<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121144/636b932b9c7e80680e06f18ejpeg.jpg" alt="" width="1778" height="1000"/><figcaption>All photos: HERNE KATHA</figcaption></figure>The Euro 2020 matches are live on television, and many are watching the replays the next morning. But what is really going viral in Nepal these days is a short program of grandmothers playing a football match in the mountains of Lamjung district.Two teams made up of members of the local Mother’s Group of Siurung village face each other on a school football ground. The clip of the match is on <a href="https://www.facebook.com/hernekatha" target="_blank" rel="noopener noreferrer">social media</a> accounts of the web series <a href="https://hernekatha.com" target="_blank" rel="noopener noreferrer">Herne Katha</a>, and is accompanied by a running commentary, complete with slow motion replay of a free kick that is saved by goal-keeper Yoju Gurung.“We saw the grandchildren playing, and I thought why shouldn’t I also have a go at it before I die,” says 67-year-old Gurung.<blockquote>आजको फुटबल खेल पनि सुरु हुनै लागेको छ । आमा समूह दुई वटा टिममा बाँडिएका छन् । रेफ्रीले खेल सुरु भएको संकेत गरिसकेका छन् । लताकुञ्ज विद्यालयको रंगशालामा भइरहेको खेल हेर्न खचाखच दर्शक उपस्थित छन् ।<a href="https://twitter.com/hashtag/chhotokatha?src=hash&amp;ref_src=twsrc%5Etfw">#chhotokatha</a> <a href="https://twitter.com/hashtag/hernekatha?src=hash&amp;ref_src=twsrc%5Etfw">#hernekatha</a> <a href="https://t.co/QwD7FHIWoM">pic.twitter.com/QwD7FHIWoM</a>— Herne Katha (@hernekatha) <a href="https://twitter.com/hernekatha/status/1404419600905904137?ref_src=twsrc%5Etfw">June 14, 2021</a></blockquote>Posted on YouTube and broadcast on Kantipur Television every alternate Tuesday at 6:30pm, the <a href="https://www.youtube.com/channel/UCZuKpNyipL9W-OkKwCMwVNQ" target="_blank" rel="noopener noreferrer">web series</a> Herne Katha has uplifting stories of struggle, survival and triumph — a message especially important at a time when Nepalis are suffering such hardships.Manjuliya Devi walks briskly through her village Morang district, going house to house to cut the hair and trim beards of residents. She has little time to waste, wedding guests are lining up. Her son wants his elderly mother to stop working, but Manjuliya Devi says she will not stop.Near the Dang-Rolpa border, Yam Bahadur Gharti and his young son Purna Bahadur work in the districts’ coal mines, deep in the belly of the scraggly hills. Father and son have taken a break for lunch, and talk about families back home who depend on their earnings.In Surkhet, a clan of Raute nomads prepare to pack up their settlement and move on to the next in Surkhet. Their timeless method of Swidden farming is now <a href="https://nt.exposure.co/last-but-not-least" target="_blank" rel="noopener noreferrer">threatened</a> by roads and monetised markets.In Marpha of Mustang district, village elders are alone in the village below Dhaulagiri with their livestock and dogs. Everyone else has moved down to Kathmandu or Pokhara to escape the harsh winter.These recent programs on Herne Katha unite Nepalis by showing us the lives of other Nepalis, providing hope and optimism at a time when most have little of both. The series that began airing in 2018 is created by ex-BBC journalists Bidhya Chapagain and Kamal Kumar who are constantly on the road to the remotest corners of Nepal to profile ordinary Nepalis living extraordinary lives.Kumar and Chapagain met in 2003 when they took up a job at the same radio station. Kumar had come to Kathmandu after high school and enrolled in a journalism program, having, as he puts it, fallen into journalism. Chapagain had also always wanted to be a journalist. As their careers progressed, their paths would constantly cross.“In those early days, our work almost exclusively involved going to the Reporters Club and waiting around for the politician of the day to give their speech,” recalls Kumar.Chapagain nods, adding: “Or we would have to go to hotels to cover workshops and conferences.”They are seated, Chapagain on the floor and Kumar on a beanbag chair, and complete each other’s sentences with the ease of two people who have been colleagues for a long time.In locked-down Lalitpur, their office is quiet but for the sporadic rain outside and the occasional click of the mouse as the editor, Sandesh Pariyar, works in the other room on an upcoming project.Kumar and Chapagain both worked for BBC Media Action’s debate program Sajha Sawal as producers. Chapagain would eventually become the presenter of the popular show, a role that propelled her to celebrityhood.Yet even as their careers flourished, professional discontent had begun to creep in. The structure of the show, the Kathmandu-centred happenings, and interviewing politicians had become tiresome.The two got along and worked well together, and at tea break would talk about doing something different, something more fulfilling. When they quit the BBC they were still not sure about the next stage in their careers, and the only thing they knew for sure was that they wanted to keep working on video.Without equipment, they rented a small room as an office and started to brainstorm. Says Chapagain, “We got out of our comfort zone and took a risk. It was fearful and exciting at the same time.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121144/636b932f9c7e80680e06f18fjpeg.jpg" alt="" width="1920" height="1080"><figcaption> </figcaption></figure>It was not until they were working on their documentary Marisakeko Manchhe, which won the Nepal Panorama Best Documentary at the Kathmandu International Mountain Film Festival, that they realised what kind of stories they wanted to tell. Herne Katha was born and uploaded its first video three years ago about young female Muslim students in Kapilvastu.“We had hoped for at least 20,000 views, but we got almost 50,000 in two days,” Chapagain remembers.Getting out of a structured media environment allowed the two to be more flexible and experimental. It also made them accountable for their own content, says Kumar.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121144/636b93339c7e80680e06f190jpeg.jpg" alt="" width="3264" height="2448">Editor Sandesh Pariyar joins in the conversation, and says it is the power of the story that is most important. And it has to be told with a minimalist approach in editing and camerawork, so that there are no distractions from the story being told.Pariyar is a visual editor, and relatively new to the team. He says about his previous job, “I used to sit in the editing room and I could predict exactly what a politician would say and when even before I saw the clips. That is why I quit.”Three years on, things are changing, and the storytellers agree it is largely due to the increasing reach of YouTube, with 60% of Nepalis surveyed saying they use the platform.  Almost 70% of the Herne Katha viewership is in the 18-35 age group and the program is very popular in the Nepali diaspora.“Once, in a remote village in Achham, a young man asked if I was from Herne Katha,” says Chapagain, who says the views on YouTube and being frequently on the trending list proves that their program is spreading a powerful positive message.“Some of our best stories have come from the audiences themselves,” Chapagain says. One such program was Mayako Katha, about a family in Kupondole which takes care of 17 pets and other street dogs in its automobile workshop.Chapagain and Kumar say they are not activists, they believe they are doing the kind of ethical journalism they learnt about in college, keeping true to their own personal values.The program gets loads of feedback. Young people reach out to say the programs have made them understand their own country better. Teachers show Herne Katha videos to students in class.“Most people in the cities who interact within their circle of people on the echo chamber that is Twitter have not seen the country. On the other hand, a larger part of the country is unconcerned with the discourse on those platforms. They have their own struggles,” says Kumar, of the characters in their videos.Chapagain agrees that the mainstream media is also recognising the importance of grassroots storytelling, and that politics is not the only story.“Stories do not need to be issues at all, it could just be people going about their daily lives,” she says “And it is good to see evidence that the lives of ordinary Nepalis are worthy of being on the front pages.”

Shristi Karki

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The extraordinary lives of ordinary Nepalis

Ancient heritage meets dern distillery craft as the US-based The Nepali Spirit Company this month makes its global debut with Kathmandu Ayla. Inspired by Nepal’s ancient rice whiskey tradition, the product is the first of four handcrafted spirits that brings Kathmandu Valley’s 1,000-year-old ayla tradition to the world stage. “The first four products combine history, culture, and tradition and it has taken eight years to get to this launch point,” says CEO of The Nepal Spirit Company Kashish Das Shrestha, who is also publishing a book on the history of alcohol in Nepali culture. The other three ayla products are Masala Whiskey aged in Brazilian Amburana casks and spiced with black cardamom from Nepal, Annapurna Ayla, and Haku Chaku Himalayan Espresso Liqueur made with organic Nepali coffee, and chaku (dark molasses).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216141244_ab74945dc60ce5ff83fe7a88596fc032c18705e7cda9dc62df21694d3ad83b85.jpg" data-media-id="editor_0" data-image-id="20251216141244_ab74945dc60ce5ff83fe7a88596fc032c18705e7cda9dc62df21694d3ad83b85" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="The American Ayla NT"> </figure>  “I started visiting international whiskey auctions six years ago and after reading about distilling, my passion for spirits grew, and I felt the urge to tell the story of Nepal’s heritage spirits to the world,” explains Shrestha. Once poured in Nepal’s royal courts, ayla is a clear rice whiskey that is a millennia-old living heritage of Kathmandu used in rituals from birth to death and traditional life milestones of its inhabitants. Ayla is distilled to capture the classic aromas and flavors, with a soft sweet after taste. It can be enjoyed neat, sipped through meals, or enjoyed as shots. With more than 15% of Nepal’s population living and working abroad, there is a cultural demand for ayla in the diaspora from Asan to Amstredam to Australia.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216121236_0db0ec396832736fef60b636d7012a917be65471408c81383a40613f928f9e78.jpg" data-media-id="editor_1" data-image-id="20251216121236_0db0ec396832736fef60b636d7012a917be65471408c81383a40613f928f9e78" data-rendition-name="original" width="1000" height="1270" loading="lazy" alt="The American Ayla NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216141236_a84ede74c67a61e75af2f0cc1c985b4d04ff2292c6bd0bd0b841f4d2c7b593aa.jpg" data-media-id="editor_2" data-image-id="20251216141236_a84ede74c67a61e75af2f0cc1c985b4d04ff2292c6bd0bd0b841f4d2c7b593aa" data-rendition-name="original" width="1778" height="1000" loading="lazy" alt="The American Ayla NT"> </figure>  &nbsp;“We also believe ayla is a wonderful way to tell Nepal’s story to the world,” says Lilu KC Shrestha, Chief Operating Officer of the company. “We intend to use our platform to promote Nepal in any way we can, and also find ways to give back to the country. It was high time a world-class Nepali spirits brand entered the global market, and we are proud to take the lead.” Aside from the ayla itself, the bottle and packaging was conceived by New York-based designer Sahara Shrestha to reflect a complete Nepaliness. “Each bottle and box is a love letter to Nepal, and every detail is an expression of respect and appreciation of Nepali heritage and our desire to share it with the world,” says Kashish Das Shrestha. “And ayla itself is a sacred part of our culture, so we wanted to make sure the bottle reflects this reverence.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216141244_d2746204c64802ff81453d7a8749f516bf3c62538fe3c98400a9b3978c03b273.jpg" data-media-id="editor_3" data-image-id="20251216141244_d2746204c64802ff81453d7a8749f516bf3c62538fe3c98400a9b3978c03b273" data-rendition-name="original" width="1920" height="1475" loading="lazy" alt="The American Ayla NT"> <figcaption>Aylarita</figcaption> </figure>  The bottom of each bottle has an embossed Mandala representing the universe and its interconnectedness. A glass molding of Himalayan peaks Chomolungma and Nuptse signifies the earth and heaven. The bottle cap is a black and gold rendering of the metal plates that hang from Kathmandu’s temples. The logo of The Nepali Spirit Company is also inspired by the unti, a traditional vessel used to pour ayla. While its top is typically adorned with a peacock, the company’s design replaces it with rice stalks. This motif is also on the label of Annapurna Whiskey named in honour of both the mountain and the goddess, the giver of grain. For a new take, ayla can be paired with a lime wedge lathered in honey, cumin, and salt, or on the glass rim. It can also be mixed into cocktails to make Aylarita, Aylatini, or Aylapolitan. <a href="http://www.thenepalispirit.com/" target="_blank">www.thenepalispirit.com</a>, @TheNepaliSpirit

The American Ayla

When Winston Churchill addressed the Canadian Parliament in December 1941, he recalled that generals of Nazi-occupied France had said that England would “have her neck wrung like a chicken”. Churchill went on to quip: “Some chicken.” As the laughter and applause subsided, he added: “Some neck.” (Even longer laughter and applause) We do not know who first started calling the narrow corridor that joins India to its northeastern states a 'Chicken’s Neck', but there also was the hint of a Churcillian connotation. Akhilesh Upadhayay in his new book In the Margins of the Empires: A History of the Chicken’s Neck, uses this strip as an entry point to explore a region adjoining Nepal, Bhutan, China, Sikkim, Darjeeling, India’s northeast and the tectonics that shaped its geo-strategic terrain.&nbsp; Upadhyay’s Chicken Neck is an organic whole, connected through centuries by transboundary traders, travellers, monks, spies, missionaries, mountaineers, and more. And as infrastructure and connectivity improves, smaller countries like Nepal and Bhutan (and earlier Sikkim) are caught up in the region’s rivalries. The tri-junction of the Chicken’s Neck is a potential flashpoint that has obsessed India’s military strategists ever since Partition in 1947 and the formation of East Pakistan, and the Chinese annexation of Tibet. India found itself squeezed between Chumbi Valley in China to the north and Pakistan to the south. So, when Sikkim started acting too independent for its own good 50 years ago, India engineered its annexation and turned it into its 22nd state. The 1962 Sino-Indian war elevated its strategic importance even more. Alarm bells ring in New Delhi each time there is trouble around the Chicken’s Neck: the Naxalite uprising had to be swiftly crushed, the Indian military moved in to liberate Bangladesh, Gorkhaland and ULFA activities were dangerously nearby, Bhutan had to be appeased. Every once in a while things would flare up between India and China, as in the 2017 Doklam standoff.&nbsp; And last year’s regime change in Bangladesh has rattled New Delhi enough to deploy its Rafael fighters and BrahMos cruise missiles in the Chicken’s Neck. It is now the most densely militarised strip of real estate in this part of the world. &nbsp; As a journalist and former editor of Kathmandu Post, Upadhyay also peers at the Chicken’s Neck through Nepal’s perspective. After all, Jhapa (where the author is originally from) sits right there astride India’s strategic lifeline.&nbsp; Geopolitics is at the front and centre of the book that takes readers back to the time Nepal was a closed Himalayan kingdom.&nbsp; Nepal may be a yam between two boulders, but it may just as well be a thicker Chicken’s Neck as far as New Delhi and Beijing are concerned. Nepal’s rulers have always had to walk the tightrope between China and India. Khampa guerrillas, covertly helped by American and Indian intelligence, raided Chinese military convoys from bases in Nepal, and King Mahendra had to do some intricate diplomatic footwork. India is often described as Nepal’s closest friend, but our relations with China go back as long in terms of the Lhasa trade, Bhrikuti and Arniko, religious exchanges and people-to-people relations. While Nepali researchers are wary of touching on Chinese, Indian or American sensitivities, Upadhyay’s journalistic background means he has no qualms about tackling the subject head-on, and objectively. He spent more than a year researching the book, sniffing around Siliguri, Bagdogra, Naxalbari, Darjeeling and the villages on the Jhapa side. Then he travelled to Olangchung Gola to listen to ordinary people of the Himalayan rimlands. Despite the perception about rigid frontiers between nation states, the book hints at how absurd the notion is. The Chicken’s Neck is also a wild elephant migration corridor, disturbed by the India-Bangladesh border fence, new expressway embankments, airport runways, and expanding cities. Similarly, the people on the Nepal-tibet border used to cross over to graze yaks — this expanded the gene pools of not just the yaks but also the nomadic humans who moved with the herds.&nbsp; Despite the hard borders, trade flourishes. Upadhyay marvels that a shop in Phungling in Taplejung has embroidered saris from Siliguri and fluffy jackets from China. he finds that residents in the northeastern and southeastern tips of Nepal have more in common with kin across the border in Tibet or India than with someone from Kathmandu. Nepal was once one of the biggest trade hubs in ancient times, and our products were treated as equals in Indian border cities. People too, could move freely, especially if they were and are from bordering Tarai cities.&nbsp; Nepal’s rich history and culture was shaped by the proximity to neighbours, and despite borders it is still cemented by marriages and trade — especially in the Nepali-speaking lands to the east. Its geographical positioning makes Nepal not landlocked but land-linked, adjacent to the largest emerging economies of the world. Nepal needs to deploy its soft power with effective diplomacy to take advantage of these two empires, and not be choked by their rivalry. The book was going to press when the GenZ protests ignited in September, but Upadhyay nevertheless managed to insert the current political transition into the pages with deft editing. &nbsp;The final section of the book examines at least three possible scenarios that may unfold as South Asia continues to be shaped by great power rivalries and imperial contests that have weakened the unilateral influence of the west.&nbsp; Akhilesh Upadhyay extrapolates from the Chicken’s Neck, zooming out for a wider perspective on the Subcontinent. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025121912124_0ae772e7736a65f53a99599b5724ca133a64fdea0e61c7170ea81f9dd95c7af0.jpg" data-media-id="editor_0" data-image-id="2025121912124_0ae772e7736a65f53a99599b5724ca133a64fdea0e61c7170ea81f9dd95c7af0" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="In the Margins of Empires: A History of the Chicken’s Neck NT"> </figure>

Some chicken, some neck

This is the first instalment of our new series Nepal Made, where we profile world-class Nepali products and the people behind them. The Himalaya is the home to Ayurveda, the preventive and curative medicinal practice that relies on the tremendous diversity of plant life. This is where Hanuman is said to have come to find a specific rare herb when Ram was wounded in battle. When he could not find it, he tore off a whole mountain and hauled it down to Lanka. Since then, herbal medicines and care products have been steadily modernised in India and Nepal. Now, one Kathmandu-based company, Herveda, is going global with an all-natural skincare brand that blends traditional knowledge of medicinal plants with modern technology. Originally a Sanskrit word, Ayurveda literally means ‘the science of life’ and promotes physical and mental wellbeing through a holistic knowledge system that is 4,000 years old. Ayurvedic products have gotten more popular as global demand rises for all-natural, chemical-free cosmetic and wellness products, instead of wasteful fast fashion and beauty trends. Herveda was founded by Prativa Pandey, a scientist-entrepreneur and mother of two. She did her PhD in nanotechnology chemistry from Northwestern University in the United States and returned to Nepal in 2015 after the earthquake, staying back to explore the market and launch her brand.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251218141216_b699e74ee82333951b99b22648705dc916deb8eef3d425c77c1e2f3b1058a64d.jpg" data-media-id="editor_0" data-image-id="20251218141216_b699e74ee82333951b99b22648705dc916deb8eef3d425c77c1e2f3b1058a64d" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Looking good by doing good NT"></figure>  “I wanted to do something in Nepal, but didn’t want to be a doctor or engineer,” says Pandey at the elegant Herveda showroom in Jhamsikhel. “Whatever knowledge that I had gathered, I wanted to spread it in my own country.” Nepal is rich in traditional medicinal herbs and Ayurvedic plants, but proper utilisation and mobilisation has always been lagging. Most of the benefits are reaped by large companies and not local farmers. Pandey wanted to change that. To ensure that it gives back to the community, Herveda collaborates with farmers and local traders for fair trade. “I have always been fascinated by the medicinal herbs found in Nepal, and wanted to create high value products with them. It was a way to combine valuable indigenous knowledge with my academic research background,” adds Pandey. “I did not require a huge investment, just a proper marketing strategy.”  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251218141216_350f6eb1511523ea54a8aba468f20a7dffcb5def3fade4dcced30324417f83bc.jpg" data-media-id="editor_1" data-image-id="20251218141216_350f6eb1511523ea54a8aba468f20a7dffcb5def3fade4dcced30324417f83bc" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Looking good by doing good NT"></figure>  According to the Trade and Promotion Center under the Ministry of Industry, Nepal’s import of cosmetic products is increasing every year, driven by demand from a younger population. These younger customers are also more conscious about the products they use. For brands like Herveda, it is important that customers engage in wellness and skincare in an ethical and sustainable manner. Apart from being all natural, Herveda’s flagship store in Jhamsikhel has a reuse box where consumers can drop used bottles, which are then recycled. The store also displays products from 35 local businesses. Pandey believes that Nepali brands should cross-promote and complement each other: “Rather than competing, I believe we should support each other. 1+1 can be 11, and not two.” Effectiveness and functionality hold great importance for Herveda. which employs 25 scientists to develop and lab test its products at its research institute. Currently, there are products ranging from Rs400-2,000, which include lip balms, serums, and essential oils. A signature product is the Berry Boost Radiance Mask, which contains Spikenard (Jatamansi), Ashwagandha, Orange Peel, and Rhododendron.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251218141216_7ec1104e0dd63db2fbbfe666034b468fe5b7e6876fde8b5446cb9d9fe27566cf.jpg" data-media-id="editor_2" data-image-id="20251218141216_7ec1104e0dd63db2fbbfe666034b468fe5b7e6876fde8b5446cb9d9fe27566cf" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Looking good by doing good NT"></figure>  Herveda exports to the United States and plans to expand to China and Europe. The products get a 50-100% markup in the international market. The company recently received a grant from UKAid to expand the market as well as build capacity to scale up. It has partnered with Agriplayer software to help to develop QR codes on its products, which consumers will be able to scan to track the product sources and evaluate pricing. Nepal lags behind in rules and regulations, and the lack of monitoring has allowed low quality cosmetic products to penetrate into the market. Herveda has got an international certification from USFTA, which is important for its foray into the export market. “For the cosmetic industry to scale up, there should be a central testing facility that is well equipped and meets international standards. Additionally, export should be made easy,” adds Pandey. “If there are too many barriers to entry, no one will be willing to invest.”

Looking good by doing good

Mithila art has represented Nepal’s indigenous culture, passing down through generations in the Madhes. Now, noted artist S C Suman explores this tradition with a bit of modern touch that gives it added relevance. Each of his paintings at the ‘Mithila Cosmos VII: Journey of a Pilgrim’ exhibition at Siddhartha Art Gallery exudes culture, colours and feminism, but with added improvisations that make it contemporary. “Mithila is an art form that is mostly used by women. Women have been the ones who preserve culture and pass it to other people and upcoming generations. The art form is what it is today because of women,” explains Suman. Inaugurating the exhibition on oMonday, art historian Julia Llyod Williams spoke fondly of Nepal and Mithila art, relating how she once bought a Mithila painting she liked without knowing its historical and cultural importance to the Mithila civilisation.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216031232_729d03089084a1bc79b0678766a09e13dcd9236ebd628795eb3b8c3aafcf8981.jpg" data-media-id="editor_0" data-image-id="20251216031232_729d03089084a1bc79b0678766a09e13dcd9236ebd628795eb3b8c3aafcf8981" data-rendition-name="original" width="1080" height="720" loading="lazy" alt="Mithala exhibition NT"></figure>  Suman is a self-taught artist, textile designer and a radio host from Biratnagar, and one of the country’s most celebrated artists, with national and international honours. He has held 14 solo exhibitions and numerous group shows in Nepal and all over the world. “With Mithila Cosmos, Suman brings his artistic evolution into a deeper, more traditional realm, where pilgrimage is shaped not only by movement but by cultural memory and sacred stories,” says Sangeeta Thapa of Siddhartha Art Gallery. The seventh edition of the exhibition explores and displays reflections of pilgrimage, sharing the artist’s physical and spiritual experience with viewers. The first of this series was exhibited in 2007. “I am confident that this edition will also win visitors’ hearts. In the past, different dimensions of Mithila art were presented through this series. This time around as well, I have tried to give viewers a new perspective,” says Suman.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216031232_2626f5a28e0051157af5d7f414128a1893645ddda02c955448103f4e92078385.jpg" data-media-id="editor_1" data-image-id="20251216031232_2626f5a28e0051157af5d7f414128a1893645ddda02c955448103f4e92078385" data-rendition-name="original" width="1191" height="1500" loading="lazy" alt="Mithala exhibition NT"></figure>  The exhibition is displayed on two floors of the gallery and includes paintings of Swayambhu, Pashupati, Lord Ganesh, Krishna, Ram Sita Bibabah among other renderings. Explains Suman: “The Pashupatin painting depicts the evolution of the temple, and since I live near Swayambhu, the mantra chanted there gives me energy, inspiring me to paint the shrine.” Use of colour, especially hues of blue, grab the attention of the viewers creating a sublime experience. ‘Samundra Manthan’ depicts how Lord Shiva drank poison to save the world. All the elements of the episode including Vasuki Nag, Kamdhenu and others are elaborately depicted. This carries on the Mithila tradition of telling stories by showing them through art. ‘Ram Sita Bibah’ shows the story of Ram and Sita in an intricate and intimate manner, and this is followed by the Banbas series, where Lord Ram is expelled from the palace, owing to family politics for power. In ‘Banbas I’, when crossing a river, the person rowing the boat asks to cleanse Lord Ram’s feet and then only allow him to board the boat, and pictorialises the storyline of the Ramayana. Similarly ‘Nava Durga’ is painted over canvas, has mantra painted all over the background and comprises ten avatars of Goddess Durga that is worshipped throughout Dasain.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216031232_7a24f7f8d264d7bd204b8f475d1e86dc6fe70765487c37ebed85da8117081a80.jpg" data-media-id="editor_2" data-image-id="20251216031232_7a24f7f8d264d7bd204b8f475d1e86dc6fe70765487c37ebed85da8117081a80" data-rendition-name="original" width="1000" height="1570" loading="lazy" alt="Mithala exhibition NT"></figure>  “I finished the Nava Durga painting in the ten days of Dasain. Each day I used to wake up, do my daily puja and then sit for painting. No matter what, I separated time to paint even during festivities,” Suman says, showing how the paintings are a deeply reverential devotional artform. ‘Geeta Saar’ is an equally breathtaking exposition from the Bhagavad Gita, the blues once again giving the show a tranquil ambience. Visitors at the exhibition do not just walk past the works hanging on the walls of Siddhartha Art Gallery, they stand in front of each of them for a minute or two, almost in prayer. The Mithila Cosmos exhibition series started when the Maoist conflict was still taking place, and today it is taking place in the aftermath of recent protests during which government buildings surrounding the gallery were all torched. Suman’s ‘Journey of a Pilgrim’ makes us ponder how it all fits in with Nepal’s history, culture and faith. Says Suman, “My aim is to bring stories of the Valley, Madhes and other cultures into a single canvas. I have tried to find ways to incorporate Nepal’s diversity in every single painting.”  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251216031236_89a12ff1908123e079cb08b77e37a4a875544e6baa6c9c1f4bfdba52b99e4287.jpg" data-media-id="editor_3" data-image-id="20251216031236_89a12ff1908123e079cb08b77e37a4a875544e6baa6c9c1f4bfdba52b99e4287" data-rendition-name="original" width="1500" height="1015" loading="lazy" alt="Mithila exhibition NT"></figure>  Mithila Cosmos VII: Journey of a Pilgrim Siddhartha Art Gallery, Baber Mahal Revisited Till 10 January 11:00am – 5:00pm

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