<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131120/6372333a9c7e80680e0c48d0jpeg.jpg" alt="" width="3264" height="1472"/><figcaption>Photos: ROSHAN MISHRA</figcaption></figure>Among the many legends about the Boudhanath Stupa, one involves a poor poultry keeper Jhazima and the buffalo skin.Boudhanatha is in fact the Sanskritised Panchayat-era renaming of the chaitya which was originally called <a href="https://www.nepalitimes.com/banner/a-temple-by-another-name/">Khasti Mahachaitya</a> (‘great stupa of the dew drops’). However, the chaitya had another name too according to the Tibetan Buddhist tradition –– the Great Jarung Kashor (‘Let it be done, Slip of the tongue’) Stupa.Many years before the birth of the Shakyamuni Buddha, Jhazima, lived with her four sons in the village where Boudha sits today. After the demise of the Kasyapa Buddha, she petitioned the king to grant her land the size of a buffalo’s skin to build a stupa and inter the Buddha’s remains. The king, thinking it would be a measly piece of land, gave her permission.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131120/6372333d9c7e80680e0c48d1jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>However, Jhazima carefully cut the buffalo skin in a long strip, like a rope, and circumscribed a larger area – where the great Boudhanath Stupa stands today.This symbol of devotion quickly took on a political significance, as the wealthy people of the country were humbled by Jhazima’s faithful act.If a poor woman like her can build a stupa of such magnificence, they thought, they would have to build shrines equal to the mountains.“Stop the building,” they implored the king: “If this construction continues, then each and every one of us will be harshly criticised.”But the king would not hear of it. “This poor, single poultry-woman, through gathering earnings from raising chickens, established her four sons born of four fathers as respectable householders. Not only that, with her remaining wealth she builds a stupa such as this. I thought this to be truly amazing, and so the words <a href="https://www.lotsawahouse.org/tibetan-masters/ngakchang-shakya-zangpo/great-history-of-jarung-kashor-stupa" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.lotsawahouse.org/tibetan-masters/ngakchang-shakya-zangpo/great-history-of-jarung-kashor-stupa&amp;source=gmail&amp;ust=1660101181265000&amp;usg=AOvVaw1wvhhCg-Bb6IhKdfptWV4l">‘Let it be done’ (jarung) slipped from my tongue (kashor)</a>. Kings speak but once!” he said in response.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131120/637233409c7e80680e0c48d2jpeg.jpg" alt="" width="1750" height="1055"><figcaption> </figcaption></figure>This charming and extraordinary story is the subject of Object in Focus #5: Invocation at the <a href="https://www.facebook.com/TaragaonMuseum">Taragaon Museum</a> situated next door to Boudhnath itself by contemporary visual artists Koka Vashakidze from Georgia and Alicia Junissaliyeva from Kazakhstan and curated by Roshan Mishra.At the centre of the room is a dark-coloured rope-like object spiraling – almost like a dizzying solar system, with what looks like a vague triangle standing in for the Sun – and surrounded by a rectangle of red ropes.But as one walks around, observes the work with an unfaltering gaze, the circle of the base quickly stands out. Then, with a little change in the angle, one can imagine a dome rising from it, followed by the ever-watching eyes and the finial.Here is the Boudhanath Stupa, translated, stripped down to its backbone – an abstraction. Like a cosmic bridge, it brings together the myth and the monument, looking both ways into the past and present.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131120/637233439c7e80680e0c48d3jpeg.jpg" alt="" width="4000" height="1800">All this may not be entirely conspicuous at first, but when one realises that the whorl is in fact real buffalo skin, the pieces fall in place. The rectangle outlines the block of land upon which the Mandala sits today. Take a step back outside the building and the doors represent the streets opening around the complex.The artists spent several weeks in Boudhanath, measuring the circumference of the stupa. Since animal skin is not permitted inside, they used the red rope for the purpose. People would come and watch them at work, perhaps wondering what they were up to. But the story of Jhazima, Vashakidze believes, was one of undefeated courage and creativity.Jhazima defied expectation, says Vashakidze. And instead of just putting the skin on the ground, she cut it in narrow strips to cover more area, demonstrating her boundless imagination. “And the king in the end has to say, ‘No, she has to continue making the stupa’,” he adds.Vashakidze, whose extensive contemporary body of work ranges from site-specific pieces to media installations, sees this as the moment when the rich and the poor, the powerful and the weak, are equal – because one woman with devotion for the Buddha stood up against the system and built an unprecedented monument, anticipating perhaps even the Shakyamuni.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131120/637233479c7e80680e0c48d4jpeg.jpg" alt="" width="640" height="750">The artwork, in this sense, is an invocation to memory, to history and to Jhazima. Along with Junissaliyeva’s experience in healing and energy exploration, the trio of the artists and curator Mishra has created a poignant piece that is equally contemplative and dramatic, reminding us that despite the overwhelming restrictions – political, social, professional – and widespread philosophical, spiritual lethargy around us, we can still create what we want to, for the realm of possibility is boundless.Says Mishra: “I think it is a brilliant notion to sit with one object, one narrative.” This has much to do with the fact that the viewers can spend time with this echo from the past under an extended spell.Leaving the exhibition, one is filled with a striking desire to visit the <a href="https://www.nepalitimes.com/here-now/the-stupa-of-a-million-dewdrops/">Boudhanath Stupa</a>, where the remains of Kasyapa Buddha are believed to be entombed, to compare, to recall. There too, prayers and invocations from all around bounce off the white dome and fill the air with sweet music, as though the voices of good will have never ceased and promise to echo into the future – in the same way that Object in focus #5: Invocation is an echo itself, of the enduring legacy of Jhazima.The artwork will also travel to the Tbilisi Triennial in Georgia in October 2022.Object in focus #5: InvocationBy Koka Vashakidze and Alicia JunissaliyevaCurated by Roshan MishraTaragaon Museum,BoudhaOpen 10:00am – 5:00pmTill 18 August 2022.

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Echoes of myth and monument

<figure><img width="1597" height="1064" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d144c9c7e80680e0a996ejpeg.jpg" alt=""/><figcaption>All photos: MONIKA DEUPALA</figcaption></figure>Manjula Thakur was married at age 12. By the time she was 20, she had three children. At 32, she still did not know how to read or write. Her world was limited to the four walls of her house. Instead of taking care of the family, her husband spent the little they had on alcohol.What kept Manjula going was her love of art. Like generations of Maithili women before, her mother had taught her how to make traditional clay murals and <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Return-of-the-past,907" target="_blank" rel="noopener noreferrer">paint the walls</a> of their home. Even after getting married, she spent hours painting the walls and floors of her home. What she did not know was that the art she learnt as a child would help her gain fame and independence now in her 50s.“<a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/">Mithila paintings</a> have taken me not only around the country but also around the world,” says Thakur, who has been to the United States and Spain to exhibit her paintings.https://youtu.be/jnok2HD37VMIn 1988, when American visual artist <a href="https://www.nepalitimes.com/banner/journey-to-the-mountain-of-the-spirit/" target="_blank" rel="noopener noreferrer">Claire Burkert</a> came to Nepal to document <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank" rel="noopener noreferrer">Mithila wall paintings</a>, she asked Thakur to paint something for her. She was paid Rs50. That was the first time Thakur realised that despite being illiterate, she could still earn money.She was then offered a job at the newly established <a href="https://jwdcnepal.org" target="_blank" rel="noopener noreferrer">Janakpur Women’s Development Centre (JWDC)</a> which was set up by Burkert, and is still run by women artists. “I went from living for my family to contributing towards their livelihood,” says Thakur, who now supports her household with earnings from her art. She has now bought a plot of land in her village and supports her children’s education.Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/">Nepali art going places</a>, Kunda Dixit<a href="https://www.nepalitimes.com/review/mithila-representations-of-kathmandus-metamorphosis/">Mithila representations of Kathmandu’s metamorphosis</a>, Sewa Bhattarai <img width="1529" height="1019" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d144f9c7e80680e0a996fjpeg.jpg" alt="">This economic empowerment has also meant that her role in the household has changed. These days, she makes most of the family decisions, her husband playing a supportive role.Living in a society where women are usually relegated to household chores and confined within the walls of their homes, it was not always smooth sailing for Thakur. It took her 25 years to change the perception of the society. “Although it was difficult initially, I am more confident now and have gained a lot of respect and love because of this art,” she says. <img width="1411" height="941" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14539c7e80680e0a9970jpeg.jpg" alt="">Thakur is in Kathmandu this week with three other women from JWDC to prepare a mural for the <a href="https://kathmandutriennale.org">Kathmandu Triennale 2077 festival</a>. Just off the busy streets of Boudha, up the entrance of <a href="https://www.facebook.com/TaragaonMuseum" target="_blank" rel="noopener noreferrer">Taragaon Museum</a>, the four women clad in colourful saris and traditional silver jewellery are busy painting and creating murals using a mixture of clay, husk, and flour. “When we paint, we forget everything. When we travel to new places, we gain more confidence,” says Madhumala Mandal, a part of the art troupe. Mandal’s earnings help pay for care for her son who suffers from spinal chord injury.  <img width="2249" height="1499" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14569c7e80680e0a9971jpeg.jpg" alt="">When Sudhira Karn’s husband died 20 years ago, she struggled to raise her only son. She remembers people gossiping when she went to train at JWDC. Today, her son is a graduate and works at a bank. These days, Karn spends time with books, some of her favourites being Prem Sagar, Ramayana, Sukha Sagar, Bhagwat Gita, Madhavi and Sitaram. “I get more ideas for painting after reading books,” says Karn. In Kathmandu this time, she wants to spend a part of her earnings to buy more books to take back home to Dhanusa.Read also: <a href="https://www.nepalitimes.com/here-now/modern-mithila-art-that-bares-injustice/">Modern Mithila art that bares injustice</a>, Nunuta Rai<a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">Bhaktapur's Mithila influence</a>, Bhaskar KoiralaAnother artist, 53-year-old Rewati Mandal, is also happy to have pursued Mithila art as a profession. “I earn more through painting than toiling the fields night and day,” says Mandal, who is the sole breadwinner in her family. Her sons live separately, but because of her skill, Mandal does not have to ask them for money. “I earn my own keep. I earn up to Rs10,000 per job. That is enough for me to buy groceries for an entire year,” she adds. <img width="1680" height="1120" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d145b9c7e80680e0a9972jpeg.jpg" alt="">All four women believe that <a href="https://www.nepalitimes.com/latest/sisterhoods-empowering-education-in-nepal/" target="_blank" rel="noopener noreferrer">opportunities</a> trump luck, and given a break a woman can do as well as, or better than, menfolk in every sphere of life.Sheelasha Rajbhandary, the curator of Kathmandu Triennale 2077 says that the event will set an example by highlighting traditional women artists. She says: “Traditional art done by women is still not counted as art. That is why we need to highlight art forms like Mithila art. After all, <a href="https://www.nepalitimes.com/latest/the-goal-is-empowerment-and-independence-of-women/" target="_blank" rel="noopener noreferrer">women empowerment</a> begins at home.”Translated from <a href="https://www.himalkhabar.com/news/126792" target="_blank" rel="noopener noreferrer">the original</a> by Sahina Shrestha.

Anita Bhetwal

How art empowers Nepal’s women

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70a79c7e80680e06008cjpeg.jpg" alt="" width="899" height="685"/>The visitor to the Taragaon Museum is surrounded by faces: from large, realistic examinations of elderly men and women to symbolic portraits in abstract styles. An exhibition titled A Portrait Story studies the genre of portraiture from all angles.The oldest exhibit is a framed photograph of Chandra Shumsher, his wife Balkumari, and two of his sons. Back in the 19th century, such portraits were a way of putting your best face forward. The means to own a camera or hire a photographer were only available to the fabulously wealthy, and portraiture was status.Read also: <a href="http://archive.nepalitimes.com/news.php?id=19789#.XiBDb_4zbIU" target="_blank" rel="noopener">The first photographs of us</a>, Kanak Mani Dixit<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70a99c7e80680e06008djpeg.jpg" alt="" width="876" height="747"><figcaption> </figcaption></figure>Fast forward to the 21st century, where almost everyone has a mobile phone with which to take a selfie and disseminate it to the world at the press of a key. The exhibition comes full circle in showcasing two social media ‘influencers’ who constantly post selfies.It may seem that flattering depiction is the only purpose of portraiture. However, the genre also exists outside this narcissistic box, and this is where artists come in. A Portrait Story features many artistic explorations of the portrait genre.Read also:<a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener"> Old art meets new</a>, Sikuma Rai<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70ac9c7e80680e06008ejpeg.jpg" alt="" width="1456" height="1478">“Artists make a lot of portraits on commission, so these are commercial,” says co-curator of the exhibition Shivangi Bansal, “But we know of artists who make portraits just for the sake of making portraits. We wanted to see how artists are exploring this genre beyond commercial art.”Indeed, many of the portraits on display are not necessarily flattering. On the one end of the spectrum is hyper realism, where every tiny detail on a face, from a wrinkle to a missing tooth, is highlighted.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=16424#.XiBEI_4zbIU" target="_blank" rel="noopener">Art attack</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70b09c7e80680e06008fjpeg.jpg" alt="" width="1236" height="1868">At the other end is experimentation, where the details of the face become irrelevant as artists play with outside objects, light and shadows. Manish Lal Shrestha paints only a fraction of his forehead on top of a pillow in ‘Sirani’. Pramila Bajracharya paints a two-dimensional figure of a Nepali woman that seems to portray her personality. Kapil Mani Dixit has an abstract piece which does not look like a portrait at all, while Saurganga Darshandhari experiments with a portrait without a face.Contemporary artists have also experimented with digital manipulations. The picture of a Kumari with an entire temple on her head is an example, and Ishan Pariyar depicts angst with a face that is bursting out of its rope bindings.A Portrait StoryTaragaon Museum, Boudha9-23 Jan

Portraying portraiture at Taragaon

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

The Last Days of the Khampa

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

Turkish to Seville

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

Digital protection for Nepal’s art

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;