<img width="1100" height="1105" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57479c7e80680e0547d2jpeg.jpg" alt=""/>T here are many types of traditional roof tiles in Kathmandu: broad tiles, slender tiles, half-cylinders, or the elegant jhingati. Before concrete buildings started sprouting up with flat roofs, the Valley’s old towns all had distinctive sloping red-tiled roofs.Even though houses with traditional roofs are now rare, tiles are being put to all kinds of creative uses, including to reduce the energy cost of cooling or heating homes and offices. One such example is a rooftop pavilion at the headquarters of the International Centre for Integrated Mountain Development (ICIMOD) in Khumaltar (see box).Terracotta tiles are hard to beat in terms of sustainability and climate responsiveness, compared to concrete slabs or steel sheets. Concrete is all the rage today because of its supposed strength and water-resistance, but it makes buildings costly to heat or cool.  <img width="200" height="200" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57499c7e80680e0547d3jpeg.jpg" alt="">Well-made roof tiles are common in traditional architecture, dating back to Mesopotamia. In the Middle Ages, the clay was moulded by men on the tops of their thighs, and tapered down to the knee naturally, allowing the tiles to overlap each other. Cuzco in the Peruvian Andes, historic Lijiang in China and Dubrovnik on the Adriatic coast all offer stunning roofscapes, and have World Heritage status because of their tiles.Kathmandu Valley’s roof tile grid is unique in the world. The jhingati has a distinct non-linear feel, almost like scales on a pangolin’s armour. The crafted roof, with its ingenious overlaps and slightly rotated grid, protects the interior of the historic buildings from slashing monsoon rains. The tiles come in a spectrum of carmine, scarlet-red, vermillion and tangerine orange colours. Upon close observation, one can even see palm and thumb prints of the potters who moulded each piece by hand decades, sometimes centuries, ago.Read also: <a style="background-color: #ffffff; font-weight: bold; letter-spacing: 0.15px;" href="https://www.nepalitimes.com/banner/starting-nepals-green-school-movement/" target="_blank" rel="noopener">Starting Nepal’s green school movement</a>, Sheilin Teo <figure><img width="1100" height="1238" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a574a9c7e80680e0547d4jpeg.jpg" alt=""><figcaption> </figcaption></figure>Wang Shui, the first Chinese to win the Pritzker Architecture Prize in 2012, saw many historic villages had been razed in the area where the new Ningbo Museum in China was to be built. As the architect of the museum, Wang Sui worked with building materials from the houses in the villages.Wang Sui felt that bricks and tiles had memory and identity, and that there was a relationship between people and building materials. The museum was completed in 2008 and recycled bricks and roof tiles in its construction.Each tile and brick in Kathmandu today has a history, a tale to tell about the forgotten potters who moulded them from the Valley’s clay soil, fired and fitted them on roofs. They are a part of our heritage and should be preserved, re-used or upcycled.  Prof Anne Feenstra is a laureate of the Global Award for Sustainable Architecture 2012 (Paris) and set up Sustainable Mountain Architecture in Nepal in 2013. Read also: <a href="https://www.nepalitimes.com/banner/this-is-how-to-upgrade-nepals-rural-health/" target="_blank" rel="noopener">This is how to upgrade Nepal’s rural health,</a> Sewa Bhattarai <h2>Upscaling jhingati tiles </h2> <img width="1000" height="655" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a574d9c7e80680e0547d5jpeg.jpg" alt="">At the head office of ICIMOD in Kathmandu, Sustainable Mountain Architecture (SMA) designed an experimental project to upcycle nearly 1,500 tiles salvaged from the ruins of buildings after the 2015 earthquake.The design provides improved access to an open-air meeting room and future individual work stations by carefully cutting open the existing concrete roof slab and adding a light and sturdy steel structure.For safety and orientation, filtered daylight was needed from all four directions of the pavilion and staircase. But making it from glass only would drive up temperatures in summer and make it too cold in winter. This is where the jhingati proved useful.Although it would be best if the jhingati were returned to the roofs they once protected, after the earthquake they were stacked by ruins and were deteriorating. Some had been used to make garden walls to replace bricks.Many schools that were quickly rebuilt after the 2015 earthquakes did not re-use traditional tiles. Children fainted in some cases, as the radiation heat inside became too much under galvanised steel roofs. Monsoon rain made it impossible to hear the teacher.Read also: <a href="nepalitimes.com/business/energy-saving-soaltee/" target="_blank" rel="noopener">Energy saving Soaltee</a>, Nepali Times <figure><img width="1000" height="575" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a574f9c7e80680e0547d6jpeg.jpg" alt=""><figcaption> </figcaption></figure>Traditionally, these petite 200 x 105mm fired clay tiles stick to the roof on a fresh layer of clay, while a 8mm linear depression grips two tiles. The tiles absorb heat, are UV resistant and are effective in varying humidity levels.The tiles were collected, cleaned and they are now on all four facades of the ICIMOD pavilion as a ‘brise soleil’. They capture the diffused daylight, while keeping the harsh, direct sunlight out (pictured, above)This climate-responsive design obviates the need for air-conditioning or additional heating. The passive solar energy through the filtered light keeps the pavilion comfortable. An inserted mesh between the roof and tops of the four walls makes natural cross-ventilation possible. In the hottest months, an open door increases the natural chimney effect of hot air going up and out. In the night, four 18W LED lights provide ample illumination.The jhingati tiles are held in light metal frames with two clasps. Each tile forms an evocative mini louvre and is placed in families that make up the superior panels. The subtle diamond-shaped pattern casts soft silhouette shadows, creating a spatial elegance.Upcycling is one of the ways the Nepali non-profit team at SMA gives expression to its designs. They elicit architectural support to Nepali builders while drawing lessons from vernacular wisdom.Read also: <a href="https://www.nepalitimes.com/banner/building-back-cheaper-and-stronger/" target="_blank" rel="noopener">Building back cheaper and stronger</a>, Sapana Shakya and Aman Raj Khatakho

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Protecting Kathmandu’s historic roofscape

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56c49c7e80680e0547a3jpeg.jpg" alt="" width="1400" height="933"/><figcaption>Photo: BIKRAM RAI</figcaption></figure>The late monsoon calendar in Kathmandu Valley is filled with festivals: there was <a href="https://www.nepalitimes.com/banner/my-sweet-lord/" target="_blank" rel="noopener">Krishna’s birthday</a> last week, then <a href="https://www.nepalitimes.com/banner/women-celebrate-tij/" target="_blank" rel="noopener">Rishi Panchami and Tij</a> this week. But none is more important than the week-long Indra Jatra — the chariot festival presided over by none other than the Living Goddess Kumari.Indra Jatra, which falls on Friday the 13th this year, is traditionally when Nepal’s rulers congregate at Hanuman Dhoka to be blessed by the Kumari as she is pulled past on her chariot.This is the annual festival dedicated to Indra, the god of rain. But it also honours Taleju Bhawani, the powerful goddess and protector of Kathmandu, who will manifest herself in the Kumari to empower the government and citizens of Nepal with divine powers.Interestingly, Taleju is supposed to be the family deity of Ravana, the demon king of mythic Lanka, and the Taleju of Kathmandu is said to have been brought from India in ancient times.Read also: <a href="http://archive.nepalitimes.com/news.php?id=10881#.XXDXnC4zbIU" target="_blank" rel="noopener">When Indra was caught stealing</a>, Desmon Doig<a href="https://www.nepalitimes.com/banner/parodying-patriarchy-at-tij/" target="_blank" rel="noopener">Parodying patriarchy at Tij</a>, Sewa Bhattaraihttps://www.youtube.com/watch?v=jqjg2X00SCQPrithvi Narayan Shah in 1770 entered Kathmandu on the day of Indra Jatra, and is said to have won over the local population by kneeling at the feet of the Kumari.The Kumari House courtyard bears the most exotic of all wood carvings in the area, and was built in 1757 during the reign of king Jaya Prakash Malla, the last Malla king, who was deposed by the invading army of Prithvi Narayan.History books tell us that Jaya Prakash Malla was pulling the Kumari chariot himself, and enjoying every bit of it. But by the time the chariot reached the Lagan neighbourhood, Gorkha forces had captured his palace at Hanuman Dhoka. He then fled across the swollen Bagmati river to seek refuge in the neighbouring kingdom of Patan.Indra Jatra is marked with much enthusiasm and devotion by both Hindus and Buddhists in the Kathmandu Valley, and celebrated for eight days by singing, dancing, feasting and rejoicing.People throng excitedly to see the chariot and to watch the ritual dances — featuring masked demons, gods and goddesses. Kathmandu’s famous Lakhey dancers are also part of the chariot procession.Read also:<a href="http://archive.nepalitimes.com/news.php?id=5869#.XXDXmS4zbIU" target="_blank" rel="noopener">Let the jatra begin</a><a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-boy-gods-of-kathmandu,4158" target="_blank" rel="noopener">Boy gods of Kathmandu</a>, Sahina Shrestha<h2 style="letter-spacing: 0.15px;" data-elementor-setting-key="title" data-pen-placeholder="Type Here...">Indra Jatra re-enacted at Dwarika’s</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56c89c7e80680e0547a4jpeg.jpg" alt="" width="640" height="422">Nepal’s Dwarika’s Hotel has won many international awards for its preservation of Kathmandu’s Newa architecture. But it is also involved in preserving the Valley’s intangible heritage: its festivals.As in 2018, the Hotel will mark Indra Jatra this year. On Friday 13 September, Dwarika’s will feature a re-enactment of the real-life procession in the city, with a stand-in Goddess Kumari on hand throughout the celebration.Guests can witness the Living Goddess regally seated in the hotel’s resplendent courtyard with artefacts and carvings (some of them 800 years old) observing the series of performances, replicated exactly from the original Indra Jatra celebration in Kathmandu Darbar Square earlier that day.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56cb9c7e80680e0547a5jpeg.jpg" alt="" width="640" height="428">Another major attraction of the evening will be a display of the lavish assortment of the famous Samay Baji and other food of the Indra Jatra feast. Even the Kumari chariot festival, with Bhairav and Ganesh, as well as the Lakhe dance, Kumari dance, Bajrayogini and Bhairab-Kali dances, will be performed.Guests can also savour a special Indra Jatra buffet with exotic items of Newari cuisine, washed down with the traditional aila spirit, while they watch the Dhimey dance and other classical masked dances.Dwarika’s Hotel6:30-9pm, Friday 13 Septembersales@dwarikas.com+977 1 4479488,  4470770.Read also: <a href="https://nepalitimes.atavist.com/cultural-evolution" target="_blank" rel="noopener">Cultural evolution</a>, Kunda Dixit

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Prepping  for Indra Jatra

https://youtu.be/aG3NqSX0Sk8Woodcraft embellish Kathmandu Valley’s traditional architecture, adorning columns, eaves, windows and door frames with meticulously carved figures of gods and goddesses. Historically, these anonymous works of devotional art were carved by generations of the Shilpakar clan, whose surname was derived from their ancestral profession.Indra Prasad Shilpakar is from a long line of the woodcarvers from Bhaktapur who has decided to give new life to the craft by using traditional motifs, but adding artistic license with new elements. He has separated these pieces from architecture and created them as freestanding structures of art, modifying some background designs and poses of the gods.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebb9c7e80680e04fcd0jpeg.jpg" alt="" width="1500" height="1000"/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebe9c7e80680e04fcd1jpeg.jpg" alt="" width="640" height="853">"Woodcarving on temples are strictly defined by rules that follow the storyline of the scriptures,” Shilpakar explained during a walk around his ongoing solo exhibition at the Taragaon Museum this week. “But outside of the architectural frame, I try to experiment.”Shilpakar has a degree in fine art from Tribhuvan University and he says the background in  contemporary art helps him try out new aesthetics so that traditional woodcarvings can also be viewed separately as individual pieces of art.In his day job these day, Shilpakar works in the restoration of Patan’s Bhai Dega temple which was destroyed in the 1934 earthquake. There he tries to replicate missing pieces of the temple based on old photographs and damaged pieces. After work, he is back at his basement workshop in Bhaktapur where with his father Indra Kaji Shilpakar he works on traditional carvings.Indra Kaji is not too enthusiastic about his son trying out new styles and selling them in galleries. He says: “Work in exhibitions ultimately end up in private collections, and only a few people will see them. On the other hand, when your carving adorns a temple everyone sees them, and it spans generations.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec19c7e80680e04fcd2jpeg.jpg" alt="" width="640" height="853"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec59c7e80680e04fcd3jpeg.jpg" alt="" width="1500" height="1000"></figure>Artist Indra Prasad Shilpakar (right) with his father Indra Kaji ShilpakarNonetheless, the younger Shilpakar says it is difficult to make a living making traditional wood carvings for temples, whereas experimenting with modern forms of traditional art and exhibiting them in galleries can earn the artist extra money.Shilpakar's Taragaon exhibition that ended on Tuesday depicted the best of woodcarving found in temples: windows with intricate patterns of flowers, deities like the Buddha, Ganesh, and Matrika, animals like crocodiles and Garuda, a pair of singing Gandharva and dancing Kinnara.Even more modern renditions of traditional wood carvings are strewn around Shilpakar’s workshop in Bhaktapur. Senior Shilpakar and his son share a passion for traditional woodcraft, and have designed their home keeping true to their Newa heritage. Carved wooden pillars line the ground floor, a traditional wooden staircase leads to the second floor which has intricately-carved wooden windows.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec89c7e80680e04fcd4jpeg.jpg" alt="" width="1500" height="1000"></figure>Photos: Monica DeupalaThe attic kitchen has a high, triangular roof supported by wooden balustrades, and the balcony outside is lined with woodwork. The walls have a museum feel with displays of mallets, chisels, gouges and skews in various sizes that were used by their ancestors. "We wanted our house itself to reflect and preserve traditions," says the younger Shilpakar.Indra Prasad Shilpakar feels his family’s ancestral work is still seen as a lowly occupation, and he wants to be recognised as a creative artist as well. He says: "It is sad that we don’t know the names of the masters who created the exquisite carvings on our temples. They were never known as artists. But here in this gallery I am known as an artist in my own right.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ecb9c7e80680e04fcd5jpeg.jpg" alt="" width="4000" height="3000">Wood Carving: The Art of the Newars of Nepal Solo exhibition of wood art by Indra Prasad ShilpakarTaragaon Museum, 1-9 July

In with the old, in with the new

<img width="4000" height="3000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101136/636a23839c7e80680e0417f0jpeg.jpg" alt=""/>In his 16th solo exhibition Mithila Cosmos: Songs of Innocence and Experience, artist <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/mithila-avatar,2861">SC Suman</a> depicts his experiences in his signature Mithila style. The exhibition at the Siddhartha Art Gallery brings southern Nepal's popular art form to Kathmandu.<a href="http://archive.nepalitimes.com/news.php?id=8294#.XE7EwdIza70">Mithila paintings</a> are a renowned art style practiced by women of Nepal and some parts of India. Traditionally, women used to make the two-dimensional figures on the walls of homes with natural colours, and they were compulsory during festivals and celebrations. The sketches of daily life and mythical stories are now fast disappearing from homes, but making a re-appearance in art galleries and craft shops.SC Suman, one of the pioneers of expanding the boundaries of Mithila art in Nepal, has incorporated his experiences of living in Kathmandu into this exhibition. So not only do we see the sketches, flat figures in vibrant colours that characterise <a href="http://archive.nepalitimes.com/news.php?id=6697#.XE7E49Iza70">Mithila art</a>, there are also Kathmandu landmarks like Swoyambhu, Pashupati, Kirtipur, and Newa architecture in the paintings. One of them even the paintings of the eyes and five Buddhas that the Newa community paints on doors. [caption id="attachment_20714" align="alignnone" width="1500"]<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101136/636a23869c7e80680e0417f1jpeg.jpg" alt="" width="1500" height="2000"> Mithila marriage rituals inside the doors of a Newa bahal"Though I am from Southern Nepal, I have lived most of my life within these doors of Newar bahals," Suman says, showing us details of wedding rituals and daily life in the paintings. "Later, I got married here, my children grew up here, and even my daughter got married to a Newar. So this painting represents how Kathmandu is an entire cosmos in itself for the people of Nepal."Indeed, Suman's paintings capture the melting pot that is Kathmandu. We see Kathmandu evolving through <a href="https://archive.nepalitimes.com/article/nation/nation-bhaktapur,597">the window of Mithila art</a>: from bucolic rural life of fields and trees, to a crowded milieu of buildings and more buildings.Suman's spiritual and environmental concerns are also reflected in paintings like the one of Dashavatar, containing all nine avatars within the outline of the Buddha, implying that the tenth avatar is a composite of every idea that came before. Though a Hindu, Suman puts the Buddha foremost in this work as well as paintings that touch the roots of Mithila philosophy with a tree of life, and the cosmos.    In a panorama of Nijgad forest which is now threatened by a proposed international airport, Suman gives umbrellas to the monkeys, birds, elephants that live there, but not to trees."The umbrella is a symbol of protection. Everyone needs them, even animals and trees. But who will speak up for them as we speak of rapid development that will fell the oldest trees first?" he asks.The Kachni style of line work, and Bharni which means <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/colour-play-mithila-art-janakpur,796">colouring</a> are both reflected in Suman’s rendering of the Mithila style. Most of his paintings are fusions of line work, or colours filled in with intricate precision, while some have broad swathes of background colours as befits the mood. Suman's work widens the traditional range of Mithila paintings to depict a whole spectrum  of emotional and spiritual ideas, while still retaining the basic art form. The exhibition also gives visitors an artistic representation of Kathmandu’s metamorphosis. <figure><img width="2000" height="1500" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101136/636a23899c7e80680e0417f2jpeg.jpg" alt=""><figcaption> </figcaption></figure>Mithila Cosmos: Songs of Innocence and ExperienceSiddhartha Art Gallery, Baber MahalUntil 6 Feb

Mithila representations of Kathmandu’s metamorphosis

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101136/636a23349c7e80680e0417d4jpeg.jpg" alt="" width="800" height="1067"/><figcaption>Sewa Bhattarai</figcaption></figure>Bodhisattva gallery has been active in documenting and preserving Kathmandu Valley’s traditional art, and is now back with its first exhibition after the 2015 earthquake. Jewels of Newar Art contains stunning paintings in the Paubha style, and sculptures made from the lost wax method.The exhibition features detailed portraits of Hindu and Buddhist deities including the Green Tara, White Tara, Manjushree, and Avalokiteswar. While most of them follow techniques for devotional paubha paintings, including using natural colours and painting deities according to classical specifications, we can also see many improvisations.One such work depicts deities in a wall apparently damaged by the earthquake. Others break away from traditional formats of the principal deity in the centre, and show gods in new, contemporary compositions. The exhibition shows us not just how rich Newar art is, but also how it is evolving in the hands of contemporary painters whose motif is art and not religion.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of the gods</a>, Tsering Dolker GurungFor centuries Kathmandu has been famous for such ritual artwork, prized for aesthetic beauty and attention to detail. Everything about the deities, from their complexion to their poses, is replete with many layers of meanings: for example the Green Tara’s green complexion symbolises compassion. While these paintings and statues are valued by Kathmandu’s Newar community for worships, a layperson also finds lot to admire in these works.Coveted by art lovers all over the world, stolen and pillaged, many of Nepal’s antiques now reside in museums around the world. However, it comes as a surprise to many to learn that the art forms are well and alive in Kathmandu. The exhibition at Bodhisattva attempts to bring such contemporary artworks to viewers’ notice.“Many believe the art is dead and can now be seen only in museums, but in fact Kathmandu continues to produce world-class artwork of great value,” says Anjana Shakya of the Bodhisattva Art Gallery. “The art was dying at one time because the artists did not make money, and the only way to ensure its continuity is to make sure that the artists can access the right market. We aim to promote the artists by connecting them to national and international buyers who are interested.”Read also: <a href="http://archive.nepalitimes.com/blogs/mycity/2015/12/23/from-wax-to-copper/" target="_blank" rel="noopener">From wax to copper</a>, Gopen RaiIndeed the gallery calls its exhibits ‘museum quality’, and they sell for anything up to Rs 3.5 million.  Three of the pieces will be showcased in Vienna in April in an exhibition of Nepal’s finest contemporary art. The exhibition at the Bodhisattva is an opportunity to appreciate home-grown art that may soon end up in famous museums around the world.Jewels of Newar ArtBodhisattva Art Gallery, KopundoleUntil 2 February

New Newa art

https://www.youtube.com/watch?v=PLjFWtXyhNY&amp;feature=youtu.beExploring the universal theme of ‘attachment’, Prithvi Shrestha blends various dimensions of existence, from the physical to divine, as his subjects bubble with energy.Shrestha’s acrylic on canvas works take us on a journey of understanding various forms of attachment from the mundane to the spiritual, from personal possessions to life itself. Fifteen of these paintings created over the past year are now on display at the <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/sangeeta-thapa-siddhartha-art-gallery,1999" target="_blank" rel="noopener">Siddhartha Art Gallery</a>.Inspired by the natural and physical surroundings, Shrestha shows us manifestations of attachment and connectedness that we subconsciously have with everything else. Through themes of rituals, festivals, mythology, marriage and death, the artist expresses oneness -- and how we long for it, even after life ends.“Everything is connected, whether we consciously realise it or not. The actions of one affects all. And because everything is essentially connected through energy, there is attachment,” explains Shrestha, whose calm and serene persona is reflected in his paintings, all of which exude softness and gentleness.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111144/6368e2219c7e80680e033310jpeg.jpg" alt="" width="1000" height="667"/><figcaption>Symbolisms: Artist Prithvi Shrestha explains his painting 'Ritual Conversation' showing how people long to be with their loved ones, even after death. Photos: Gopen Rai</figcaption></figure>Shrestha examines the delicate balance and inherent attachment we have with nature, culture, rituals, interactions and the increasing intrusion of technology that has seeped into and changed every aspect of our real and virtual worlds.“Our lives used to revolve around god, nature and culture, out of which sprang everything else. But now, technology has entered this space. We humans are now adjusting to this new element which has changed traditional ways of interaction,” Shrestha says, pointing to a painting titled ‘My Animal Self’. In it, the artist depicts himself with antlers and there are deer in the background – all symbols of how technology impacts our everyday lives.Every painting has the physical presence of a body in the form of animals and humans, the energy body through bubbles of power surrounding the figures, and a symbolic circuit board depicting the ever pervasive reach of information technology.Shrestha is known for using himself as the subject of his artwork, the reason being that he has more artistic freedom when the subject is himself. He explains: “It is mainly so that I can do whatever I feel like with the subject, without having to explain much.”‘Attachment’ is Shrestha’s fifth solo exhibition after seven years, and in that time he has been busy with numerous group exhibitions, workshops and performances, travelling within Nepal and abroad.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111144/6368e2249c7e80680e033311jpeg.jpg" alt="" width="640" height="799"><figcaption> </figcaption></figure>Shrestha, 42, says he wanted to be an artist from as far back as he can remember: “I was lucky to have an encouraging family who supported my decision, which made things a lot smoother for me.”A student of fine arts from Tribhuvan University, Shrestha says he was inspired by his exposure to Japanese art culture during his college years, which fuelled his drive to create and cultivate a rich art culture in his own country.Shrestha was the first recipient of the Himalayan Light Art Scholarship which made his current exhibition possible. The scholarship is sponsored by Chinese artist <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/chinese-ink-wash-paintings-in-Nepal,2622" target="_blank" rel="noopener">Zhao Jianqiu</a> who was greatly impressed by Nepali artists during his 2015 visit and exhibition in Nepal. He established the scholarship in collaboration with the Siddhartha Arts Foundation.The Himalayan Light Art Scholarship supports up to two Nepali artists each year for the production and exhibition of their work. Says Zhou: “We hope to create an exchange for Chinese and Nepali artists in future and promote a trans-Himalayan art exchange.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111144/6368e2279c7e80680e033312jpeg.jpg" alt="" width="640" height="451">Attachment by Prithvi ShresthaSiddhartha Art Gallery24th May-20th JuneSunday- Friday 11am to 5pmSaturday 12 noon to 5 pm

Prithvi's earthy art

Architecture can be a powerful agent of change, shaping not just spaces but the way people live, connect, and experience the world.&nbsp; For Nepal, which is <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">gifted by nature</a> and rich in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/ambassador-fund-cultural-preservation-nepal,2092">cultural heritage</a>, &nbsp;reviving rural architecture with modern amenities could hold the key to more <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">sustainable tourism </a>that benefits local people more. “<a href="https://nepalitimes.com/banner/bayalpata-hospital-in-nepal-wins-global-design-award">Design and architecture</a> are amazing tools to create a unique experience for visitors,” says Spanish architect Tomeu Esteva of Esteva i Esteva Architecture Studio. “Difficult destinations have beautiful hotels with design and comfort.” Esteva was in Kathmandu with his colleagues at an event organised by the Spanish Honorary Consulate at Dwarika’s Hotel last week to showcase buildings which Nepali architects can adapt with local material and design inputs.&nbsp; Rural architecture holds a unique significance: it is more than a shelter and must reflect <a href="https://nepalitimes.com/here-now/inking-an-idenity">local identity, culture</a> and <a href="https://nepalitimes.com/here-now/saving-humla-from-heritage-loss">heritage</a>. An area’s natural and cultural harmony can be upset by <a href="https://nepalitimes.com/here-now/protecting-protected-areas-from-infrastructure?fbclid=IwAR1wK0MDFlFST_2EYb3f54LS4-fPt6rYfLG1DJ1JaQsU3w8-ezyXIxGOqzk">poorly planned development</a>, speakers at the event said, but the environment can be improved and revitalised by well-integrated structures.&nbsp; Another Spanish architect, Belen Moneo, has designed hotels at elevations of 3,700m in her home country Spain that supply natural spring water spas. “<a href="https://nepalitimes.com/banner/lost-in-reconstruction">Creativity in construction</a> must be encouraged. Rural architecture always shows possibilities of what we can do better,” Moneo explains, adding that designs must enhance <a href="https://nepalitimes.com/opinion/the-healing-power-of-nature">the beauty of nature</a> and give a natural feel at a time when steel, glass and cement dominate <a href="https://nepalitimes.com/here-now/rebuilding-kathmandu-after-the-1934-quake">urban design</a>.&nbsp; This is why the <a href="https://nepalitimes.com/here-now/weaving-nature-into-craft">use of natural products</a> such as bamboo, local timber, straw and rammed earth are in demand from customers who want a fresh eco-friendly look encouraged in construction of rural architectural structures. The demand for boutique hotels has increased world over, with &nbsp;more and more tourists favouring aesthetics, experience and comfort over price. While creativity is an important part of <a href="https://nepalitimes.com/here-now/architecture-for-mountains">construction and architecture</a>, incentives to build and use <a href="https://archive.nepalitimes.com/article/nation/Building,370">rural construction materials</a> still remain minimal, and Moneo emphasises the significance of design and execution.&nbsp; Esteva helped design the Vana Retreat in Dehradun that kept the natural environment in focus, with the structure giving an elaborate aesthetic experience to visitors. Another example is Hotel Las Mercedes in the Dominican Republic which was designed and constructed by Moneo and the company she co-founded Moneo Brock, respecting and revaluing the traditional architecture of the area. Hotels providing such experience could attract tourists and revenue. The Spanish ambassador to Nepal Juan Antonio March Pujol said, “The role of architecture and architects in developing tourism is crucial, not only in urban areas but rural settings as well.”&nbsp; The concept of rural boutique hotels gained traction in Spain during the 1990s, particularly in regions like Majorca with economic and environmental sustainability as the main focus. In Nepal <a href="https://nepalitimes.com/opinion/12-full-opinion/guiding-nepal-s-tourism-industry">the tourism industry</a> directly employs about 1 million people, and makes up about 8% of the country’s GDP. In Nepal, the stone homes of <a href="https://nepalitimes.com/news/reviving-himalayan-vulture-and-culture">Mustang and Manang</a>, bamboo and mud structures of <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a>, and the Kathmandu Valley’s terra cotta tile skylines, graceful temples, and tranquil bahal courtyards are all examples of <a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs">Nepal’s traditional architecture</a>.&nbsp; Nepali architect Sarosh Pradhan has been working for the past eight years on the Brakka Village project in Manang Valley north of <a href="https://nepalitimes.com/banner/municipalities-want-to-manage-annapurna">the Annapurnas</a>. Other examples of this kind of rural architecture for high-end tourism are the Shinta Mani Hotel in Mustang and Khumbu Lodge below <a href="https://nepalitimes.com/news/mt-everest-pvt-ltd">Mt Everest</a>. Says Pradhan, “There are places in Nepal that radiate purity and embrace simplicity. Creating projects in such settings require deep reflection and thoughtful planning.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f.jpg" data-media-id="editor_19" data-image-id="20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f" data-rendition-name="original" width="4608" height="2184" loading="lazy" alt="A new architecture for Nepal's tourism"> </figure>  Rural architecture is not easy, and sometimes more expensive. Inflation, energy efficiency, <a href="https://nepalitimes.com/here-now/those-who-stay">the climate crisis</a>, and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">increased costs of living</a> pose obstacles to sustainable rural architecture. Read also: <a href="https://nepalitimes.com/here-now/forgotten-international-starchitects-in-nepal">Forgotten international starchitects in Nepal</a>, Anne Feenstra and Varun S Bapu Esteva says faith and trust between client and architect is necessary for any project to be successful. He adds that architects must practice being humble, the process of designing always involves learning and not imposing their ideas on clients. Nepal is uniquely positioned for the growth of <a href="https://nepalitimes.com/banner/hiking-up-the-benefits-of-tourism">rural tourism</a> because of its stunning countryside as well as its internationally renowned traditions in holistic wellness. Creating infrastructure that is small, thoughtfully planned and that respects both tradition and contemporary hospitality standards is crucial. “Projects in Nepal can be made cost effective by using materials from houses that have been brought down,” says Esteva. “Pilot projects involving <a href="https://nepalitimes.com/banner/local-government-by-the-people-for-the-people-of-the-people">local people </a>and simple designing also helps the process.” <a href="https://nepalitimes.com/banner/vacant-homes-become-homestays-in-nepal">The growth of homestays in Nepal</a> is a step in the right direction, but they are still a bit too rustic for the international traveller who also wants comfort and is willing to pay extra for it. Upgrading the facilities in homestays and ensuring that the <a href="https://nepalitimes.com/here-now/an-archive-of-nepali-heritage">architectural heritage</a> of the locality is preserved using locally sourced building material could allow owners to charge more. Says Sangita Shrestha of Dwarika’s Hotel, “Our effort is to build upon rural architecture by empowering local communities and using what is available locally. We can fine tune and encourage indigenous design and training.” The vision goes beyond just boosting the economy, it is about building a future where tourism helps villages grow in a healthy and lasting way. Instead of using up resources, it gives back to the land and the people. It supports local communities by<a href="https://nepalitimes.com/opinion/staying-in-nepal-to-create-jobs"> creating jobs</a>, improving infrastructure, and protecting natural beauty. When done right, tourism can be a tool for <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">preserving culture and nature</a>, not harming them. Architects must therefore see their work as more than just designing buildings, they also need to care deeply about people and places, especially in rural areas that can benefit the most.&nbsp; With global interest in sustainable and off-the-beaten-path travel increasing, Nepal stands at the cusp of a <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">tourism transformation</a> that values community-driven, eco-conscious hospitality. A mix of modern ideas and traditional knowledge could transform rural tourism in Nepal. Says Shrestha, “Young architects should spend time with <a href="https://nepalitimes.com/latest/the-unsung-heroes-of-conservation">local and indigenous communities</a>, listen to their stories, and learn from their <a href="https://nepalitimes.com/banner/life-and-livelihood-in-remote-nepal">ways of living</a>. These communities have deep knowledge about the land, materials, and climate. If this wisdom is used in new designs, it can help create tourism spaces that truly benefit everyone.” &nbsp;

A new architecture for Nepal's tourism

Extract from an addendum to Nepal's Two Wars, Chapter 2 in the updated edition of Essays on Nepal: Past and Present by Sam Cowan, a retired British Army general with a long association with the Gurkhas. The book was first published in 2018, and republished earlier this month by FinePrint exclusively on Amazon. The addendum details a one-to-one conversation the author had in the <a href="https://archive.nepalitimes.com/news.php?id=8884">Royal Palace </a>with the <a href="https://archive.nepalitimes.com/news.php?id=8371">King Gyanendra</a> in November 2002 just after he had taken his initial steps on the road that ultimately led to <a href="https://archive.nepalitimes.com/news.php?id=14681">the abolition of the monarchy</a> in Nepal in 2008. In the early evening of September 16, 2002, in my role as Colonel Commandant of the Brigade of Gurkhas, I had my second and last official audience with King Gyanendra to give him an update on the Brigade’s activities over the previous 12 months. I had some 6 or 7 such audiences with <a href="https://nepalitimes.com/here-now/preserving-king-birendra-s-family-home">King Birendra</a>.&nbsp; These were official affairs with the British ambassador of the day present, along with key <a href="https://archive.nepalitimes.com/news.php?id=12233">palace officials</a> and a representative from Nepal's Foreign Ministry. The two monarchs were very different in character and temperament, but both treated me with the utmost civility and made the audiences as relaxed and easy for me as possible.&nbsp; It is, however, worth recording that when the official business had been covered, King Birendra, with a twinkle in his eye, often ended by asking, “Now General, what’s the gossip in London?” The second audience with <a href="https://archive.nepalitimes.com/news.php?id=8026">King Gyanendra </a>was my last official act in uniform. We came back to Kathmandu in the first week of November (after treks) to stay for a few nights with our Defence Attaché before heading back to the UK. Waiting for me was a message from the Palace saying that King Gyanendra would like to meet me informally: <a href="https://archive.nepalitimes.com/news.php?id=6933">no uniform</a> and no ambassador.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750.jpg" data-media-id="editor_7" data-image-id="20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750" data-rendition-name="original" width="1750" height="2406" loading="lazy" alt="Gyanendra crowned page 1"> <figcaption>Nepali Times Special Edition of 6-14 June 2001 with enthronement of Gyanendra. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2.jpg" data-media-id="editor_8" data-image-id="20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2" data-rendition-name="original" width="1500" height="1857" loading="lazy" alt="Royal massacre"> <figcaption>Nepali Times 22-29 June 2001 covering the royal massacre after which Gyanendra became king. </figcaption> </figure>  Although I had no idea what the purpose of the meeting might be, events in Kathmandu since I last saw the king put me on edge. On October 4, 2002, Gyanendra had dismissed Prime Minister Sher Bahadur Deuba, allegedly for failing to hold <a href="https://nepalitimes.com/news/what-goes-on-in-nepal-s-elections">elections</a>. He had put in place a new prime minister and a cabinet personally selected by him. When I heard the news on my travels, the people I met were generally supportive of the king’s actions. There was a general view that something had to be done, the country was going nowhere, and the king deserved his chance, not least to solve<a href="https://nepalitimes.com/latest/14-years-after-conflict-no-closure-in-nepal"> the Maoist </a>problem. Back in Kathmandu, views were not so sanguine. The chosen prime minister, Lokendra Bahadur Chand, was a relic from <a href="https://nepalitimes.com/here-now/mob-movement-and-mayhem">the Panchayat period</a> whose party had failed to win a single seat in the last elections held in 1999. Some of the chosen cabinet ministers had, to put it mildly, dubious reputations, and others had no record of proven competence in any field. There was a fear that the king’s real motive in dismissing <a href="https://nepalitimes.com/editorial/deubas-denouement">Deuba</a> was to start to reverse the democratic gains made since 1990. I informed <a href="https://nepalitimes.com/news/nepal-britain-mark-centenary-of-1923-treaty">the British ambassador</a> about the invitation. He was strongly against accepting it, which was probably the clinching reason for my decision to do the polite thing and accept it. On the evening of November 7, 2002, I presented myself at the royal palace, alone and in civilian attire.&nbsp; As in the past, the Military Secretary, Major General Vivek Shah, met and escorted me into the presence of the monarch. This time, however, he was politely asked to leave the room and shut the door behind him. King Gyanendra greeted me warmly and invited me to sit down.&nbsp; Read also:<a href="https://nepalitimes.com/news/the-ghost-of-monarchy-returns-to-haunt-nepal"> The ghost of monarchy returns to haunt Nepal</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558.jpg" data-media-id="editor_15" data-image-id="20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558" data-rendition-name="original" width="1000" height="993" loading="lazy" alt="Gyanendra coup"> <figcaption>Nepali Times 4-10 February 2005 after king Gyanendra's coup imposed media censorship. anendra became king. </figcaption> </figure>  I had wondered, and to be truthful, had worried, not just about the purpose of the meeting, but about how the conversation might start and develop. I reduced my resolve to two points: be polite but speak candidly. The latter resolve was quickly put to the test with the king’s opening words: “Sam, [in previous meetings it had been ‘General’, you walk the highways and byways of this land more than most, tell me what the common man is thinking?” &nbsp;“Your Majesty, I have no idea what they are thinking, but they are waiting.” “Waiting?” “Yes, Your Majesty, they are waiting to see whether what you did some weeks ago in appointing your own prime minister and cabinet ministers is going to make any difference to their lives or whether it is just going to be more Kathmandu hot air.” “Everything is going to be difficult and is going to take time, a lot of time.” “Your Majesty, time is the one thing you don’t have. You must act quickly and decisively to take advantage of the opportunity you have created. Everyone knows that you have appointed these new ministers. Why don’t you get them in here one by one and tell them that they have three months to deliver a programme in their area of responsibility that is going to make a difference to people’s lives? Most will fail to do so. Sack them! It will be a powerful signal of your strong intent to deliver real change.” I can express the opening of our conversation in this way because just about every word is still etched in my mind. The king’s response to my last quoted words was to challenge me to give an example of something that could be delivered quickly. I can give a verbatim record of what I said in response to this unexpected challenge: “Health posts, Your Majesty, there is no shortage of them throughout the country as building them has been one of the sources of local corruption, but very few have any medicine to issue at present or have skilled people to assess and meet medical needs. Your Majesty, children are dying for lack of a few pills. Given the right priority, over a period, say of six months, every health post could be fully stocked with medicine and manned with trained people. This is something I could help to lead for you as I know it would have strong international backing. At last, people would know that you mean business.” As I warmed to the theme, I could see no sign of the king having any enthusiasm for the idea, and I quickly disengaged as it dawned on me, as it had clearly dawned on the king, that the reason for the deficiencies in health posts was to prevent any Maoist combatant from gaining access to any <a href="https://nepalitimes.com/opinion/tech-away/nepal-s-health-tech-industry-is-here-to-stay">medical support</a>, and if this meant people suffering, so be it. The subject of the Maoist insurgency inevitably came up, and I took the opportunity to elaborate on what is written in the final four paragraphs of the article above. I advised King Gyanendra that, self-evidently, since there were three parties in the conflict—him, the Maoists, and the political parties—it was imperative that he form an alliance with one of them, preferably the political parties; otherwise, he would find himself isolated, as the other two parties would inevitably, at some stage, form their own alliance. However, it quickly became apparent that the king’s mind was on a totally different track. On the Maoists, he told me that he had channels open to them, but he was scathing about the political party leaders. He made it clear that they would be waiting for a very long time before he gave any power back to them, and that is a polite way of expressing the actual words he used, but “crawling through the door” is a phrase which has stuck in my mind.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5.jpg" data-media-id="editor_17" data-image-id="20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5" data-rendition-name="original" width="2000" height="1317" loading="lazy" alt="fall of monarchy"> <figcaption>Nepali Times 28 April-3 May 2005 with cover image by Ajay Joshi of jubilant protesters after street demonstrations sidelined king Gyanendra, paving the way for a ceasfire and restoration of democracy. </figcaption> </figure>  As the conversation developed, it became ever clearer that King Gyanendra had decided to go in alone, relying on the misleading assurances he was constantly receiving from <a href="https://archive.nepalitimes.com/news.php?id=14954">the army</a>, and no doubt his close advisers, that the Maoists could and would be quickly defeated militarily, and taken out of the equation. This would obviate the need for him to do any deal with the political parties.&nbsp; Thus, the way would be clear for him to establish a version of his father’s Panchayat system, under a constitution that would be granted to the people by him, their sovereign, as his father and brother had done in 1962 and 1990. As in those constitutions, ultimate power would have remained in the sovereign’s hands. This proposed direction of travel was very clear from what the king said to me. In sum, King Gyanendra was motivated by a desire to emulate his immediate predecessors by granting his people a constitution that would restore his father’s Panchayat system in a modern form and give him a central role in decision-making. What was particularly dispiriting was that beyond this single objective he had no plan worthy of the name, nor demonstrably did he have the people with the skills to implement an appropriate plan even if one had existed. Crucially and depressingly, there was little or no indication from the king that he realised that such a course of action could put Nepal’s monarchy into serious jeopardy, as indeed proved to be the case. <h2>King Twice</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445.jpg" data-media-id="editor_19" data-image-id="20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445" data-rendition-name="original" width="1302" height="632" loading="lazy" alt="“Tell me what the common man is thinking!”"> </figure>  <a href="https://archive.nepalitimes.com/news.php?id=8371">Gyanendra Bir Bikram Shah has been king twice</a>. In 1950 he was enthroned briefly as a child king (left, above) by the Rana Prime Minister Mohan Shumsher when his grandfather, King Tribhuvan, fled to exile in India. In 2001 he was crowned king again after the massacre in the royal palace in which his brother King Birendra and nine other members of his family were killed by Crown Prince Dipendra.&nbsp; During his second reign, Gyanendra gradually asserted power by sacking Prime Minister Sher Bahadur Deuba in 2002, and then taking full control after the 1 February 2005 coup. He was sidelined after the ceasefire in April 2006, and became a commoner after the Constituent Assembly finally <a href="https://archive.nepalitimes.com/article/from-nepali-press/Ftnp-abolishing,624">abolished the monarchy in 2008</a>. In the past year, Gyanendra has tried to exploit public dissatisfaction with the political parties to restore the monarchy.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788.jpg" data-media-id="editor_22" data-image-id="20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Essays on Nepal by Sam Cowen"> </figure>

“Tell me what the common man is thinking!”

“It's Kathmandu.” Just as the family was sitting down for one of its extended lunches, that jubilant cry was from François Driard’s grandfather announcing the next posting for his diplomat parents.&nbsp; Driard (pictured) was 18 in the summer of 1996,<a href="https://nepalitimes.com/opinion/suburban-tales/chasing-a-nomad"> a bit of a hippie</a> already, and his life was about to change forever with the magical word “<a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu</a>”. “I was awed with that information from my grandfather, nothing else mattered … In France <a href="https://nepalitimes.com/here-now/tales-of-courage-and-suffering-cx95f89e">in the 1990s</a>, Kathmandu had a mythical aura,” Driard recalls. He came to Kathmandu for Christmas that year to visit his stepfather, the French Ambassador Michel Lummaux. It was to be the first of many visits during school holidays, before he decided to permanently settle down in Nepal. “Kathmandu, and Nepal, were very different then, it was magical, I liked the nature, the people, civilisation, temples, trees,” says Driard, who explored the country sitting on the top of buses. “Visitors talk about the crazy <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">urbanisation</a>, traffic jams today, and all that is true. But Kathmandu has not <a href="https://nepalitimes.com/here-now/loss-of-soul-and-soil">lost its soul</a>.” After his stepfather’s tenure in Nepal ended, Driard worked as a business reporter for international publications but decided he did not want to be anyone’s employee anymore. In 2007 he landed in Kathmandu with €20,000 in savings to invest.&nbsp; He knew a few crucial things about himself: he liked food and nature, which is very much tied up with his upbringing--full of lively conversations during lunch and dinner at the family table between <a href="https://nepalitimes.com/here-now/nepals-yak-cheese-is-on-world-map">abundant cheese, wine and cigars</a>. So he decided it would be cheese, and registered Himalayan French Cheese and went to the French Alps for a month to learn how to make Tomme de Savoie. “<a href="https://nepalitimes.com/banner/the-story-of-langtang-cheese">Cheese making is such an ancient craft </a>and so I thought I won’t need much money or studying which I hated and indeed, if you have a tamako bhado and fire you are set,” explains Driard. But Nepal’s temperature and humidity were not ideal, even at higher altitudes. The first customers for his cheese were the Hyatt Regency and Nina and Hager. But he needed to create a market for cheese in a country which only knew hard churpi in the north and soft paneer in the south. He started selling his cheeses at the Summit Hotel weekend market, expanding to his own 1905 Farmer’s Market which later moved to Le Sherpa in Maharajganj, where it is now, and also a market at Labim Mall in Pulchok. He had cow dairies in Nuwakot and Dhulikhel, and finally a yak cheese unit at 3,379m in Ramechhap. It was the yak blue cheese from here that went on to win a Gold Medal in France, putting Nepal’s French cheese on the world map. “People come and try our cheese at the market, they ask questions. There is a lot of education to be done about cheese,” adds Driard, who also has three cheese shops in the Valley. Driard now makes 25 types of cheese. The products are being noticed and every year he has French students coming to Nepal to learn the art of yak cheese making. “In France, one family or company makes one kind of cheese for generations. In that I’m very unique as a cheese artisan,” he says. “The students come in to learn but I tell them to also teach us something too, add another cheese to my collection.” Read also: <a href="https://nepalitimes.com/here-now/langtang-after-10-years">Langtang after 10 years</a>, Sonia Awale Being a foodie, Driard is now also dabbling in meat with his own charcuterie at Meatini with bacon, ham, sausage and pâtés. All of this is now served at his Emilio’s Pizza, a leafy hideaway in Lazimpat. His South Side in Moksh is probably the smallest wine bar in the world. “I call the process sublime,” says Driard of his ventures, which have grown organically. “You need the same temperature and humidity of 12°C and 80% for cheese, meat and wine.” Emilio’s speciality is the eight-cheese pizza (which has eight types of cheeses), and a pizza with bhutan topping (not the country but fried intestines and organs Nepali-style). He has opened a small branch at Courtyard in Pokhara.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3.jpg" data-media-id="editor_8" data-image-id="20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="8 cheese pizza"> <figcaption>Eight-cheese pizza</figcaption> </figure>  With two artisanal cheese units, two farmers’ markets, a <a href="https://nepalitimes.com/here-now/the-meat-of-the-story">meat processing unit</a>, a bakery, and wine bar he now envisions a vineyard so he can add Nepali wine to his repertoire. Another future plan is to start up an agri-tourism business where customers can drink, eat and work in peace. In the past 20 years in Nepal, Driard has not always succeeded in his ventures but this hasn’t curbed his enthusiasm. He is learning as he goes, and like an old wine, Nepal is growing on him. Its slowness suits his French art de vivre with eating slowly outdoors, having conversation, importing less.&nbsp; “I have proven that with even a little money you can do a lot of things in Nepal,” adds Driard. “In the West, they easily invest half a million euros on a cheese factory, I invested 10 times less.”&nbsp;

Fromage, vin et charcuterie Népalais

Bhuthan भुठान starts with Bishnu Bahadur KC played by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhuwa-smoke-telefilm,2671">Hari Bansha Acharya</a> on a call, requesting to speak to the visa officer. By this point, he had <a href="https://nepalitimes.com/here-now/nepal-should-now-allow-visa-on-arrival">applied for a visa </a>to Bhutan 10 times, but was denied each time. KC was a <a href="https://nepalitimes.com/here-now/nepal-s-women-excel-in-sports-in-2024-z9ramyct">national football player </a>in Bhutan in 1988 before he and other Nepali-speaking Lhotsampa people were forced out of the country in the 1990s as part of the Druk regime’s ‘One Nation One People’ campaign. Over 100,000 Bhutanese Nepalis were forced out, driven across India and dumped in Nepal where they lived in seven<a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp"> refugee camps</a> supervised by the United Nations and other charities until they were resettled in the United States, Australia, New Zealand and some European countries starting in 2007. In the fictional movie with the satirical English title The World’s Happiest Man, KC has resettled in the state of Ohio in the US but wishes to visit his home country once before he dies. Between flashbacks, we learn KC has died without having fulfilled his wish. &nbsp; The drama then focuses on KC’s two families from two marriages as they debate whether to cremate him as per <a href="https://archive.nepalitimes.com/article/from-nepali-press/muslim-hindu,2996">Hindu rites </a>or give him a Christian burial. A mediator played by Hollywood actor Bruce Dern urges them to take a firm decision before it is too long.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3.jpg" data-media-id="editor_5" data-image-id="20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3" data-rendition-name="original" width="945" height="945" loading="lazy" alt="Bhutan, the movie"> </figure>  There are drawn out scenes of KC being baptised and when he is confronted by his first wife from Darjeeling played by Anuradha Majumdar, he says he changed his religion in the hope that he will be <a href="https://nepalitimes.com/opinion/comment/bhutan-s-refugees-between-hope-and-despair">allowed back in Bhutan</a>.&nbsp; We find out KC has a second wife, a Christian Nepali played by Puja Chand. Dayahang Rai as the younger son doesn’t have much screen time to flex his acting chops. &nbsp; Acharya competently portrays a man that is equal parts haunted by the memories of and longing for his home country. KC’s pain and loss is acute when he is teaching football to Gungun but between mid-scene, he freezes, perhaps lost in memories of being in Bhutan’s national team. &nbsp; In another scene, KC recalls his mother singing a lullaby in Dzongkha. He also has a box filled with medals, photographs and a football which he deflates with a knife in a powerful depiction of his <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home?fb_comment_id=1506516030025634">complicated emotions about his homeland</a>. KC keeps checking his mailbox in the hopes that his <a href="https://archive.nepalitimes.com/news.php?id=4977">visa application</a> has been accepted. He says in Nepali: “If a tree that has already struck roots in one place is shifted to another, it will not survive.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34.jpg" data-media-id="editor_9" data-image-id="20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34" data-rendition-name="original" width="1422" height="2048" loading="lazy" alt="Bhutan, the movie"> </figure>  Dern’s character says that the <a href="https://nepalitimes.com/opinion/comment/nepal-s-transitional-justice-and-the-west-s-recalibration">western world</a> has become “lonely in pursuit of happiness”, another reference to Bhutan’s obsession with its Gross National Happiness index. Scenes shift quickly throughout making the story difficult to follow at times. The use of symbolism is a trite overdone. Nonetheless, भुठान is a nuanced depiction of raw pain and agony of losing one’s homeland. But one cannot help but leave the theatre feeling deflated. KC dies without having visited <a href="https://nepalitimes.com/here-now/small-bhutan-dreams-big">Bhutan</a>, but perhaps he does in his afterlife. It is up to the audience to create its own ending to this sad story of exile. भुठान Mad Monkey Films, 2025 Directed by Binod Paudel 102 minutes In cinemas in Nepal