Traditional thangka and paubha painters spend months hunched in small rooms making meticulous pieces of <a href="https://nepalitimes.com/review/golden-deities">devotional art </a>that follow ancient canons and style. These are not starving <a href="https://nepalitimes.com/here-now/the-world-of-a-working-artist">artists </a>hoping to make it big, these are professionals who have trained for years under strict rules and masters. They know their level, and know that a piece will take about three months of full-time work. They set a standard price that reflects three months’ wages in Nepal. Local and foreign buyers visit the studios regularly, to acquire the pieces to keep or sell. That is often the last the artists see of their work -- they do not know where in the world it has gone, or how many times it has changed hands and for what prices. This can be a problem because<a href="https://nepalitimes.com/here-now/five-decades-of-lok-chitrakar"> traditional art</a> is often unsigned, so artists go unrecognised. <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Collectors and galleries</a> may also be hesitant to buy or exhibit a piece if they cannot say for sure where it came from. This is an even bigger problem in thangka and paubha because making pristine copies of the works of masters is not seen as forgery or a violation of intellectual property, but as a test of their ability to adhere to sacred tenets.&nbsp; “When senior masters paint a piece, and photos of it get out, it gets copied immediately. I have heard stories of collectors selling these copies as if they were the original,” says Thimi-based artist Sundar Shrestha, who made a switch from <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139">contemporary art to paubha</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140828_00b0ced5e1745c2c168fef4d4124f2165cf1a84a42376da96da2c7b62b00d870.jpg" data-media-id="editor_5" data-image-id="20250810140828_00b0ced5e1745c2c168fef4d4124f2165cf1a84a42376da96da2c7b62b00d870" data-rendition-name="original" width="832" height="1248" loading="lazy" alt="Digital verification of traditional art"> </figure>  The Kathmandu-based <a href="https://himalayanartcouncil.org/">Himalayan Art Council</a> is trying to resolve the issues of ownership and provenance of traditional Nepali art by building a cutting-edge system that issues a tamper-proof digital certificate to each artwork.&nbsp; The system tracks each time there is a transaction involving the piece, and provides a royalty to the artist each time. In doing so, the system also creates a detailed inventory of <a href="https://nepalitimes.com/here-now/unnamed-masters-of-nepal-s-art-identified?mibextid=Zxz2cZ">Nepal’s traditional artforms</a>, which will prove valuable for future scholars or repatriation efforts. THE TEAM Behind this initiative is a team with activist-entrepreneur Sean Howell, curator and museologist Meena Lama, Mercantile CEO Sanjib Rajbhandari, and blockchain expert Bijay Bogati. Howell’s interest in the project started out through a connection to Nepal that began with a love for <a href="https://nepalitimes.com/banner/red-panda-on-the-red-list">red pandas</a>, and an invitation to promote <a href="https://nepalitimes.com/here-now/shrinking-tourism-s-ecological-footprint">eco-tourism</a>. Howell has a diverse background in finance, the tech world and social communication. He has been art commissioner for Seattle, and knows all about blockchains, the technology underpinning this art initiative. “I saw that there were many people working in art preservation in Nepal, and that current, living artists were facing problems,” explains Howell. He &nbsp;recognised that these problems had already been solved elsewhere in the world. “This technology is a low-cost, high-value solution that ensures artists receive fair value for their work while also establishing a <a href="https://nepalitimes.com/news/digital-protection-for-nepal-s-art">digital archive of Nepali art</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140832_65be31ea44d6076462ce36b2d96594a874f42c24915459f23c7f75471e1547ed.jpg" data-media-id="editor_11" data-image-id="20250810140832_65be31ea44d6076462ce36b2d96594a874f42c24915459f23c7f75471e1547ed" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Digital verification of traditional art"> </figure>  "Trust is paramount for collectors," says Howell. "<a href="https://nepalitimes.com/review/the-craft-of-art">Thangka art</a> has high market value globally that is not reflected in local transactions due to the opaque nature of its sales." Building the actual system is a team of software engineers that works out of the Mercantile office in Kathmandu, led by Bijay Bogati. Bogati transitioned to blockchain in 2019 after working with Khalti as a founding engineer, and held remote senior software engineer positions for German and US-based companies. “The most interesting part of this project is how this futuristic technology is being used in Nepal to create a digital ledger of this huge legacy of traditional artists and art,” says the soft-spoken Bogati. Holding together the whole operation is curator Meena Lama, who has an MA in Museology and Buddhist Collections. She says, “While there is undoubtedly a commercial side to this project, the most important thing is that it helps digitally archive traditional Himalayan art and makes it much easier to study. Especially as many of the country’s finest works of art are held in private collections and risk being lost to time, damage, or disappearance. To kickstart the project, Lama and the team selected fifty significant pieces of thangka and paubha from different artists, certified them at no cost, and exhibited them at the Patan Museum last month. Lama’s connection to the art world and Bogati’s expertise in this new technology have also been important to get artists to buy in to the project. “Initially, other artists and I were a little skeptical,” admits Sundar Shrestha. “But I had worked with Meena on exhibits before, and Bijay’s grasp of the tech put me to ease and made me quite excited.” THE TECH In the big picture, blockchain technology is part of a movement in tech referred to as ‘Web3’, which is widely regarded as the next evolution of the internet. Instead of central authorities that control data and user-experience, such as Facebook or Google, Web3 aims to devolve power over many users, giving them more of a say over their identity, online interactions, and transactions. One of the goals is to make digital records as reliable as physical ones, and secure enough for banking or legal transactions. Art and cultural heritage can be protected by the same trusted tools. The Himalayan Art Council’s project follows long-established international standards by adding a secure, centralised digital layer to every record, which safeguards traditional art, gives it global credibility, and connects it to the same trusted systems used by leading institutions around the world. The key concept for Web3 and the Himalayan Art Council’s project is blockchain, a technology without central authority that records transactions in a way that is both secure and transparent. Each transaction is a ‘block’, and is linked mathematically to the transaction that happened before it to create a ‘chain’ of digital records across computers, following the same security protocols used in banking. Altering the details of any one transaction requires all the computers that are linked to agree, making tampering or fraud virtually impossible.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140832_5c4da6fbadb885af81ceab7f223a7ef041fb62d718a1c5543ec9cba5414b9499.png" data-media-id="editor_13" data-image-id="20250810140832_5c4da6fbadb885af81ceab7f223a7ef041fb62d718a1c5543ec9cba5414b9499" data-rendition-name="original" width="1023" height="690" loading="lazy" alt="Digital verification of traditional art"> </figure>  Himalayan Art Council would take varied data about the painting: authorship, high-resolution images, chain of ownership, transaction history and feed it into an algorithm that creates a ‘hash’, or a unique identifier for that particular piece. This hash then is turned into a QR code included on the art. Then anyone can scan the code to check the piece’s history and legitimacy. A key feature is that every time the piece is resold, the original artist can opt to automatically receive royalties worth up to 10% of the value, and can choose whether this money goes directly to their family, a trust, or a monastery. Bogati points out a key caveat: “The word blockchain is strongly associated with cryptocurrency, which is not legal in Nepal, and not what we are doing. We are using the features of blockchain that make it an excellent system of digital registry.” THE ARTISTS As an artist, Sundar Shrestha says the Himalayan Art Council initiative inspires hope especially because it is finally about paying royalties.&nbsp; “This is a new concept in traditional art,” says Shrestha, who notes that his Newari traditional artist forebears painted their whole life, often with no recognition and remuneration.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250810140840_4103d15ff14d9042063f3ae2ee3ae159cd7a37b11b34f2c9edbe7cdccd5f520f.png" data-media-id="editor_14" data-image-id="20250810140840_4103d15ff14d9042063f3ae2ee3ae159cd7a37b11b34f2c9edbe7cdccd5f520f" data-rendition-name="original" width="1804" height="2014" loading="lazy" alt="Digital verification of traditional art"> </figure>  Over the lifetime of a body of work through multiple re-sales, the royalty system could make traditional art more worthwhile as a profession, and get more Nepali artists to take it up.However, Shrestha admits that the traditional system also has its merits, and will not go away very soon. He says, “Artists are incredibly focused on their work, because they have to be. Collectors and sellers understand art markets in Nepal and abroad much better than we do, and they bring in regular work that gives us an income and keeps us from starving.” Part of the skill of a collector is the exhibitions they hold or the relationships they cultivate in high society, which they want to have some secrecy about, says Shrestha, who plans to use both channels to sell his work. The Himalayan Art Council’s digital initiative would also remove the taboo about talking about the price of traditional art. “Sometimes a student’s painting might sell for higher than the master’s, which can be disrespectful.” Says Shrestha. “And the general sentiment is that paubha are sacred and should be a meditation and a discipline, and that artists are not in it for commercial reasons.”

Vishad Raj Onta

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Digital verification of traditional art

Whenever Nepali art is mentioned, the first things that come to mind are <a href="https://www.nepalitimes.com/banner/sacred-survival/" target="_blank">thangka</a> paintings or bronze Tara. Now, an exhibition at Europe’s foremost ethnographic museum in Vienna &nbsp;paints a surprisingly vibrant picture of contemporary art in Nepal.
The <a href="https://www.weltmuseumwien.at/ausstellungen/nepal-art-now/" target="_blank">Nepal Art Now</a> exhibition at the <a href="https://www.weltmuseumwien.at/" target="_blank">Weltmuseum Wien</a> is the largest ever exhibition of modern Nepali art outside the country, and includes 130 paintings, sculptures, video art and installations by 40 artists from Nepal.
“This is an exhibition that showcases the creativity and energy of Nepali artists who redefine the influence of the West, and it shows how the local, national and global permeate each other,” said Christian Schicklgruber, director of the Weltmuseum Wien, who co-curated this exhibition.
Read also: <a href="https://www.nepalitimes.com/banner/nepal-art-now-in-vienna/">Nepal Art Now in Vienna</a>
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Schicklgruber and the late <a href="https://archive.nepalitimes.com/regular-columns/On-the-way-up/complete-projects-of-Dina-Bangdel,977" target="_blank">Dina Bangdel</a> came up with the idea for a major exhibition three years ago. Bangdel died suddenly in 2017, but the project went ahead in her memory with co-curator Swosti Rajbhandari Kayastha of the Nepal Art Council. In the mezzanine of the Weltmuseum is another presentation of <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank">Maithil art</a> by female painters, put together by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Himalayan-style-kelly-burkert-book-review,2032" target="_blank">Claire Burkert</a>.
“The hardest part of the exhibition was to select art works from more than 800,” recalls Kayastha. “We worked extra hours to curate it, and had to leave behind many works by artists we knew. But these paintings represent the best of Nepali art today.”
Indeed, the works by <a href="http://archive.nepalitimes.com/blogs/thebrief/2017/07/26/using-art-for-social-change/" target="_blank">Hit Man Gurung</a>, <a href="https://archive.nepalitimes.com/article/review/nepali-artists-showcase-work-on-migrant-workers-in-dhaka-art-summit,1110" target="_blank">Sunil Sigdel</a>, <a href="https://archive.nepalitimes.com/article/review/amalgam-2014-review,1489" target="_blank">Sanjeev Maharjan</a>, <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank">Ang Tsherin Sherpa</a>, <a href="http://archive.nepalitimes.com/news.php?id=5323" target="_blank">Asha Dangol</a>, <a href="http://archive.nepalitimes.com/blogs/kundadixit/2012/09/20/intolerance-of-tolerance/" target="_blank">Manish Harijan</a> and <a href="http://archive.nepalitimes.com/news.php?id=3817#.XLXCw4kza70" target="_blank">Ashmina Ranjit</a>, among others, represent world-class talent that blend traditional Nepali art forms like paubha, wood carving and metal work, with modern elements. Although ‘modern’ has come to mean ‘western’, the exhibition is proof that Nepal is now recognised as a centre for contemporary art that shuns western homogeneity, and has carved out its own space based on tradition, shared national history, and cosmopolitan influences.
“When you said Nepali art in the past, people expected traditional art forms. What we see at this exhibition is the vibrancy and creativity of contemporary Nepali art, the role of women, as well as the global and local impact of the works. Being an ethnographic institution, it makes sense to have the exhibition at the Weltmuseum,” director general Sabine Haag said at the inauguration here last week.
Read also: <a href="http://archive.nepalitimes.com/news.php?id=5941#.XLhM1jAzbIU">In Vienna museum, Nepalis worship stolen Buddha</a>, Erwin Melchart
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Even though some of the art works are rooted in Nepali culture and traditions, they use modern forms of oil and canvas, installations and sculptures to address contemporary issues like exclusion, social justice, gender, conflict, the 2015 earthquakes, the commodification of religion, migration and the environment. In fact, many of the works are not just aesthetic or spiritual in their function but are imbued with deep socio-political commentary.
The inaugural ceremony of the exhibition at the Weltmuseum featured the Himalayan Quartet, led by Nepali composer Rupak Kumar Shahisamuda, which played several fusion pieces based on popular Nepali folk songs. The Weltmuseum is located in Vienna’s Hofburg, the winter palace of the Hapsburgs that became infamous for a speech given by Adolf Hitler from one of its balconies after the Anschluss (forced unification of Germany and Austria) in 1938.
Nepal’s traditional carvings and paintings by anonymous masters that adorn temples and monuments have been worshipped over the centuries, and are still regarded as embodiments of the divine. However, they came to be regarded as ‘art’ after being stolen and exhibited in museums in Europe and America, and were detached from their original spiritual value.
The contemporary Nepali art on exhibit here is defined not by its style, but by paintings, sculptures and installations that were created in the past 50 years, with diverse themes ranging from devotional, social commentary, abstract and modern.
Most of the artists have shunned ‘Western’ techniques, and gone global to develop a unique grammar of their own. Says Schicklgruber: “Modernism had Paris, London and New York as its traditional centres of art. In the postmodernist age other cities have joined this exclusive club. One of them is Kathmandu.”
Read also: <a href="https://www.nepalitimes.com/banner/new-newa-art/">New Newa art</a>, Sewa Bhattarai
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Before going to Vienna, Nepal Art Now was <a href="https://www.nepalitimes.com/banner/nepal-art-now-in-vienna/" target="_blank">pre-exhibited</a> at the Nepal Art Council in Kathmandu in December 2018. Most of the works on display are different from both traditional Nepali art and western postmodernism. You can see influences of Picasso, Matisse and Warhol, but almost as parody. Mona Lisa also appears in Manuj Babu Mishra’s famous ‘selfie portrait’.
Manish Harijan’s audacious renditions of deities duelling with modern cartoon characters are a critique of the commercialisation of religion, and got him into hot water with fundamentalists in 2012. Asha Dangol’s theme deals with disasters like earthquakes and environmental degradation.
One could say that Nepali artists are not influenced by the ‘West’ but by ‘trans-continentalism’, fusing Nepali religious and cultural visual metaphors with modern techniques giving our vernacular a new spin – turning the local into global.
Nepal Art Now
Open daily except Wednesdays
10AM – 6PM
Adults €12
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<h2>Maithil folk art now</h2>
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The mezzanine floor of the Nepal Art Now exhibition at the Weltmuseum in Vienna is devoted to Maithil art from the Janakpur Women’s Development Centre. The separate exhibit proves that contemporary Nepali art needs to look beyond Kathmandu Valley. In the 30 years since the establishment of the Centre, women painters in Mahottari have developed as individual artists, and used traditional techniques and styles to experiment with new expressions. The exhibit includes self-portraits of these ight artists, along with photos and their life stories in their own words: Anuraghi Jha, Remani Mandal, Rebti Mandal, Suhagbati Saha, Madhumala Mala, Manjula Thakur, Sailo Yadav, Sudhira Karna, Komal Purbe, Rajkumari Mandal, Nirmala Ram, Renu Yadav, Pano Das and Indrakala Nidhi. Their paintings are arranged by theme from traditional imagery to depictions of planes, motorcycles, radios, irons and sewing machines. The paintings are fresh, original, and give the artists of Maithil the recognition they are long due. Curated by Claire Burkert.
Read also: <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/">Mithila art with a message</a>, Prakriti Kanel
<h2>The Chitrakars of Kathmandu</h2>
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Ever since <a href="https://www.nepalitimes.com/here-now/the-life-and-times-of-arniko/">Arniko travelled to the court of Kublai Khan</a> in the 14th century, Nepali artists have ventured abroad, and picked up new techniques. <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379" target="_blank">Raj Man Chitrakar</a> did sketches and watercolours with British resident and naturalist <a href="http://archive.nepalitimes.com/news.php?id=3246#.XLbXFIkza70" target="_blank">Brian Houghton Hodgson</a> in the mid-19th century and <a href="http://archive.nepalitimes.com/news.php?id=5358#.XLbXQ4kza70" target="_blank">Bhaju Man Chitrakar</a> accompanied <a href="https://www.nepalitimes.com/review/the-rest-is-history-for-john-whelpton/" target="_blank">Jang Bahadur</a> to Victorian England in 1850. It was <a href="http://archive.nepalitimes.com/news.php?id=2051#.XLbX2Ykza70" target="_blank">Dirgha Man Chitrakar</a> who travelled to England with <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-rana-reign-a-recap-of-history,3751" target="_blank">Chandra Shumsher Rana</a> in 1908, and there is a long line of Newa artists including <a href="http://archive.nepalitimes.com/news.php?id=2051#.XLbX2Ykza70" target="_blank">Tej B Chitrakar</a> right down to <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank">Lok Chitrakar</a> in the present day, whose <a href="http://archive.nepalitimes.com/news.php?id=11339#.XLbYj4kza71" target="_blank">pauba</a> of Vasudhara is among the exhibits in Vienna.
Coinciding with the Nepal Art Now exhibition was <a href="https://www.dieangewandte.at/en/news/exhibitions/detail?artikel_id=1551192322335" target="_blank">Preserving a Legacy</a>, an exhibition of photographs by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655" target="_blank">four generations of Chitrakars</a> at the <a href="https://www.dieangewandte.at/en" target="_blank">University of Applied Arts</a> in Vienna. The exhibition, which ended on 12 April, included prints by Dirgha Man Chitrakar, Ganesh Man Chitrakar, Kiran Man Chitrakar and Swaraj Man Chitrakar.
Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655">An illustrated history of the Chitrakars</a>, &nbsp;Sahina Shrestha

Kunda Dixit

Nepali Art going places

<h2>The cultural legacy of Nepal’s famous son can still be seen across East Asia</h2> <figure><img width="1000" height="614" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6609c7e80680e03147ejpeg.jpg" alt=""/><figcaption>An artist's rendering of the White Dagoba (stupa) built by Arniko, that still stands at the Miao Ying temple in Beijing. </figcaption></figure>Stamps have been issued, a highway has been named after him, he has been declared one of Nepal’s national icons. But 900 years later Arniko still remains very much an enigma in the country of his birth. In China, however, where Arniko went as a master architect to the court of Kublai Khan in 1260, he is still respected. He was given the title of Duke of Liang, and a memorial stele marks the spot where he was cremated in Hsiang Sheng near Beijing. A biography was written about him, and the Yuan genealogy contains a chapter on him.It is because of these reliable sources from Chinese sources that today we are able to trace the story of this remarkable historical figure from Kathmandu, even though details about him in Nepal itself are patchy.In 1260, the Mongol leader Kublai Khan asked his spiritual guru Phags-Pa to build a golden stupa in Tibet. When the patriarch of Tibetan Buddhism’s Shakya sect asked the king of Nepal, Jaybhimdev Malla, for a hundred artists the king could muster only 80. Sixteen-year-old Arniko, already known as a child prodigy, volunteered to lead them. “The fact that they needed Nepali artists proves just how developed Nepal’s art and architecture were at that time,” explains art historian Manuj Babu Mishra. “In fact, the sixth-century Changu Narayan Temple pre-dated Arniko and indicates the richness of Nepal’s artistic past.”Due to the decline of Buddhism in the subcontinent Tibet looked upon Nepal as the source of Buddhist wisdom and philosophy. Phags-pa was so impressed with Arniko’s stupas that he trained him into  monkhood and sent him to Beijing to meet the Great Khan himself. Arniko impressed Kublai Khan (Genghis Khan’s grandson) by repairing a bronze statue, and went on to build the White Dagoba, which is a Beijing landmark to this day.  <figure><img width="1750" height="2091" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6629c7e80680e03147fjpeg.jpg" alt=""><figcaption> </figcaption></figure>“China’s art and architecture were already highly developed, so China was not looking for just any architect from Nepal. What Arniko took to China was Buddhist architecture with its philosophy and symbolism,” says historian Satya Mohan Joshi, whose treatise on Arniko was published in 1988.  “for example the Chaitya in Swoyambhu and Baudha symbolised Chaitanya, or consciousness.”It is supposed to be Arniko who took Kathmandu Valley’s famous tiered temple style to China, from where it travelled to Korea and Kyoto. But while that is difficult to prove, Satya Mohan Joshi says Arniko took many other Nepali  elements north: the wooden gate, stone steps and carved windows (tikijhya) at the White Dagoba, its bronze spire (gajur), Nepali-style statues of Dipankar, Shakyamuni and Maitreya Buddha, Paubha paintings of deities like Mahakala, White Tara, Green Tara, Avalokiteswar.Amidst the ruins of the Cloud Terrace near the base of the Great Wall is a huge stone arch containing  images like the Garud, Nagkanya, crocodiles, elephants, and Panchabuddha. The white stupa in Nanking and other sites actually have inscriptions in Ranjana script – all vestiges of Arniko’s influence in China.Read Also: <a href="http://archive.nepalitimes.com/news.php?id=7263#.WvqndKSFPIU" target="_blank" rel="noopener">Resurrecting Arniko</a> After Arniko constructed three stupas, nine great Buddhist temples, two Confucian shrines, one Daoist temple, he was made the ‘master of all classes of artisans’. Prof Jing Anning at Michigan State University writes that Arniko made ‘new symbols of the emperor’s sovereignty, based on designs from Indic culture such as the dharmacakra (Wheel of the Law) which was used to lead imperial processions, and the image of Garuda, the celestial bird that was displayed over the imperial throne’.In another research paper, late historian Dina Bangdel states that Arniko’s works were instrumental in the conversion of Kublai Khan to Tantric Buddhism. ‘Phags-pa directed Arniko to create an image of Mahakala that was used in a protection ritual to aid Khan in his battles (which he won). Arniko’s Mahakala image became a powerful symbol of a leader’s authority to rule,’ Bangdel has written.Arniko also crafted scientific instruments like armillary spheres and water clocks. However, art works  that can be definitely attributed to him are rare. The Cleveland Museum says its image of Green Tara is by Arniko, while portraits of Kublai Khan and his wife Chabi at the National Palace Museum of Taiwan are believed to be by Arniko. <figure><img width="1250" height="1613" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6669c7e80680e031480jpeg.jpg" alt=""><figcaption> </figcaption></figure>Although these claims cannot be proven, Prof Anning says a bronze statue of Manjushri (dated 1305) now in the Palace Museum in Beijing and a brocade image of a three-faced, six-armed Guhyasamaja now in the Potala Palace in Lhasa are by Arniko. Arniko established a school of Nepali art in China which trained at least two of his own sons and thousands of Chinese artists. ‘By drawing inspiration from the artistic traditions of Pala, Nepal and China, Anige (Arniko) single-handedly created a new form of court art and promoted it through the huge artisan agencies under his leadership,’ Prof Anning writes.   The Italian traveller Marco Polo, who journeyed to China from 1271-1295, was a contemporary of Arniko. If they ever met, history has no record of it. Marco Polo is not even named in Chinese history. Ironically, while Marco Polo gained lasting fame after he returned home and wrote of his travels, Arniko despite the respect he commanded in the Chinese court, disappeared from world history after his death in 1306 at age 62.Satya Mohan Joshi thinks Arniko’s legacy is the enduring bond between Nepal and China, and cites the White Dagoba which was left alone even during the Cultural Revolution, and is still cared for and renovated with high priority by the Chinese state.He adds: “Nepal needs to live by the policy of panchasheel, and we have historic proof that Arniko espoused it. That is why he deserves to be our national icon.” <h2>Arniko meets Kublai Khan in Beijing</h2> After he arrived, the Emperor looked at him at some length before asking, “Are you afraid to come the big country?”He answered, “The sage (Kublai Khan) regards people in all directions as his sons. When a son comes to his father, what is there to fear?”“Why do you come?”He replied, “My family has been living in the west (Nepal) for generations. I took the imperial edict to build the stupa in Tibet for two years. I saw constant wars there, and wish Your Majesty could pacify them. I come for sentient beings.”“What do you practice?”He said, “I take my mind as my teacher and know roughly painting, casting and carving.”The Emperor was greatly pleased.(Extract from Arniko’s biography) <figure><img width="360" height="480" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6689c7e80680e031481jpeg.jpg" alt=""><figcaption> </figcaption></figure>

The life and times of Arniko

Exhibition showcases contemporary Nepali Thangka and Paubha painters <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101152/6368d62d9c7e80680e03146bjpeg.jpg" alt="" width="1400" height="930"/><figcaption>Muna Photos: Michael Gordon</figcaption></figure>Walk into most <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">Paubha</a> or Thangka shops in Thamel or Durbar Marg, and you will probably hear a story about Tibetan monks grinding stone pigments high in the Himalaya. ‘Exotic’ spirituality has become as much of a brand as Iphones used to Instagram it, but in reality most of these paintings are produced by Tamangs, Gurungs, and Newars using inexpensive poster colors in warehouses around Boudha and Bhaktapur.The painting factories may not seem ‘authentic’, but for the artist it puts food on the table. The demands of economic survival and the need for cultural preservation create new terms of authenticity for paubha and thangka.Thangka and paubha were originally ritual objects for Vajrayana Buddhists. Many would like to separate what is sacred and what is sold, but this is a false distinction. The paintings always involved financial transactions.However, as secular art collectors and tourists buy more of them, profit drives commodification.Tularam Lama has been painting for over 25 years, yet he is still at the mercy of gallery dealers who do not share their profits with artists.“We are compelled to sell cheap,” says Lama, who founded the Nepal Association of Thangka Artists. He still strives to maintain artistic integrity, teaching Tamang students to paint with inexpensive pigments as well as to understand the tradition's cultural heritage.Some painters use the market to build connections. Bhim Thapa, manager of Tara Thangka Center in Thamel, donates 25% of his sales to his community in Sindhupalchok. Prior to the earthquake, Thapa’s sales supported orphan children and women’s education. Today he focuses on basic necessities like blankets and food. "Thangka is not about perfect iconography, says Thapa, “to help is my dharma.”At the other end of the spectrum, internationally renowned <a href="http://archive.nepalitimes.com/blogs/thebrief/2014/10/05/devoted-to-painting/" target="_blank" rel="noopener">Lok Chitrakar</a> paints with traditional mineral colors and works with scholastic rigour. He will be the first to gently remind you that paubha and thangka are not the same thing.Paubha was developed by the Newars of Kathmandu Valley in the 7th century. Nepali Princess Bhrikuti is said to have taken some of the images with her when she introduced Buddhism to Tibet 1,300 years ago. Over centuries, Tibetans developed their own stylistic code known as thangka. After the exile of the Dalai Lama in 1959, Tibet and its people gained increasing global popularity. Today, many tourists flock to Nepal as a surrogate for Tibet, hoping to find the monasteries (and thangkas) they saw in TinTin in Tibet and National Geographic documentaries.But what they find may defy expectations: Lok Chitrakar’s use of Hindu gods like Ganesh as icons of Newari Buddhism is not just an artistic choice, but a testimony to Nepal’s unique religious coexistence.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6309c7e80680e03146cjpeg.jpg" alt="" width="500" height="889">For many, however, maintaining these traditions is oppressive. Historically, thangka and paubha were made by men, but today the field is changing thanks to women artists like Muna Moktan. For her thangka means not just employment but also empowerment. She supports her family and a school of aspiring Tamang artists (mostly girls) with her paintings.“Women need to find a way to live on their own means, and I found it through thangka,” says Moktan.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of gods</a>, Tsering Dolker GurungSonam Dolma guides (rather than ‘teaches’) students in ritual pursuit of perfection.Many painting production centers now use transparent plastic overlays to rapidly reproduce outlines. Sonam’s students at the Tsering Art school use black wooden boards thinly coated with ghee and dusted with white chalk- to repeatedly draw until outlies are memorised, “by hand, mind, and heart.” The painters begin and end each day with prayer, to remember the true purpose of their craft.One of Sonam’s top students, Karma Rinchhen Gurung, paints to strengthen his practice as a Buddhist monk. At 15, he entered Samten Ling Monastery, and like his monastic vows, his painting brings him freedom through discipline. He considers his practice meditation, focusing his mind and brush on a single point. People often ask if he paints to make money. He himself wonders: “Am I doing this for dharma or for economic reasons?” Many students at Tsering Art School, including monks, paint for private dealers to afford living in Kathmandu.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655" target="_blank" rel="noopener">An illustrated history of the Chitrakars</a>,  Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6329c7e80680e03146djpeg.jpg" alt="" width="1500" height="986"><figcaption> </figcaption></figure>The foreign interest in thangka and paubha has also encouraged artistic individuality. <a href="http://archive.nepalitimes.com/news.php?id=3915#.WvP2AH_BXIU" target="_blank" rel="noopener">Tenzin Norbu</a> comes from a 400 year old lineage of thangka painters.Each new generation <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">broke away from the stylistic trends</a> of their predecessors. Norbu now illustrates modern Dolpo life and has shown around the world from the Rubin Museum in New York to Luxembourg Gardens in Paris. His ancestors never signed their paintings, believing in the collective accumulation of merit. Norbu now champions his distinct style as an emblem of personal entrepreneurship.For some, the craft is a way of maintaining cultural and spiritual lineage. For others, redefining not only what is painted, but who gets to paint affirms the rapid democratisation of the art from. To all artists, the paintings are a means of sacred survival, providing both sanctuary and subsistence.Sacred Survival, an exhibition of seven contemporary thangka and paubha artists 11 to 21 May, Siddhartha Art Gallery, Baber Mahal Curated by Michael Gordon.

Sacred survival

Leaked letters from Korea’s Unification Church have revealed its extensive involvement in buying political and media influence worldwide, including links to Nepal’s parties and politicians. Documents obtained by the <a href="https://newstapa.org/eng">Korean Centre for Investigative Journalism</a> (Newstapa) and <a href="https://dunia-asia.org/leaked-true-mother-report-exposes-unification-church-influence-in-nepal-and-north-korea-outreach/">Dunia</a> contain correspondence to and from the controversial religious movement whose leader, 82-year-old <a href="https://www.koreatimes.co.kr/southkorea/politics/20251216/explainer-who-is-han-hak-ja-true-mother-at-center-of-unification-church-scandals">Hak Ja Han</a>, is currently on trial in Seoul for allegedly bribing the wife and associates of disgraced former president Yoon Suk Yeol.&nbsp; The letters and direct messages referenced in the investigation mention three former prime ministers: Madhav Kumar Nepal who has now joined the Nepali Communist Party, K P Oli of the Communist Party of Nepal UML (Unified Marxist-Leninist), and former Maoist ideologue Baburam Bhattarai.&nbsp; The documents detail financial support from the Unification Church (now known as Family Federation for World Peace and Unification) to Nepal Paribar Dal (Nepal Family Party) and its founder <a href="https://reviewnepal.com/national/dhakal-reelected-as-chair-of-pariwar-dal.html">Ek Nath Dhakal,</a> who is a staunch ally of the UML. On Sunday, Dhakal signed an MoU with K P Oli of the UML to cooperate in the March election and beyond. The leaked correspondence concerning Nepal spans the period between the <a href="https://archive.nepalitimes.com/article/nation/elections-of-by-for-men,4038">first federal elections in 2017</a> till the 2022 polls and contains emails between Dhakal and Yong Jeong Shik, Regional President for Asia of the Unification Church, with urgent requests for funds for campaigning and to support the UML.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260124080120_63bb0a555b9f0676b1301b7a71e9cefda7f3eb69e5fa0ff1249a1bbeec0c17bf.png" data-media-id="editor_5" data-image-id="20260124080120_63bb0a555b9f0676b1301b7a71e9cefda7f3eb69e5fa0ff1249a1bbeec0c17bf" data-rendition-name="original" width="1280" height="598" loading="lazy" alt="Moonie money in Nepal's politics NT"> </figure>  ‘Regarding funding, I am truly sorry, but a minimum of $500,000 is required,’ one of the messages to Yong in the report says. ‘Furthermore, as the election is scheduled for December 7th [2017], I would be very grateful if I could receive it as soon as possible. The initial $500,000 was used for overall election expenses, and the additional $500,000 is intended for campaign activities for the Family Party and supporting key leaders.’ In addition, there are also letters requesting an additional $20,000 per month in ‘maintenance costs for the Nepal Family Party and preparations for the<a href="http://nepalitimes.com/banner/nepals-parties-forge-new-pre-poll-alliances"> 2022 election</a>’.&nbsp; Asked for a reaction to the allegations, Govinda Nath Mishra of the Nepal Paribar Party said: “This is an unnecessary smear campaign against our party. Parties doing good work are always linked to some foreign powers in Nepal to discredit them.” Ek Nath Dhakal has also denied that his party’s affiliation with the UML has anything to do with Unification Church donations. <a href="https://archive.nepalitimes.com/article/nation/Korean-movement-in-Nepal,2962">He told Nepali Times in an interview in 2016</a>: “The party has links to all faiths, as it has with the unification movement. The Nepal Family Party is a kind of conservative party with a manifesto that promotes family values, interfaith dialogue and harmony. There are 11 political parties supporting Prime Minister Oli. Nepal Family Party is just one of them.” <div class="embed-block"><div><div style="left: 0; width: 100%; height: 0; position: relative; padding-bottom: 56.25%;"><iframe src="https://cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fwww.youtube.com%2Fembed%2FMcGp_Mn4fwA%3Fsi%3DM3bVjAnbnelwKwAl&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> In another update to Yong, Dhakal describes the UML’s election campaign in 2017 as ‘proceeding very successfully … it appears certain the Unified Marxist-Leninist will achieve a landslide victory’. Dhakal was not contesting directly as a candidate, but piggybacking on the UML <a href="https://nepalitimes.com/news/house-of-cards-6alq6pvi">which had put him on the proportional representation list</a>, ostensibly in return for campaign financing. He continues: ‘It is certain that I will be elected as a proportional representation member of the National Assembly due to a shortage of female candidates. I discussed the possibility of my election with Prime Minister Madhav and Prime Minister K P Oli … both have confirmed that I could be moved from 5th place [on the PR list] to 1st or 2nd if necessary.’&nbsp; Ek Nath Dhakal became Minister of Poverty Alleviation and Cooperatives under Prime Minister Baburam Bhattarai in 2012 and in 2016 Minister of peace and Reconstruction under the K P oli government.&nbsp; During his tenure, Dhakal organised an ‘<a href="http://www.xinhuanet.com/english/2018-12/01/c_137644390.htm">Asia-Pacific Summit 2018</a>’ in Kathmandu presided over by Hak Ja Han, wife of Rev Sun Myung Moon, founder of the Unification Church and Universal Peace Federation (UPF). The couple are known in the movement as ‘True Parents’ and Hak Ja Han is referred to as ‘True Mother’. Oli addressed the Kathmandu summit which was attended by 1,500 delegates, including Burmese leader Aung San Suu Kyi and Cambodian Prime Minister Hun Sen. The <a href="https://theannapurnaexpress.com/story/15201/">gathering drew criticism</a> for being a proselytisation exercise, prompting Oli to decline attending a ‘blessing’ ceremony by Hak Ja Han.&nbsp; Ever since, the ‘Holy Wine’ has entered Nepal's political lexicon, and is still used derogatorily to label politicians involved.&nbsp; Nepal Paribar Party’s Govinda Nath Mishra says: “Ek Nath Dhakal has become a member of the House of Representatives twice, and our party has since its inception been close to the UML. We are just continuing that cooperation for this election as well.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260124080120_49ed56931f2bd97d75a5c9604e2d4f5cd3474177b302b13db5df2ccbe63994dd.png" data-media-id="editor_12" data-image-id="20260124080120_49ed56931f2bd97d75a5c9604e2d4f5cd3474177b302b13db5df2ccbe63994dd" data-rendition-name="original" width="1318" height="1204" loading="lazy" alt="Moonie money in Nepal's politics NT"> </figure>  The Unification Church has said that the leaked documents are not authentic and were unofficial records created by former Director General of the Unification Church’s International Headquarters Yun Young Ho to ‘flaunt his influence’. The Japanese branch of the Unification Church said in a statement this week: ‘After reviewing the documents believed to be the report in question, we have found factual inaccuracies were added or content modified.’ Milan Kumari Rajbanshi, deputy General-Secretary of the Nepal Paribar Party and former MP denied her party was funded by any outside source, and she was no aware of any correspondence between Dhakal and anyone else.&nbsp; She told Nepali Times: “After the September street protests we spoke to many political parties, including GenZ activists, but the UML was the closest to our values.” Rajbanshi will be campaigning in Jhapa-5 on behalf of K P Oli who will be contesting against former Kathmandu mayor Balen Shah. The Newstapa leak show Dhakal and the Unification Church worked behind the scenes in the 2017 election to influence the &nbsp;elections. One email from Dhakal references this: ‘(If) we can secure a majority in next year’s general election … our wish is to educate all parliamentarians for two years until 2020 and create a constitution centred on Cheon Il Guk.’ Cheon Il Guk (천일국) means ‘One Heavenly Kingdom’ and is the vision of a spiritual nation proclaimed by Sun Myung Moon and his Unification Church, and emphasises family values instead of individualism for global unity under a ‘Heavenly Parent’.&nbsp; The emails reveal that the Church was planning to convince Madhav Nepal and K P Oli to take all 150 coalition legislators to Bangkok to introduce them to its beliefs. That trip did not materialise, but the Church had earlier taken 20 Communist MPs to the Philippines and Thailand for ‘principle education’.&nbsp; In another email to Yong Jeong Shik, Dhakal describes Baburam Bhattarai as being ‘disillusioned with communism’ and that he proposed ‘gathering all minority parties to join the Family Party’. Bhattarai left the Maoists and is contesting from the Pragatisheel Loktantrik Party from his Gorkha constituency in March. Despite its connections with Nepal’s Communists, the Unification Church is known to support conservative politics around the world including through ownership of media like <a href="https://www.washingtontimes.com/">The Washington Times</a> newspaper.&nbsp; Founder Sun Myung Moon was deeply involved in pushing for Korean unification, and the Church has worked with Asian countries that have ties with North Korea. Documents show that the Unification Church had tried to get then UML Chair Madhav Kumar Nepal to Pyongyang, but the Nepal government supposedly under pressure from the South Korean, Japanese and US ambassadors got him to call it off. Madhav Nepal had also insisted that he meet Kim Jong Un, but the North Korean side had said it was not possible. But after Nepal left the UML to form the Communist Party of Nepal (Unified Socialist) he met the North Korean Ambassador in the presence of Ek Nath Dhakal to plan a visit in order to work towards Korean unification. A 11-member delegation composed of Nepal, Dhakal, MPs and a newspaper publisher visited North Korea in 2017 (pictured below).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260123040128_6690244be7aa18e24a4aef825935a7afcaa893b40191f712ab498105e06aaf51.jpg" data-media-id="editor_14" data-image-id="20260123040128_6690244be7aa18e24a4aef825935a7afcaa893b40191f712ab498105e06aaf51" data-rendition-name="original" width="2201" height="1148" loading="lazy" alt="Moonie money in Nepal's politics NT"> </figure>  METICULOUS ARCHIVE An extract from correspondence is indicative of the former prime minister’s links to the Unification Church: ‘Madhav Kumar Nepal … maintains a very close relationship with us and could become Prime Minister again at any time. There is no one who knows us as well or respects the Parents as much as former Prime Minister Madhav does … he is someone who regards the True Parents like God.’ The internal documents of the Unification Church obtained by Newstapa is called the ‘TM [True Mother] Special Report’ and appears to have been prepared for Hak Ja Han. The 3,212-page text provides a chronological account of the Church’s management of politicians internationally, its handling donations, and plans to expand political influence through its affiliated media outlets. The document is a meticulous archive apparently compiled by Yun Young Ho, the former Director General of the Unification Church’s International Headquarters, the organisation’s second-in-command.&nbsp; This suggests church affairs were reported directly to Hak Ja Han. Korean investigators are now focusing on whether Han merely received these reports or issued specific directives based on them. Yun testified during the trial in Seoul that the Church’s regional leaders and local partners would send daily field reports which he would synthesise into a ‘Special Report’ format to provide oral briefings to Han. Hak Ja Han therefore may have been personally involved in the Church’s operations in granular detail. Korean special prosecutors are viewing these documents as critical evidence in her trial to prove that she was directly involved in political lobbying. Last week, during a hearing on the Hak Ja Han bribery case, a regional Church leader admitted to personally drafting segments of the ‘True Parents Correspondence Report’ featured in the document. The ‘TM Special Report’ appears to be a compilation of internal documents reprocessed into a single file and includes emails and direct messaging. Certain periods are missing, leading to gaps in the narrative, raising the possibility that specific portions of the report may have been selectively curated or redacted. &nbsp; <h2>Both Koreas in Nepal</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012304018_962b3169d725dbd3dc820aab16a6ab8d3a083b55174558003d4ccfe97fe7789e.jpg" data-media-id="editor_15" data-image-id="2026012304018_962b3169d725dbd3dc820aab16a6ab8d3a083b55174558003d4ccfe97fe7789e" data-rendition-name="original" width="1750" height="1168" loading="lazy" alt="Moonie money in Nepal's politics NT"> </figure>  Buddhism spread northwards across the Himalaya from Nepal to China and Korea 1,000 years ago, but in the past decades two of Korea’s powerful ideologies have come to Nepal. Nepal’s leftist movement, most notably the Nepal Workers Peasants Party (NWPP) <a href="https://archive.nepalitimes.com/article/nation/Bhaktapur-dear-leader,3010">inspired by North Korea’s Kim Il Sung’s Juche Idea</a> espouses a nationalist agenda, and has a strong base in Bhaktapur. Meanwhile, South Korea’s Unification Church of Sun Myung Moon has influenced Nepal’s political, administrative and religious spheres.&nbsp; After establishment of Moon’s Universal Peace Federation (UPF) in 2005, the Church has a sizable presence in Nepal. The movement’s leader is Ek Nath Dhakal of the Nepal Paribar Party (above) who is affiliated with the UML and even served as a minister in a UML-Maoist coalition after being nominated as a PR member to Parliament.&nbsp; <a href="https://archive.nepalitimes.com/article/nation/Korean-movement-in-Nepal,2962">He told this paper in 2016</a>: “I am a Hindu, associated with the Unification Movement. The UPF staged one of its mass weddings at Dashrath Stadium in Kathmandu in 2017 (below). The movement recruits public figures like former president Bidya Devi Bhandari, Madhav Kumar Nepal and others as Ambassadors for Peace. Before he died in 2012 at age 92, Rev Moon had picked Nepal as a ‘model peace nation of God’. The Church says it embraces all religions, and does not even display the Christian cross at its places of worship.&nbsp; While young Nepalis follow South Korean pop culture fever, in Bhaktapur it is Kim Il Sung’s Juche Idea that is the dominant ideology. The Nepal Workers Peasants Party has won just about every district and local election from Bhaktapur, not so much for its politics, but because its representatives have performed well. Bhaktapur’s following of Kim Il Sung is based on Bijukchhe’s vision that his town be self-reliant and deliver development equitably.&nbsp; <h2>A worldwide web</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012304018_5c2949a3715b74f8992a6dcfc305fbaa817a0b834365c737bb81245762d74148.jpg" data-media-id="editor_18" data-image-id="2026012304018_5c2949a3715b74f8992a6dcfc305fbaa817a0b834365c737bb81245762d74148" data-rendition-name="original" width="1750" height="968" loading="lazy" alt="Moonie money in Nepal's politics"> </figure>  In 2022, the Unification Church (Family Federation for World Peace and Unification) arranged a meeting between Yoon Suk Yeol, who was then presidential candidate, and former US Vice President Mike Pence just before South Korean elections. The visit was timed for the ‘World Summit 2022’ hosted by the Universal Peace Federation (UPF), a Unification Church affiliate. The visit was widely covered by the media at the time, but a Newstapa investigation last year confirmed that the Church paid Pence $550,000 to visit Seoul. The visit was designed to bolster Yoon’s diplomatic and security credentials and appeal to religious voters. Yoon knew Pence was a devout Christian, and media at the time reported that both prayed before the meeting. Just like the UPF’s World Summit 2018 in Kathmandu, Cambodian PM Hun Sen was in attendance as was former UN Secretary-General Ban Ki-moon. The welcome remark at the Summit was delivered by Yun Young Ho, then-Director General of the Unification Church’s World Headquarters. South Korean Special Prosecutors are currently investigating Yun for allegedly bribing former president Yoon Suk Yeol’s wife Kim Keon Hee.&nbsp; Newstapa also dug up Pence’s financial disclosures filed with the US Office of Government Ethics and the Federal Election Commission and found that Pence reported receiving $550,000 from the UPF for ‘a speaking engagement’ in Seoul in 2022 — an unusually hefty fee. Cambodian Premier Hun Sen has hosted K P Oli several times in Phnom Penh, once as prime minister in 2019, and again last year in August. There seems to be a similar nexus between Hun Sen, the UPF and former President Yoon and his wife Kim Keon Hee. When he became president in 2022, Yoon visited Cambodia with his wife, and South Korea doubled its development assistance to Cambodia to $1.5 billion. The Special Prosecutor in Seoul is investigating allegations that the Unification Church provided funds to Kim Keon Hee in helping a Mekong River project in Cambodia.

Moonie money in Nepal’s politics

The Kathmandu Valley has attracted an exceptional number of outstanding and accomplished foreigners over the decades, but few as extraordinary as Marilyn Silverstone (1929-1999).&nbsp; Frances Klatzel’s book A Portrait of Ourselves, Marilyn Silverstone: From Photojournalist to Buddhist Nun, is a fitting and fascinating biographical celebration of this American woman whose life of unusual choices took her, as the title suggests, from an affluent Jewish childhood in Scarsdale, New York to becoming an acclaimed and adventurous Magnum photographer.&nbsp; Roving the world, her camera captured many of the most iconic events of the 20th century, her images were published in Time, Life, Newsweek, Look, National Geographic, Paris Match, Vogue and other magazines. Following the teachings of Dilgo Khyentse Rinpoche, Marilyn Silverstone devoted the last twenty years of her eventful life to living quietly and practising Buddhism in Nepal. Ordained as a Buddhist nun, she took vows in the sanctified Solukhumbu precincts of Thubten Choling with Venerable Trulshik Rinpoche in the spring of 1977. Living in Kathmandu until her death in Shechen Monastery, which she helped create, Marilyn wrote: ‘When I look back over the years, although I did not know it at the time, ending my life as a Buddhist nun was logical and inevitable.’&nbsp; Ani Marilyn was a familiar figure amid the sacred spaces of the Valley, the lanes of Boudha and even Kathmandu’s drawing rooms during my early years in Nepal, a large smiling presence draped in maroon robes, dyed sneakers, slightly whiskered, robust.&nbsp; As a wedding gift she gave Tenzin and I an inscribed copy of her slim volume, Ocean of Life, aptly named for the span of her achievements and expansive embrace – editor, translator, writer, filmmaker, photographer, journalist and Buddhist nun. Marilyn’s nephew wrote: ‘Her legacy was that she was always herself no matter what chapter of her life that she was living.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100124_70d489c3d161f59668f315ede60cbb213d365357b0a9f2d7aad3b537a14dcb5e.png" data-media-id="editor_0" data-image-id="20260122100124_70d489c3d161f59668f315ede60cbb213d365357b0a9f2d7aad3b537a14dcb5e" data-rendition-name="original" width="1164" height="1600" loading="lazy" alt="Ani Marilyn"> <figcaption>Ani Marilyn as a Tibetan Buddhist nun at Shechen Monastery in Boudha.</figcaption> </figure>  Working with a wide range of impeccable sources, Frances Klatzel has assembled first-hand the personal recollections and unsparing insights from Marilyn’s most intimate friends. One of these, Jane Abell Coon, wrote the Introduction. She was a well-known person in 1980s Kathmandu whose husband Carlton Coon served as American Ambassador to Nepal and she simultaneously as American Ambassador in Bangladesh.&nbsp; The book begins with a rare message from the 14th Dalai Lama and a touching Foreword by Venerable Rabjam Rinpoche. It ends with exquisite excerpts from a Buddhist religious tract that Marilyn had translated from its traditional Tibetan text. Marilyn’s initial trip to India was to photograph Ravi Shankar in 1955, the classical sitar maestro. Increasingly fascinated by ‘the complex and compassionate culture’ of Tibet, her Himalayan archives include images throughout India, Nepal, Sikkim and Bhutan.&nbsp; The first internationally accredited photojournalist to base herself in India, from 1959 Marilyn lived in Bombay then Delhi, with her lifelong partner Frank Moraes, the Goan journalist, writer, commentator and first Indian editor of the Times of India after Independence. INDIAN INFLUENCERS I remember being taken to meet the legendary Frank Moraes in 1973, by then politically exiled in Marilyn’s elegant but chaotic London house, a magnet for South Asian intellectuals. She was not there, but Frank’s son the poet Dom Moraes was slumped desultory on a sagging sofa. My impression of Frank was well-dressed, polite and slightly distracted. Marilyn’s talent for friendship and wide network of Indian influencers and princely connections gave her unique access to historic events, as well as recording refugees, rituals, droughts, floods, famines and funerals. In addition to maharajahs and global leaders, her images portray personal moments, ordinary people, unflinching pain and flashes of joy. She said: ‘In my job, the closer you get to people, the better off you are.’ This book is illustrated with a thrilling trove of pictures of and by Marilyn, many of which reflect the impact of Henri Cartier-Bresson who signed her up as one of the first women to join his prestigious Magnum photo cooperative.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100124_6dfdef41da5945aea0a8bbd8c1514af5de2adb36361d4e20c29914c59f2039e0.png" data-media-id="editor_1" data-image-id="20260122100124_6dfdef41da5945aea0a8bbd8c1514af5de2adb36361d4e20c29914c59f2039e0" data-rendition-name="original" width="2124" height="1404" loading="lazy" alt="Ani Marilyn"> </figure>  Her assignments ranged across warzones in Vietnam, the Shah of Iran’s coronation, and Russian tanks rolling into Prague. Marilyn’s 1960s involved constant travel, her Magnum beat was the ‘Far East’, from Pakistan and Bangladesh to China, Korea, and Japan.&nbsp; With a knack at being in the right place at the right time, Marilyn was the only western woman journalist to record the arrival from Lhasa into ‘safety and exile’ of the young Dalai Lama in 1959. She was at Prime Minister Jawaharlal Nehru’s funeral in Delhi, the Chogyal of Sikkim’s marriage to Hope Cooke, and with Jacqueline Kennedy on a small boat at the Lake Palace of Udaipur.&nbsp; Marilyn snapped the Pope giving blessings in Bombay, Mother Teresa attending to the poor, and the Beatles on their way to meet the Maharishi. With Frank, she travelled to Africa and shot Emperor Haile Selassie in Ethiopia, Nigeria’s independence celebrations, and a very old and solar-topied Dr Albert Schweitzer in his jungle hospital in Gabon.&nbsp; A Portrait of Ourselves, Marilyn Silverstone: From Photojournalist to Buddhist Nun, is a highly recommended tribute to an inspirational life, told with discerning honesty and private perceptions by those who knew her best.&nbsp; Her monastic years living in Nepal continued to feature travel, hard work, undiminished curiosity, dogged fights for right, uncompromising support for others, disdain for conformity and battles with ill health, but all with her characteristic good humour. Marilyn leaves us with some sound advice in her own words: “I can say that I did it all. The secret though is just keep walking through life without analysing it too much or clinging to it too much. Just walk on.” &nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100140_dc0c465e462bd14e92b2a2e79b5349f23fa039bcda81cc02a9a70adbcee35c7b.jpg" data-media-id="editor_2" data-image-id="20260122100140_dc0c465e462bd14e92b2a2e79b5349f23fa039bcda81cc02a9a70adbcee35c7b" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="marilyn silverstone"> </figure>

“Just walk on”

The pale green ice on the top of the lake gleams in the pale January sunlight. The dark waters beneath are visible through the translucent frozen surface. This is Thulagi Glacial Lake at the foot of Mt Manaslu in central Nepal, classified as one of the <a href="https://nepalitimes.com/here-now/danger-nepal-s-glacial-lakes-are-filling-up">most dangerous lakes </a>to appear in the Himalaya due to climate heating.&nbsp; The place is breathtaking not just because of its 4,050m altitude, but the scenery all around. The beauty belies the threat this expanding lake poses downstream along the Marsyangdi Valley. &nbsp; The lake lies at the terminus of the 4.5km long Thulagi Glacier. The local Gurung inhabitants call it Dona Tal. They say it started appearing in the 1960s. Local guide Chandra Bahadur Gurung, 47, has been ferrying trekkers to the spot for about 20 years.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_a34407fbb58b41554f08d392933ea32360649deaf712e2221686533f81507f58.jpg" data-media-id="editor_1" data-image-id="20260122100136_a34407fbb58b41554f08d392933ea32360649deaf712e2221686533f81507f58" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="Thulagi glof"> <figcaption>MELTING MOUNTAINS: Thulagi Glacial Lake in Manang has been identified among 47 lakes in Nepal at risk of an outburst flood because of climate breakdown. All photos: DURGA RANA MAGAR</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_4d3c25c9b4f6eaff3e538b36346471c301d38338514bfdfa9ee63ccd77d20489.jpg" data-media-id="editor_2" data-image-id="20260122100136_4d3c25c9b4f6eaff3e538b36346471c301d38338514bfdfa9ee63ccd77d20489" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Thulagi glof"> <figcaption>Yaks graze below Thulagi Himal (7,059m) and Mt Manaslu (8,163m) along the Dona Khola that drains the lake.</figcaption> </figure>  “Dona used to be small, but it has now grown bigger,” he says, gesturing to how the glacier has receded and shrunk. Trekkers used to be able to go to the other side, but now the glacier is riddled with ponds and boulders falling off the moraine that make it dangerous.&nbsp; Gurung adds rather matter-of-factly: “The lake will burst sooner or later.”&nbsp; Kathmandu-based International Centre for Integrated Mountain Development (ICIMOD) has been studying Thulagi for the past two decades. Topographic maps from the 1960s and early satellite images show the lake being much smaller.&nbsp; When the <a href="https://nepalitimes.com/news/nepal-s-resource-curse">Marsyangdi Hydropower Project</a> project was being built in 1994, the German Institute of Geology and Natural Resources with the Department of Hydrology and Meteorology measured the lake to be already 2km in length. More recent surveys show the lake has increased its size since then to more than 1 sq km. &nbsp; The lake is among 47 <a href="https://nepalitimes.com/here-now/meltpools-in-the-himalaya">dangerous glacial lakes in Nepal and Tibet </a>&nbsp;identified by ICIMOD in 2020 due to its size, the risk of landslides and avalanches, and the gradual collapse of the lake’s ice-core moraine dam.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_9b9fea3665494614c2d89e4202c735fd642a13552d67ca2be3da5c390320ca9b.jpg" data-media-id="editor_5" data-image-id="20260122100136_9b9fea3665494614c2d89e4202c735fd642a13552d67ca2be3da5c390320ca9b" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Thulagi glof"> <figcaption>Local guide Chandra Bahadur Gurung has been taking trekkers up to Thulagi Lake for 20 years.</figcaption> </figure>  In 2018 a team of glaciologists led by Umesh K Haritasya <a href="https://www.mdpi.com/2072-4292/10/5/798">published a journal article</a> about the evolution of three glacial lakes including Thulagi, Lower Barun, and Imja. Even back in 1976, Thulagi was twice the size of <a href="https://archive.nepalitimes.com/article/from-nepali-press/Diverting-danger,3172">Imja glacial lake</a> in the Khumbu and six times the size of the Lower Barun. The team measured the lake’s depth at 79m, and calculated that it held 36.1 million m3 of water. Since then, Thulagi has been growing at a slower rate than the other two lakes because it is shielded by shadows of mountains. There is also not as much glacial calving in the narrow valley.&nbsp; Nonetheless, scientists and experts have long warned that a Glacial Lake Outburst Flood (GLOF) from Thulagi poses a big risk to four hydropower projects on the Marsyangdi and settlements like Besisahar and Dumre (map).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260125130136_eac3ccf38d2f91619825ab977bb21ea3eee84d6e87939721f9a8dbb7f0f22504.jpg" data-media-id="editor_8" data-image-id="20260125130136_eac3ccf38d2f91619825ab977bb21ea3eee84d6e87939721f9a8dbb7f0f22504" data-rendition-name="original" width="2076" height="1444" loading="lazy" alt="Thulagi map"> </figure>  The lake feeds into Dona Khola, a tributary of the Marsyangdi where the 49.9MW Dona Khola hydropower project is being built at a cost of Rs10 billion. Another 42MW Super Dona Khola project is planned on the river. “One of the trigger points that could lead to a glacial lake outburst could be the steep lateral moraine, which might be weakened by rapidly melting permafrost,” says Scott Watson, a University of Leeds researcher who was part of the team that conducted the 2018 study. Locals are already witnessing what Watson describes. They say that it was easy to reach Thulagi’s headwaters even until a few years ago, but that is now dangerous because of ice and rockfalls.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_217a1951a620e8efe11e5936600be172874976a0c04a1031495cf6687ce8f82c.jpg" data-media-id="editor_9" data-image-id="20260122100136_217a1951a620e8efe11e5936600be172874976a0c04a1031495cf6687ce8f82c" data-rendition-name="original" width="1426" height="1070" loading="lazy" alt="Thulagi glof"> <figcaption>The 50MW Upper Marsyangdi Hydropower Project station in Lamjung. A Thulagi Lake outburst would damage four hydropower projects on the Marsyangdi and its tributaries.</figcaption> </figure>  GLOF WARNING&nbsp; Glaciologist Rijan Bhakta Kayastha has been studying Thulagi since 1994, and was part of a team that discovered that the lake’s terminal moraine was made up of rocky soil on top and ice at its core.&nbsp; In 2020, Kayastha's team published a study that modelled the route of a possible GLOF. They found that if the lake burst, it would take 2.5 hours to reach Dharapani, and 4 hours to reach Bahundanda 39km downstream. The surge would be 13.7m high at Dharapani and 15m by the time it reached Taal, the village most at risk because it is situated only a few metres above the Marsyangdi. ‘Considering the size of the Thulagi glacial lake and its dam, it seems unlikely that a rock fall or avalanche would cause the lake to breach the moraine dam,” concluded the study. “But an earthquake or climate change would require a separate study. At present, there is no immediate or imminent threat of this glacier bursting.” MEMORIES OF 2021 Across Manang valley, residents are haunted by the memories of the <a href="https://nepalitimes.com/banner/himalayan-floods-a-sign-of-worse-to-come">2021 flood on the Marsyangdi</a> that swept away parts of Chame, Dharapani, Naso, and Taal villages.&nbsp; Kamarkali Gurung, grew up on the banks of the Marsyangdi in Dharapani, and had never imagined that the tranquil river she knew could become such a monster. She had saved up to build her own three-story property with 17 rooms.&nbsp; Her family was away that June evening when the flood swept away her hotel. “Not even a spoon remained, everything was gone,” says Kamarkali. “Losing the hotel hurt like losing a loved one. The Marsyangdi flows through my house now, I can never go back.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_925087c286f18a0374f5d2fae5cc528b6e8b5a55e02813e470c49b923b4f193a.jpg" data-media-id="editor_11" data-image-id="20260122100136_925087c286f18a0374f5d2fae5cc528b6e8b5a55e02813e470c49b923b4f193a" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Thulagi glof"> <figcaption>SURVIVORS: Kamarkali Gurung's hotel was swept away by the 2021 flood on the Marsyangdi. She now operates her hotel from a rented house in Dharapani.</figcaption> </figure>  Surendra Gurung, also a hotelier, was in Dharapani the night of the flood, and can still remember the fear as the river roared towards the village. “I did not know if I would live or die,” he says.&nbsp; Sirantal village was merely 10m above the Marsyangdi, and was completely destroyed by the flood. Thirty-two people were rescued by army helicopters, and most of the families have now relocated to Taal.&nbsp; One of them is Singha Bahadur Gurung who also ran a lodge for 20 years. “We did not have to buy anything except rice, the soil in Sirantal was so fertile,” he remembers.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_9da9290e59a6d565ae9cb81a850f725ccd937fd658d0adfabccfe4114ec94bed.jpg" data-media-id="editor_12" data-image-id="20260122100136_9da9290e59a6d565ae9cb81a850f725ccd937fd658d0adfabccfe4114ec94bed" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Thulagi glof"> <figcaption>Singha Bahadur Gurung operated a lodge in Sirantal before the flood swept it away in 2021.</figcaption> </figure>  Marsyangdi now flows through where Singha Gurung’s village used to be. “Ever since the flood, I am terrified every time it rains from June to August,” he says.&nbsp; The 2021 flood was during the monsoon, and was caused by unusually heavy rainfall in the catchment. A GLOF on the Marsyangdi would be much more destructive. Roshni Ghale, 46, runs a hotel in Taal, and escaped with her family to a nearby cave as the flood engulfed nearby homes.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_7a6b74a4c33b597e2815b035ec5d56ffea35923016518f0fb35bcc4fc925dccd.jpg" data-media-id="editor_13" data-image-id="20260122100136_7a6b74a4c33b597e2815b035ec5d56ffea35923016518f0fb35bcc4fc925dccd" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Thulagi glof"> <figcaption>Roshni Ghale spent six months after the 2021 flood rebuilding her hotel in Taal. Tourism has steadily picked up in the four years since the flood. </figcaption> </figure>  “We spent the next six months after the flood rebuilding our lives, going to bed hungry many a night,” she recalls. In the four years since, tourism has picked up again, but the<a href="https://nepalitimes.com/news/the-unseen-wounds-of-climate-disasters"> community is still traumatised</a>. In the wake of the floods, the government had begun talks to rehabilitate and repatriate the community, but until now, they have been <a href="https://nepalitimes.com/multimedia/from-one-disaster-to-the-next">empty promises</a>. In any case, the people here, most of them experienced hoteliers whose livelihood depends on tourism, are unwilling to uproot their lives and start over elsewhere.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100136_9a13c863422806eefdcd826ed12f9906e2372bd8f60f83c5351652eccf050384.jpg" data-media-id="editor_16" data-image-id="20260122100136_9a13c863422806eefdcd826ed12f9906e2372bd8f60f83c5351652eccf050384" data-rendition-name="original" width="1500" height="844" loading="lazy" alt="Thulagi glof"> <figcaption>Most of the survivors of the 2021 flood on the Marsyangdi from villages like Sirantal have relocated to the upstream village of Taal, which itself was hit by a monsoon flood in 2021.</figcaption> </figure>  DISASTER PREPAREDNESS Even though studies have assessed the risk of GLOFs in Manang and across Nepal, and warned about the damage that such floods could cause, it took until 2021 for early warning systems to be installed on the banks of the Marsyangdi and in the town of Taal.&nbsp; But beyond that, there has been little preparedness. Early warning systems and disaster preparedness are necessary not just along the Marsyangdi but also at and around Thulagi itself, say experts. Locals here are becoming increasingly aware of the risk posed by the expanding lake up the valley, but are reluctant to leave homes and communities that they have lived in for generations. The hydropower projects on the Dona Khola promises jobs, and the local government is upgrading the hiking trail to Thulagi Lake which has become a tourist attraction. “Manang now gets <a href="https://nepalitimes.com/here-now/too-little-snow-too-much-rain">too little snow and too much rain</a>, and the Marsyangdi charts its own course,” says Min Rashi Gurung, chair of Ward-1 of Naso rural municipality, where Thulagi is located. &nbsp; But help may be on the way.Last year, the Green Climate Fund (GCF) approved a $36.1 million grant to help Nepal reduce risk of GLOFs in Thulagi and four other glacial lakes. The project is managed by the government and the United Nations Development Programme (UNDP). The project is set to begin next fiscal year, and will reduce the water level in the four glacial lakes including Thulagi, similar to what was done in Imja and Tso Rolpa, says Dinkar Kayastha at the Department of Hydrology and Meteorology. &nbsp; Centre for Investigative Journalism - Nepal

Hotter Himalaya melts glaciers

This is the 81st episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab providing a platform to share experiences of living, working and studying abroad. I went to Australia in 2008 because everyone was headed there. It was my first time leaving the country and my first job. My college helped me find work as a kitchen helper at a Brisbane restaurant.&nbsp; I did not know that being a kitchen helper meant washing dishes. I was young and did not know how to wash dishes or how to handle the steam, the hot water, and the busy kitchen. The utensils were thrown at the dishwashing station continuously, and water splashed on my face. My shoes and clothes were always wet. It was an on-call job. A couple of days into the job, I was asked to come in when I was at the movies. I refused. They fired me. That was that. I then worked on a farm, picking lemons and oranges. The lemon work was particularly hard because I would get cuts all over my hands. This hustle was not for me.&nbsp; Within a year in Australia, I decided to return to Nepal because the foreign life did not suit me. After spending eight months in Nepal, reality sank in. Nepal was not all that great either. I went back to Australia. On the plane, I befriended a Nepali woman who was homesick and a first time traveler. At the immigration in Australia, the officer noticed my long absence and started interrogating me. He noticed the Nepali woman waiting for me and asked who she was. Without thinking I lied that she was my girlfriend. That seemed to do the trick because he did not want us to be separated. He stamped my passport. She went her way. I went mine.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260127130112_5e7bfa6acc5f94d5f1905537e387c2d4169469679ace2b71de368912f3bd514f.jpg" data-media-id="editor_0" data-image-id="20260127130112_5e7bfa6acc5f94d5f1905537e387c2d4169469679ace2b71de368912f3bd514f" data-rendition-name="original" width="987" height="1004" loading="lazy" alt="DD 81 NT"> </figure>  In Sydney, I again found a dishwashing job at a fine dining restaurant. A Sri Lankan colleague helped me learn the job. The pace at which I had to do the dishes was insane but I got the hang of it in two weeks. I always dreamt of one day wearing the chef’s white coat. It commanded respect, I could tell. In addition to becoming good at my job washing dishes, I also had good language and networking skills so I built good relationships with colleagues. There was a need for a pizza chef at the restaurant. It was expensive to hire someone new, and they asked me if I was up for the job. I said yes even though I knew nothing about making pizzas. My Italian colleagues coached me and before I knew it, I became better than others at the job. Soon, I realised that I did not just want to make pizzas. Whatever I wanted to learn, I just asked seniors to take me under their wings and I would help without pay. They would agree but still pay me. It wasn’t a strategy per se, I genuinely wanted to learn. At some point, a Japanese sous chef in my restaurant and I had coincidentally applied to the same restaurant, and there, under him, I got to learn even more. Working with a Japanese chef is really difficult, but you learn a lot. He would sometimes even hold my hand with tongs dipped in hot water when I screwed something up. I worked in a few restaurants after this and was earning well. When one of my colleagues, a dishwasher, was let go unfairly, I decided to leave because I did not want to be a quiet bystander to this act. I returned to Nepal immediately after this.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012719010_f33ba38bb5f86f1d33262fd0d7ccd09ed01f6cc52148ca3d4cd66c434b695730.jpg" data-media-id="editor_1" data-image-id="2026012719010_f33ba38bb5f86f1d33262fd0d7ccd09ed01f6cc52148ca3d4cd66c434b695730" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="DD 82"> </figure>  I started a restaurant called Ghumti, but it was struggling. The location of the restaurants was not good and it failed. I bought another restaurant in Darbar Marg. I was managing two restaurants when Covid hit. The rent kept piling up, and there was no revenue. I took a huge loss. I gave them up and returned to Chitwan and started making migration plans. I came across a job vacancy for Alba in Qatar by the famous Enrico Crippa. I still remember the heat when I got out of the airport in Doha, it was like entering an oven. Thankfully, I had a Nepali roommate who showed me around and helped me adjust.&nbsp; The hotel was still under construction, but training had started. We worked really hard for the opening and things went well. In 2023, we even won the Best MENA Restaurant award. But at some point in 2024, the international Crippa chain decided to leave.&nbsp; Some colleagues including the head chef left and I suddenly was put in charge. I had some head chef experience from Australia and had previous experience working in high pressure environments, so I stepped up. We had to start from scratch again, this time as Alba in Raffles, Doha.&nbsp; The name of our restaurant comes from the Alba white truffle, which is the best available and is expensive, selling at around 40,000 QAR per kg. We had heard the official announcement that the Michelin was coming to Qatar, and we worked even harder.&nbsp; Michelin inspections are strict, highly secretive and you have no idea you are being investigated. Even then, we were up for the game. We were ‘selected’ which meant we had potential.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012719010_bab3a904af69603e9e79f333aeea89b035401c0c8d1750930107f3594ff1f565.jpg" data-media-id="editor_2" data-image-id="2026012719010_bab3a904af69603e9e79f333aeea89b035401c0c8d1750930107f3594ff1f565" data-rendition-name="original" width="1000" height="697" loading="lazy" alt="DD 81"> </figure>  I went to the award ceremony with low expectations. But because they announce the name alphabetically, Alba came first. I was very happy and felt validated. Being recognised as a Michelin one star restaurant is a huge achievement for us. My MD reminded me of a promise I had made of getting a Michelin tattoo if we got the award. I guess I will get it done when I come to Nepal next. My plan is to get a tattoo that captures my journey right from the dishwashing days.&nbsp; I have cooked for Obama, Beckham, Kaka, Trump, 50 Cent, Lindsay Lohan, you name it, because our restaurant is visited by high profile guests. At first, I used to feel the pressure. Now I view all guests as the same. The food you make is the same no matter who is eating it. I love the work. In fact, it does not feel like work. The rush in the kitchen, the atmosphere, the heat, the scent, I live for it. When I am not working, I get bored. It is like an addiction without which I get withdrawals. I want to contribute in introducing Nepali cuisine and ingredients in the worldstage. Nepalis overseas have a lot of potential in the hospitality sector. But my advice to youth is to focus on building a strong base and invest in learning. It is increasingly common for Nepalis to job hop for a salary jump. While other skills like language are also important, it is the hard skills that we really need to focus on. In our field of work, it is the plate that needs to speak.

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