<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234e99c7e80680e0c495bjpeg.jpg" alt="" width="960" height="640"/><figcaption>All photos: SUMAN NEPALI</figcaption></figure>The past often feels like a foreign country, as British author LP Hartley once famously wrote, because ‘they do things differently there’.There is a ring of truth in these words as one takes a walk around the Hanuman Dhoka Palace complex in Kathmandu. The temples and the statues, their grandiosity now laced with brown dust, age-worn and almost dwarfed by the rising jungle of cement and iron.But 400 years ago, all this must have felt like an entirely different world.While most of the buildings still stand, having survived earthquakes and successive renovations and remodelling, many of the statues have been stolen and are in exile in museums and private collections overseas.The former palace complex has not changed much since the Malla era, but the surroundings have. The valley is so longer the emerald jewel it once was where Tantric gurus transformed into eagles and appeased the gods, when the air mixed the sweet aroma of flowers rustling in the breeze. The king in one of the three city states could walk to the balcony of his palace and check if there was any new construction taking place in a neighbouring kingdom.There seems at once a great chasm between the past and the present, made wider by the dramatically divergent look of the Nepal Mandala today –– one that noted historian and scholar of Himalayan and Nepali art Éric Chazot tries to commute in his novel Le Seigneur de Katmandou.Read :<a href="https://www.nepalitimes.com/review/an-archive-of-ones-own/"> An archive of one’s own</a>, Pratibha Tuladhar<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234ec9c7e80680e0c495cjpeg.jpg" alt="" width="2304" height="1536"><figcaption> </figcaption></figure>Published by Éditions el Viso in 2021, this French-language historical fiction is a detailed retelling – and, at times, perhaps even reimagining – of the life and times of Pratap Malla, told in his own voice, almost as though it were from his diary.The narrative weaves together the legends and inscriptions of the Valley in the latter half of the 17th-century to create a portrait of Pratap Malla not just as a king, but also as a poet, a philosopher, a son, a father, and a husband.It is already a daunting task to write a historical novel –– to try and capture a period, its persons and sensibilities often so far removed. As history is rooted in records, it leaves an author little room to indiscriminately invent.Now add into the mix the figure of Pratap Malla, arguably one of the best-known kings of Kathmandu. His historical persona has been embellished and undermined in the last three centuries, owing to folklore, propaganda and scant contemporary records.Historian Lila Bhakta Munankarmi in his book मल्लकालीन नेपाल describes Pratap Malla as being ‘glorious and brave’ and ‘an intellectual and a poet’, who ‘established numerous temples, shrines and chaitya in Kathmandu, many of whom are still standing.’He was a king who built the Rani Pokhari for his queen who was grieving the death of their son, and allegedly kept a harem of 3,000 young girls, even ravishing one 11-year-old and causing her death.This already ambivalent portraiture is coloured further by the Pratap Malla’s cultural and religious legacies, many of which are still standing in Kathmandu: the statue of Hanuman outside the Hanuman Dhoka Palace, Chyasin Dega, the Bhandarkhal pond, Anantapur and Pratappur spires in the Swayambhu complex, Guheshwari temple, Bhimsensthan, and the many chok inside his palace.Read also: <a href="https://www.nepalitimes.com/here-now/losing-loose-change-in-nepal/">Losing loose change in Nepal</a>, Ashish Dhakal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234ef9c7e80680e0c495djpeg.jpg" alt="" width="4320" height="6480"><figcaption> </figcaption></figure>Chazot’s novel is in some ways a representation of this multiplicity of character. It is reminiscent of the cubist paintings – for instance Duchamp’s Nude Descending a Staircase (No. 2) – and makes no attempt to justify actions or pass judgment –– as Chazot himself admits, that is not what he is trying to do with Le Seigneur de Katmandou.It was in fact to understand him, to explore his philosophy and his character. Chazot is a scholar of masks and art of the Himalaya, with a special interest in Tantrism. In 2015, his translation of the Tantra of Chandamaharosana into French at the behest of a Newa guru Dharma Guruji was published, and in 2016 he came out with another book on the Tantric art of Nepal, Tantra: Théologie de l'amour et de la liberté, which goes into the details of its philosophy and aesthetics.Pratap Malla was already a fascinating subject for Chazot who first arrived in Nepal in 1973. A contemporary of Shah Jahan in Mughal India and Louis XIV in Bourbon France, he too showed fierce love for the arts and philosophy, sometimes with a dash of decadence.  Chazot finished the first draft of what would be Le Seigneur de Katmandou in 1979, but it was 600 pages long, he recalls, “and very complicated”.So, he began to rewrite. “I wasn’t writing every day,” he says. “Sometimes I would write a few pages, take a break for a couple years, and then return to it.” The published version is the fourth draft of the work.He had previously planned a series of novels focusing on one figure from each dynasty of rulers of Nepal, the Malla, the Shah and the Rana, but decided to abandon that for the time being to focus on the story of Pratap Malla.“I really wanted to write a good novel,” he says. “It could not be a little book you read once, enjoy and then forget about it. It had to be concrete and well-written with historical facts integrated with the legends of Pratap Malla so that people find it believable.”Chazot could not remove the legends, such as Pratap Malla entering the mythical caverns of Shantipur temple in Swayambhu during a drought to recover a paubha drawn in the Naga’s blood to bring back rain. Or the story of how Jamana Gubhaju once turned himself into an eagle and carried away the heart of a young boy one foreign sorcerer had cut up and promised to bring back to life through Tantra.“I could not say that because I am a historian, none of that could have happened,” he adds. Instead, Chazot built the book as a first-person narration by Pratap Malla, giving us a direct look into the mind and impressions of the king.Sometimes the king himself appears to be an unreliable narrator, which then prompts us to try and sift, and wonder if separating facts and fiction truly matters after all, because would Pratap Malla be the character he is without the legends and stories?A devout and ambitious king, it had been his great wish to unite the three kingdoms of Nepal Mandala fractured by King Jayayakshya Malla some 200 years before, for which he was constantly at war with Yala (Patan) and Khwopa (Bhaktapur).But it was also during this time that Yen (Kantipur, or Kathmandu) saw unprecedented economic growth, fuelled largely by a treaty with Tibet which allowed the Newa merchants of the city a virtual monopoly over trade with India and Tibet.Read Also: <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">The history of heritage</a>, Ashish Dhakal<a href="https://www.nepalitimes.com/here-now/losing-loose-change-in-nepal/">Losing loose change in Nepal</a>, Ashish Dhakal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234f59c7e80680e0c495ejpeg.jpg" alt="" width="4082" height="4713"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234f99c7e80680e0c495fjpeg.jpg" alt="" width="640" height="960"><figcaption> </figcaption></figure>Tibet was also to make a token payment in gold and silver annually to Kathmandu, and Nepal would mint coins for Tibet, allowing the King to profit vastly from these transactions and invest in the arts and culture.“He was an important king of Nepal and there are many inscriptions in his name,” says Chazot. “He was also a tantric king and pretended to know 15 languages. I was always fascinated by him.”The famous stone inscription outside the Hanuman Dhoka Palace to the goddess Kalika is written in 15 languages, including Farsi, Maithili, Hindi, Tibetan, Nepal Bhasa, Arabic, with a surprise appearance by three European words for the seasons: AVTOMNE, WINTER and LHIVERT –– the last one a lasting spelling error, maybe made by a distracted sculptor or scribe.Perhaps the Jesuit fathers Albert d'Orville and Johann Grüber taught the king the words, but the inscription remains undeciphered. In a funny scene with this clever linguistic invention, Chazot describes Pratap Malla remarking: ‘je m’amusais profondément de voir leur embarras lorsque je les interrogeais sur la signification de mon poème!’ (I found it deeply amusing to see their embarrassment when I asked them about the meaning of my poem).Chazot explains: “He called himself Kavindra – the King of poets. For me, this was an interesting idea because he was already a king, but he placed poetry above the kingdom of worldly affairs, and he wanted to be king of that too.”It is said that whosoever can read all 15 languages on that tablet will be blessed with milk miraculously flowing out of a duct at the bottom of the stone inscription. It may have flowed only once.Read also: <a href="https://www.nepalitimes.com/banner/the-historic-kathmandu-beneath-our-feet/">The historic Kathmandu beneath our feet</a>, Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234fb9c7e80680e0c4960jpeg.jpg" alt="" width="960" height="640"><figcaption> </figcaption></figure>But Chazot takes care to not confound us with Pratap Malla’s grandeur, for that would only give half-a-portrait. One side of the coin shows the king as an accomplished philosopher with care for his subjects and royal dreams. He wants to learn everything and bring lasting prosperity to his kingdom.On the obverse is an often impatient, lascivious man, a soul that is equally hungry for power as it is for knowledge, a man who may or may not have conspired to have a popular kaji murdered who also happened to be a brother-in-law. And a man who, to repent for killing a prepubescent girl, performs tuladan – the practice of offering Brahmins gold and silver equal to one’s weight.The reader may be tempted to suspect the validity of his claims and contrition, and the book invites one to question the act of writing itself, of telling stories. Where may we draw the line? What is honest and dishonest? The answer, readers must themselves decide.“In building the character and trying to understand,” Chazot adds, “I also want to caution the reader because it is not an objective retelling.” The novel is not just the story of the past, it is a picture of a man who also wants to be a hero. And Pratap Malla himself narrates his story.As the author, however, Chazot has tried to keep the story simple, subtle and coherent, often using juxtaposition to show the contrasting or coalescing viewpoints of cultures, countries and cults.“Brick by brick I put the story together,” he says, taking trips to the Hanuman Dhoka Palace, the temples, poring over the inscription, caressing the curves and the carvings to try and get a sense of what the king himself might have felt walking through his city almost 400 years ago.For written sources, he turned to the works by DR Regmi, Sylvain Lévi, A.W. Macdonald and Anne Vergati Stahl. He hopes Le Seigneur de Katmandou will be an addition to the œuvre that introduces Nepal, its history and culture to the world. An English translation is currently being undertaken by Vajra Publication.“Pratap Malla wanted to be a myth,” Chazot says, “and I have tried to make that come true.”Le Seigneur de KatmandouÉric ChazotPublisher: Éditions el Viso (2021)Pages: 256<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131128/637234ff9c7e80680e0c4961jpeg.jpg" alt="" width="157" height="242">Read also: <a href="https://www.nepalitimes.com/here-now/losing-loose-change-in-nepal/">A tale of three cities</a>, Ashish Dhakal

Ashish Dhakal

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No time like the past

Walkabout with Anil: Gai Jatra

https://youtu.be/27DSJhsNLYgFive years after the earthquake destroyed its central temple, the 350-year-old Rani Pokhari royal pond at the centre of Kathmandu is finally getting back its original look.The temple had been rebuilt after previous earthquakes in the Moghul stucco dome style, and was going to be converted into a concrete-lined structure. But today, the shrine, the causeway and pond perimeter gleam with russet brick.Rani Pokhari has gone through many avatars in the past centuries. The earliest, an engraving commemorating the visit to Kathmandu by <a href="https://archive.nepalitimes.com/article/nation/on-queens-pond-rani-pokhari,4092">Prince Waldemar of Prussia</a> in 1845, shows the Balgopaleswar Temple having a Shikhara style spire. After it came down in an earthquake, Jang Bahadur Rana had it rebuilt with the Moghul dome architecture of north India that he admired so much.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badea9c7e80680e077fbejpeg.jpg" alt="" width="612" height="451"/><figcaption>Rani Pokhari from the German publication ‘Die Reise Seiner KöniglichenHoheit des PrinzenWaldemar von PreußennachIndien in den Jahren 1844 bis 1846’ (The journey of His Royal Highness Prince Waldemar of Prussia to India: in the years 1844 to 1846). The temple is in the original Shikhara style spire.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badec9c7e80680e077fbfjpeg.jpg" alt="" width="679" height="379"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badee9c7e80680e077fc0jpeg.jpg" alt="" width="628" height="386"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badf09c7e80680e077fc1jpeg.jpg" alt="" width="627" height="384"><figcaption> </figcaption></figure>This structure came down again in the 1934 mega-quake, and Juddha Sumsher Rana had it reconstructed and whitewashed, adding a metal fence around the pond. This structure, too, was destroyed in the 2015 earthquake, and Kathmandu Mayor Bidya Sundar Shakya’s attempt to surround the pond with cafes and shops was <a href="http://archive.nepalitimes.com/blogs/thebrief/2016/08/24/save-rani-pokhari/">vehemently opposed</a> by the local community.Finally, the National Reconstruction Authority (NRA) is giving Rani Pokhari more or less its original look. After delays due to the lockdown, reconstruction is finally nearing completion.The pond was built in 1671 by King Pratap Malla after his consort, Queen Anantapriya was devastated by the sudden death of her son, Prince Chakrawatendra Malla. The king could not bear to see his queen so distraught, so he built Rani Pokhari to soothe her, and memorialise their lost son.It was an exquisite architectural and ecological masterpiece showcasing the meticulous craftsmanship of the Malla era. The pond was consecrated with the crystal clear waters from 51 sacred sites from all over the subcontinent.On the south side of the pond there still stands a statue of an elephant bearing King Pratap Malla and his two sons Chakrawatendra and Mahipatendra. Four smaller temples protect the central temple from the four cardinal points.Besides its beauty, the pond was also an engineering feat. It was fed by an intricate underground network of channels to keep it full throughout the year. It also served to manage the surface water around in the area during monsoon, so that runoff from as far as Asan market would empty into the pond and overflow past farmlands down to Tukucha Rivulet in the east.Because Rani Pokhari recharged ground water, it kept the water sources like hitis and wells in the surroundings flowing even in the dry season. The pond bed was lined with semi-permeable black clay (dyo cha) so it retained water but also allowed some of it to seep through. The pond thus served as a rainwater reservoir that not just replenished groundwater, but also irrigated nearby farms.“Rani Pokhari shaped the water management system around the area at that time,” says Sudarshan Tiwari, professor at the Institute of Engineering and a conservation architect.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badf19c7e80680e077fc2jpeg.jpg" alt="" width="1000" height="564"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badf49c7e80680e077fc3jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Kathmandu Valley traditionally had an urban-rural symbiosis with densely-packed towns situated on higher ground, with intensive farming in the fertile soil below. The pond is a reminder of the wisdom of Kathmandu’s rulers who understood this ecological balance, as well as its cultural significance.“Since the day of its inauguration the pond was already considered a sacred site due to the temple in the centre and because water from 51 holy places were ceremonially poured into it,” says <a href="https://www.nepalitimes.com/here-now/deconstructing-reconstruction/">heritage conservationist Alok Siddhi Tuladhar</a>.After it was damaged again in the 2015 earthquake, President Bidya Devi Bhandari inaugurated the reconstruction of Rani Pokhari in January 2016. The Kathmandu Metropolitan City got a budget of Rs120 million for the job, but it started to line the perimeter with cement for shops, and <a href="http://archive.nepalitimes.com/blogs/thebrief/2016/09/01/unesco-concerned/">used concrete to rebuild the temple</a>. After opposition, the work was stopped and handed over to the NRA.“We wanted to make sure everyone involved had a say in the reconstruction, as the NRA is just a temporary organisation, so we formed a committee consisting of people from KMC, Department of Archaeology and local experts,” explained the NRA’s Sushil Gyawali.After much debate the NRA decided to rebuild the temple in the original 1671 Shikhara style, and also revive the original hydrological elements used in the pond. This was not an easy job. <a href="https://www.nepalitimes.com/banner/resurrecting-rani-pokhari-right/">Experts from Bhaktapur</a> were brought in to line the pond with black clay and bricks.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141140/636badf79c7e80680e077fc4jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>The biggest challenge was to revive the previous water management system. The artesian wells and underground channels that fed the pond have dried up or have been destroyed by surrounding building construction.“We will do our best to fill the pond through natural means but we will have to take extreme measures if the plan fails,” explained Gyawali.One of those “extreme measures” was to start filling the pond last week with muddy water from a nearby tube well. But this was also stopped after local opposition.“It was a mistake. Rani Pokhari is a holy site and using tubewell water diminishes its religious, cultural and ecological value,” said Tuladhar. The NRA stopped using the tubewell water, but Gyewali says that even the heavy monsoon rains will not be enough to fill the pond.Other options are to use the trial feed from the Melamchi tunnel, or rainwater harvesting from the reconstructed Darbar High School and Tri Chandra College.Another problem might be that the bed of the pond is lined with trapezoid dachhi appa bricks and the gaps between them could over time be blocked by debris and prevent seepage of water for recharging.“This will not only defeat the purpose of recharging the underground channels but it will also make the pond dirty, so money has to be spent in cleaning it,” says Sudarshan Tiwari.<a href="https://www.nepalitimes.com/opinion/draining-the-swamp/">Despite the compromises</a> during its reconstruction, Rani Pokhari has become a symbol of what proper restoration should look like. Relentless activism and communities uniting to preserve this heritage has saved  Kathmandu’s past for its future.

Building back Rani Pokhari even better

https://youtu.be/aDKMAc6MxuYKing Pratap Malla built Nhu Pukhoo, the ‘new pond’ on the northern outskirts of Kathmandu in the 17thcentury CE to console his grieving wife. To sanctify Rani Pokhari, as the pond was eventually called, he toiled four years to bring water from 51 holy rivers, ponds and oceans of the subcontinent.Now, more than four years after the desecration of Ranipokhari by Kathmandu Metropolitan City (KMC) in the name of ‘beautification’, the pond remains unfilled. All is not lost, however. The ongoing rebuilding process of Rani Pokhari is to some extent fulfilling.The 2015 earthquake damaged the Bal Gopaleswor Temple in the middle of the pond. The water body itself and the embankment walls remained intact, but the KMC misguidedly drained all the water, demolished the centuries-old brick embankment and replaced it with reinforced concrete in an effort to ‘modernise’ the pond.Read also: <a href="https://www.nepalitimes.com/here-now/deconstructing-reconstruction/" target="_blank" rel="noopener">Deconstructing Reconstruction</a>, Alok Tuladhar<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a50679c7e80680e04fd5ajpeg.jpg" alt="" width="1500" height="1125"/><figcaption>Photos: Alok Tuladhar</figcaption></figure>Despite public uproar over the vandalism of this holy site, Mayor Bidya Sundar Shakya refused to back down from the project, vowing to build a coffee shop and recreation facilities in and around Rani Pokhari. Outraged activists finally threw the construction workers out and locked the premises in December 2017. Mayor Shakya was forced to remove the concrete he had poured.The National Reconstruction Authority (NRA) stepped in, taking responsibility for the reconstruction. It formed a local group to oversee the process and manage funds, and enlisted the technical expertise of Bhaktapur Municipality, which had recently revived several ponds on its lands that had dried up.Read also: <a style="background-color: #ffffff; letter-spacing: 0.15px;" href="http://archive.nepalitimes.com/blogs/thebrief/2017/12/28/reconstruction-of-rani-pokhari-halted/" target="_blank" rel="noopener">Reconstruction of Rani Pokhari halted</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a506a9c7e80680e04fd5bjpeg.jpg" alt="" width="640" height="480">A team of 40 workers from Bhaktapur are now hard at work at Rani Pokhari every day. After clearing the overgrown vegetation, women are levelling the ground and lining the pond with a layer of impermeable black clay.  They are also building an embankment wall on the sides of the pond, using bricks specially manufactured with lime-and-brick-dust mortar.Subhadra Dhoju from Bhaktapur says the black clay (‘dyo cha’) has been chosen for its water retention capability. Dyo cha means ‘god soil’ in Newa. The large surface area of Rain Pokhari poses a challenge not faced elsewhere.“We have brought in 40 truckloads of black clay so far from Sankhu and Bhaktapur, but we need another 3,000,” says Ajay Sthapit, who heads the local group overseeing the project. Even though the NRA wanted to use cheaper ordinary bricks for the walls of the pond, Sthapit insisted on high quality custom-made one.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a506e9c7e80680e04fd5cjpeg.jpg" alt="" width="640" height="480">For now, Rani Pokhari reconstruction is progressing steadily, using appropriate technical knowhow and following ancient pond construction methods. But this is true only for preventing the pond water from seeping into the ground. Getting water into the pond will be another story altogether.In addition to rainwater, the NRA is thinking of drilling a deep well and a dedicated Melamchi pipe to fill the pond. But the long-term sustainability of this method is contested by Sudarshan Raj Tiwari, a historian and member of the expert committee formed by KMC in 2018 to guide Rani Pokhari rehabilitation.“According to Vastu principles, Pratap Malla must have dug separate wells to fill and to drain the pond in the northeast and southeast corners respectively,” says Tiwari. “This was the ancient, proven and sustainable way of keeping the water flow under human control. The present reconstruction method is not investigating this method.”Cultural preservation activist Sudin Manandhar feels Rani Pokhari is being turned into a traditional swimming pool. “If the ancient system of natural water flow is not revived, the valuable engineering knowledge of our ancestors is lost forever. That lowers the value of the historical pond,” he says.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/blogs/thebrief/2016/08/24/save-rani-pokhari/" target="_blank" rel="noopener">Save Rani Pokhari</a>https://youtu.be/moY2eji6loETiwari’s committee had also recommended that the Bal Gopaleswor temple be rebuilt in Shikhara architecture keeping with king Pratap Malla’s original style. The Department of Archaeology, however, ignored that advice and went on to rebuild the temple with a dome roof following the Rana-era reconstruction model. Once more, sustained public pressure forced the government to correct its mistake, and the NRA has now published a design to rebuild the temple in the Shikhara style. This is another major win for heritage conservation.Maharshi Prasad Rajbhandari, a young heritage enthusiast from nearby Asan, sums up the resurrection: “We were about to forget what we stood on. But sustained activism prevented that from happening. From the Rani Pokhari episode, we have learnt that if we raise our voices and are persistent, we can bring even the most powerful government to heel and set things right.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131148/636a50729c7e80680e04fd5djpeg.jpg" alt="" width="640" height="532"></figure>Rani Pokhari with the Bal Gopaleswar temple in Shikhar style, before it was destroyed by the 1934 earthquake. The sketch was drawn by an artist who accompanied Prince Waldemar of Prussia on his visit to Nepal in February 1845.Read also: <a href="https://www.nepalitimes.com/opinion/draining-the-swamp/" target="_blank" rel="noopener">Draining the swamp</a>, Sumana Shrestha

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No time like the past

Walkabout with Anil: Gai Jatra

Building back Rani Pokhari even better

Resurrecting Rani Pokhari Right