashmita said of the process. “But every small step feels like I’m piecing something back together.” She also noted that societal perceptions could add to the difficulty. At times, she felt questioned about her identity and her right to seek answers. “People have asked me why I care so much or even suggested that I’m not Nepali anymore because I was adopted abroad,” she reflected. Ashmita’s story is a complex account of persistence in the face of institutional and personal challenges. While her search has not yet provided all the answers she seeks, it continues to offer her insights into her early life and the systems that shaped her adoption journey. &nbsp;“These records are sealed for a reason. They are not meant to be reopened,” said a government official. Even an NGO representative said: “It’s better for everyone if the past remains in the past.” An orphanage director asked: “Why are you asking these questions? This is not your place anymore.” Hari Prasad Sacré The Non-Resident Nepali (NRN) card is a lifeline for Nepali diaspora members, granting them residency and property rights in Nepal. Yet, adoptees are notably excluded from this framework. While the law stipulates eligibility for individuals whose parents or grandparents were Nepali citizens, it makes no provision for adoptees whose legal ties to their Nepali parents were severed by adoption. When Hari Prasad Sacré, a Nepali adoptee, sought to obtain an NRN card at the Nepal Embassy in Belgium, he encountered officials unfamiliar with processing an NRN request from an adoptee. His case was the first of its kind, setting a precedent but also highlighting the systemic barriers adoptees face. "You are not eligible; your surname is Sacré, it is not a Nepali name," an embassy staff said.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120140_9bdc24b7e34930059f895048ab7dc0ad3ca23b16907c572f01a8d5404a5feac5.jpg" data-media-id="editor_5" data-image-id="20250103120140_9bdc24b7e34930059f895048ab7dc0ad3ca23b16907c572f01a8d5404a5feac5" data-rendition-name="original" width="446" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>Hari Prasad Sacré receives tika from his father Khul Prasad Adhikari during Dasain, a few weeks after receiving his NRN card. Photo: HARI PRASAD SACRÉ</figcaption> </figure>  Sacré’s situation was legally ambiguous. Although his biological parents, including his father, Khul Prasad Adhikari, are alive and he maintains contact with them, he no longer had “legal” ties to Nepal due to the adoption process. Carrying a Belgian surname the embassy staff was initially convinced the adoptee couldn’t claim Nepali origin. Nepali law, which does not recognise biological parents as legal guardians once a child is adopted, created complications for the NRN application. To navigate this complexity, Sacré relied on a testimony from his father. Issued by a local government body in Kaski, the testimony affirmed that Hari had been put up for adoption and was of Nepali origin. While this enabled the embassy to approve his NRN card, the process was unnecessarily protracted and emotionally charged, highlighting the inadequacy of current policies to accommodate the unique situations of adoptees. Sacré’s case represents a rare instance where biological parents were alive and willing to provide testimony, but many adoptees are not as fortunate. A large number of adoptees were declared “orphans” during the adoption process, even when their parents were alive. This severed their legal ties to Nepal, stripping them of documentation that could later prove their origin. For others, the absence of living biological relatives or access to their original adoption records creates insurmountable barriers. Without clear documentation or a family member to vouch for their Nepali heritage, adoptees are excluded from the NRN framework. This denies them the rights and privileges afforded by the card, including property rights, legal recognition, and a formal connection to their homeland. Current laws fail to account for the complexities of adoptees’ legal status, leaving them disconnected from their cultural and legal heritage. Adoption papers, as evidence of Nepali descent, should be accepted as proof, granting adoptees rightful access to the NRN card and ensuring their inclusion in Nepal’s diaspora. Such reforms are crucial to ensure that all adoptees, regardless of their circumstances, can reclaim their heritage and establish a sense of belonging in Nepali society. Without these changes, the systemic exclusion of adoptees will persist, perpetuating inequities and denying them the opportunity to step up as active members of the Nepali diaspora. Sacré’s case serves as both a precedent and a call to action. It exemplifies the challenges and triumphs of adoptees navigating complex bureaucracies and advocates for a more inclusive and equitable approach to reconnecting adoptees with their homeland. Nepal can draw inspiration from South Korea, where the government has actively supported the reintegration of adoptees into their society. The F4 visa, established through efforts by organisations like the Global Overseas Adoptees’ Link (GOA'L), grants adoptees the right to live and work in Korea, while dual citizenship acknowledges their dual identity as members of the diaspora and their country of origin. GOA’L further fosters reconnection by offering language classes and cultural exchange programs, creating opportunities for meaningful reintegration and belonging. As Nepal refines its NRN citizenship framework, explicitly including adoptees could address the severance of legal and cultural ties caused by international adoption. Such inclusion would provide adoptees a pathway to residency, citizenship, and rights, enabling them to reconnect with their heritage. Complementing this with programs for language acquisition, cultural immersion, and historical education would honour Nepal’s responsibility to the approximately 5,000 children sent abroad. Nepal could establish a dedicated organisation similar to South Korea’s GOA’L and help adoptees access pre-adoption records, navigate legal processes, and engage in cultural exchange initiatives. It would also serve as a bridge between adoptees and Nepali society, fostering mutual understanding and collaboration. This article is based on doctoral studies by <a href="http://hdl.handle.net/1854/LU-01H4Z85GPS63ZWDJ3WB2E6KS70">Hari Prasad Sacré</a> and <a href="https://www.tandfonline.com/doi/full/10.1080/10357823.2022.2142932">Chandra Kala Clemente-Martínez</a>. Hari Prasad Sacré, PhD, is a postdoctoral researcher at Ghent University in Belgium, specialising in cultural translation, multilingualism, and identity in education. His PhD, Reading Illiteracy, explored fractured multilingualism and illiteracy in displaced identities such as adoptees, with work published in leading journals like Critical Arts and the European Journal for Cultural Studies. Chandra Kala Clemente-Martínez, PhD, is a postdoctoral researcher at the AFIN Research Group, Autonomous University of Barcelona, with a PhD in Social Anthropology. Her research focuses on family strategies, reproductive decisions, and adoption, with extensive fieldwork in Spain and Nepal examining adoptee reunions and related governance and rights.