“एकादेशमा…” is how every bedtime story that Nepali parents tell children starts. It is a portal to shared childhood memories, and a collective moral code.&nbsp; The stories live in our hearts, and as adults quietly mould the way we see the world. The jolts of everyday life and distance from parents fade treasured oral traditions, and fairy tales that once stitched generations are lost.&nbsp; Some of these tales come to life in Roshan Bhandari’s exhibition, Once Upon A Time / एकादेशमा at Takpa Gallery. Folktales have been transformed into visual stories, showing fables passed down through generations, heard crackling through old radios, and discovered in the pages of well-worn books. Bhandari moves between abstraction and figuration, creating a masterpiece of deliberate fusion. Yet, they remain grounded in the figurative, allowing viewers to follow a narrative thread. The result is a dramatic, emotional landscape of unfolding stories. He explains: “A lot of it is abstract because it carries the soul. And the soul has no shape. You cannot shape the soul and the subconscious. It flows.” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061308068_ca93afbf07dc2dac0e8d4a5c7011ddd3c555ba4cce553686700be1fdd3746e11.jpg" data-media-id="editor_0" data-image-id="2025061308068_ca93afbf07dc2dac0e8d4a5c7011ddd3c555ba4cce553686700be1fdd3746e11" data-rendition-name="original" width="1440" height="1080" loading="lazy" alt="Morals in murals NT"> </figure>  The final piece in Bhandari’s previous series, The Story of Mountain - Contemplation, now stands as the opening to this new collection. The painting captures a young girl in a moment of introspection, embodying the quiet inner strength of Nepalis. &nbsp; She is suspended in time, mirroring the weight of everyday life in the mountains, marked by limited access to roads, healthcare, and education. The bold brushwork reflects the layered complexity of her emotions, caught between the harshness of reality and the strength it takes to endure. Around her, mountain goats graze calmly, life goes on, but she pauses. Not necessarily in defeat but in reflection. It is a moment of stillness we so often overlook in our own fast-paced lives. “She’s my kind of Mona Lisa,” Bhandari says with a broad smile. The aggression of the brushstrokes speaks to the intensity of her struggles, while the vibrant colour palette suggests that there is hope even in hardship. Life, the painting reminds us, is a balance between chaos and calm. Whispers of Nature tells the story of a radiant woman from the Tarai who can speak to birds and animals, but is an outcast, accused of witchcraft.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061308068_31790cb4120cfe78f79e868fccbfa91617bf534acb4b9e339f1fb5a6d57ced53.jpg" data-media-id="editor_1" data-image-id="2025061308068_31790cb4120cfe78f79e868fccbfa91617bf534acb4b9e339f1fb5a6d57ced53" data-rendition-name="original" width="1440" height="1080" loading="lazy" alt="Morals in murals NT"> </figure>  A Tale of Virtue and Reward on the other hand highlights the timeless truth that compassion, even when quietly practiced, never goes unnoticed. It portrays the contrasting outcomes of benevolence and malevolence -- a moral reflection on how the intentions behind our actions shape the fate that follows. Many of the wildlife-inspired tales in Bhandari’s work echoes a bygone era, when humans and animals lived in closer harmony. Though fantasy made animals talk, reason and relate, the core of these stories remain real. They make us ponder the growing rift between humans and nature today. &nbsp; Tied by Love, Freed by Empathy echo themes of freedom, coexistence, and justice, while From Humble Roots to Golden Roads offers lessons in how small acts of goodness can pave the way to hopeful outcomes. Each piece carries tales of timeless truths and its own distinct moral core. “Roshan Bhandari’s visual form is incredibly attractive. There is a sense of movement within the paintings, almost as if something is alive inside them,” says Tsherin Sherpa, artist and founder of Takpa. “The narratives are woven in such a unique and engaging way. These age-old stories are presented through a contemporary visual lens, which makes them feel both timeless and fresh.” &nbsp; Once Upon A Time / एकादेशमा Till 21 June Tuesday-Thursday: 11AM-6PM Friday-Sunday: 11AM-7PM Closed on Mondays Takpa Gallery, Lazimpat

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Morals in murals

When Tsherin Sherpa was growing up, his grandmother told him tales about spirits that were attached to mountains and rivers. That bond with the spiritual resides deep within Sherpa’s psyche still, and informs his art to a large degree. After living and working painting thangkas professionally in the United States for 10 years, he realised that he wanted to use the skills he had developed after years in that rigid art form to paint in his own voice, and comment on personal, political, and social issues. “I saw exhibitions adapting traditional art techniques, and thought I could do something similar with thangka,” Sherpa told us in an interview at Takpa Gallery in Lazimpat, which is showing Spirits in Transition, his latest work. “I realized that I needed a secular form of art to communicate to a non-Buddhist, non-Nepali audience.” Sherpa returned to Nepal in 2018, and a lot had changed in the 20 years he had been away, and so had he. The changes in Nepal were both good and bad, but the artist decided to focus on the positive. He was commissioned by the Visit Nepal 2020 Campaign to make 108 larger-than-life fiberglass sculptures of the yeti mascot to be displayed in public places. But because of the pandemic, the Visit Nepal campaign was shelved. The yetis vanished, but not before stirring some controversy because some of them had religious motifs deemed to be irreverent. This was an attempt to create a buzz around Nepal's tourism by having a mascot, just like Berlin’s Buddy Bear, or the New York Cow Parade. But many Nepalis were not exactly ready for it. These days, many of Sherpa’s paintings and sculptures have the figures blowing pink bubble gum. Intrigued, we ask him about it. “It’s a small, modest object that can signify a lot,” he explains. “In my art it tells about the modern time, and also lends a certain playfulness to a rather serious art piece.” He adds, “Having said that, I love it when viewers relate to it in their own way. People see what they see: nobody’s perception of the art is valid or invalid.” Although rooted in Nepali and Tibetan devotional art, Sherpa’s work transcends cultures. It is as if the spirits travelled with the artist to the US, and returned after assimilating the new world. “In our generation, the West had a grandeur about it. We had limited media and no internet, and thought West was best,” he says. “What I found in the US was that many of my heroes, like George Lucas, were inspired by the East. I realised that I had been ignoring my own identity.” Sherpa noticed that the new generation already regarded all cultures, heritage and identity as being valuable, and none of them were superior to any other. “Look at any of my spirits,” he says. “You can see their posture. There’s a confidence, a self-pride in who they are.”  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241212091252_3a6582865573e0ccf9935b76751a3bcbff99b3ce143da9551fb29801fdd7539b.jpg" data-media-id="editor_0" data-image-id="20241212091252_3a6582865573e0ccf9935b76751a3bcbff99b3ce143da9551fb29801fdd7539b" data-rendition-name="original" width="5163" height="4313" loading="lazy" alt="Tsherin Sherpa"><figcaption>Photo: RICCARDO TOSETTO(Photo: Riccardo Tosetto)© Riccardo Tosetto Photography</figcaption></figure>  For the artist, this exhibition also represents a transition as he explores what creative arena he wants to pursue next. He says, “In Buddhism, when a person dies, there is a 49 day period called ‘bardo’ before the consciousness takes rebirth. This work is also a transition, like a layover on a long flight.” All of the paintings at the Spirits in Transition exhibition have already been booked, by the same collector. Each painting takes Sherpa about a week. He starts with a small drawing of a figure, and undertakes a rigorous step-by-step process, influenced by his thangka background. “Once I find a posture I like, I keep playing around,” he says. “Painting the pattern on the spirit takes at least four layers. The first is almost translucent, and each layer adds vibrancy and makes the colours pop. This is the most time consuming part. I add the bubblegum last.” And what’s with the fiery red hair? Sherpa remembers while learning the discipline of thangka, there were very strict, rigid rules. Every line had to be exactly how it should be. But with the bubble gum and red hair, he says he wants to explore an abstract, fluid aspect. Sherpa is drawing from a technique he first did in Grade 3: dipping a thread in ink or watercolour, and dragging it across the page. “It’s what I paint last, because the red hair has to be done in one stroke. You can’t make mistakes. There is no room for a correction.” The artist uses 3D generated models to decide on the postures, starting with a skeleton, and adding features to the shape. “I am very bad at drawing straight from imagination,” he adds, laughing. Despite modern elements in Sherpa’s work, keen viewers can detect elements of thangka painting: rocks, water, curly clouds. And all figures wear snake jewelry. In the context of a thangka painting, that represents conquering your anger. Tiger skins represent overcoming fear. “After I came back to Nepal, I started combining my protector series with the spirit. The meaning is: whatever we are on the outside, we carry an appreciation for our identity on the inside,” he says. He just follows his instincts when painting and lets his imagination take over. He says, “My style has emerged out of a collision of thangka, comics, and Bollywood. I read a lot of Marvel and DC when I was young, and hand-painted billboards of Bollywood movies at the movie theatre fascinated me." Spirits in Transition by Tsherin Sherpa Takpa Gallery, Lazimpat Until 29 December 11am-7pm (Friday to Sunday) 11am-6pm (Tuesday to Thursday)

Vishad Raj Onta

Tsherin Sherpa in body and spirit

Gregor Samsa wakes up from his bed one day and realises he has changed into an insect. This is the opening act of Franz Kafka’s novella ‘The Metamorphosis’. Gregor now has to navigate his life as an insect and he sees a change in how the world including his family views him and alternatively, him the world and himself. One of the opening paintings of Hannah Grace’s solo exhibition has amoeba-like patterns in vibrant colours. Upon closer look, viewers find a grasshopper in the right corner. The grasshopper is a misfit and yet seems to belong there. Grace tells us she sees herself as the grasshopper navigating a symmetric world. Kafka’s Gregor metamorphosing into a bug symbolises his alienation from society resulting from the exploitation he faced all his life. Grace’s paintings, on the other hand explore <a href="https://nepalitimes.com/banner/nepal-struggles-to-balance-nature-and-industry">human exploitation of the natural </a>world, to a point where both are in irreversible decline.&nbsp; Read also: <a href="https://nepalitimes.com/banner/a-nation-built-on-sand">A nation built on sand</a>, Ramesh Kumar In her ‘Where My Home and Allegiance Lie’ exhibition at Takpa Gallery, Grace brings California’s Napa Valley to Kathmandu through depictions of living organisms in vivid detail. The artworks are precise, albeit repetitive, and create a “sense of buzz” like she experienced as a dyslexic child.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024081412088_70087676d9e0d3a2c938653662aaeb5a1f8c874b46a6bb33a01d37408893fbc1.jpg" data-media-id="editor_2" data-image-id="2024081412088_70087676d9e0d3a2c938653662aaeb5a1f8c874b46a6bb33a01d37408893fbc1" data-rendition-name="original" width="3106" height="2337" loading="lazy" alt="Where My Home and Allegiance Lies NT "> </figure>  Growing up in the Grace Family Vineyards founded by her grandparent Dick Grace, she learned early on about <a href="https://nepalitimes.com/here-now/families-that-farm-together-stay-together">sustainable agriculture</a> and practiced “compassionate animal husbandry” from her parents. This upbringing later turned into passion as she pursued environmental science in college. Read also: <a href="https://nepalitimes.com/here-now/the-vanishing-land">The vanishing land</a>, Taylor Mason Even then, something was missing, and Grace decided to take on studio art. “Science helps me understand where I fit in the world and art helps me explore and showcase the interaction I have with nature,” the 25-year-old artist told us. Interestingly, in a painting titled ‘A Place Called Home’, Grace puts together a diagram of an ecosystem which has an uncanny resemblance to a mandala, like the ones in<a href="https://nepalitimes.com/review/remembering-nepals-lost-and-the-found"> Buddhist artworks</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814110824_044b06bc590dcd8b2abf406ea2711b8a267a29c3bd9683f48fe34d6577e1cdd6.jpg" data-media-id="editor_6" data-image-id="20240814110824_044b06bc590dcd8b2abf406ea2711b8a267a29c3bd9683f48fe34d6577e1cdd6" data-rendition-name="original" width="2872" height="2831" loading="lazy" alt="Where My Home and Allegiance Lies NT 3"> </figure>  “Buddhist paintings were part of my childhood. It felt natural to do that,” says Grace as she talks about how her grandparents who frequent Nepal to support <a href="https://nepalitimes.com/opinion/changing-disability-to-this-ability">disabled children</a>, <a href="https://nepalitimes.com/here-now/nepali-women-flee-abuse-for-overseas-work">abuse survivours</a>, and children with cancer had Mandala paintings on their walls.&nbsp; Read also: <a href="https://nepalitimes.com/banner/nepal-mandal-in-manhattan">Nepal Mandal in Manhattan</a>, Kanak Mani Dixit “For me, the circular expression of the mandala represents the cyclic life of the ecosystem,” she adds. In 2016, Grace came to Nepal herself and volunteered in a monastery, teaching English, mathematics and art to the young monks. Eight years later, Nepal is also where she chose to exhibit her art for the first time as a professional.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814120816_5f3ac03dd3dbf33b0aecc2837ea24fe7eb02a0585d9519d8b8d2343aeb6f3196.jpg" data-media-id="editor_10" data-image-id="20240814120816_5f3ac03dd3dbf33b0aecc2837ea24fe7eb02a0585d9519d8b8d2343aeb6f3196" data-rendition-name="original" width="5689" height="4271" loading="lazy" alt="Where My Home and Allegiance Lies NT 4"> </figure>  Most of the paintings here are acrylic, but Grace has experimented with different techniques for unique texture and feel. In ‘Fantom Flowers’, she used her fingers to paint the background, while for ‘Rainbow Trout and the Rainbow’ and ‘Salmonberry Thorn’, she used beads. “I have always liked mixing and matching colours, and trying out different tools which give me different sensory inputs. It is exciting and calming at the same time,” says Grace of her methods.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814120816_babb538f7136ded1ccf44b09e99910ca6743d2aa07513c5422f66f5720cfd94b.jpg" data-media-id="editor_11" data-image-id="20240814120816_babb538f7136ded1ccf44b09e99910ca6743d2aa07513c5422f66f5720cfd94b" data-rendition-name="original" width="2627" height="3318" loading="lazy" alt="Where My Home and Allegiance Lies NT 5"> </figure>  All 15 artworks at the exhibit are bright, colourful and vibrant even as the artist is trying to portray a grim future brought on by anthropogenic ‘development’ and ‘progress’. Grace says it is a strategic move. Read also: <a href="https://nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814120828_4f1d75cc31b5117a397bfee3cc975345a08a1ceef398f335caa68a2de8a40c95.jpg" data-media-id="editor_13" data-image-id="20240814120828_4f1d75cc31b5117a397bfee3cc975345a08a1ceef398f335caa68a2de8a40c95" data-rendition-name="original" width="451" height="638" loading="lazy" alt="Where My Home and Allegiance Lies NT 6"> </figure>  She adds, “This is a prayer for the future. I want to remind people of all the beautiful things that exist simultaneously with us in nature and do our part in preserving them.” Where My Home and Allegiance Lies 11AM-7PM (Fridays to Sundays) 11AM-6PM &nbsp;(Tuesdays to Thursdays) Till 25 August&nbsp; Takpa Gallery&nbsp;

Pinki Sris Rana

Artistic prayer for our common future

Photographer Tashi R Ghale is known for his work in <a href="https://archive.nepalitimes.com/page/studying-snow-leopards-in-Nepal/1000">protecting snow leopards</a> through which he won the Disney Conservation Hero Award in 2018. During his research he saw the impact of climate breakdown in the Himalaya with receding glaciers and melting ice that was affecting the traditional habitat of the snow leopard. &nbsp; “I notice that global warming is bringing other species to snow leopard territory. Common leopards move up, and Himalayan grey wolves come down,” says Ghale, known for his exquisite <a href="https://nepalitimes.com/review/snow-leopard-redux">photographic documentation of the rare snow leopards</a> in Manang. Lowland leopards are now overlapping with snow leopards and competing for prey. But for his new photo exhibition ‘Shifting Perspectives’, Ghale has shifted gears — changing his focus from snow leopards to the impact of climate change.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240515060528_dc4b5af0dc39e6d104175f691035201a3863cfefe2b8193ac44c88511023b3e2.jpg" data-media-id="editor_2" data-image-id="20240515060528_dc4b5af0dc39e6d104175f691035201a3863cfefe2b8193ac44c88511023b3e2" data-rendition-name="original" width="2048" height="1538" loading="lazy" alt="Ice to water NT"> <figcaption>Tashi R Ghale (right) with artist Tsherin Sherpa of Takpa gallery at the inauguration of the exhibition on 11 May. Photo: @tsedorje </figcaption> </figure>  But he uses his photographic skills, this time with more of an artistic eye than just for documentation purposes. He has captured some striking images of Gangapurna Lake in Manang to convey the impact of the rising temperatures on the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/nepal-pallas-cat,1934">Himalayan ecology</a>. The images in Shifting Perspectives which are on exhibit at Takpa Gallery are close-ups of ice on the shores of Gangapurna Lake, which itself is expanding as the <a href="https://nepalitimes.com/banner/climate-change-is-a-disaster-in-the-nepal-himalaya">glacier recedes rapidly</a> up the mountain.&nbsp; Ghale has captured ephemeral bubbles, ripples, currents, shapes and textures of ice on the lake, and are separated into three categories: Illusion, Composition, and Frozen.&nbsp; Ghale used powerful telephoto lenses to zoom in on snow leopards, but here he uses macro lenses for extreme closeups.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240515060540_be31d82614bfadd01f573ff4daa3a40ed24afcc2fe3003a6f1b1d1622c517615.jpg" data-media-id="editor_5" data-image-id="20240515060540_be31d82614bfadd01f573ff4daa3a40ed24afcc2fe3003a6f1b1d1622c517615" data-rendition-name="original" width="1440" height="960" loading="lazy" alt="Ice to water NT"> </figure>  One of his pictures, ‘Illusion VI,’ shows clusters of bubbles of various sizes entombed in ice just below the surface, casting small shadows on the lake floor.&nbsp; ‘Illusion III,’ has the dark blue, green and purple lake as the background while frozen ripples have formed in the ice that look like contour lines on a map.&nbsp; Some of the most striking images in the exhibition feature a contrast between warm and cool colours. ‘Frozen I’ shows ice-bound waves that catch the golden rays of the sunrise sending streaks of light in the direction the water was moving before it froze. ‘Composition I’ shows sunrise on the north face of Gangapurna reflected in the icy surface of the lake, the roughness of the ice giving the photograph an impressionist touch.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240515060528_5a24c2a63fa09d5e2beee9e20cb5d93398e93636f41ca3028ddf18de7ab33bfa.jpg" data-media-id="editor_6" data-image-id="20240515060528_5a24c2a63fa09d5e2beee9e20cb5d93398e93636f41ca3028ddf18de7ab33bfa" data-rendition-name="original" width="1440" height="960" loading="lazy" alt="Ice to water NT"> </figure>  Other photos show mountains reflected partly on the water and the frozen surface of the lake. The contrast between the hard ice and the flowing water underneath is visual poetry — making us notice the turbulence of the water flowing beneath the smooth and unmoving ice.&nbsp; One element present in most of the photographs is that of ice next to mud on the shore with jagged textures. “During the night, the ice freezes hard into the ground, and in the morning it melts away but the patterns formed in the mud stay,” explains Ghale. ‘Composition IV,’ looks like a drone photograph of a big river flowing through jagged hills, but a leaf in the bottom right corner gives away the scale. The exhibition truly presents shifting perspectives using closeups of the ice and water as a metaphor for the larger scale impact of <a href="https://nepalitimes.com/here-now/nepal-s-mountains-are-melting">global warming</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240516060556_446298e12391d3c45cdce8e4f1e4d1182afd5e653d000ff30a86e815b0f89ca2.jpg" data-media-id="editor_8" data-image-id="20240516060556_446298e12391d3c45cdce8e4f1e4d1182afd5e653d000ff30a86e815b0f89ca2" data-rendition-name="original" width="3600" height="2400" loading="lazy" alt="Composition VII"> <figcaption>Composition VII</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240516080520_3a69d2644dd6f0105ec367e9445eb6acedf94ce84225d5e5aa75c066d5ae06e8.jpg" data-media-id="editor_9" data-image-id="20240516080520_3a69d2644dd6f0105ec367e9445eb6acedf94ce84225d5e5aa75c066d5ae06e8" data-rendition-name="original" width="2400" height="2400" loading="lazy" alt="Ice to Water"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240516080520_5ae61de1167da77d411c2bed91ba24c09d39017dd13972aa4be530b7a48598f7.jpg" data-media-id="editor_10" data-image-id="20240516080520_5ae61de1167da77d411c2bed91ba24c09d39017dd13972aa4be530b7a48598f7" data-rendition-name="original" width="2400" height="2400" loading="lazy" alt="Ice to water"> </figure>  &nbsp;Shifting Perspectives 11AM-6PM Tuesday-Thursday 11AM-7PM Friday-Sunday Until 26 May Takpa Gallery, Lazimpat <a href="https://takpagallery.com/">https://takpagallery.com</a>

Ice to water

The art scene in Nepal is witnessing a renaissance, and at the centre of this resurgence is <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139">Tsherin Sherpa</a>, the internationally renowned artist known for his distinctive, and sometimes provocative, fusion of traditional and contemporary. Sherpa has now embarked on a new chapter in his career by returning to Nepal to open <a href="http://www.takpagallery.com/">Takpa</a>, Kathmandu’s newest art gallery strategically located in Lazimpat. ‘Takpa’ is a playful spin on the Buddhist expression of ‘Mitakpa’ which means impermanence. So, Takpa is permanence and for Sherpa this name encapsulates his exploration of the dynamic interplay between the sacred and the secular and reflecting his journey from traditional thangka painting to the unique, hybrid approach he eventually mastered. “Growing up, I never thought I would be an artist. My father was an established thangka painter, and he always wanted to hand over his knowledge to one of the children. For better or worse, it happened to be me,” quips Sherpa who started <a href="https://www.nepalitimes.com/banner/sacred-survival">painting thangkas</a> at 12.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023083104084_36f4866caba6ddf21f17b1c3ef85a936ef4797b11b3a844db1c95db0ef9fc2ac.jpg" data-media-id="editor_3" data-image-id="2023083104084_36f4866caba6ddf21f17b1c3ef85a936ef4797b11b3a844db1c95db0ef9fc2ac" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Takpa Gallery"> </figure>  But in the late 1990s venerated thangka art was becoming commodified as in tourist souvenir shops. “I was discouraged seeing this, and did not want to follow my father’s footsteps,” recalls Sherpa who enrolled in a computer science course in Taipei and later went to the <a href="https://www.nepalitimes.com/review/us-nepali-art">United States</a> in 1998 to live there for the next 20 years. Away from home, Sherpa needed an emotional outlet which he found in art. He visited museums and exhibitions, and rediscovered the real sacred significance of thangka paintings.&nbsp; Two exhibitions of South Asian and Chinese art pushed him to experiment with traditional techniques like Chinese brush in contemporary art. &nbsp; But Sherpa does not regret his Computer Science degree, in fact it allowed him to integrate technology into his art. He explains, “Computer science actually helped me visualise my work, allowing me to spend less time drawing sketch after sketch. I do one sketch, scan it, work on the computer and finalise it.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023083104084_b7cd3d76c665505d343a523cbb911185159514dde895797dfc984e1f5a95fa37.jpg" data-media-id="editor_5" data-image-id="2023083104084_b7cd3d76c665505d343a523cbb911185159514dde895797dfc984e1f5a95fa37" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Takpa Gallery"> </figure>  <a href="https://www.nepalitimes.com/banner/the-craft-of-art">Sherpa’s shift</a> from traditional thangka painting has been shaped by encounters with diverse art forms during his time in the United States.&nbsp; For instance, his first experience of painting something non-traditional was a marketing poster for Jamba Juice. This made him realise that he could go beyond the traditional confines to express himself and bridge the gap between older and modern art forms. Sherpa now divides his time between California and Kathmandu and draws inspiration from diverse cross-cultural lifestyles to imbue vitality in his artistic expression.&nbsp; “Your work becomes stagnant if you are just in one place. Travelling allows me to go to new places and learn, so I keep moving,” he says. And yet, each of <a href="https://www.nepalitimes.com/here-now/god-and-superman">Sherpa’s works</a> is a visual representation of his heritage. The modernised thangka themes represent his heritage and identity.&nbsp; Collaboration has become a hallmark of Sherpa's artistic approach, and he works with local artisans to develop skills and offer them platforms to exhibit. His tie-up with traditional copper repoussé artists after the 2015 earthquake resulted in exhibitions spanning continents and landing collaborative work at the Rubin Museum in New York. Back in 2018 when he relocated back to Nepal, Sherpa noticed that there were not enough platforms for emerging artists to showcase talent. In 2022, Nepal participated in the <a href="https://www.nepalitimes.com/here-now/nepal-s-pavilion-afloat-in-venice">Venice Biennale</a> for the first time, where Sherpa collaborated with many local artists, sculptors and installations, providing them with the exposure they deserved.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023083104084_961a0d2fecc3aecf134463af308fbddefbb83b781d025d46de32c2532b455128.jpg" data-media-id="editor_9" data-image-id="2023083104084_961a0d2fecc3aecf134463af308fbddefbb83b781d025d46de32c2532b455128" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Takpa Gallery"> </figure>  Takpa is an extension of this collaboration with Nepali artists, which comes after <a href="https://windhorseartgallery.com/">Windhorse Gallery in Jhamsikhel</a> which he also had a hand in opening three years ago. Takpa is currently showing artist Pooja Duwal’s first solo art exhibition Stranger Is a Friend.&nbsp; Takpa also showcases Tsherin Sherpa’s work from time to time, but the artist says his main intention is to help Nepali artists.&nbsp; “I am more visible internationally and I want to use that opportunity to create a platform for other emerging artists so they get more visibility,” he says.&nbsp; Sherpa also has a non-profit, the <a href="https://www.facebook.com/HimalyanARTinitiative/">Himalayan Art Initiative</a> that provides training to young artists in Nepal teaching both traditional thangka painting as well as contemporary art styles.&nbsp; He says, “If there is potential, we showcase the work at our gallery and then internationally. It all comes back to not letting art die.” Strangers no more With an array of both large and small oil on canvas and charcoal created in six months, Pooja Duwal’s exhibition Stranger Is a Friend invites viewers to contemplate the transformation of Bhaktapur.&nbsp; The charcoals are strikingly monochromatic and melancholic, and are a commentary on what Nepal risks losing in its frenzied march to modernity. The portraits depict Duwal’s family members, with her sister as a recurring muse. These alla prima creations exude an immediacy and authenticity.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023083104088_306323233dbbe6603137a258741e36e1d29d19d98c5722573a779ade93b0471a.png" data-media-id="editor_12" data-image-id="2023083104088_306323233dbbe6603137a258741e36e1d29d19d98c5722573a779ade93b0471a" data-rendition-name="original" width="1927" height="1207" loading="lazy" alt="Takpa Gallery"> </figure>  &nbsp;Duwal paints Bhaktapur’s labyrinthine alleys and hidden corners meticulously capturing the mundane yet profoundly meaningful everyday activities: laundry drying a terrace, people sipping tea, reading a newspaper or strolling down by a pond.&nbsp; Stranger is a Friend is a visual documentary of the tangible and intangible threads, and an enduring spirit in life’s fleeting moments. In two pieces, Duwal employs diptychs and triptychs, weaving together narratives that transcend individual frames, drawing viewers to complex connections between specific instances, individuals, and the city itself. Duwal's art serves as a reminder to slow down and savour memories and moments of life as time races by. The paintings offer a haven for contemplation.

Tsherin Sherpa returns home to Takpa

The news headlines this week said: ‘The House of Representatives passed the Nepal Citizenship (Second Amendment) Bill that now makes <a href="https://nepalitimes.com/here-now/nepals-unequal-citizenship-law">acquiring citizenship through the mother</a> as equal as through the father.’&nbsp;
Could it really be true? There is genuine confusion or deliberate misunderstanding in the public about the Bill. Here is an explainer:
What is the Bill?
The Second Amendment to the Nepal Citizenship Act 2006 was tabled by the government on 11 March, 2024. The lengthy list of amendments underwent a detailed discussion within the State Affairs and Good Governance Committee of the HoR which presented a shortened list of agreed amendments.&nbsp;
The HoR passed this amended list of amendments on 28 June. While the original Bill contained eight amendment proposals, only three major amendments were presented by the Committee, and approved by the HoR.
Has it become law now?
No. It is yet to be passed by the National Assembly and endorsed by the President.
What exactly is contained in the amendments?&nbsp;
<ol>
 <li>Addition to Section 5 of the Act: ‘For citizenship applications, a father’s identity is deemed unknown if the applicant and their mother both provide a self-declaration stating that the father is unidentified, as per Section 5, even if his name is listed on the person’s birth registration, educational qualifications, or other certificates, yet his other identity is not available and is currently out of contact.’</li>
</ol>
This simply provides a definition to what the Act means by ‘father unidentified’ or ‘father untraceable’. Section 5 derives its authority from Article 11(5) of the Constitution that grants citizenship by descent to children whose mother is a Nepali citizen, but father is unidentified or untraceable.&nbsp;
The Nepal Citizenship Act 2006 and Regulation 2006 (both promulgated prior to the present 2015 Constitution) was amended in 2023 to incorporate the provisions of the new Constitution. In doing so, it included the procedural rule requiring both the applicant and their mother to sign a self-declaration form.
The result: a lot of people who claimed citizenship under this provision were still denied access, simply because their educational or other documents mentioned the name or address or some information about their father. The officials interpreted the presence of such information as father’s identity being known and assumed the applicants were hiding facts.
Read also: <a href="https://nepalitimes.com/opinion/no-state-for-women">No state for women</a>, Neha Gurung
The Supreme Court in one of such cases had clearly interpreted the meaning of ‘father unidentified’. In its overarching decision, the court stated the following:
‘It seems neither lawful nor just to compel an individual to accept someone as an identified father merely because their biological father’s name, surname, or address is claimed to be known or mentioned in educational or other documents. It would be just to consider the father’s identity as “unidentified”; if the individual has not received paternal affection or care, and the alleged father has never taken any responsibility, borne any obligation, or been physically present before the children, leading to a situation where the children haven’t even seen their face. Such an alleged biological father should remain “unidentified” for these children until they formally acknowledge them as their son or daughter, or, in their absence, their family provides reasonable proof to confirm the fact and identifies the relationship through a process acceptable to the children, or until such a confirmation becomes impossible.’
Based on this decision, multiple implementation challenges, and growing advocacy around this concern, the government included the above-mentioned addition in <a href="https://nepalitimes.com/here-now/nepal-s-citizenship-amendment-bill-explained">the Bill</a>.
Is it new?
The proposed addition is neither an introduction of the new right, nor does it provide anything beyond what the Constitution mandates. Since the Constitution itself uses the term ‘father untraceable or unidentified’, the most a legislation can do is to ensure that the constitutional provisions are interpreted and implemented in its true meaning. Therefore, the current Bill only serves to clarify the existing misinterpretation of the phrase ‘father unidentified’.
In a country where about 17% of the population are <a href="https://archive.nepalitimes.com/regular-columns/Comment/stateless-daughters-in-nepal,863">single mothers</a>, this clarification may provide certain relief for those whose fathers name was mentioned in the document and the father is now unidentified. However, the addition does not grant anything new.
The <a href="https://nepalitimes.com/banner/are-women-not-nepali-enough">gender discriminatory citizenship </a>where the citizenship or legal identity of a person is always dependent on one’s husband or father still remains.
Additionally, the current addition does not completely incorporate the Supreme Court’s decision which is broader and more comprehensive, requiring that the father be considered unidentified irrespective of the knowledge of the father’s name, surname and address, if the applicant/person has not felt the paternal affection or care, and the alleged father has never taken any responsibility, or borne any obligation or been physically present before the children.
The Bill only takes ‘father’s name’ into consideration. It does not recognize the mention of surname or address in the applicant’s certificates, nor the absence of emotional and physical presence, and responsibility in their life.
2. Addition to Section 18 of the Act:
i. Unless otherwise provided in this Act, a person dissatisfied with an order or decision made by an official under this Act may file a petition with the Secretary of the Ministry of Home Affairs within thirty-five days from the date of such order, through the District Administration Office or directly through Nepal Government.
ii. Upon receiving the report pursuant to sub-section (1), the Secretary of the Ministry of Home Affairs shall (must) issue their decision or order after obtaining the report from the official who issued the order or made the decision, within 30 days from the date of appeal, and such decision or order made by them shall be final.’
This provision is already present in the Act itself, and the Bill simply amends or adds the parts that are in bold letters. The positive part is that it makes the right to redress mandatory. Meaning, it not only ensures the right to appeal against the unsatisfactory decisions made by the local authorities, but also the right to receive the decision.
Earlier, it depended on the government's discretion to hear the appeal, but if this amendment is passed, it now becomes the State's obligation to ensure this as a due process of law.
This makes it easier for individuals denied citizenship, by the Chief District Office (CDO), to register an appeal in the higher office, which is the Home Ministry. However, in cases concerning a certain category of naturalised citizenship that falls under the jurisdiction of the Home Ministry, its decision becomes final and cannot be appealed.
This means that Nepal has two categories of naturalised citizenship. One that falls under the jurisdiction of CDO, such as naturalised citizenship to foreign women via marriage relationship. Another that falls under the jurisdiction of the Home Ministry, such as naturalised citizenship to persons born to Nepali mother and foreign father or foreigners who intend to acquire citizenship via stay requirement.&nbsp;
While the former can be appealed if the applicant is not satisfied with the decision of the official, the former, which is the government's decision, cannot be appealed.
3. Addition of Section 22(a) to the Act: ‘Shall provide a minor’s identity card to a person who is under 16 years of age, if either mother or father is a Nepali citizen.’
This provision can be considered as a positive extension of the child’s constitutional right. The Constitution of Nepal in Article 39 (1) states that ‘every child shall have the right to name and birth registration along with his or her identity’. The current Bill extends this right to a minor's ID card.
However, a minor ID card does not guarantee a citizenship certificate, which in Nepal, a person is eligible to apply only at the age of 16. This means: even though the child has the minor’s ID card and perhaps also a passport based on it, while applying for citizenship at the age of 16 or beyond, the person is bound by citizenship laws — which as we have seen is heavily dependent on the father's identity.
The conclusion?
The current amendment does not ensure any dramatic legal reform nor ensure a complete <a href="https://archive.nepalitimes.com/article/nation/The-right%20-to-have-rights,2656">gender equality in nationality laws</a>, simply because it technically and legally cannot.
When the Constitution itself uses gendered language such as ‘mother’, ‘father', ‘Nepali citizen man’, and ‘foreign citizen woman’, a legislation cannot override it. Nevertheless, recent amendments to the Act, including the first amendment, shows the government’s leniency towards gender equal citizenship laws.
Additionally, Article 49 of the Constitution also recognises equal lineage right of women, meaning that the family descent is legally recognised to be carried on by both genders. Hopefully in the nearest future, Nepal will carry this same principle to shape its citizenship law as well.&nbsp;
A transformative reform by ensuring gender equal nationality rights through constitutional amendment is still possible. Nepal, a member state to the CEDAW and CRC, is still in the list of 24 countries in the world that have gender unequal citizenship laws. &nbsp;It has the obligation as well as potentiality to become a pioneer in recognizing<a href="https://nepalitimes.com/editorial/quality-of-equality-for-women"> women’s equal rights </a>to confer citizenship to their children and spouse in par with men.
Neha Gurung is a human rights lawyer dedicated to advocating for equal citizenship rights, and co-founder of the Citizenship Affected People's Network. A Fulbright scholar, Gurung obtained LLM from the Washington College of Law.

Full equality vs status quo

The sudden and massive flood on the Bhote Kosi early Tuesday morning washed away a strategic bridge on Nepal’s main border crossing with China for trade, tourists and pilgrims. Slurry from the nearly 10m high debris flow left 9 dead and 20 missing, 12 of them Nepalis and six Chinese nationals, and 150 others were rescued by helicopter.&nbsp; Four <a href="https://nepalitimes.com/banner/climate-smarter-himalayan-infrastructure">hydropower plants</a> Rasuwagadi, Trisuli III, Trisuli, &nbsp;Benighat and the Trisuli substation sustained heavy damage, knocking &nbsp;out 230MW of Nepal’s power supply – approximately 8% of the total. Over 100 cargo trucks and new electric vehicles parked at &nbsp;Timure Dry Port were swept away. Read also: <a href="https://nepalitimes.com/news/mapping-kangchenjunga-glacial-flood-risk">Mapping Kangchenjung glacial flood risk</a>, Gabe Allen Officials had initially thought &nbsp;the Bhote Kosi had flooded due to heavy rain in Tibet. However, the Department of Hydrology and Meteorology (DHM) and the National Disaster Risk Reduction and Management Authority (NDRRMA) now say a <a href="https://nepalitimes.com/here-now/living-below-nepal-s-melting-mountains">Glacial Lake Outburst Flood (GLOF)</a> is likely.&nbsp; NDRRMA spokesperson Suresh Sunar said it was too early to tell which one, but the flood was most likely the result of one of the glacial lakes in Tibet. Bhote Kosi begins on the north slope of the Ganesh Himal near the Nepal-China border, and its tributary Lende drains the catchment area north of Langtang. The slurry flood on Tuesday was on the Lende (map).&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250709110720_bbc99c5f3e3d61a3d340892e0273fee3605a8d334a2beb354126137bcf0c8d27.jpg" data-media-id="editor_3" data-image-id="20250709110720_bbc99c5f3e3d61a3d340892e0273fee3605a8d334a2beb354126137bcf0c8d27" data-rendition-name="original" width="629" height="759" loading="lazy" alt="Bhote Kosi flood map"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250709110720_39e2f574ff8c12cecda2e5a999d2ba8a0310f599f6b2261dcad7dd43f94df2a1.jpg" data-media-id="editor_4" data-image-id="20250709110720_39e2f574ff8c12cecda2e5a999d2ba8a0310f599f6b2261dcad7dd43f94df2a1" data-rendition-name="original" width="997" height="613" loading="lazy" alt="Bhote Kosi flood map"> </figure>  “Preliminary study suggest that the disaster was not caused by rain in Tibet, but by a glacial lake burst, or another accident,” said Kamal Ram Joshi of the DHM. The level of water at a self-monitoring station in Timure in Rasuwa increased by 3.5m at 3:10AM on Tuesday morning while 13km downstream in Syabrubesi, the level rose by 3.65m at 3:30AM. The same station recorded 5.37m ten minutes later, after which it stopped giving a reading, possibly because the station was also washed away. The flood reached <a href="https://nepalitimes.com/here-now/neither-side-lost-both-sides-won">Betrawati</a> by 5AM, and some of the debris flow reached Mugling during Tuesday. DHM’s Flood Forecasting Division noted that there was no major precipitation in the Bhote Kosi watershed in Nepal and China in the 24 hours preceding the flood.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250708100724_313a684b65fc5317064779e47409a40f2bbce2c0c84db995e7f8fc6e1c142105.jpg" data-media-id="editor_6" data-image-id="20250708100724_313a684b65fc5317064779e47409a40f2bbce2c0c84db995e7f8fc6e1c142105" data-rendition-name="original" width="3600" height="1662" loading="lazy" alt="Bhotekosi flood"> <figcaption>The Miteri bridge before it was swept away by the flood in Bhotekosi on the Nepal-China border. Photo: SUBASH DHUNGANA / RSS</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250708100732_ec43f13bae979f7b61bc0db939db4157dc93d3f0767ed527f564bd5c3d12be27.jpg" data-media-id="editor_7" data-image-id="20250708100732_ec43f13bae979f7b61bc0db939db4157dc93d3f0767ed527f564bd5c3d12be27" data-rendition-name="original" width="720" height="432" loading="lazy" alt="Bhotekosi flood NT 2"> <figcaption>The bridge after the flood.</figcaption> </figure>  On Wednesday, several remote-sensing experts using Copernicus &nbsp;satellite images pinpointed the cause of the flood to Purepu Cangbu where supraglacial ponds had merged in June to form a large lake which did not burst, but overflowed &nbsp;and found a channel through englacial conduits to the headwaters of the Lende. The river meets the Bhote Kosi at the Nepal-China checkpoint in Rasuwa.&nbsp; “Analysis of weather forecasts and satellite data shows the Tibet region did not receive enough rain to cause this scale of flooding,” explained Binod Pokharel, associate professor of hydrology and meteorology at Tribhuvan University. “The flood could have been caused by a GLOF."&nbsp; Two weeks ago, Chinese officials had reportedly warned the Rasuwa District Administration in Nepal to be on high alert for floods on rivers that originate in Tibet. It could be that Chinese scientists had observed the alarming<a href="https://nepalitimes.com/here-now/the-climate-crisis-is-a-water-crisis-in-the-himalaya"> expansion of glacial lakes</a> in the Lende and Bhote Kosi catchments. If that was the case, it is an example of the kind of trans-boundary forewarning that would be critical to save lives in future.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250708100736_1710142917b30d4f85b343ed52743554d723db918c708f0bade8a0491ba999b2.jpg" data-media-id="editor_9" data-image-id="20250708100736_1710142917b30d4f85b343ed52743554d723db918c708f0bade8a0491ba999b2" data-rendition-name="original" width="1001" height="500" loading="lazy" alt="Bhotekosi flood"> </figure>  However, Rasuwa’s Assistant Chief District Officer Dhruv Prasad Adhikari seems to have no knowledge of any warning from the Chinese side, either formally or informally. &nbsp; “The Chinese Embassy has said the cause of the flood is unknown that it will coordinate with Nepal to find the cause," Adhikari told us. Chinese Ambassador Chen Song and Prime Minister Oli visited the border on Tuesday (pictured). &nbsp; The sharing of real-time trans-boundary rainfall and river flow data would be crucial in early warning about the <a href="https://nepalitimes.com/news/mapping-kangchenjunga-glacial-flood-risk">risk and consequences of GLOFs</a> to reduce human and material loss. But Nepali officials say China has been reluctant to share weather-related information and data not just in this disaster, but in the past as well. “There is no mechanism or system in place for us to obtain hydrological and meteorological data of the Tibetan region,” said DHM Director General Joshi. The <a href="https://nepalitimes.com/here-now/for-destruction-ice-is-also-great-and-will-suffice">Himalaya is melting twice as fast as the rest of the world</a> due to a phenomenon called ‘elevation dependent warming’, and receding glaciers have led to an increasing number of transboundary GLOFs.&nbsp; According to <a href="https://nepalitimes.com/here-now/danger-nepal-s-glacial-lakes-are-filling-up">a 2018 ICIMOD study</a>, of the 47 of the most dangerous lakes that threaten Nepal, 25 are on glaciers in China, 21 in Nepal and one in India. Many of these glaciers are expanding rapidly due to global warming. One of the authors of the report, glacial lake expert Samjwal Bajracharya, says that the report was prepared based on data from 2015. But climate change has accelerated since then. Moreover, seismic activity has further destabilises the landscape, adding to <a href="https://nepalitimes.com/here-now/nepals-glacial-lakes-in-danger-of-bursting">GLOF risk</a>.&nbsp; “Considering the rapid rate of snowmelt and consequent increase in size of Himalayan glaciers, studies should be conducted every year, and a monitoring system should be set up on the glaciers,” says Bajracharya. “However, no studies have been conducted in the Himalaya in a decade, which has been our biggest weakness.” &nbsp;

Rasuwa flood likely a GLOF

Former president Bidhya Devi Bhandari last week officially made her comeback to <a href="https://nepalitimes.com/news/what-just-happened-in-nepali-politics">national politics </a>at an event commemorating her late husband UML leader Madan Bhandari’s 70th birth anniversary. Bhandari’s announcement was not a surprise, nor was the furious flutter it created both within and outside the UML. A former president returning to party politics sets a dangerous precedent, many said. &nbsp;&nbsp;&nbsp; “Now that I have been released of my previous political responsibilities, I have renewed my party membership with the righteous intention of remaining in the CPN-UML and continuing the<a href="https://nepalitimes.com/latest/post-convention-uml-eyes-set-on-elections"> party's political journey</a>,” Bhandari said, not very convincingly. Nepal’s Constitution does not prohibit a former head of state from returning to active politics once their presidential term is over, essentially leaving such decisions to ethics rather than any legality. But her return to the UML fold has angered party leaders who considered themselves Oli’s successors as well commentators who saw it as yet another example of the <a href="https://nepalitimes.com/latest/the-business-of-politics-in-nepal">deep rot in Nepal’s politics</a>. ‘<a href="https://nepalitimes.com/news/coalition-set-to-snub-president-bhandari">Bidya Devi Bhandari </a>has not tired of ‘serving’ us despite having held multiple ministerial positions, high-level party positions, and serving two terms as President, but the country and its citizens are tired of her unceasing and immoral ‘service’,’ political commentator Muma Ram Khanal wrote sardonically on social media. ‘Please do not embarrass us through your lifetime ‘service’.’ Bhandari tried to mollify critics by pledging to forego all perks and facilities she is entitled to as a former head of state. This was met with enthusiastic cheers from supporters at the public function. Prime Minister KP Oli, sitting right beside her on the stage, remained stone-faced. He has been against Bhandari’s political comeback, and has tried to talk her out of it. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250711040740_0f2b201ed3ce2f85540554c83fc7aae6bcfcd1377aef614bbc3759eef30baa3f.jpg" data-media-id="editor_4" data-image-id="20250711040740_0f2b201ed3ce2f85540554c83fc7aae6bcfcd1377aef614bbc3759eef30baa3f" data-rendition-name="original" width="2400" height="1599" loading="lazy" alt="PM Oli and Bidya Devi "> </figure>  Oli has reasons to worry, as Bhandari has made it clear that she intends to run for party chair in the next UML general convention. There are also those within the UML who have grown resentful of <a href="https://nepalitimes.com/news/nepal-government-changes-again">Oli’s leadership</a>, and this has polarised the party into two camps with leaders like Ishwar Pokharel in Bhandari’s corner. Oli wields absolute authority over the party, particularly after he sidelined and silenced rivals Madhav Kumar Nepal, Jhalanath Khanal, and Bamdev Gautam.&nbsp; He has removed the party’s 70-year age limit to hold leadership position so that he can continue to be chair even as he approaches the end of term limit, and questions about his health after two kidney transplants. Bhandari wasted no time in wading right into politics to forge alliances. Last week she met Kathmandu Mayor Balen Shah to discuss “latest developments”. She is said to have urged <a href="https://nepalitimes.com/opinion/comment/kathmandu-s-balen-phenomenon">Kathmandu’s popular independent mayor</a> to enter national politics through a party. The mayor is keeping his cards close to his chest. &nbsp; The former president’s return to active politics has also not sat well with other parties, either. Nepali Congress (NC) president Sher Bahadur Deuba, and Oli’s coalition partner, is said to have raised issue with Bhandari’s comeback. The NC Central Committee meeting this week was abuzz with corridor talk about how retired presidents returning to politics affects not just the UML, but undermines <a href="https://nepalitimes.com/editorial/slapping-democracy">Nepal’s democracy</a>. &nbsp; The UML is not the only party roiled in internal strife. The NC Central Committee meetings turned lively as the rank and file fed up with<a href="https://nepalitimes.com/news/deuba-s-long-and-winding-road"> long-serving Deuba</a> and the higher political profile Foreign Minister Arzu Rana, his wife, demanded an overhaul of the leadership.&nbsp; The surname Koirala still has strong brand equity in the NC, and a rival faction led by Shekhar Koirala has questioned Deuba’s competence and has intensified calls for the party’s next general convention to be held on time. His cousin, Shashank Koirala also supports a constitutional amendment to revert Nepal back to Hindu state – possibly with an eye on <a href="https://nepalitimes.com/news/women-first-in-2027-wfnchctq">the 2027 election</a>. The NC’s young turks are no longer young. Party General Secretary Gagan Thapa is approaching middle age while waiting for a greater leadership role with the promise of fresh new blood to rejuvenate the party. &nbsp; Meanwhile, CPN-Unified Socialists chair and former prime minister Madhav Kumar Nepal is facing calls for resignation from within his party after being charged with corruption by Commission for the Investigation of Abuse of Authority (CIAA) for alleged involvement in the Patanjali land scam.&nbsp; Nepal, who has been stripped of his lawmaker status, is currently out on bail. He has said the case against him is politically motivated, fuelled by one-time comrade K P Oli's vendetta.&nbsp; The CPN-US members do not seem keen on Nepal taking the already beleaguered party down with him. Firebrand leader Ram Kumari Jhakri called for a new leadership at an event of the party’s youth wing last week, obviously pushing herself as a possible successor.&nbsp; “The party chair is facing legal and constitutional challenges, we cannot move forward with this dead weight on our shoulders,” Jhakri said, calling for an early general convention to choose new leadership. CPN-US leadership has since admonished her gently about her remark, but others like Jhalanath Khanal and Ghanashyam Bhushal have lent their support. Khanal, a former prime minister himself, even asked for Nepal’s resignation at the party’s secretariat meeting earlier this week.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250711050712_bed4145c696497f12eedc746dcd0308d251ca02312bef88c549a51d54a5032a8.png" data-media-id="editor_10" data-image-id="20250711050712_bed4145c696497f12eedc746dcd0308d251ca02312bef88c549a51d54a5032a8" data-rendition-name="original" width="262" height="402" loading="lazy" alt="Two to tango"> </figure>  Over at the Maoist-Centre, Pushpa Kamal Dahal is also said to be at loggerheads with top comrades, particularly Deputy General Secretary Janardan Sharma, who used to be a guerrilla commander during the conflict. &nbsp; Dahal and Sharma’s relationship has been strained since the party’s last general convention, when Dahal bypassed Sharma for General Secretary. The two have traded barbs in public and private since then. Sharma has long called for competition in party leadership, but like Oli and Deuba, Dahal is reluctant to give up the reins. Dahal has reportedly been reluctant to hold a general convention fearing he will be voted out of his chairmanship. &nbsp; In response, Dahal has attempted to fill the ranks with his own confidants, including actively lobbying for the return of former vice-president Nanda Bahadur Pun to active politics despite objections from the party. Like Bidya Bhandari, this has not been welcomed within the party and outside. And then there is the<a href="https://nepalitimes.com/news/in-with-the-new-out-with-the-old"> Rastriya Swatantra Party (RSP)</a>, the fourth largest in Parliament whose chair, former tv anchor leader Rabi Lamichhane, is in detention for multiple charges of defrauding cooperatives. The three main parties see the RSP as a threat in 2027 and want to tie Lamichhane up with court convictions, but his prolonged detention has actually allowed him to gather some public sympathy – at least on social media. The RSP has rallied around Lamichhane in public, but there are rifts within the party. In April, MP Sumana Shrestha resigned as the party’s joint general secretary, levelling criticism at the leadership and the lack of intra-party democracy and calling for reforms. But Lamichhane’s legal troubles have put a dent on the RSP’s Mission-2084 election campaign, which has come to a standstill.&nbsp; Aisde from internal feuds in all the main parties, the four main parties are also jostling for advantage ahead of 2027. And last week, the Janata Samajwadi Party and Nagarik Unmukti Party both withdrew from the alliance. &nbsp; Speculation is rife of a rift between the two largest parties in the coalition. This is driven by the two parties, which have been bitter rivals since 1990 but are now partners in government, in the leadup to elections. &nbsp; In public, the two parties have maintained that the coalition remains strong as ever. Oli is said to be considering recalling some of his ministers to pacify the NC’s dissatisfaction with UML cabinet members. Deuba seems determined not to let the coalition collapse ahead of his turn to be prime minister for the sixth time next year as per a ‘gentlemen’s agreement’ with Oli.&nbsp; The cement that binds the coalitions together is the mutual threat they feel about <a href="https://nepalitimes.com/opinion/higher-corruption-in-high-places">corruption </a>probes of their leaders. The former RSP-NC-Maoist coalition collapsed last year after Deuba and Oli got wind that Home Minister <a href="https://nepalitimes.com/banner/the-rise-and-fall-of-rabi-lamichhane">Rabi Lamichhane</a> had started investigating the involvement of their top leaders on the fake refugee and tea estate scams. &nbsp; For the moment, though, it seems as though the relationship between Oli and Deuba is more stable than the support both leaders have within their own &nbsp;parties. But the question as the elections approaches is, for how much longer.

Uncontrolled instability in Nepal

Recent outrage in Sikkim over an Indian Army expedition climbing <a href="https://nepalitimes.com/here-now/saving-kangchenjunga">Kangchenjunga</a>, the world’s third-highest peak, has spiked attention to the need to balance mountaineering jobs with indigenous reverence for sacred landmarks. Kangchenjunga (8,586m) is not a peak as much as it is a mountain range with 16 peaks above 7,000m on the border between India and Nepal -- the word itself means ‘five treasures of the snows’ in Tibetan. Some of the highest prominences like Kangchenjunga West and Kangbachen are in Nepal, while the Main, Central and South Peaks are on the border. Climbing the peak from the Indian side has been banned since 2001 because the indigenous Lepcha community there regard the mountain as the abode of Dzoe-nga, the patron deity of Sikkim, which was an independent Himalayan Kingdom until it was annexed by India in 1975.&nbsp; Buddhists in Sikkim say their saint, Padmasambhava, recognised the mountain as a protective spirit. The state has declared the base of the mountain Kangchenjunga National Park, which covers an area one-third of Sikkim. ‘The act of scaling this sacred peak is not only a matter of serious concern but also a violation of both the prevailing legal provisions and the deeply held religious beliefs of the people of Sikkim,’ read a letter from Chief Minister Prem Singh Tamang (Golay) to Amit Shah, India’s Minister of Home Affairs and Cooperation.&nbsp; Tamang continued: ‘We further request Your Honour to take up the issue with the Government of Nepal to ensure that no future expeditions are permitted on the sacred mountain, in deference to the deeply held beliefs and cultural values of the people of Sikkim.’ Kangchenjunga was climbed for the first time exactly 70 years ago by a British team who told King Tashi Namgyal, the Choegyal of Sikkim, that they would not set foot on the summit. Since then, there have been about 532 successful climbs of the peaks and 52 have died while trying.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250628060616_5c268e08cf49f36b79ef9b31933fc2d9bf9a6f65414e7ca06dd028bf04e7ccc1.png" data-media-id="editor_1" data-image-id="20250628060616_5c268e08cf49f36b79ef9b31933fc2d9bf9a6f65414e7ca06dd028bf04e7ccc1" data-rendition-name="original" width="1782" height="1178" loading="lazy" alt="Kangchenjunga: too sacred to climb NT"> <figcaption>Indigenous communities in Sikkim held purification ceremonies following the Indian expedition to Kangchenjunga. Photo: THE VOICE OF SIKKIM / FACEBOOK</figcaption> </figure>  <a href="https://nepalitimes.com/here-now/peak-climbing-season-2025-s4abrxny">This spring climbing season</a> alone, there were 70 climbing permits for foreigners issued for Kangchenjunga by the Nepal government, and made it to the top while one French climber died.&nbsp; One of the expeditions this year was an Indian Army team led by Col Ranveer Jamwal, who has summited the highest peaks on all seven continents, and Mt Everest thrice. Jamwal’s team was on the final leg of a ‘<a href="https://economictimes.indiatimes.com/news/india/nimas-summits-mt-kangchenjunga-concludes-historic-har-shikhar-tiranga-mission-successfully/articleshow/121341315.cms?from=mdr">Har Shikhar Tiranga</a>’ (The Tricolour on Every Peak) mission to plant the Indian flag at the highest points of each of India’s 28 states. Kanchenjunga was the last peak they had left, and the hardest, but the expedition put five climbers on the summit. What seems to have incensed the Sikkimese is that while it has banned climbing the mountain from its side, it was an Indian military expedition that went to Nepal to climb the mountain. After news broke of the climb in May, the Sikkim Indigenous Lepcha Tribal Association asked people to observe purification ceremonies in temples across the state. Mayalmit Lepcha of the association acknowledged that the Sikkim government was also partly at fault: “I don’t think such an expedition could have gone forward without the state government being informed, so it could have done something to intervene. It shows weakness. What’s done is done, all we can do is carry out these sanctification ceremonies.”&nbsp; In 2000, one year before Sikkim’s ban, the state allowed an Austrian team to attempt Kanchenjunga’s northeast face for a fee of $20,000, on agreement that they would stop 10m before the summit. Despite this, there was outrage over the expedition on the grounds that it violated Indian laws regarding the defiling of religious sites and Sikkim’s rights to maintain its culture after merging with India. The Indian Army expedition was also seen to have circumvented Sikkim’s law and violated religious sensibilities by going through Nepal. While the team may have thought they were respecting Sikkim’s beliefs by finding a way to complete the mission, the people of Sikkim saw it as defilement.&nbsp; The somber mood of the Sikkim people at the ritual contrasts sharply with Jamwal’s sense of accomplishment. “Without a doubt, the most difficult summit of my life,” he told reporters after the climb. “It tested every ounce of our will.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250628060616_ccfe079c78dab788d19fe2080ee8a5d5dcb11de4157316f6d94e5964da097157.jpg" data-media-id="editor_4" data-image-id="20250628060616_ccfe079c78dab788d19fe2080ee8a5d5dcb11de4157316f6d94e5964da097157" data-rendition-name="original" width="787" height="377" loading="lazy" alt="Kangchenjunga: too sacred to climb NT"> <figcaption>Prayer flags along the Sikkim-Kangchenjunga trekking route. Photo: TREKKINGININDIA.COM</figcaption> </figure>  The <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">controversial Nepali-British mountaineer Nirmal Purja</a> was also on Kangchenjunga this spring the mountain, on a mission to summit all 14 8,000m peaks for a third time. He echoed Jamwal about the tough conditions: “The conditions above camp were extremely tough, with deep snow and challenging terrain—more crevasses than usual.” Nepal’s government has not said anything publicly, but it is unlikely that it will ban climbing on Kangchenjunga, since it is becoming popular with expeditions because of its technical challenges, and overcrowding on Mt Everest. Nepal does have bans in place for some of its mountains out of respect for local beliefs. <a href="https://nepalitimes.com/banner/to-open-machapuchre-for-mountaineering-or-not">Mt Machapuchre</a> (6,990m) the imposing pyramid that looms over Pokhara, for example, is seen as an icon of purity by the Gurung people and a symbol of Vishnu by the Hindu communities who live at its base. A strict climbing ban has been in place since 1957, when a British expedition led by Col Jimmy Roberts stopped 45m short of the summit – either because the last bit was too difficult or out of deference to local sentiments.&nbsp; Khumbila that stands above Namche Bazar is only 5,761m high, but like Kanchenjunga is considered the protector deity of the Sherpa people. Gauri Shankar on the Nepal-China border, called Chomo Tseringma by the local community, was off-limits between 1965 and 1979 due to its association with Lord Shiva and Gauri, his consort. Although expeditions are now allowed, there are not too many takers. In Tibet, climbing Mount Kailash is prohibited by the Chinese government because it revered by the Hindus, Buddhists and followers of the Bon faith. Even Mt Everest is regarded as sacred, and its Sherpa name is Chomolungma, Goddess Mother of the Earth.&nbsp; Economically, climbs on Kanchenjunga bring in decent revenue. This climbing season, the 41 permits, at $1,800 each, brought in $73,800. This is somewhat comparable to Makalu, Lhotse, and Annapurna I, but these numbers are dwarfed by the $4 million in <a href="https://nepalitimes.com/news/the-everest-industry">Everest permits</a>. Revenue from Kanchenjunga climbing permits is something Nepal could potentially forgo if necessary, but the expeditions also provide jobs to hundreds of high altitude guides, porters, base camp support staff and other logistical costs.&nbsp; As the third highest mountain in the world and the tallest in India, there will always be significant motivation to climb it from the Nepal side, especially as climbers are drawn by the technical climbing at high altitude.

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