<figure><img width="705" height="311" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19a49c7e80680e0ac82ejpeg.jpg" alt=""/><figcaption></figcaption></figure>From Bigbang to BTS, Train to Busan to Parasite, and Winter Sonata to Crash Landing on You, South Korean movies, tv series, and music have dominated the watching and listening preference of Nepalis for the past two decades. Adding to the <a href="https://www.nepalitimes.com/banner/k-pop-in-k-town/" target="_blank" rel="noopener noreferrer">growing Hallyu wave in Nepal</a>, and globally, is Netflix's runaway hit Squid Game.
The dystopian series, which debuted on Netflix in September, has amassed a huge following with the streaming platform reporting views from 111 million accounts in less than a month since its premiere, making it its ‘biggest-ever series at launch’.
The show follows a group of people from different walks of life, who pushed to the brink of desperation play dangerous versions of children’s games to win money. All of this is orchestrated by wealthy people looking for some entertainment.
The setting is brutal, and the show does not shy away from blood and gore – of which there is plenty throughout the nine episodes.
But what seems to have struck a chord with people globally and in Nepal is the series’ portrayal of the wealth gap prevalent in the real world today, and the values and morals humans are willing to stake for money.
The show’s success can be gauged by the numerous articles in the media, memes and clips circulating online, a spin-off reality show in China, the number of followers the cast has gained following the premiere, and even the viral videos and social posts about Dalgona candy used in the series for a game of ppopgi, where contestants need to carve out the image on the candy with a needle without breaking it. There are also viral challenges inspired by Squid Game doing rounds on TikTok, and media reports of record-breaking searches of Halloween costumes inspired by the show.
Much of the incredible reception can also be attributed to the hype generated by the initial reviews, and word of mouth. Many Nepali viewers watched the show when clips and reviews started flooding the social media because they did not want to be left behind. For others, it was an introduction to the world of K-dramas that are otherwise popular for rom-coms.
For a certain section, the Dalgona candy seems to have struck a sense of nostalgia as they reminisce about the craze of Dalgona coffee during the lockdown.
In Nepal, the character of Ali, a Pakistani migrant worker played by Anupam Tripathi seems to have hit home for many. The desperation to provide his family a good life, the loyalty he exhibits even till the end and the gruesome death he faces seems all too familiar to the tales of many Nepalis who leave the country every day in search of a better future in Korea and overseas.
But the success is not without criticism. The show’s writer-director Hwang Dong-hyuk has been accused of borrowing extensively from other survivor genre movies like the Hunger Games, Battle Royale and particularly the Japanese film As the Gods Will. And many have been put off by the bloodshed. There are also those who have watched it for the fear of missing out, but ended up calling it overrated.
As Squid Game has gripped the Nepali viewers we asked our readers: "What do you think about the underlying metaphor of the hit series?"
Here is what they had to say (some comments contain spoilers):
While the world seems to be obsessed with class disparity, I believe Squid Game is a screaming reminder of absurdity - the existential philosophy of people like Camus or Sartre. Combine it with a Kafkaesque sense of an impending sense of eternally being guilty of something - like in 'The Trial'. Replace overpowering sense of doom with 'debt anxiety' and suddenly the massive global debt (which includes South Korea) that the world seems to be drowning in starts making sense. On top of that, throw in the "illusion" of choice and you have a perfect mimicry of absurdity. Whether you play, or you don't, you're deemed to have a life full of inescapable suffering.                       Avinash Mishra
There's a lot about Squid Game that stands out but most particular is how class solidarity is made impossible by the realities of capitalism. The show does such a brilliant job of making "villains" out of Sang-Woo and Deok-su that as the audience, you almost forget that the real villains are the people orchestrating the whole thing. The Front Man and the VIPs (the capitalists who can afford to throw around 45.6billion won for "entertainment" and bet $1million on single players) are the ones we (the audience) should be rooting against and yet we forget that halfway through the series. Another example of how class solidarity is made impossible is illustrated by the marbles game. When the managers ask the remaining players to pick a partner, the instinctual thing for the players to do is to pick someone they trust, someone they know will not betray them at the last moment, and someone who is reliable. And what does the marble game make the players do? It pits teammates against each other in the most brutal and jarring way. When Sang-woo betrays Ali, someone he's not only helped earlier in the show but also allowed to refer to him as "hyung" (older brother), it's horrifying, yes. But it's also a reminder of how the core of capitalism was, is, and always will be individualism. This is only further highlighted at the end of the series when Gi-hu finally meets player 001 and finds out who the "mastermind" behind the games was. There was a relatively recent study that concluded that the more wealth you accumulate, the less empathy you have. The way player 001 talks about how he and his rich friends were bored, and they basically developed their own version of the horse tracks and the callousness with which he wants to wait and watch the drunk man on the street die, show exactly this apathy that the wealthy have towards others. I, for one, kept waiting for Gi-hu to run down and help because the bet never said he couldn't do it. The fact that the old man was proven wrong adds to the central thesis of the show which in my opinion was: capitalism strips you of everything that makes you human and makes you believe that the cruelty and individualism and selfishness you see in the players are inherently human. But they're not. They cannot be. Because we see Gi-hu go out of his way to help and assist player 001 from the beginning. We see Sang-woo give his food to Ali. We see Ji-yeong sacrifice her life for someone she only just met because Sae-byeok had something and someone to live for. We see flashes of these players care for each other despite the circumstances. We see them resist the dehumanisation.
The cruelty, individualism, and selfishness are bred into humans by capitalism to foster itself. We are closer to Rousseau's idea of humanity rather than Hobbes's. There are so, so many more layers to this show, from gender to race to immigration to religious fanaticism to social Darwinism. The exploitation of the working class is at the core though. The fact is that no matter how hard some people work, their circumstances won't change because the odds have been stacked against them from the beginning. Maybe even before they were born.
UNDP's Human Development Report 2019 said that inequality was on the rise and "Far too often a person’s place in society is still determined by ethnicity, gender or his or her parents’ wealth."
I think this show does a wonderful job of illustrating this.                                          ]Andrea Upadhyay
The Squid game was a breath of fresh air especially because Asian tv shows <a style="letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/news.php?id=19842#.YXlXTC2B3-Y" target="_blank" rel="noopener noreferrer">apart from rom com cliché</a> catching up to Hollywood is good. It also perfectly portrayed how the wealthy exploit the weaker member of the society, demonstrating the gap between the rich and the poor. And of course, the private debt trap, its impact on Korean society, Korean point of view of North Koreans. It might feel overrated for we are used to watching survival dramas on a big budget. But keeping that specific part aside, we can see many nuances of the society in the drama.                                                    Manisha Gadtaula
I just finished watching Squid Game. It depicts an underlying disparity between the ultra-rich and those struggling for survival daily. The rich treat the poor as "horses" and enjoy watching their death-surviving races akin to horses running on the track.      Shailesh Sharma
The underlying metaphor of the <a href="https://www.imdb.com/title/tt10919420/" target="_blank" rel="noopener noreferrer">K-drama ‘Squid Game’</a> is economic inequality. The ones affected by its impact in real life were participants who came to play games to win the prize but were later eliminated and killed for the sake of providing entertainment to the creator of the games, the old man himself, as well as to other VIP guest spectators. Just like that, people, especially from poor countries, are exploited and killed daily by rich nations for the sake of enjoyment from their hard work. There are several examples of how this drama is representative of many real life events, but one that instantly came to my mind was the death of hundreds of young and healthy <a href="https://www.nepalitimes.com/opinion/the-workers-football/" target="_blank" rel="noopener noreferrer">Nepali migrant workers constructing stadiums</a> for the FIFA World Cup 2022 in Qatar for spectators. The entire survival game of the drama is organised by player 001 (wealthy old man) who thinks the one thing that is common between rich, and poor is that everything gets boring in the end and hence is ready to do anything to relive the joyful moments. Likewise, the FIFA World Cup is something that is watched by half of the world, as proven by the 2018 FIFA World Cup Russia; so in essence, many migrant workers sacrificed their lives for the sake of providing enjoyment to half the world the next year. In the end, only one player was alive, who was also the winner of the game. Many migrants survived the construction of the stadiums, but it doesn’t justify <a href="https://www.nepalitimes.com/latest/world-cup-stadium-workers-in-qatar-unpaid/" target="_blank" rel="noopener noreferrer">the injustice</a>.                                                                                                                                 Subidha Parajuli
Once you have everything that you desire, you get bored and then your longing to feel such excitement again in life grows so much that it forces you to look for extreme ways of achieving that, most of which are ethically wrong because doing good things hardly give you the same rush as the bad stuff.                                                                     Avi Stha
The show seems to have been inspired by some of the Hollywood flicks, such as Saw and Hostel. Nevertheless, its metaphor is subtle and to the point and to some extent it is successful in showcasing the divide between the rich and the poor. What I liked about the series is that despite the impoverished and the poor being in the majority and sharing the same affliction, they still want to get to the top at the cost of others. This is a subtle jab at how our society works today.                                                        Sushil Rana

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Squid Game: latest addition to the global Hallyu wave

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

Turkish Basketball

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

The Last Days of the Khampa

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

Turkish to Seville

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

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