A <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of Nepali artists</a> is exploring bold narratives and experimental themes, pushing boundaries, and redefining societal conventions.&nbsp; That could be one perspective on the exhibition ‘I Am Rooted, But I Flow’ at <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Takpa Gallery</a>. Curated by Pratima Thakali, it showcases works by eight female artists who explore the interplay between identity, culture, and personal evolution. Artists Anmari Tamang, Kripa Shakya, Kripa Tuladhar, Krisha Tamrakar, Pooja Duwal, Priyanka Singh Maharjan, Sony Rai, and Sumitra Baral bring together diverse perspectives that challenge traditional narratives and invite a fresh thinking of <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">Nepal’s cultural landscape</a>. These emerging female artists compel us to contemplate the evolution of <a href="https://nepalitimes.com/here-now/inking-an-idenity">identity</a>, where tradition and transformation coexist in an ever-shifting cultural terrain. The title, drawn from Virginia Woolf’s The Waves, reflects the core theme: the balance between the stability of <a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft">our roots</a> and the fluidity of our evolving selves. Krisha Tamrakar co-director of Artudio draws inspiration from her hometown of <a href="https://nepalitimes.com/here-now/patan-for-beginners">Patan</a>, and her fascination with human spaces. <a href="https://nepalitimes.com/here-now/lost-in-translation">Familiar landmarks are disappearing</a>, a theme that deeply influences her work through her series of Between Colors and Spaces. “Traditional brass utensils have begun to blend seamlessly with modern, colourful clothing in my neighbourhood,” she says, explaining her Between Colors and Spaces XXI.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844.jpg" data-media-id="editor_7" data-image-id="20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844" data-rendition-name="original" width="3599" height="2400" loading="lazy" alt="Reimagined roots NT"> <figcaption>Artist Krisha Tamrakar draws inspiration from her hometown Patan in her Between Colors and Spaces series. Photo: KAILASH K SHRESTHA</figcaption> </figure>  Tamrakar notes how metal brass utensil shops that once lined the streets have now been replaced by clothing and shoe stores, which also makes us ponder about the effects of rising consumerism. Read also: <a href="https://nepalitimes.com/here-now/the-art-of-living">The art of living</a>, Kunda Dixit Tamrakar believes contemporary art is essential because it allows her to express herself in the present while providing a lens for future reflection. Despite the surrealist images in her work, she thinks the local community will be able to relate to it as her art integrates everyday aspects of their lives. The founder of Artudio Kailash K Shrestha reflects on the inspiration behind his space in 2010: “Back then, there were no accessible platforms for local, young, and emerging artists. There was a lack of open spaces where artists could come together to collaborate, exchange ideas, inspire one another, and offer mutual support." While Tamrakar thinks every artist’s work is valuable, she also acknowledges the underrepresentation of <a href="https://nepalitimes.com/opinion/from-paintbrush-to-tattoo-needle">female artists</a> in the contemporary art scene and encourages greater inclusion. Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a>, Aayusha Pokharel ‘To All The Women Who Came Before Me’ by Priyanka Singh Maharjan is another artwork series that stands out. Using embroidery on fabric, she represents the often-overlooked and unacknowledged <a href="https://nepalitimes.com/multimedia/nepals-working-women-in-photos">work of women</a>, particularly mothers, and grandmothers, a role that is indispensable in society. ‘Amidst the Watts of Steam’ series by Pooja Duwal showcases a three-decade-long local momo shop, Na: pasa: in Bhaktapur. The ambience in which the food is made and consumed outweighs the food itself as it is more about the sense of familiarity and warmth that make customers inhabit the space.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52.jpg" data-media-id="editor_12" data-image-id="20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52" data-rendition-name="original" width="1505" height="1129" loading="lazy" alt="Reimagined roots NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526.jpg" data-media-id="editor_13" data-image-id="20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526" data-rendition-name="original" width="1189" height="1585" loading="lazy" alt="Reimagined roots NT"> </figure>  Kripa Shakya and Sony Rai also incorporate unconventional mediums into their work. Shakya uses <a href="https://nepalitimes.com/multimedia/weaving-the-fabric-of-a-new-life?fbclid=IwZXh0bgNhZW0CMTEAAR2V6f30hX4eilYDsJKsIZVffQN3SCev4wJJxVYUxPIxY28mHcjlL9XOSmQ_aem_D-yqkaobj1DveD4Uytym3w">fabric</a>, nails, and string along with other mixed media to represent shared experiences of interpersonal conflicts and acceptance, while Rai presents intricately woven threads through aquatint to find beauty in simplicity. Sumitra Baral’s sculptures interpret <a href="https://nepalitimes.com/here-now/fusion-fashion">fashion</a> as not just an outward beauty but an expression of inner artistry and cultural heritage. Her art label reads, ‘Fashion is not just about attire; it is a symbol of identity, a definition of personality, and a living story of culture.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4.jpg" data-media-id="editor_16" data-image-id="20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4" data-rendition-name="original" width="1147" height="1529" loading="lazy" alt="Reimagined roots NT"> </figure>  ‘I Am Rooted, But I Flow’ gives a voice to fluid, multifaceted experiences of how our identities are shaped by both deep-rooted traditions and the transformative forces of personal growth. I Am Rooted, But I Flow 8 February - 8 March Takpa Gallery &nbsp;

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Reimagined roots

Four Nepali and four Dutch artists will feature in a project to draw attention to what has been lost as Kathmandu Valley is transformed from an integrated rural-urban society to a metropolis of 4 million people. The transition has happened just in the last 30 years with the growth accelerating after the start of the 10-year conflict in 1996. What was once an emerald valley has turned into a concrete jungle. The NEDNEP3 2024/2026 art project of the eight artists will unfold in two phases with a current show till 5 January in the Netherlands, and during the Kathmandu Triennale in February 2026. The ongoing exhibition is in the northern Dutch city of Haarlem at <a href="https://www.devishal.nl/kunst/from-burning-rice-fields-to-urban-growth/" target="_blank">De Vishal</a>, a popular hub of contemporary art.&nbsp; The exhibition is curated by Dutch artists Erna Anema and Renate Schwarz, who have been frequent visitors to Nepal and they have selected the works of four Nepali artists (Sujan Dangol, Kripa Tuladhar, Sunita Maharjan and Sagar Chhetri) along with artists Maartje Smits and Liesbet Bussche and themselves from The Netherlands. Anema and Schwarz spent five weeks at the ceramics workshop of Dil Bahadur Prajapati in Thimi, making their ceramic sculptures for this project and meeting Nepali artists and planning their collaboration. Sujan Dangol was in The Netherlands during the preparations and the grand opening of the exhibition at De Vishal in Haarlem. He also conducted workshops there and at the renowned Rietveld Academy in Amsterdam.&nbsp; Erna Anema’s work is titled Moraines to Clay and uses clay, oil on canvas in a large installation. She says, “I want to take you on a journey from the pressed clay circles of the Kathmandu Valley supported by sculptures representing the moraines to the towering ice giants of the Himalayas, which are represented on the left wall in sculptural forms.” Anema’s installation includes two clay tiles sourced from one of the valley’s remaining fertile rice fields.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804128_04e9ed612274775036fc408a7d957e446b84402926b535c7b740ccd0b4a84442.jpg" data-media-id="editor_1" data-image-id="2024122804128_04e9ed612274775036fc408a7d957e446b84402926b535c7b740ccd0b4a84442" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Erna Anema's Moraines to Clay</figcaption> </figure>  Liesbet Bussche’s Building Rings are grinded and sanded out of clay blocks, a light building material often used in quick expanding areas of the city. The installation of the carved rings is combined with brick dust and explores urban materiality from a makers perspective. Liesbet’s first project with clay was realised with Pukar Risal in 2008 in the streets of Kathmandu during NEDNEP 1. Kripa Tuladhar’s Remembrance of Shadows is made of traditional lokta paper and thread and evokes the Asan neighbourhood, which she says becomes a canvas of its people, marked by those who have passed through it. “Layers of movement from the footsteps of our ancestors, crumbling bricks and windows, and the future pushing its way against the old reshaping it,” she adds, “cutting out these traces in paper, layering them, like the city’s layers of history, memories of the city are encapsulated in fleeting shadows.” Renate Schwarz has sculptures titled Jars of Then and Now with clay and plastic taps that draw attention to water. The abundance of it in the lake that was once Kathmandu Valley, torrential rain, the glacial streams in the mountains. Water irrigated the Valley’s soil, making it fertile. Says Schwarz: “The transformation of the Kathmandu Valley has struck me ever since my first visit in 1984. What a mega tsunami of change has come over this valley … with my sculptures I express the delicate balance between water, clay and craftsmanship.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_92e1b1a2b10f9fc3e91691989bf44302d9b1ce81c77b0187db2c9f0e3579667d.jpg" data-media-id="editor_2" data-image-id="2024122804124_92e1b1a2b10f9fc3e91691989bf44302d9b1ce81c77b0187db2c9f0e3579667d" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Renate Schwarz's Jars of Then and Now</figcaption> </figure>  Nepali photographer Sagar Chhetri’s Brutality of Geometry explores the definition of land and how earth, soil, vegetation all become monetised commodities. The photographs depict the greed that drives the ecocide of hillsides by real estate ‘plotting’ on the Valley’s rim. The photos show maps of property, and Chhetri explains: “As an artist, I wish to respond to and investigate this geometry of brutality on the land in depth.” Sujan Dangol’s Mandala is a mixed media tribute to the original fertility of Kathmandu Valley with a collection of 54 types of grain, beans, and spices that used to grow here. He also collected bamboo, copper, glass, plastic, and steel utensils to represent the shift from an agricultural era to an industrial one. “The place which we call home—the Earth—is not only ours. Coexistence with animals, birds, plants, insects, water, and soil is essential for the well-being of our Ecosystem,” Dangol says.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_058b88c5a00c1a8ab178b37a734cfb900eeb090d8e5602eb6469049e28300a98.jpg" data-media-id="editor_3" data-image-id="2024122804124_058b88c5a00c1a8ab178b37a734cfb900eeb090d8e5602eb6469049e28300a98" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Sujan Dangol's Mandala</figcaption> </figure>  Sunita Maharjan’s Curtain of Change is stencil print on handmade cotton and depicts her hometown of Kirtipur, where the ancestral lands of her ancestors are now occupied by Tribhuvan University. “The continuous influx of students has altered the fabric of Kirtipur - both figuratively and literally,” Maharjan says. “In Curtain of Change I want to document and comment on the evolving identity of my hometown, where urbanisation, industrialisation, and educational migration intersect, leaving both visible and invisible marks on the community.” In Wild Bees in the Netherlands Maartje Smits uses letterpress prints on paper to show the &nbsp;sudden disappearance of honeybees in Europe, and how the artist decided to become a beekeeper, hoping it would help. But honeybees are competing for survival with wild bee species. “Just as with the Kathmandu Valley, the Dutch landscape has been hollowed out and built up.” She says. “Food and nesting places for flying pollinators are scarce, so trying to save one species can mean the demise of another.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_16461120522a119da0966d714da5e20f67c123fccc8a029419dc344e5d6b35ea.jpg" data-media-id="editor_4" data-image-id="2024122804124_16461120522a119da0966d714da5e20f67c123fccc8a029419dc344e5d6b35ea" data-rendition-name="original" width="1658" height="1000" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> </figure>  NEDNEP3 2024/2026 From Burning Rice Fields to Urban Growth De Vishal, Haarlem (29 November-5 January) Kathmandu Triennale in Nepal (February 2026)

Rice fields to concrete terraces

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

One smoggy winter morning in February 2019, Ekta regretted coming to her sculpture class. It was the first day of her period, and the 19-year-old wished she was home, curled up in bed with a hot water bag to soothe her cramps.
Her class was at Kalapremi Ceramic Studio, a dark room on the ground floor of a house in Maharajganj, and Ekta’s teacher was the artist Gopal Das Shrestha ‘Kalapremi’, a noted sculptor.
Two other students were already there, using all their muscle strength to knead the sculpting clay. Ekta, now 24, recalls how Kalapremi asked her if she was feeling all right. She avoided him, as she did not want everyone to know she was menstruating.
Kalapremi repeatedly asked Ekta what was wrong. She finally muttered that she was having her period, after which he grabbed her hand and led her to a partitioned corner of the studio and sat her on a chair. Before she could stop him, he slid his hand under her dress, and started massaging her abdomen.
“I was horrified,” Ekta recalls. “I told him to stop, but he didn’t listen, asking me not to be shy, saying he knew how to relieve my pain. He stopped only after I protested furiously.”&nbsp;
The art tutor then said, “You’re like my daughter. I’m doing it out of love to make you feel better, but you’re so stubborn.”&nbsp;
“Instead of saying sorry he acted like I was the one having crazy thoughts,” remembers Ekta, adding that from April 2016 to August 2020 beginning the time she was 16, the artist sexually abused and harassed her on several occasions. &nbsp;
Now, Ekta and the artist’s other former students are finally sharing their experiences and some are pressing legal charges against him, hoping that others do not have to endure what they did.&nbsp;
Award-winning artist and teacher Gopal Das Shrestha ‘Kalapremi’ (the name means ‘Art Lover’) is known for his ceramic art, sculpture, and contemporary pottery. He was <a href="https://nepalitimes.com/review/the-house-of-kalapremi">profiled in Nepali Times after a collaborative exhibition</a>, ‘Where the Wild Things Are’ at the Siddhartha Art Gallery three years ago.&nbsp;
His pieces, titled Gaalis, featured sculpted female figures with the heads of dogs, sheep, and donkeys (pictured) to depict derogatory terms for women. Some critics said the collection was a satire on feminists.
Kalapremi started his artistic and teaching career in 1983 and over the years taught at Bhanubhakta School, Kathmandu University School of Arts, Lalitkala Campus and at his private Kalapremi Ceramic Studio. He has also lectured at Jeonju University in South Korea and recently at Tabor Academy in the United States.
Seven of Kalapremi’s former students were interviewed for this story. Five female students said he touched them inappropriately in his studio or at Kathmandu University. Two male students said they witnessed him abuse and harass the women. In all cases, the students struggled to recognise the abuse when it occurred, and the lack of reporting systems left them to cope on their own for years.&nbsp;
Earlier this year, students shared a social media post hinting at Kalapremi’s history of abusive behaviour following which more students of the artist reached out sharing similar experiences. Some students spoke of abuse that happened as long as 20 years ago.
Kalapremi, 60, has denied the allegations. He told Nepali Times: “Some years ago, there was a movement encouraging people to hug and kiss. I used to do it purely out of friendship and love. But after seeing posts on social media last year calling out my behaviour, I realised my actions may have hurt some people. I understand now that I should have been more mindful.”
He added: “I am also an auxiliary health worker, so I know the exact points to massage to relieve menstrual pain. It’s not just menstruation, I take anyone who is ill to the hospital.”
Sexual abuse is much more rampant than reported given how difficult it is to prove it in court. The law defines sexual abuse as occuring when someone touches another’s private parts, coerces them into touching theirs, uses vulgar language, shows degrading images, or behaves indecently towards them without consent.&nbsp;
Ekta and her fellow students are consulting lawyer Suneeta Regmi Pokhrel, who says they know that even if the court decides in their favour, it is difficult to survive after speaking up, and influential men defend themselves saying they are being framed.&nbsp;
“They are in a lot of pain and weep when recalling how he abused them,” Regmi Pokhrel told us. “They are angry and have filed a case against him, but they are also terrified. They know he is a powerful man and they have seen how our society treats women who speak up against abusers. Unless people speak up, perpetrators will be emboldened.”
Art and academia in Nepal simply reflect the power imbalances in society where people with intersecting identities experience worse forms of abuse. Theatre actors Raj Kumar Pudasaini, Rajan Khatiwada, and Sunil Pokhrel were called out during the #MeToo movement in the Nepali theatre scene in 2019. Even after the allegations Pokhrel went on to receive national awards, while others continued to work without repercussions.
“If you speak up against abusers, you gradually get sidelined from projects,” explained a theatre artist who wished anonymity fearing professional setbacks. “The theatre scene in Nepal is quite small, you just have to make peace with the perpetrators and work with them if you want to sustain yourself.”&nbsp;
In academia there is a history of faculty members sexually harassing students and getting away with it. After Tribhuvan University (TU) lecturer Krishna Bhattachan was accused of harassing women students, the university said it would follow Nepal’s sexual harassment law and set up a reporting mechanism. But nothing happened to the professor, who had already retired. Instead, he counter-accused the students of 'attacking the indigenous people’s movement with baseless allegations' as <a href="https://kathmandupost.com/letters/2019/01/29/bhattachan-responds">he told the Kathmandu Post in 2019</a>. He continues to be featured as a prominent speaker including at TU.
Other faculty members previously accused of sexual harassment include Jagadish Murti Koirala from TU, Bishnu Prasad Acharya from Ratna Rajya Campus, and Bodha Raj Tripathee from Lalitpur Madhyamik Vidhyalaya. A woman staff member from TU also filed a sexual abuse complaint against Dambar Chemjong from TU.
Prominent figures like <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">mountaineer Nims Purja</a> have been <a href="https://www.nytimes.com/2024/05/31/sports/mountaineering-sexual-harassment-abuse-nims-purja.html">accused of sexual assault</a>, and cricketer Sandeep Lamichhane, actor <a href="https://nepalitimes.com/news/celebrity-rape-case-spotlights-nepal-laws">Paul Shah</a>, and former speaker of Parliament <a href="https://nepalitimes.com/news/mahara-arrested">Krishna Bahadur Mahara</a> have been accused of rape, but society-at-large has let off the alleged perpetrators amdist a larger debate about justice for survivors and punishment of perpetrators.&nbsp;
‘Gaushala-26’ is the court name given to the 18-year-old who accused Sandeep Lamichhane, former captain of Nepal’s national cricket team and skipper of Biratnagar Kings in the <a href="https://nepalitimes.com/here-now/here-comes-the-nepal-premier-league">ongoing Nepal Premier League</a>, of rape. She left the country citing society questioning her character affecting her mental health while Lamichhane got an outpouring of support. In May, the Patan High Court overturned a prior verdict that found Lamichhane guilty of rape and had sentenced him to eight years in prison. During the 23-month legal battle to pursue justice, Gaushala-26 faced threats of gang rape and acid attacks.&nbsp;
Exhausted by the struggle, Gaushala-26 sought to “move to a new world” where she could live free without hiding her identity.
Actress Samragyee Rajya Laxmi Shah in an Instagram video now deleted detailed the harassment she faced from a filmmaker during a movie shoot. She did not name any name but veteran actor Bhuwan KC filed a defamation case against Rana, but the court ruled that the charge lacked sufficient evidence.&nbsp;
Former Kathmandu mayor <a href="https://nepalitimes.com/opinion/theytoo">Keshav Sthapit also mocked the #MeToo movement</a>, calling accusations against him by journalists Rashmila Prajapati and Ujjwala Maharjan “a rape of men’s rights”.
Serial Abuse
Back at the Kalapremi Ceramics studio, another former student, 24-year-old Rajiv, says he felt the need to speak out after seeing his female classmates being abused.&nbsp;
“He frequently kissed them on their cheeks,” he told Nepali Times. “Whenever they walked into the studio he flailed his arms like a child asking for a hug. They awkwardly hugged him from the side, but he pulled them closer, held their chin, and kissed their cheeks.”&nbsp;
Rajiv says he also saw Kalapremi pull the women’s bra straps, touch their breasts, and slap their buttocks. The young students would freeze, not knowing how to react, and if they protested, he would say it was “normal in art”. Rajiv, 19 at the time like his classmates, remembers thinking perhaps the well-respected artist was right after all.
Another student, Luna, who took lessons at Kalapremi’s studio from 2020 to 2022 did try to confront the tutor after he made an obscene proposal to her. She recalls: “One day when the other students had left the studio and it was just the two of us, he told me that God had given him special artistic talent and he could transfer those powers to me. But to do that both of us will have to be naked, inside a dark room, and have sex.”
Luna, who was 18 then, was livid and told him she did not want any of his powers, but she says he laughed at her as if he was joking. She did not tell her family about the incident because she thought no one would believe her.&nbsp;
“They were all in awe of this famous artist and felt I should be grateful that to be learning sculpting from him,” she says. “I was scared to be alone with him in case he talked about sex again. My coping mechanism was to be rude so he wouldn’t try to come close to me.”
Seeing how some classmates were standing up to Kalapremi, Ekta too tried to push back against his advances, but she said he found ways to coerce her. Since Ekta, Rajiv, and Luna could not afford Kalapremi’s Rs30,000 monthly fee for lessons, he had offered them all a stipend to assist him in the studio.
“He had spondylosis and took me to his therapy sessions to learn massage techniques, then he often made me and other students massage him,” says Ekta. Whenever she refused, he would feign pain to make her feel sorry for him. “He would insist that I put my hands under his shirt so that I could massage him better,” she adds.
The art tutor often tried to “seduce sympathy” from Ekta by sharing how he had never been loved as a child and was “sexually frustrated” as an adult.&nbsp;
“At 7PM, he would pour himself Signature whiskey and immediately go off again about how he was sex-starved. I didn’t know how to respond. It took me time to realise alcohol was just an excuse to talk about sex,” Ekta says.
If convicted, Kalapremi could face financial penalty and/or a prison sentence of up to three years according to Section 224 of National Penal (Code) Act 2017.&nbsp;
Data suggests that victims of child sexual abuse on average take nearly 24 years to tell someone about their trauma, and some may never disclose it at all.&nbsp;
“In our culture, children are rarely taught about boundaries. They often react, show anger when adults pinch their cheeks. But adults insist they did it out of love, and force the children to accept it,” says Sita Lama, a psychotherapist at Manka Kura. “And even when someone touches them inappropriately they struggle to identify and verbalise it.”
When perpetrators claim to be “acting out of love”, Lama says survivors are likely to perceive it as something safe, rather than recognising it as abuse.&nbsp;
“It may take years for them to realise they were abused,” she explains. "And even when they become aware, the power imbalance with the abuser and the associated shame often prevents survivors from speaking up."
Other former students from the School of Art at Kathmandu University have also come forward years later, saying Kalapremi sexually abused them. As young adults, they felt his behaviour was off but were uncertain if it was inappropriate, illegal, or they did not know how to respond. After having understood that it was indeed abuse, they say they are speaking out now to protect others.&nbsp;
Amina Singh, a visiting faculty member at Kathmandu University, says there is no clause against sexual abuse in contracts of teachers, and there is no formal grievance handling mechanism for the students.&nbsp;
“So the only way students can to deal with sexual abuse is approach someone they trust,” she says.
Eight other former art students of Lalit Kala Campus and Srijana College of Fine Arts of Tribhuvan University and other private art studios in Kathmandu say they were also sexually abused by their art teachers. Three faculty members interviewed from these institutions said they saw the abuse, but felt it was futile to report it given how powerful the teachers were.
In the absence of a formal system, some longtime women artists warned each other about “problematic” artists. They shared &nbsp;a “heads-up” to be more cautious when collaborating with them, and avoided responding to their calls and texts after work hours.
To ensure art institutions are safe for all, galleries, museums, artist studios, and smaller art spaces need to develop policies on sexual harassment. This would include a code of conduct or studio policies that hold the leadership accountable and outline the principles of professional ethics.&nbsp;
Students and employees should inquire about accountability mechanisms for raising concerns, both formally and informally, advocates say.
Three years after Ekta left the ceramics studio, she learnt that Kalapremi had harassed many other women. Still trying to get a footing in the art industry, she attended a workshop in Kathmandu where women artists discussed ways to stay safe in the art sector.&nbsp;
Since it was a close-knit group Ekta opened up about how she felt violated and realised she was not alone, he had been abusing underprivileged students for years, and this was common knowledge among artists in Nepal.
Ekta says that even after she quit, Kalapremi continued sending her text messages like ‘I am thinking of you’, ‘Why have you stopped speaking with me’, or ‘I am waiting for your call’.&nbsp;
But what really forced her to act was when Ekta found out that he was sending similar texts to her younger sister.&nbsp;
“I’ve had enough,” she told us. “He abused me all these years but I won’t let him abuse my sister.” &nbsp;
Ekta, Rajiv and Luna are not the real names of the students.&nbsp;

‘Art Lover’ accused of sexual abuse

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

For a moment after landing at Leh airport, Nepalis can be forgiven for thinking they have just arrived in Jomsom.&nbsp; The drive into the capital of India’s Union Territory of Ladakh situated at 3,500m offers many other similarities: the arid terrain, surrounding snow-capped peaks, prayer flags fluttering everywhere, chortens and stupas.&nbsp; Although situated on the western edge of the Himalaya, it is as if the geology, culture, language and religion of Mustang leapfrogged 1,500km over northern India to transplant itself here.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_d8137187d6634badae56afc915bab7aa6bf07be0ba2f7b0ad8497c24d18fe3cc.jpg" data-media-id="editor_0" data-image-id="20240712040752_d8137187d6634badae56afc915bab7aa6bf07be0ba2f7b0ad8497c24d18fe3cc" data-rendition-name="original" width="794" height="583" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> </figure>  Pangong Tso stretches 160km to the east into China, and could be mistaken for Phoksundo in Dolpo, except that at 4,300m it is the world’s highest salt-water lake. A 30 minute drive south of Leh is Shey Gomba, a namesake of a similar-looking monastery in Dolpo. This ancient palace and shrine has two gilded copper statues of the sitting Buddha which were crafted by Nepali artisans that Ladakh’s King Delden Namgyal brought over from Nepal 400 years ago.&nbsp; One of the statues is 8m tall and has the name of the Nepali sculptor, Sanga Zargar Wanduk, inscribed on it. Legend has it that 8kg of gold and 120kg of copper were used and the statue took 20 years to make.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_47bde3afa140d19c310556d68848c0842ca3b102c89b1c8217fb5b2db1a07bcd.jpg" data-media-id="editor_1" data-image-id="20240712040752_47bde3afa140d19c310556d68848c0842ca3b102c89b1c8217fb5b2db1a07bcd" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> <figcaption>Head monk Jigden of Shey Gompa with the 400-year-old gilded Buddha made by Nepali artistans.</figcaption> </figure>  “As far as we know, in 1655 Deldan Namgyal asked the King of Kathmandu to send the artisans to build the two statues to honour his father, King Sengge Namgyal,” head monk Jigden told us.&nbsp; Thirty Nepali metalsmiths were brought to Ladakh, and after completion of the work they settled down near the Shey monastery after King Deldan gave them property. Others were offered farmlands 35km away in Chiling, and some in Chemde. We tracked down one of the descendants of the original Nepali artisans. Phunchuk Dorje, 52, is a goldsmith with a shop inside a warren of narrow alleys in Leh.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_9185d110c94bbd30383272cb4f74082b4749fb55b6ea3bbdf024cfa0b2d2b26e.jpg" data-media-id="editor_2" data-image-id="20240712040752_9185d110c94bbd30383272cb4f74082b4749fb55b6ea3bbdf024cfa0b2d2b26e" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> <figcaption>Phunchuk Dorje (left) whose artisan ancestors were brought from Nepal to make the Shey Buddha.</figcaption> </figure>  “Yes, my ancestor was the chief artisan who was brought from Nepal by the King of Ladakh to make the Buddha statues, but he and others stayed here,” says Dorje, who went to Nepal with his grandfather and father in 1990 to trace his forebear’s family and home village, and thinks they came from Solu. But Dorje did manage to find old ledgers where his grandfather's name was still entered as ‘Pambar Sunar’. Sunar is a Nepali occupational surname for a goldsmith. It was his father who took up the name Dorje, and he adopted a local Tibetan name. In Ladakh, the descendants of Nepali craftsmen are still called ‘Shergar’, which also means goldsmith, and the craft seems to have been passed down over the generations to Dorje. Dorje says he is both a Hindu and Buddhist, worshipping Ganesh, the Buddha and revering the Dalai Lama. In his altar at home, Dorje has a small bronze Ganesh that his grandfather brought from Nepal, and he now regards it as his family’s patron deity.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_bd74346e403b2567ead2c0944e0ea844873a8c9089073223c718d7ea116cb9b3.jpg" data-media-id="editor_3" data-image-id="20240712040752_bd74346e403b2567ead2c0944e0ea844873a8c9089073223c718d7ea116cb9b3" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> <figcaption>Thiksey Monastery near Lah that is also called the 'Mini Potala'</figcaption> </figure>  Dorje’s father worked for the Indian Army, and once, after he became very ill, doctors gave up on saving his life and asked the family to take him home. Dorje prayed fervently to Ganesh, and says that within a week his father got well.&nbsp; Four hundred years after his forefather came to Ladakh, Dorje says he still has a strong attachment to the land of his ancestors, and has married a Nepali-speaking woman. Fascinated that Nepali visitors have come to see him, he confesses: “I have this strange fixation on finding out where exactly in Nepal my ancestors came from. If I had more money I would go to Nepal again on a search mission.” &nbsp; History and geography  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_52491e995b4858eb7665d54e55b6277508a4dc80cb70deb3dc332e955d58953a.jpg" data-media-id="editor_4" data-image-id="20240712040752_52491e995b4858eb7665d54e55b6277508a4dc80cb70deb3dc332e955d58953a" data-rendition-name="original" width="801" height="606" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> </figure>  Like Mustang, Ladakh is in the trans-Himalayan plateau. Only one third of the territory is today under Indian administration after the Aksai Chin region was annexed by China in the 1962 war. Pakistan controls the western half of Kashmir that includes parts of Ladakh. These are still volatile borders, which is why there is a strong Indian military presence in the strategic mountainous territory. At least 20 Indian and four Chinese soldiers were killed in clashes in 2020-21 between Indian and Chinese troops in Galwan, north of Leh.&nbsp; The 3-month battle in Kargil in July-September 1999 between India and Pakistan was serious enough to be called the Kargil War in which more than 1,000 soldiers were killed on both sides. &nbsp; &nbsp;Many of those who died in various wars against Pakistan and China were Gorkha soldiers from Nepal well acclimated for mountain warfare in high terrain. They were posthumously honoured with gallantry medals, and their names and photos are displayed in the Hall of Fame, 10km from Leh. Some of them: Dying away from home Major Hari Chand engaged Pakistani troops at elevations of 5,500m in 1948 and helped India gain control of Leh. He was awarded the Mahavir Chakra medal for gallantry.&nbsp; &nbsp;Lt Col Dhan Singh Thapa fought till the end against Chinese troops in October 1962. &nbsp;&nbsp;&nbsp;&nbsp; Second Lieutenant Min Bahadur Gurung fought alongside Lt Col Thapa and charged a Chinese mortar position, destroying it before being killed. He was posthumously promoted to Lt Col, awarded India’s highest medal for valour, the Param Vir Chakra. A border post on the western shore of Pangong Tso &nbsp;was named after him.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712120740_8b82d1a558674dbff7b8b849f1808781610049e62d8be9f8474a6696094ee893.jpg" data-media-id="editor_5" data-image-id="20240712120740_8b82d1a558674dbff7b8b849f1808781610049e62d8be9f8474a6696094ee893" data-rendition-name="original" width="1500" height="1350" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> </figure>  Lance Corporal Rabi Lal Thapa was awarded the Mahavir Chakra for saving an Indian unit from Chinese attacks in Ladakh in October 1962. Capt Manoj Pandey was awarded the Param Vir Chakra. He was killed in Kargil in July 1999. Other Nepalis were awarded Mahavir Charka for bravery in various other battles since 1948 against Pakistani and Chinese troops: Maj Rajesh Adhikari, Lance Corporals Prem Gurung and Nara Bahadur Ale. But today, it almost seems as if there are more tourist buses than military vehicles and more tourists than soldiers in Ladakh. Indian visitors ‘discovered’ Ladakh after the 2009 Bollywood hit The Three Idiots was filmed at Pangong Tso, and in 2012 Jab Tak Hai Jaan was shot on location in Ladakh. <h2>“It will be difficult to run Ladakh’s businesses without Nepalis.”</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_64be609bc0849669edb4642090d9d469eea2866728722d123e50ac512d03b753.jpg" data-media-id="editor_6" data-image-id="20240712040752_64be609bc0849669edb4642090d9d469eea2866728722d123e50ac512d03b753" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> <figcaption>Chandra Ghising from Sindhuli has been working in Leh for 15 years.</figcaption> </figure>  The Tibetan Kitchen in Leh is open from noon till midnight, but is so busy that entry is only allowed with table reservation. The restaurant is run entirely by 36 Nepalis from managers and chefs to waiters. “There is no other reason we are so popular, we have the best food,” says manager Gyan Pun Magar simply. “Just look at that line outside.” &nbsp;In the town of Merak near the Chinese border, the Grand Himalayan Hotel is also run entirely by Nepalis.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712060732_3cf3463d10ee8946f93d16606008300ba8f52a8fe18f7df68d2730075fcbfde1.jpg" data-media-id="editor_7" data-image-id="20240712060732_3cf3463d10ee8946f93d16606008300ba8f52a8fe18f7df68d2730075fcbfde1" data-rendition-name="original" width="1750" height="2333" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> <figcaption>Gyan Pun Magar, Nepali manager of the Tibetan Kitchen.</figcaption> </figure>  “Ladakh would still be here without Nepalis, but it would be difficult to run businesses here without us. From soldiers to cooks to rafting guides, we run everything,” says Rana Bahadur Pandey, who runs a bakery and migrated here from Nuwakot 25 years ago. Indeed, a new Buddhist stupa being constructed on the outskirts of Leh is being built almost entirely by Nepalis, just like their ancestors who sculpted the gilded Buddhas of Shey Monastery 400 years ago.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240712040752_69bb0881c82b011126212f7c183846e63071a074f590b98dd26a7d36f5357bf9.jpg" data-media-id="editor_8" data-image-id="20240712040752_69bb0881c82b011126212f7c183846e63071a074f590b98dd26a7d36f5357bf9" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Ladakh's Nepal links Page 6-7 NT #1220"> <figcaption>Milan Pathak (in orange) and fellow rafting guides from Nepal on the Zanskar River.</figcaption> </figure>  Along the highway from Leh to Pangong, Siddhi and Sujit Pariyar from Jumla are selling herbs and aromatic oils to tourists. There are 15 others from Jumla selling Nepali herbal products who spend summers here, and return home to their families for Dasain with their earnings. “When the monsoon off-season stops trekking, mountaineering and rafting in Nepal, we move to Ladakh,” says Milan Pathak, a rafting guide. Like others, Pathak runs white water on the Kali Gandaki, Bhote Kosi and Trisuli back home, and comes here for three months to raft on the Zanskar River, a tributary of the Indus. They head back in September at the start of the autumn rafting season in Nepal. The Zanskar River runs about 200km before it joins the Indus and the Nepali guides offer day trips of 35km, or half-day packages of 14km. &nbsp;

Ladakh’s Nepal links

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

Nepal’s former king Gyanendra was greeted by flag-waving supporters as he arrived at Kathmandu Airport on Sunday afternoon from Pokhara after attending pro-monarchy rallies in various parts of the country. Gyanendra and his family were escorted from the airport by supporters to his residence at Nirmal Niwas, where his family has been living since 2008 when the Constituent Assembly abolished the monarchy. The 2015 Constitution then turned Nepal into a federal democratic republic. The deposed monarch had been on a two-month long tour of religious sites and local communities across western Nepal, ending in a two-week stay in Pokhara. After staying out of controversy, Gyanendra made a statement on Nepal’s Democracy Day last month in which he said he was willing to play a role in “saving the country”. There has been a surge of pro-monarchy posts and videos on social media, where the country’s previous kings have been glorified as being nationalists who were respected by the international community.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_07b324fee8d082ed3f8566544e24d45fcd600bbb122374fc39c7a94ce3d044f2.jpg" data-media-id="editor_0" data-image-id="20250309120340_07b324fee8d082ed3f8566544e24d45fcd600bbb122374fc39c7a94ce3d044f2" data-rendition-name="original" width="1914" height="1276" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_769f688f3a5eb3602f4c24c350ba1caa6965a171c079d783e28db0f746b810d0.jpg" data-media-id="editor_1" data-image-id="20250309120340_769f688f3a5eb3602f4c24c350ba1caa6965a171c079d783e28db0f746b810d0" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>  Nepal’s monarchists, which include Gyanendra’s backers, several pro-monarchist parties and other anti-government figures, think <a href="https://nepalitimes.com/editorial/new-year-same-difference">public disillusionment </a>with the country’s ageing and ineffective leaders and institutions is at breaking point.&nbsp; There is also disappointment with elected leaders and technocrats from new parties like the Rastriya Swatantra Party (RSP), with its <a href="https://nepalitimes.com/news/rabi-s-detention-churns-nepali-politics">leader Rabi Lamichhane under investigation</a> for his alleged involvement in a scandal involving diverting funds from cooperatives. One of the staunchest backers of Gyanendra’s comeback as king is former BBC journalist Rabindra Mishra, who has been active on social media platforms posting videos and text extolling the monarchy. He has referenced recent street uprisings in Sri Lanka, Bangladesh, and Syria, cautioning Nepal’s mainstream leaders not to dismiss support for the monarchy. ‘Support for a return to monarchy is increasing even though the mainstream parties may dismiss it,’ wrote Mishra. ‘Like the leaders of Sri Lanka and Bangladesh, they should not try to suppress the voices on the streets.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_d8758f6b7474c9f3aea3661ccd60955d8553971cb0d799039bbfd232aa1a0691.jpg" data-media-id="editor_4" data-image-id="20250309120340_d8758f6b7474c9f3aea3661ccd60955d8553971cb0d799039bbfd232aa1a0691" data-rendition-name="original" width="1890" height="1260" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_63613759744c0fac33ff3eabc298079c3e525063882f4b3760954bbc0833b5cd.jpg" data-media-id="editor_5" data-image-id="20250309120340_63613759744c0fac33ff3eabc298079c3e525063882f4b3760954bbc0833b5cd" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>  But for all their bluster, Nepal’s mainstream politicians who have rotated leadership of the country between themselves, seem worried about the crowds on the streets in support of the monarchy. The TikTok ban last year, which the government said was to ‘maintain social harmony’ was put into effect to prevent pro-monarchy groups from organising on the platform. The ban on TikTok has now been lifted, and supporters of the monarchy have mobilised platforms to fan nostalgia of the golden age of royalty, and to brand former kings Mahendra and Birendra as <a href="https://nepalitimes.com/review/a-past-foretold">nationalists who upheld Nepal’s sovereignty during the Cold War</a> and commanded respect worldwide. Archival video clips of Mahendra being received by President Eisenhower in 1960 and <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">Birendra </a>by President Reagan in 1983 have been liked by thousands. Comments contrast this to the incompetence and poor standing of Nepal’s current prime ministers.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_7dab05f5703e17a82da73277f0b39bf178c1005e0758aa50077ffe1a037f4af6.jpg" data-media-id="editor_8" data-image-id="20250309120340_7dab05f5703e17a82da73277f0b39bf178c1005e0758aa50077ffe1a037f4af6" data-rendition-name="original" width="1810" height="1206" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_1ab38cdccfd076babd78579fa345520a7b2fa9c838322226a259540c8c290437.jpg" data-media-id="editor_9" data-image-id="20250309120340_1ab38cdccfd076babd78579fa345520a7b2fa9c838322226a259540c8c290437" data-rendition-name="original" width="1812" height="1206" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>  While most of the people present at the demonstration included the older demographic, younger people have especially used social media to express their support for the monarchy. Young Nepalis, disillusioned with leaders who have been prime minister multiple times since the mid-1990s, are attracted to the idea of reinstating the monarchy as a form of anti-incumbent protest, but also because they have little to no memory of living under an authoritarian absolute monarchy. ‘Those who say the monarchy is paramount today are the ones who did not live through it in the past, and are dissatisfied with the current state of affairs,’ wrote Guna Raj Luitel, Chief Editor of Nagarik Daily, in an op-ed in the newspaper on Sunday.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_720d0059207b9918def39e983d9b5c114b6afb4e7ac0ed1dadd2cba2f20f9aa6.jpg" data-media-id="editor_10" data-image-id="20250309120340_720d0059207b9918def39e983d9b5c114b6afb4e7ac0ed1dadd2cba2f20f9aa6" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_bfe50ebd413d1b177ebd02df5f837038d8a04c9d343afe39be1ebcde36db893a.jpg" data-media-id="editor_11" data-image-id="20250309120340_bfe50ebd413d1b177ebd02df5f837038d8a04c9d343afe39be1ebcde36db893a" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>  He added: ‘For those of us who have spent parts of our lives under the rule of the king… we have not yet forgotten those days, when the institution was unable to do any useful work, a disheartening period characterised by Nepalis being unable to speak freely.’ Commentators have especially been pointing to Gyanendra’s military coup in 2005 when he dissolved parliament, and tried to take the country back to the time of absolute monarchy, just like his father Mahendra did in 1960. Gyanendra became king after his brother and most of his family were killed in the royal palace massacre in 2001. Many Nepalis still seem to believe that Gyanendra was responsible, and some of this is reflected in comments on monarchist social media posts. As the monarchist rallies spread, Prime Minister K P Oli said last week that if Gyanendra really wanted power, he should form a political party and run in the next elections in 2027. Other leaders have urged the former king to honour the 2008 Constitutional Assembly decision to abolish the monarchy, as well as Nepal’s 2015 Constitution.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_978ef979c7774312ac00d3192803d974ea57ec45d704f89663b301f4f0cc9704.jpg" data-media-id="editor_12" data-image-id="20250309120340_978ef979c7774312ac00d3192803d974ea57ec45d704f89663b301f4f0cc9704" data-rendition-name="original" width="1832" height="1221" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250309120340_d11276de0161d258f135e8fba4d3eb37d0a9e579b06a4819c6609b4ecdbbe51e.jpg" data-media-id="editor_13" data-image-id="20250309120340_d11276de0161d258f135e8fba4d3eb37d0a9e579b06a4819c6609b4ecdbbe51e" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="The ghost of monarchy returns to haunt Nepal NT"> </figure>  &nbsp;In response, royalist leaders including Kamal Thapa, Rajendra Lingden, and Rabindra Mishra have responded that the monarchy is above the electoral system, calling for the reinstatement of a constitutional monarchy in which Gyanendra would be a figurehead. “There is no question of the king contesting an election, that is our job,” said RPP-Nepal chair Kamal Thapa in a tv interview. “The monarchy is a custodian of the nation, it is an institution above electoral politics.” However, there does seem to be a disagreement between hardline royalists who want a return to absolute monarchy in which Gyanendra would actually hold executive powers, and those who favour a ceremonial one. Gyanendra recently visited Bhutan, where he was given a royal welcome, and has made several trips to India where there is some support for reinstating Nepal as the world’s only Hindu kingdom.

The ghost of monarchy returns to haunt Nepal

Kathmandu was once a lake inhabited by <a href="https://nepalitimes.com/news/snakes-on-plains">serpents</a>, until Manjushree visiting from present-day China saw a fluorescent lotus in the water. To reach it, the sage used his flaming sword to cut a gorge <a href="https://nepalitimes.com/from-the-nepali-press/dry-port-at-chobhar-faces-resistance">at Chobhar</a>, draining the lake and turning it into a fertile valley. The Manjushree Trail Race (MTR) is inspired by this legend. There are five categories along a near-circular route around the rim of <a href="https://nepalitimes.com/banner/bringing-silicon-valley-to-kathmandu-valley">Kathmandu Valley</a>: 10k, 30k, 50k, 100k, and one that is 100 miles that is 157.7km (map, right). The 100 miles category starts at 8AM on 14 March, and runners have 52 hours until noon on 16 March to complete it. Arjun Kulung Rai’s 26:52:56 is the current record, set in 2024. “<a href="https://archive.nepalitimes.com/news.php?id=17327">The Manjushree legend</a> and the perfect loop make the race very meaningful, and I wanted to do it,” says participant Dong Sheng from the northern Chinese city of Harbin who started running in 2016 with 5k until he accomplished a 100 miler in 2022. “<a href="https://archive.nepalitimes.com/article/nation/first-edition-ultra-trail-kathmandu,1050">Running </a>is spiritual, as you are always trying to overcome what you could previously do.” Sheng is one of 131 international runners who have signed up for the Manjushree race, where there are a total of 502 participants this year, 94 of them women. The first edition of the race only had 7 runners total. Read also: <a href="https://nepalitimes.com/here-now/nepali-trail-running-champions">Nepali trail running champions</a>, Preeti Khattri “A reason this race is popular is because it is a good mix of rural and accessible,” says Jimmy Oostrom, a Dutch runner. “Often, 100-milers are way out of the way. Here, the start is only a short drive after landing in Kathmandu.”&nbsp; The 100 mile and 50km are now qualifier races for the Asia Trail Masters, an international series of trail races based in Hong Kong. Last year, a Nepali team competed and won in the Asia Trail Master Championship series in Borneo. The 100-mile category starts and finishes at Single Tree on Nagarjun, other distances have different start and end points. On the winning team was Rashila Tamang, who is part of Trailmandu that implements logistics for the race, such as recruiting and training volunteers, and marking the route. “Nepal has great <a href="https://archive.nepalitimes.com/news.php?id=9938">geography</a> for <a href="https://nepalitimes.com/here-now/mira-rai-racing-to-help-other-runners">trail running</a>, but it is still very hard to make it your career,” says Tamang.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025031219034_98b83aa3d42c7d5e8a2ef2f80dc03512374413e31eb55441234cd075bea7e113.jpg" data-media-id="editor_8" data-image-id="2025031219034_98b83aa3d42c7d5e8a2ef2f80dc03512374413e31eb55441234cd075bea7e113" data-rendition-name="original" width="1244" height="598" loading="lazy" alt="Manjushree Trail map "> </figure>  The MTR has a guidebook detailing the categories, route, checkpoints, rules and what is available at each stop.&nbsp; “If we say we’re going to start at 8, we’re going to start at 8,” says Narayan Acharya, the man behind naming the race ‘Manjushree’. “People tried to sign up after the deadline, we had to tell them no.” Acharya who builds <a href="https://nepalitimes.com/banner/foundations-for-sustainable-buildings-in-nepal">traditional rammed earth houses</a> through his company Sustainable Future Nepal, has been long involved with promoting trail running in Nepal, and hailing from Jumla himself, mentored <a href="https://nepalitimes.com/here-now/run-sunmaya-run">Sunmaya Budha</a> also from Jumla, now a trail running star in and outside Nepal. Read also: <a href="https://nepalitimes.com/here-now/sunmaya-budha-stays-in-the-running">Sunmaya Budha stays in the running</a>, Vishad Raj Onta&nbsp; The organisers are sponsoring up to 50 runners from <a href="https://nepalitimes.com/banner/portrait-of-a-photographer-in-rural-nepal">rural Nepal</a> who may not afford the Rs6,000 entry fee to participate. “It is hard to get sponsors to give us money because Nepal is still a pretty small market,” says Oostrom, currently on crutches due to an ACL injury. “We also have to take the necessary precautions to make sure we can quickly help a runner in trouble.” The logistics of an ultra trail race are more complicated than a <a href="https://archive.nepalitimes.com/news.php?id=1223">marathon</a>. Marking and maintaining the trail requires careful work, especially as signs often get lost. The <a href="https://nepalitimes.com/multimedia/the-steadfastness-of-a-long-distance-runner">long distances </a>also require runners to run through the night.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025031219030_19111e03939541b8980007437c89966dc7a8fd6246b8407440694503bf7890a3.jpg" data-media-id="editor_15" data-image-id="2025031219030_19111e03939541b8980007437c89966dc7a8fd6246b8407440694503bf7890a3" data-rendition-name="original" width="2250" height="1501" loading="lazy" alt="Manjushree Trail "> </figure>  A <a href="https://nepalitimes.com/business/buddha-air-gets-state-of-the-art-flight-tracking-system">live tracking system </a>would ensure a runner’s safety as well as prevent cheating, but for now organisers are relying on vigilant volunteers and fellow runners to find runners needing help. There are strict rules for the race, and breaking them can result in significant time penalties or even disqualification. Get food or drink assistance outside of the checkpoints and you get a penalty of 15 minutes. Miss any pieces of mandatory gear and an hour is added to your time. Take some sort of shortcut or cheat using a vehicle, and you are disqualified. There are dangers like cliffs <a href="https://archive.nepalitimes.com/page/cantilever-trail-nepal">along the trail</a>, lightning on exposed ridges, <a href="https://nepalitimes.com/banner/disasters-in-nepal-come-in-waves">landslides caused by earthquakes</a>, <a href="https://nepalitimes.com/banner/trekking-to-save-nepals-snow-leopards">leopards</a>, and hornet swarms. Ultra running takes a massive toll on the body. The brain may shut off certain areas to be able to keep going, so volunteers watch runners carefully.&nbsp; “After mile 50, your body starts digesting itself,” says Oostrom.&nbsp; Alongside Acharya and Oostrom, the organising crew is made up of race director Ashish Mishra, and Jeevan Lama and Rashila Tamang from Trailmandu. “We can execute this race well because we are all passionate runners ourselves,” says Acharya. The team has taken measures to make the race safe and comfortable for female participants. ‘Run freely, speak openly, and wear what makes you feel comfortable in our races,’ says the guidebook. Prize money is the same for male and female winners, across categories.&nbsp; Lately, Nepal has been steadily building itself as a destination for<a href="https://nepalitimes.com/banner/taking-the-high-line"> adventure sports </a>such as <a href="https://nepalitimes.com/here-now/nepal-pushes-mountain-bike-tourism">mountain biking</a> and trail running. And with the Manjushree race, enthusiasts have hopes to set the standard for other trail races in the country. Sheng has been part of big races in China. “The better the economy, and more money people have, the more they can get involved in such pursuits,” he says. “But I have to say, for the scale of this race, everything has been done very professionally.”&nbsp;

Around Kathmandu in 100 miles

Generative <a href="https://nepalitimes.com/here-now/artificial-censorship">AI models</a> such as <a href="https://nepalitimes.com/banner/chatgpt-news-about-nepal">ChatGPT</a> and Sonnet are trained on massive amounts of data that have over time enabled them to answer general questions. But they do not perform as well on narrower domains, even hallucinating or making things up.
Now here comes <a href="https://www.anthromind.com/">Anthromind</a>, a startup developed by a 28-year-old Nepali engineer Pratik Karki in the tech-womb at <a href="https://nepalitimes.com/here-now/nepal-in-the-decade-of-ai">Silicon Valley</a>, which develops datasets to improve the performance of AI models in specific areas.
Large<a href="https://nepalitimes.com/here-now/nepal-bhasa-on-google-translate"> language models </a>are ‘distilled’ by running them on smaller, higher-quality data. AI is first used to assist with labelling or generating data. After that, human experts look at the responses and explain how they are wrong, helping tune the model just right.
Karki got the idea while working at Google, where he saw that while companies were trying to create their own models, they failed because the data was of low quality. In 2024, he left his lucrative job and took a risk by <a href="https://nepalitimes.com/here-now/nepal-can-create-a-business-friendly-environment?fb_comment_id=2995148037177314_6370548419637242">setting up a business </a>that could make real impact.
It has not been easy. At Google he was one of over 100,000 employees, but after launching Anthromind, Karki has had to do sales, <a href="https://archive.nepalitimes.com/news.php?id=4323">marketing</a>, and recruiting, as well as leading a whole new team.
“At some point in your career, everything turns into sales,” Karki told us by phone. “You need to sell <a href="https://nepalitimes.com/news/why-invest-in-nepal">potential investors</a> on your vision, and you get a million no’s before a yes.” The connections he made at Google helped, and he even managed to poach a few and others became <a href="https://nepalitimes.com/here-now/nepal-has-to-curb-corruption-before-wooing-investors">investors</a>.
Karki studied in Biratnagar before moving to Kathmandu to do his A-levels where he did business courses. He remembers those formative years and credits his teachers in Nepal for encouraging him to put himself out there and to speak up when needed.
He then went to Grinnell College in Iowa where he studied computer science and statistics, and realised that he liked to code: “I especially got a high debugging a program until it worked.”&nbsp;
He went on to pursue a Master’s in Computer Science and describes the course as a pure program with some very difficult machine learning courses.
Read also: <a href="https://nepalitimes.com/opinion/comment/tech-and-transition-in-nepal">Tech and transition in Nepal</a>, Ashutosh Mani Dixit
Karki was recruited to Google from a highly selective early career program and got to work closely with the companies that were then building the generative Large Language Models that have since taken the world by storm. He worked on essential training infrastructure, including data warehousing and <a href="https://archive.nepalitimes.com/news.php?id=9825">computing </a>needs.
“Internally, we all knew about this<a href="https://nepalitimes.com/opinion/makeshift/addressing-nepals-digital-divide"> technology </a>and how disruptive they would be,” says Karki. “But I also saw its limitations.”
Karki took a calculated risk in setting up his own company, knowing fully well that for Anthromind to succeed he would need a very obsessive and disciplined mindset.&nbsp;
“Every Friday evening I look at weekly data, and what worked and what didn’t, especially in terms of getting customers,” he says. “I had to be very deliberate with everything I did.”
Karki attributes this discipline and frugality to growing up in Nepal, which he misses dearly, especially his family and the community. His best friends in California are Nepalis, they meet often and have already made plans to celebrate the approaching <a href="https://nepalitimes.com/editorial/new-year-same-difference">Nepali New Year</a> with home-made <a href="https://nepalitimes.com/banner/adventures-of-a-little-dumpling-named-momo-and-other-books">momos</a>.&nbsp;
Karki sees a lot more potential in the <a href="https://nepalitimes.com/news/it-is-it">IT industry in Nepal</a>, at the moment saturated with service-based companies when ideally new businesses should focus on products.&nbsp;
He explains how companies that provide offshore <a href="https://nepalitimes.com/opinion/tech-away/nepal-s-health-tech-industry-is-here-to-stay">tech services </a>operate in a ‘default:alive’ state, where they can carry on even if they only have one client.
The alternative is a company whose success depends entirely on the quality of the product it puts out, a ‘default:dead’ state. This forces programmers to adopt an urgent, disciplined mindset. While a lot harder and riskier, it also has higher returns.
Read also: <a href="https://nepalitimes.com/opinion/people-power/nepal-as-an-ai-power-bank">Nepal as an AI power bank</a>, Bikash Pandey
Karki is in a cohort of <a href="https://nepalitimes.com/opinion/12-full-opinion/let-s-listen-to-nepal-s-young-changemakers">young Nepalis</a> in the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/it-is-all-about-it-in-nepal,3887">IT industry</a> who have proven that serious tech innovation can come out of Nepal. Pukar Hamal of SecurityPal was recently featured in Forbes, while Sameer Maskey’s FuseMachines has been listed on NASDAQ.
Financially independent since 18, Karki says <a href="https://nepalitimes.com/news/1-in-5-nepal-families-lack-food">Nepali families</a> should encourage their children to make such moves. Nepal’s education system should reward curiosity, instead of quelling it, to promote <a href="https://archive.nepalitimes.com/article/business/kesha-kumari-damini-awarded-by-norwegian-business-for-peace-foundation,1356">entrepreneurship</a>.&nbsp;
He says, “Students should be rewarded for thinking individually and speaking out, like I was.”

Kathmandu Valley to Silicon Valley

Throughout human history, civilisations have been named after the rivers along which they flourished: Indus Valley, Nile, Tigris-Euphrates. Many of these cultures later collapsed, partly because they could not manage their water needs properly. Three recent books about Himalayan rivers look at their history and geography, and how they nourished civilisations downstream. The rivers gave birth to the world’s major religions, their waters and the mountains from which they sprang were revered. Mythology and geology converge in High Asia. Mt Kailash is holy to the Hindu, Jain, Buddhist and Bon faiths as the centre of the world and the abode of the gods. Indeed, from its vicinity emerge Asia’s great rivers: the Indus and Sutlej, Ganga and the Yarlung Tsangpo (Brahmaputra) and Karnali (Mapcha Tsangpo).&nbsp; Legend has it that Kathmandu Valley was once a primordial lake drained by Manjushree who cut a mountain with his flaming sword. There is scientific evidence that the paleo lake was indeed emptied in stages starting 40,000 years ago after a tsunami unleashed by a major earthquake epicentred in Langtang. The Bon faith describes the Tibetan Plateau being pushed up from a roiling primeval sea, confirming current evidence about the orogenesis of the Himalaya. In local lore, supernatural lha (animal deities) and lu (serpents, naga) moved from sea to land, just as the theory of evolution explains the emergence of early amphibians and land creatures. In <a href="https://www.routledge.com/Rivers-of-the-Asian-Highlands-From-Deep-Time-to-the-Climate-Crisis/Gamble-Tan-Xu-Beavis-Maurer-Pittock-Powers-Wasson/p/book/9781032490595?srsltid=AfmBOopjkpgcN1_7t1jTI_Z1_27yRthBTbdHA15OWcE9Ge3S409jhUX3">Rivers of the Asian Highlands: From Deep Time to the Climate Crisis</a>, Himalayan historian <a href="https://scholars.latrobe.edu.au/rgamble">Ruth Gamble</a> and co-authors begin by tracing the genesis of the Himalaya, citing evidence that the Tibetan Plateau pre-dated the collision of the Indian and Eurasian plates 50 million years ago. Asia’s main rivers co-emerged with the mountains, their waters cutting canyons through rocks as they were uplifted. The gigantic pileup acted as a moisture trap for the proto-monsoon, the rain and ice sculpting peaks as they rose. But so strong were tectonic forces that the uplift outpaced erosion on the Tibetan Plateau. These dynamic processes are still at work, but in many places across High Asia there is a new factor at play: modern infrastructure (like haphazard road-building in Nepal) is increasing erosion faster than the uplift rate.&nbsp; ‘This is an example of human action overcoming tectonics,’ write the authors in Rivers of the Asian Highlands, in which the chapters look at Himalayan rivers from a planetary scale, their socio-cultural histories, to present-day engineering to regulate them. An ongoing dam-building spree and anthropogenic climate breakdown combine to bring about the most rapid change the Himalaya and their rivers have seen for millions of years. One example is the Medog Hydropower Station being built on the Yarlung Tsangpo at a bend on the Brahmaputra before it enters India. The river drops 2,000m within a 50km stretch, the gradient allowing it to generate 60,000MW — the biggest single hydroelectric plant in the world. Gamble and the authors of Rivers of the Asian Highlands highlight the Gravitational Potential Energy (GPE) of the Himalaya that allows falling water to be converted into electricity. But GPE also unleashes landslides, rockfalls, avalanches, Glacial Lake Outburst Floods (GLOFs) and Landslide Lake Outburst Floods (LLOFs), the risks posed by them magnified by climate change and seismicity. <blockquote>The Asian Highlands’ abundance of Gravitational Potential Energy (GPE) can support the region’s energy transition, but it needs to be produced in much less hazardous and less environmentally and socially impactful ways. The best means of doing this is through off-river, pumped-storage hydropower stations that back up solar and wind energy generators. Smaller projects such as this would also involve less risky tunneling and displacement.</blockquote> Rivers of the Asian Highlands: From Deep Time to the Climate Crisis by Ruth Gamble, et al. There is geological evidence that megafloods on Himalayan rivers are more responsible than mass wasting in weathering down the mountains. One big LLOF, for example, could ‘move 1,000 times more sediment than would otherwise be transported over millions of years’. Permafrost melting in the Tibetan Plateau and inside moraines caused recent back-to-back GLOFs in Chamoli in the Indian Himalaya, Melamchi in Nepal, and the South Lhonak in Sikkim — all deadly disasters that together destroyed billions of dollars worth of infrastructure downstream. Rivers of the Asian Highlands travels from deep time to the present climate crisis, taking readers through neatly divided chapters titled Mountain Rivers, Climatic Rivers, Frozen Rivers, Living Rivers, Human Rivers, Territorializing Rivers, Agricultural and Pastoral Rivers, even NGOs and Rivers.&nbsp; Although the book’s title is about the ‘Asian highlands’, it <a href="https://www.himalmag.com/comment/eastern-himalaya-cradle-ethnogenesis">focuses mainly on the Dri Chu (Yangtse)</a> and Yarlung Tso (Brahmaputra). Readers looking for references to Nepal’s rivers will be disappointed, although there is quite a bit about Bhutan. This is surprising because 70% of the annual flow in the Ganga is from tributaries in Nepal, some of them rivers like Karnali, Arun or Bhote Kosi that traverse the Tibetan rimlands. As demand for water and energy grows in the large and increasingly affluent population of north India, and climate breakdown melts Himalayan glaciers, storing monsoon runoff on reservoirs in Nepal is going to be the geopolitical issue of the next decades.&nbsp; The chapter on NGOs and Rivers also fails to cite the work of Nepal’s civil society groups like the Alliance for Energy that built international solidarity in 1995 against the Arun III project on a river that starts in Tibet and flows into Nepal. Ultimately, the World Bank pulled out of the project and the Nepal government invested in smaller decentralised plants. Today, a cascade of power plants are being built by Indian companies on the Arun which do not seem to have taken into account the <a href="https://www.science.org/doi/10.1126/science.ads2659">2023 Sikkim GLOF</a> that swept away the $1 billion dollar Teesta III and destroyed other infrastructure. The World Bank itself is back with the Upper Arun project located directly below expanding glacial lakes in Tibet.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250222020256_f2b33e60e6b386308bdf59b58b59e116e90e2e4466a06200faf76fd851f53505.jpg" data-media-id="editor_4" data-image-id="20250222020256_f2b33e60e6b386308bdf59b58b59e116e90e2e4466a06200faf76fd851f53505" data-rendition-name="original" width="5712" height="3213" loading="lazy" alt="Teesta"> <figcaption>The Super Trisuli project in Nepal has ruined the most scenic and ecologically sensitive part of the river to generate just 100MW of power. Photo: KUNDA DIXIT</figcaption> </figure>  Despite geographical gaps, Rivers of the Asian Highlands reads like an encyclopedia of Himalayan rivers. The authors look at them not in isolation but as interconnected systems which need a multidisciplinary approach to study the geological, religio-cultural, infrastructure, climate and ecosystem services aspects of catchments.&nbsp; Mt Kailash (Kang Rinpoche) is a case in point. It is fascinating to think that it was part of a mountain range even before the collision of the continents that formed the Himalaya, and was probably buried in ice 3km thick till 15,000 years ago during the Last Glacial Maximum.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022203020_23c02ec4671f5c3c561fa6b450c1f209720a25794e067b9bb5db0f4649b1b6dc.jpg" data-media-id="editor_5" data-image-id="2025022203020_23c02ec4671f5c3c561fa6b450c1f209720a25794e067b9bb5db0f4649b1b6dc" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Mt Kailash"> <figcaption>Mt Kailash. Photo: NABIN BARAL</figcaption> </figure>  Lake Mansarovar and Mt Kailash are also the subject of the new Nepali language book छालबाटो (Road by the Waves) by environmental journalist <a href="https://nepalitimes.com/news/nepal-and-china-to-study-trans-himalayan-railway">Ramesh Bhushal</a> in which he walked, rafted and drove from the source of the Karnali in Tibet, right through 500km of western Nepal, and on to India <a href="https://nepalitimes.com/banner/dancing-with-the-river">where the river meets the Ganga</a>. In his entourage is activist, <a href="https://archive.nepalitimes.com/regular-columns/Comment/rivers-fighting-back,993">Megh Ale</a>, who is on a campaign to stop dams and infrastructure on <a href="https://nepalitimes.com/banner/dams-and-dreams-a-journey-down-the-karnali">Nepal’s longest and only free-flowing river</a>. The book profiles his lonely upstream struggle to conserve the country’s rivers. “We worship rivers, but we don’t love them,” laments Ale. Bhushal’s book is as much about the landscape of this transboundary river as it is about the people he meets along the way, and their relationship with <a href="https://nepalitimes.com/banner/climate-denial-in-the-himalaya">a river that most regard as a curse </a>keeping them poor because they believe it flows out of Rakshas Tal (Lagngar Tso) in Tibet, regarded as a lake of demons, unlike the sacred Mansarovar nearby. The expedition is out to prove that the <a href="https://nepalitimes.com/banner/a-karnali-portrait">Karnali River</a> actually starts in the mountains 50km southwest of the Mansarovar (Mapamyu Tso) at the <a href="https://www.youtube.com/watch?v=jQ9Za5QDkvY">Peacock Falls (Mapchu Khambap)</a>. The Indus is called Sengge (Lion), Sutlej is Langchen (elephant) and the Brahmaputra is Tamchok (horse), all starting within 60km of Mansarovar but flowing out in different directions. <blockquote>“I have visited hundreds of rivers around the world, but for some reason I have never seen a river as beautiful as the Karnali. One day I would like to visit its source.”</blockquote> River conservation activist Megh Ale quoted in छालबाटो by Ramesh Bhusal. But all this reverence for the mountains and rivers may not be enough to save the region from the impact of climate breakdown. Heat stress in the Subcontinent will coincide with a shortage of water in the coming decades.&nbsp; <a href="https://www.nytimes.com/2018/12/01/opinion/himalayas-mountains-dams.html">Sunil Amrith</a> in his 2019 book, <a href="https://nepalitimes.com/here-now/the-monsoon-and-nature-s-arithmetic">Unruly Waters: How Mountain Rivers and Monsoons Have Shaped South Asia’s History</a> takes a broader look at how geotectonics, geopolitics, colonialism and nationalism have determined the relations between human beings and rivers. The Himalayan water cycle starts from monsoon moisture that precipitates with orographic uplift along the mountains, atmospheric rivers unleash cloudbursts, ground water emerges from springs that join up to flow down to rivers and the ocean. The Third Pole is the biggest repository of fresh water stored as ice after the polar regions. But it is a hotspot both because of the climate crisis and geopolitical tensions, which impacts on river basin cooperation, early warning data sharing, and ultimately in mitigation of greenhouse gas emission and planning for new risks faced by infrastructure. After independence, India adopted the colonial extraction model for rivers. Inaugurating the Bhakra-Nangal Dam in 1953, Jawaharlal Nehru called it “a temple of &nbsp;modern India … worthy of worship’. Gamble also alludes to this in her book about the European attitude about rivers as a resource to be ‘enclosed, extracted, scrutinised, commodified’. <a href="https://dialogue.earth/en/water/review-unrully-waters/" target="_blank">Amrith</a> profiles the work of Sir Arthur Cotton who was building canals linking rivers in British India at about the same time his contemporaries like botanist <a href="https://nepalitimes.com/here-now/republic-of-nepal-s-animal-kingdom" target="_blank">Joseph Dalton-Hooker </a>were exploring the <a href="https://nepalitimes.com/here-now/saving-kangchenjunga" target="_blank">Teesta and other rivers</a> in the Himalaya to catalogue new plant species. India's current National River Linking Project that would join 37 rivers with 9,000km of canals builds on Cotton’s early work. <blockquote>If there is one consistent lesson in Unruly Waters, it is that water management never has been, and can never be, a purely technical or a scientific question; neither can it be addressed on a purely national scale … the battle continues to understand the monsoons and mountain rivers that shape Asia.</blockquote> Unruly Waters: How Mountain Rivers and Monsoons Have Shaped South Asia’s History by Sunil Amrith And in Nepal, hydropower has become the holy grail as the government unveiled an Energy Development Roadmap to generate 28,500MW by 2035 at a cumulative cost of nearly $50billion. This means no river in Nepal will be left free-flowing. The Trisuli along the Prithvi Highway is being dammed for only 100MW of power, destroying the most scenic part of a river that has rapids famous internationally for white water rafters. Even before it was completed, the dam site suffered Rs200 million in damage in last September’s flood.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022203020_d9610a11bccb593d32bf4d214479caa17dfbdd6cdfe5e8c38fdcb8eb752fc0ec.jpg" data-media-id="editor_18" data-image-id="2025022203020_d9610a11bccb593d32bf4d214479caa17dfbdd6cdfe5e8c38fdcb8eb752fc0ec" data-rendition-name="original" width="4032" height="2268" loading="lazy" alt="Trisuli"> <figcaption>Boulders and sediment 80m deep were brought down by the Teesta after a GLOF destroyed the $1 billion Teesta III plant in Sikkim in 2023. Photo: KUNDA DIXIT</figcaption> </figure>  In Sikkim, there is strong <a href="https://india.mongabay.com/2025/02/political-stir-follows-expert-panels-approval-to-rebuild-teesta-dam-in-sikkim/">local opposition to rebuild Teesta III</a> but investors are looking at the huge economic windfall from the river as it drops from 5,000m below Kangchenjunga to 300m within 80km — one of the highest Gravitational Potential Energy of any river in the world. Besides Nepal and Bhutan, the ‘watersheds’ of the Himalaya are turning into ‘powersheds’ as India and China compete for hydro-hegemony. India is said to be planning to dam the Brahmaputra to offset the disruption caused by China’s Medog Dam upstream (see map, below).&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022203024_37c60bd2a45a32cd23928c900615b6c7045b2e0265050c4761c3749361181999.png" data-media-id="editor_20" data-image-id="2025022203024_37c60bd2a45a32cd23928c900615b6c7045b2e0265050c4761c3749361181999" data-rendition-name="original" width="1918" height="668" loading="lazy" alt="Himalayan rivers map"> </figure>  The thread running through all three books is the need to recognise the ecosystem services that the inhabitants of High Asia provide by protecting our rivers. Not all rivers need to be monetised, conserving rivers and the cultures they retain protects a nation’s natural wealth into the future as the humans of High Asia try to survive climate breakdown. The highlands will be under even more pressure in the coming decades as people in the plains migrate en masse to higher latitudes or higher altitudes to escape deadly heat and ocean expansion.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022203028_524a74bf65111db3826bfd246576329c45cd4bd0a48b15024b6a520582bbf05a.jpg" data-media-id="editor_21" data-image-id="2025022203028_524a74bf65111db3826bfd246576329c45cd4bd0a48b15024b6a520582bbf05a" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="River of Asian Highlands cover"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022203028_20c17a9b92b11c8bb33df5f2fc2781498464288533c310ccd61e1245e709d99c.jpg" data-media-id="editor_22" data-image-id="2025022203028_20c17a9b92b11c8bb33df5f2fc2781498464288533c310ccd61e1245e709d99c" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Unruly waters cover"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250222030212_649cc2ba02e806da2b128fccaf5de2e5c830e10646ba0b43d56da39f65a70f9f.jpg" data-media-id="editor_23" data-image-id="20250222030212_649cc2ba02e806da2b128fccaf5de2e5c830e10646ba0b43d56da39f65a70f9f" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Chaalbato cover"> </figure>

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