HISTORY & CULTURE
The discovery of a life-size statue of King Jaya Verma in 1992
at Maligaon in Kathmandu, with an inscription dated 185, is the
earliest recorded evidence about Nepal's history.
The discovery of a life-size statue of King Jaya Verma in 1992
at Maligaon in Kathmandu, with an inscription dated 185, is the
earliest recorded evidence about Nepal's history. Before the
conquest of the Nepal (Kathmandu) Valley by Gorkha's King Prithvi
Narayan Shah in 1769, Nepal Mandal, or Kathmandu Valley, was known
as 'Nepal' to the outside world. According to recorded history,
which dates back to the early Christian era, Nepal has been ruled
by the Lichchhavi, Thakuri, Malla and Shah dynasties. The
Lichchhavis ruled the country from the beginning of the 1st to the
9th century. The Lichchhavis were followed by the Thakuris, who
ruled the country from the 9th to the 14th century. However, the
architectural excellence of the Kathmandu Valley reached its zenith
during the later Malla Period from the fourteenth century to the
eighteenth century. The UNESCO heritage monuments that are
scattered throughout the Kathmandu valley are the ingenuity of this
period.
It was during the Malla period that Newari culture and
architecture reached their pinnacle, and is known as the era of
"renaissance". Malla rule came to an end when the Kathmandu Valley
was conquered by the Gorkha King, Prithvi Narayan Shah, in 1769,
and the Shah dynasty was established. But in 1846, taking advantage
of a weak king embroiled in intense palace intrigues, Jung Bahadur
Rana seized absolute power through a brutal court massacre and
started the Rana oligarchy. The Ranas de facto ruled the country as
their fiefdom until they were ousted from power by a
History & Culture
A typical Nepali courtyard popular revolt in 1951, and democracy
was established in the country. What we identify as Nepalese
culture today germinated and developed in the Kathmandu Valley at
the beginning of the 1st century or probably even earlier. But it
was only after the country opened to the outside world with the
advent of democracy in 1951 that the world was able to see the
grandeur and opulence of Nepalese culture. No doubt, the different
ruling dynasties patronised it, but in essence, it has been a
people's culture - a culture nurtured by the people through the
ages. No cultural event takes place in Nepal without the people's
mass participation. One can see the spectrum of a vibrant cultural
rainbow in the multitude of festivals and rituals that are
celebrated almost every other day in some part or the other of the
country. In the capital city of Kathmandu, the Newars who make up
the indigenous inhabitants of the Kathmandu Valley and are best
known for their artistic creativity and skilled craftsmanship,
culture has held a paramount position in their everyday lives.
Cultural tolerance has been the quintessence of Nepalese way of
life. Nepal remains one of the most peaceful multi-religious,
multi-ethnic and multi-cultural countries in the world. The ethnic
unity and religious harmony maintained by the Nepalese against such
diversity are truly remarkable and have been acknowledged
internationally. Undeniably, this plurality of cultures is what has
given Nepalese society its vibrant and lively character.
Ethnic Groups & Concentration
Nepal's population represents more than a hundred ethnic groups.
Each Nepalese ethnic group carries its own identity and cultural
heritage.
Nepal, with a population of more than 25.8 million people, is a
multi-cultural, multi-racial, multi-linguistic and multi-ethnic
country. Broadly speaking, there are four distinct cultural groups
in Nepal, geographically represented by the people in the high
Himalayas, the mid-hills, the Kathmandu Valley and the southern
plains or the Terai region. These ethno-cultural groups maintain
their unique life style, language, customs and rituals, food habits
(cuisine), dresses, jewellery or ornaments.
Nepal's population represents more than a hundred ethnic groups.
Each Nepalese ethnic group carries its own identity and cultural
heritage. Most of the ethnic groups have their own spoken language
and script. Their food, dress, ornaments, beliefs, customs, habits
and manners differ from one another. Their festivities, myths and
legends, music and songs are also different. They practise
different faiths. Though Hindus are in the majority, Buddhism is
practised by an equal number of people. The other faiths are Islam
and Christianity. Majority of the Nepalese Hindus such as the
Brahmins, Chhetris and Thakuris are of Indo-Aryan origin. Other
ethnic groups such as the Sherpas, Thakalis, Dolpalis and
Mustangis, inhabiting northern Nepal, and the Newars, Tamangs,
Rais, Limbus, Sunuwars, Magars and Gurungs of the mid-hills and
valleys have Tibeto- Mongoloid origin. Majority of
Tibeto-Mongoloids follow Buddhism. There is also a third indigenous
ethnic group. It is made up of the Tharus, Chepangs, Rautes,
Danwars, Dhimals, Majhis, Darais, Sattars and Bodes who have their
own distinct set of cultural and religious beliefs.
Festive gathering
Potters square, Bhaktapur
Traditionally, the Brahmins perform religious rites and rituals
in the society and they are scattered throughout the country.
Unlike the Brahmins, the Chhetris and Thakuris have been
traditionally portrayed as the warrior class and political
administrators. By virtue of their predominant status and position
in the country's power hierarchy, they once owned large tracts of
land. Their language Nepali is the lingua franca of the country.
Numerous ethnic groups inhabit the mid-hills of the country. We
find the Magars and Gurungs in the west, Tamangs and Newars in the
central mid-hills, and Rais, Sunuwars and Limbus in the east of the
country. These ethnic groups, except for the Newars, are known as
the martial (fighter) race. These ethnic groups comprise the elite
fighting force in the country's armed forces. No wonder, the
Nepalese youths serving in the British and Indian armies are mostly
sourced from these ethnic groups. They also engage in farming. In
the Himalayan region far north live the Sherpa, Dolpo-pa,
Baragaonli, Manangi and Lopa ethnic groups. Among them, the Sherpas
have earned for themselves a reputation in the world as skilled
mountaineers at high altitude. The largest Sherpa settlement lies
in Solu Khumbu at the foothills of Mt. Sagarmatha (Everest).
These ethnic groups of the Himalayan north earn their living
working as porters and guides for mountaineering expeditions, as
farmers and as yak and sheep herders. They share linguistic and
cultural affinity with the Tibetans in the north. They are also
generally referred to as 'Bhote'. The Terai plains in the south
bordering India have dense settlements of the indigenous Tharus,
Darais, Khumals, Danuwars, Dhimals, Rajbamsis, Sattars and Majhis.
Most of them have their own dialect.
The Tharus are the indigenous inhabitants of the Terai and are
spread all over the region from east to west. Majority of the
people dwelling in eastern and mid-Terai speak Maithili and
Bhojpuri, while Avadhi is widely spoken in western Terai. Due to
the proximity and easy access, they share cultural affinity and
matrimonial relations with the neighbouring states of India.
Religions, Customs and Religious Symbols
Nepal is a secular country. However, Hinduism is the main
religion of the Nepalese people. The trinity of Hinduism - Brahma,
Vishnu and Shiva - and the pantheon of numerous other Hindu gods
and goddesses are devotedly worshipped in Nepal. The female
consorts of these gods are equally venerated here as the
manifestation of 'Shakti' (power or cosmic energy). The goddesses
are worshipped in different forms, such as Nav Durgas (nine
Durgas), Asta Matrikas (eight mother goddesses) and Sapta Matrikas
(seven mother goddesses).
Buddhism is an equally important religion in Nepal. Mahayana
Buddhism and Vajrayana Buddhism - a combination of Hindu and
Buddhist religious faiths influenced by Tantric cult - have been
followed particularly in the Kathmandu Valley since medieval times.
In the high Himalayan region, Tibetan Buddhism, or Lamaism, and
other forms of Nature worship are also practised by the people.
Siddhartha Gautama, later known to the world as Lord Buddha, was
born in Lumbini in mid-southwestern Nepal in 6th century B.C. There
are more than two dozen sites around this area which are closely
related to the life of the Buddha and Buddhism. In the course of
history, Buddhism as a religion spread and became popular in the
high mountain regions, mid-hills and in the Kathmandu Valley.
Buddhism has profoundly influenced the Nepalese way of life,
culture, arts and architecture.
Customs
The Nepalese way of life is regulated by religion through the
performance of various rites and rituals, seeking God's grace for
the well-being of the family, prosperity and mokshya (salvation)
for the self. Religious custom guides every step of a Nepalese from
birth to death and beyond. Every important event in the life of a
person from cradle to pyre is marked by performing certain
religious rites and functions. These rituals may generally differ
from community to community. A new-born child undergoes Chhaithi
Nwaran, the naming ceremony (6th day of birth), and Annaprasan, the
rice-feeding ceremony (5th or 6th month of
Hinduism is the main religion of the Nepalese people. The
trinity of Hinduism - Brahma, Vishnu and Shiva - and the pantheon
of numerous other Hindu gods and goddesses are devotedly worshipped
in Nepal.
Buddha Purnima, Boudha Nath 13
birth depending on whether the baby is a girl or boy). Then we
have the 'coming of age' ceremony (gufa rakhney for Newar girls at
pre-puberty stage or gifting of Guneu-cholo - a set of adult female
dresses. For the boys, there is the Bratabandha or Upanayana
ceremony, performed before he reaches teenage when his head is
shaved and given the ceremonial loin-cloth and sacred thread to
wear. Thereafter, obviously, the most important event is marriage,
which contains very elaborate rituals that go on for more than a
day. On the death of a person, there are very solemn rites to be
performed by the family.
Religious Symbols
Nepalese art is highly influenced by symbolism. The use and
development of symbols in Nepalese art emerged during the medieval
period when Vajrayana and Tantricism flourished in the valley.
Symbols have deep rooted meaning. Above the hemispherical white
dome of the Swayambhu Maha Chaitya, on each of the four sides of
the square, facing the four directions, are a pair of half-closed
gentle eyes and a nose depicted as a question mark. Learned
scholars have interpreted the semi-closed eyes as the all-seeing
eyes of the Buddha looking in all the four directions so that no
one can hide any wrong doing from Him. And the nose in the form of
a question mark symbolises Dharma, or Virtue, as the one path which
leads all people to Sukhaavati, or the Ocean of Happiness.
Both Hinduism and Buddhism take recourse to symbolic animals and
birds to represent their deities. For example, the Garuda (mythical
bird) represents Lord Vishnu while the rat is the carrier (baahan)
of Lord Ganesh. Erotic carvings portraying the male and female in
various sexual postures are a common sight in a number of Hindu
temples and Buddhist vihars, or monasteries. Such erotic display in
the temples and monasteries is very intriguing, but it is symbolic
and carries much meaning, which only those knowledgeable in
Tantricism can truthfully interpret. The Hindu gods and goddesses
are known by their respective attributes, or divine weapons - again
symbols with deep spiritual meaning. Among the Hindu trinity,
Brahma the Creator has four heads looking in four directions to
show that he sees in all directions, and hence is all-knowing. He
carries a kalash - a water vessel - in one hand, which is a symbol
of the Earth. The other trinity, Vishnu, holds a conch, a discus, a
mace and a lotus in his four hands. The conch is the symbol of the
mind and cohesive tendency; the discus signifies primeval knowledge
and the notion of individual existence; the mace is the sign of
causal power of illusion from which the universe arises and the
tendency towards dispersion and liberation; while the lotus is the
symbol of the five elements denoting the origin of existence. The
third trinity, Shiva, or Maheshwar or Mahadev, has three gleaming
eyes representing the sun, moon and fire. These three sources of
light illuminate the earth, space and sky. It is with these three
eyes that Shiva sees the past, present and future.
Similarly, Mahayana Buddhism has numerous symbols. The Vajra, or
thunderbolt, symbolises the inseparable unity of wisdom and
skillful means. It destroys all kinds of ignorance and is itself
indestructible. Swastika,14 or fylfot, a kind of mystical cross, is
an ancient auspicious symbol common to the Hindu, Buddhist and Jain
religions. It is a symbol of good fortune. In Buddhism, it is
regarded as one of the 65 divine marks (lakshan) of a great-soul
(mahapurusha). The swastika symbol is found on the imprint of the
Buddha's foot. It also appears on the chest or lotus throne of some
Buddha images. Hindus and Buddhists alike believe and have great
faith in the eight auspicious symbols: they are the (a) Srivatsa,
or endless knot or chain, (b) Dhwaja, or the victory banner, (c)
Kalash, or the vase containing the nectar of immortality, (d)
Chamar, or fan which drives away diseases, (e) Matsya, or a pair of
golden fish, symbolising the unity of wisdom and compassion, (f)
Chhatra, or the precious parasol that symbolises royalty and which
protects one from evil influences, (g) Sankha, or conch, that
symbolises awareness and (h) Padma, or the lotus, that symbolises
purity of the body. It is believed that if the Sankha (conch) is
blown with skill, the vibrant resonance can drive away evil spirits
and destroy harmful germs and microbes. There are many spiritual
symbols in Nepalese culture used in different rites and rituals.
Shree Yantra is one such very popular symbol. The Yantra is a
mystical, systematic, geometrical (triangular) diagram depicting,
in a synthetic form, the basic energies of the natural world which
are represented by the deities. It represents the Universal
Goddess. It symbolizes the union of Shiva with Shakti (or Parvati).
It is the main Yantra of Tulaja Bhavani and the Living Goddess
Kumari. Each deity has its own Yantra (design) in which it dwells
during the ritual use of the Yantra. Yantras are frequently used by
Saktas. Shatakon, or the six-pointed star, is composed of two
triangles inverted and juxtaposed against one another. The triangle
is an important yantra of manifold meanings. An upward-pointing
triangle symbolises Agni, or fire, and the linga, or phallus,
hence, also the male principle of the cosmos, as well as Shiva and
Shaivism. A downward-pointing triangle symbolises the yoni, or
vagina, and the female principle of the cosmos, hence also Shakti,
(also Vishnu in the female form as Mohini) and Vaishnavism.
Therefore, it also symbolises the synchronisation between Shaivism
and Vaishnavism. In Buddhism, a triangle pointing upwards
symbolizes the Tri-ratna, or three jewels - Buddha, Dharma and
Sangha. In Nepal, Shatakon also represents Saraswati, the goddess
of learning. Every Buddhist shrine, temple, stupa and monument has
Mani prayer wheels. On the prayer wheels, 'Om Mani Padme Hum', the
mantra of Chenrezig, the Protector, is embossed, etched or painted
on the outside. A Mani wheel, or a prayer wheel, can be big or
small, free standing or in a row with many others along the walls.
Its literary meaning is 'Hail to the Jewel (or Buddha) in the
Lotus'. There are numerous other symbols in Nepalese art. One of
the most common is the tika, or red mark, on the forehead as a
symbol of good luck, devotion to the deities and blessing of the
seniors and elderly persons. It has special meaning to the
womenfolk. For them, it signifies a happy married life. Hindu
widows refrain from putting on a red tika, wearing red bangles and
putting on red saris.
HOLY SITES & PILGRIMAGE
Pashupatinath Temple
Nepal has numerous pilgrimage sites, sacred to both Hindus and
Buddhists. To the Hindus, the most famous and most venerated is the
temple of Lord Pashupatinath, situated on the banks of the holy
river Bagmati in Kathmandu. It is among the most revered shrines
for Hindus all over the world. The main temple, which stands in the
middle of a courtyard, is twotiered, built upon a square plinth,
and is 23.6 metres high. The four large gates of the temple are
silver and gilt-plated and richly carved with images of deities.
The two copper roofs are supported by numerous struts adorned with
beautifully carved images of various Hindu gods and goddesses. The
sacro sanctum, or the main idol of "Mukhalingam", is one metre high
and has faces carved in four directions. The original temple is
said to have been built at the beginning of the Christian era. It
is said to have undergone several reconstructions over the ages to
what stands today.
To the Hindus, the most famous and most venerated is the temple
of Lord Pashupatinath, situated on the banks of the holy river
Bagmati in Kathmandu. It is among the most revered shrines for
Hindus all over the world.
Holy Sites and Pilgrimage Destinations
Swayambhu Maha Chaitya
Kathmandu Valley has also some very important and highly
venerated Buddhist sites. As one enters the valley, the first sight
to catch the visitor's eye is the hemispherical white dome (stupa)
of the Swayambhu Maha Chaitya perched majestically atop a hill on
the western fringe of the Kathmandu Valley. The stupa symbolizes
the body of the Buddha, which is nothing other than the cosmos
itself. The Swayambhu Maha Chaitya with the semi-closed eyes of the
Buddha overlooking the valley from all four directions is the most
prominent monument and landmark of the valley. The historical
origins of this great stupa are obscure, but it is believed to have
been built during the Lichchhavi period. The main stupa is a huge
white dome in the form of a flattened hemisphere. Around the
circular base - the garva (womb) - are installed the five celestial
Buddhas with their respective female counterparts. In the vicinity
are numerous monuments. These include the twin Shikharastyle
temples of Pratappur and Anantapur built by King Pratap Malla;
Basupur, with the image of Goddess Basundhara, the bestower of
prosperity; Vayupur, the god of wind; and the artistic golden
temple of the Goddess Ajima or Harati, the protector of children.
The Swayambhu Maha Chaitya is a veritable treasure house of
valuable artefacts of bronze and stone images and miniature
chaityas. On the western side of the stupa in front of the Harati
temple, there is a stone pillar on top of which are some very
striking bronze statues. On the eastern side, atop a Mandala, there
is a massive Vajra, or thunderbolt. This golden Vajra, known as
dorje in Tibetan, is the symbol of Vajrayana Buddhism. In the
vicinity of the great stupa there are Tibetan, Bhutanese and
Nepalese vihars and gumbas, as well as a museum where numerous
religious manuscripts and bronze and stone images of both Buddhist
and Hindu deities are on display. Indeed, the entire site is a
unique open-air museum, unparalleled elsewhere in the world.
Boudhanath Stupa
The great Stupa of Boudhanath is the principal centre of Tibetan
Buddhist worship in the Kathmandu Valley. It has long been a major
destination for pilgrims from the Himalayas, Tibet and southeast
and east Asia. It is one of the largest and most magnificent
Buddhist monuments in the world. Lichchhavi King Manadeva I (reign
464-505 A.D.) is credited to have built this great stupa.
Lumbini
There cannot be a more revered pilgrimage site for Buddhists
than Lumbini, the birth place of Shakya Muni Buddha. Buddha,
the
prince of peace and non-violence, was born at Lumbini in 623
B.C. For centuries, pilgrims
travelling from afar revered the spot at the Lumbini garden
where Gautama Buddha was born, building stupas, monasteries and
other types of monuments. The most notable and important is the
stone pillar erected by Emperor Ashoka Maurya in the 3rd century
B.C., which authenticates the exact spot where Queen Maya Devi gave
birth to the blessed one. Today, the site is being developed as a
major international pilgrimage destination with the assistance of
nations with Buddhist populations. Lumbini has been listed in the
World Heritage Site by UNESCO.
Janaki Temple
To the Hindus, Janakpur, the birthplace of Janaki or Sita, the
consort of Rama, is an important religious pilgrimage site. In
ancient times, Janakpur was the capital city of the Kingdom of
Mithila and the centre of Maithili culture. The magnificent Janaki
Mandir was built by the Queen of Tikamgarh (India), Maharani
Brishabhanu Kunwari Devi in 1811 A.D. as a mark of devotion to
Janaki (Sita). The marriage anniversary of Lord Rama and Sita is
solemnized in Janakpur every year on Vivah Panchami day which falls
in December. This is one of the biggest festivals of this region
attended by hundreds and thousands of devotees from Nepal and
India. The birthday of Sita, known as Sita Jayanti, is also
celebrated in a grand manner every year in the month of April-May.
For the Janakpurites, Sita is their 'daughter'. Near Janakpur town
is a place known as Dhanusha Dham, which is connected with the
great Hindu epic Ramayana. According to the epic, one of the three
pieces of the Great Bow that Lord Rama broke to win Sita's hand in
marriage fell on this site - in present day Dhanusha Dham.
Muktinath
Muktinath is a very popular pilgrimage site in Nepal. Situated
at an altitude of 13,000 feet above sea level in Mustang district,
the site is also known among the Hindus as Mukti Chhetra, or the
'abode of salvation'. There is a small pagoda-style temple of Lord
Vishnu which is worshipped by both Hindus and Buddhists. The
Buddhists worship the deity as one of the Bodhisattvas. There are
108 sacred water spouts flowing with icy cold water where devotees
take a quick bath. Nearby is the temple of Jwala Mai, or the
Goddess of Flame, with the phenomenal underground blue flame.
Other Pilgrimage Sites
Other prominent pilgrimage sites are the Balmiki Ashram in
Chitwan district where according to the epic Ramayana, a pregnant
Sita, after being banished by Lord Rama, took refuge and gave birth
to her two sons, Lava and Kush. Baraha Kshetra, situated near
Dharan in east Nepal, is said to be the place where Lord Vishnu in
the incarnation of Barah (boar) fought and annihilated the demon
Hiranakshya and saved the Earth. Devghat, near Narayanghat in
Chitwan district, stands at the holy confluence of three mighty
rivers, Trisuli, Gandaki and Seti. Swarga Dwari, which literally
means 'Gateway to Heaven', situated in Pyuthan district, is the
place from where the Pandavas of the Mahabharata proceeded to
Heaven. Gosainkund, the icy cold lake situated at an altitude of
14,000 feet in Rasuwa district, is for the Hindus the sacred watery
place where Lord Shiva rested to soothe himself after having
consumed the fiery Kalkoot poison that emanated from the Samudra
Manthan (churning of the celestial ocean). Gadhi Mai is the shrine
located in the woods in Bara district, and is renowned for the mela
(fair) where the largest animal sacrifice in the region takes place
over a period of a month. Other prominent pilgrimage sites are
Halesi Mahadev in Khotang, Mai Pokhari in Ilam and Pathibhara Devi
in Taplejung to name a few.
History , Myths & LEgENDs
Nepal is steeped in numerous legends, myths and folklore that
are entwined with different facets of Nepalese life. Every temple,
shrine or sacred place throughout the country has some myth or
legend to tell us. No wonder, Nepal is called the 'Land of the
Gods'.
Kathmandu Valley
The Buddhist version gives credit for the origin of the valley
to Sage Manjushri who came from China to worship at Swayambhu. He
struck a deep cleft in the southern hills with his divine scimitar
and drained off the water, making the valley habitable for human
settlement. As if to corroborate the legend, the logo of Kathmandu
Metropolitan City depicts the divine sword of Sage Manjushri.
There are Hindu and Buddhist legends behind the origin of the
Kathmandu Valley. According to the former, for long this valley was
a huge pristine lake. Lord Krishna of the Mahabharata age came here
and sliced the lowest part of the southern hills with his divine
discus (Sudarshan Chakra) allowing the water to flow out, making
the valley possible for human settlement. The cowherds (Gopals) who
accompanied him settled here and were the first inhabitants of the
valley.
There are Hindu and Buddhist legends behind the origin of the
Kathmandu Valley. According to the former, for long this valley was
a huge pristine lake. Lord Krishna of the Mahabharata age came here
and sliced the lowest part of the southern hills with his divine
discus (Sudarshan Chakra) allowing the water to flow out, making
the valley possible for human settlement.
History, Myths and Legends Mystical Mythical Swayambhu
Chaitya
Swayambhu Maha Chaitya
On the origin of Swayambhu Maha Chaitya, popular legend narrates
how the valley was once a huge lake - a lake of idyllic beauty
surrounded by green pristine forests. This lake was known as Naag
Hrad, or the Abode of the Serpent God. In this lake, Bipasvi Buddha
came to take a holy dip. He then cast some lotus seeds into the
lake, which eventually bloomed into a thousand-petal lotus over
which appeared a brilliant radiant flame, the beacon (Jyoti) that
self-originated, which is the Swayambhu Jyoti-rupa (the beacon).
The great eternal beacon was enshrined in this chaitya by King
Prachand Deva of Gauda, India with the sacred objective of
preserving its religious sanctity against its possible destruction
by non-believers in the Kali Yug (the Eon of Evil). Swayambhu
Chaitya the past, present and future will be realised. And you, my
sons, will also fulfill the purpose of this life and the next by
obeying my wishes." With these words, the woman died and attained
Buddhahood (salvation). Her sons completed the construction of the
great stupa, which is now the famous Boudhanath. A Hindu legend on
its origin states that the great stupa was built by King Manadeva I
in 5th century A.D. to absolve himself from the sin of
patricide.
Nyatapola and Bhairav Temple, Bhaktapur
According to popular legend, King Bhupatindra Malla built a
three-storeyed temple of Bhairav to protect the city of Bhaktapur
from evil spirits. But Bhairav, because of his boisterous nature,
proved troublesome, and the king was advised by his astrologers
that only the installation of a Tantric goddess who was more
powerful than Bhairav could curb his unruly behaviour. The king
then built the five-storeyed temple and installed therein the most
powerful goddess, Siddhi Laxmi, to subdue Bhairav. This magnificent
temple later became famous as the Nyatapola (meaning fivestoreyed
in the local dialect), and is today the landmark of Bhaktapur
city.
Kumari, the Living Goddess
The myths and legends surrounding the Kumari, the Living Goddess
of Kathmandu, is fascinating. Historical records show that the
worship of Kumari as a living goddess has been prevalent since at
least the 10th century. But popular folklore relating to the Kumari
as the incarnation
Boudhanath Stupa
The legend behind the great Stupa of Boudhanath has it that it
was built by a poultry farmer - a woman - Shamvara. After receiving
permission from the king to build a stupa, Shamvara began its
construction with the help of her four sons, an elephant and a
donkey. Foundations were laid, and walls were built up to the third
level. It was at this time that the people of the valley resented
the idea of a poor poultry farmer - and a woman at that - building
such a stupa and shaming them by her illustrious work. They
questioned, if a poor woman could build such a stupa, then what is
to be expected from the king, the nobles and the wealthy. Jealous
of the woman, they petitioned the king to halt the construction
work. But the king was not to oblige them. He told them that the
poor poultry woman-farmer had gone through great hardships to build
this stupa, which he considered a marvel. As he had already given
her permission to build the stupa, he being the king, would not
take back his word. The construction work thus continued for four
years, and the pinnacle was nearing complete.
But at this point, the poor woman, sensing that her end was
nearing, called her four sons and servant and told them to complete
this great stupa. She said, "My divine project is the place of
adulation for both earthly and superhuman beings. Place the
imperishable remains of the Tathagatas (mortal Buddhas) within this
stupa and consecrate it with great honour and reverence. I desire
that my wish be fulfilled by which the great purpose of all the
Buddhas of Taleju Bhavani, the patron deity of the royals, and the
king conversing and playing dice with her are linked to certain
kings who ruled Kathmandu, like Trailokya Malla (16th century) and
the last Malla ruler of Kathmandu, Jaya Prakash Malla (18th
century). According to the legend, it so happened that one night
while playing dice with Goddess Taleju, or Kumari, the king was
aroused by her celestial beauty and was overcome with lust. The
Kumari, a goddess as she was, at once visualised the amorous
thoughts in the king's mind. Showing her utter displeasure, she
declared that she would henceforth never come to him and
disappeared. The king was filled with profound remorse and begged
for forgiveness. The Goddess later relented and said that she would
enter the body of a virgin girl, a Kumari, which the king was to
worship. Another version of the legend has it that the king and
Kumari used to play dice every night on condition that no mortal
would see them doing so. Accordingly, the king had strictly
instructed the queen and his daughter not to enter or peek into the
certain room while he was inside. But curiosity got the better of
the women, and they peeped inside. The angry Goddess then
disappeared. The king repented and prayed for the Goddess'
forgiveness. Goddess Kumari then came in his dream and told the
king that she would henceforth not come in person. Instead the king
was to worship a Shakya virgin girl who would possess her divine
power. Since then, a Shakya virgin girl is worshipped as the
Kumari, and once a year during the month of September, the Living
Goddess is taken around the old quarters of Kathmandu in her
chariot during the Indra Jatra festival.
Bisket Jatra
Bisket Jatra is a gala festival held annually in Bhaktapur on
Nepalese New Year's Day (Bikram Sambat). There is a popular
folklore about the origin of this festival. It relates to the time
of the reign of Lichchhavi King Shiva Deva. A Tantrik by the name
of Shekhar Acharya was said to possess the extraordinary power of
transforming himself into animals and reptiles. Once, his
over-curious wife, Nararupa, wanted to see him change into a
serpent. After much pestering by the wife, he finally gave in to
her demand. But before doing so, he warned her not to be scared by
what she was likely to see and to throw some grains of rice on him
that would return him to his human form. He then changed himself
into a huge python. But when Nararupa saw the gigantic serpent, she
was terrified. She lost her nerve, and instead of throwing the rice
at her husband-in-serpent form, she put the rice in her own mouth,
which turned her also into a python.
It so happened that in the whole kingdom, none other than the
king knew the mantra (chanting of sacred words) that could
resuscitate them from the serpent to human form. Therefore,
expecting to draw the attention of the king to help them return to
human form, the husband and wife pythons would stand and gaze
towards the palace every day in the hope that the king would notice
and resuscitate them to human form. Time wentp by, but to no avail.
Finally, the frustrated python couple committed suicide at a place
called Chuping Ghat (a river bank). This tragic end of Shekhar
Acharya and his wife brought famine to the country. Not knowing
what had come to pass, the alarmed king summoned the Tantrik
Shekhar Acharya to court for advice to help quell the famine, but
he was nowhere to be found. Ultimately, it was discovered that the
Tantrik and his wife had committed suicide in the form of serpents.
The king and the people were highly dismayed. Since then, every
year, in memory of the Tantrik and his wife, two long cloth
banners, representing and symbolising the serpent couple, are hung
from a wooden pole, called the lingo, to commemorate their tragic
death.
Festivals and Celebrations
Nepalese celebrate festivals with great enthusiasm and elan. It
is said that hardly a day passes in Nepal without a festival being
celebrated somewhere.
The official calendar adopted by the Nepalese is the Bikram
Sambat (B.S.). The Bikram Sambat New Year begins with the month of
Baisakh (mid-April). For all religious festivals and auspicious
personal events and rituals, Nepalese make use of the lunar
calendar. Religion plays a very vital role in all festivals in
Nepal, whether Hindu or Buddhist. One can see a blend of these two
religions in most of the Nepalese festivals. Nepalese celebrate
festivals with great enthusiasm and clean. It is said that hardly a
day passes in Nepal without a festival being celebrated somewhere.
Certain festivals are celebrated nationwide, while others are of a
local nature, observed within a certain region or community. Based
on this, Nepalese festivals can be broadly classifi ed into three
categories: those that are celebrated nationwide, regionally or
locally, and by the community. Major festivals like Bada Dasain, or
Durga Puja, Tihar, or Laxmi Puja, Buddha Jayanti, or the birth
anniversary of Lord Buddha, Shiva Ratri, or the birthday of Lord
Shiva, Janai Purnima, Ram Navami and Krishna Janmasthami are
celebrated throughout the country.Some prominent festivals that are
celebrated withgreat fanfare are the Indra Jatra of Kathmandu,
Dashain Festival swing
Rato Machhindranath Rath Yatra of Patan, Bisket and Bhairav Rath
Yatra of Bhaktapur, Ghoda Jatra of Kathmandu, Maghe Sankranti, or
the first day of the month of Magh, Chandeshwari Jatra of Banepa,
Palanchowk Bhagwati Jatra of Palanchowk, Bhagwati Jatra of Palpa,
Gosain Kunda Mela at Gosain Kunda in Rasuwa district and Haleshi
Mahadev Mela of Khotang. Similarly, other noteworthy local
festivals are the Gatha-Muga, or Ghanta Karna, in Kathmandu,
chariot pulling festival of the Kumari in Kathmandu, Bajra Barahi
Jatra of Tistung in Makwanpur, Janaki Vivaha, or Vivaha Panchami,
in Dhanusha, Triveni Mela at Udayapur, Baraha Chhetra Mela in
Sunsari, Mai-Pokhari Mela in Ilam, Bhimsen Jatra in Dolakha and
Indreshwar Mela in Panauti. Festivals such as Chhath, Fagu and Holi
(festival of colours) are celebrated regionally. Nepalese festivals
are generally woven around the monsoon-driven agricultural cycle,
and with rice being the most important staple crop, many of these
festivities are observed after the plantation and harvesting of
paddy. Every festival involves the worshipping of the concerned
deities and then sitting for a feast thereafter. A legend or
folklore is behind every festival in Nepal.
UNESCO Heritage Sites
The Kathmandu Valley is a treasure trove of Nepalese culture,
and an important side of that culture is its architectural heritage
which is represented in the numerous monuments included and
preserved within the seven monument zones in the Kathmandu Valley
World Heritage Site.
Nepal's rich mosaic of cultural heritages could be likened to a
precious diamond having numerous facets. The Kathmandu Valley is a
treasure trove of Nepalese culture, and an important side of that
culture is its architectural heritage which is represented in the
numerous monuments included and preserved within the seven monument
zones in the Kathmandu Valley World Heritage Site. The valley is
replete with marvelous creations in various shapes and forms of art
and architecture, extending even to a small stone or a bronze
statue. The fine woodcarvings in the temples and houses are
well-known throughout the world. The exquisite temples,
monasteries, stupas or Chaityas, shrines, palaces, monuments and
every other architectural wonder of the valley are glorious
cultural treasures of Nepal as well as a heritage of the whole of
mankind. Nepalese architectural heritage is represented in the
unique design of built structures like the pagoda and
Shikhara-style temples, shrines, monasteries, palaces, individual
homes, stupas or Chaityas (Buddhist hemispherical structures that
do not contain the mortal remains of Buddhas or other holy
persons), Sattals (wayside rest house), Patis (public rest house),
Pauvas (one or two-storey public rest house), Dhunge Dharas or
stone waterspouts, Dabalis or open platforms, Ghats or river banks,
ponds, pillar statues, minarets or towers, forts and so on.
Nyatapola
UNESCO has included seven monument sites of the Kathmandu Valley
in the World Cultural Heritage list. Of the seven sites, three are
centred around the ancient medieval palaces of the valley, namely
the Hanuman Dhoka Durbar (palace) in Kathmandu, Patan Durbar in
Patan (Lalitpur) and Bhaktapur Durbar in Bhaktapur. These palace
complexes were the residences of the Malla kings. The other world
heritage sites are the Swayambhu Maha Chaitya, Boudhanath Stupa,
the temple complex of Lord Pashupatinath in Kathmandu and the
Changu Narayan Temple in Bhaktapur.
Kathmandu Durbar Square
Kathmandu Durbar Square in Kathmandu is the most extensive of
the three royal palace squares, not only in size but also in scale
of its open space and structures. It contains 60 important
monuments, of which the majority date from the 17th and 18th
centuries. King Mahendra Malla of the 16th century, Pratap Malla of
the 17th century and Prithvi Narayan Shah of the 18th century added
to the architectural splendour of this Durbar square. King Mahendra
Malla (1560-74 A.D) constructed numerous temples inside the palace
complex and in its vicinity. Prominent among them are the temple of
Mahendreshwar Mahadev, the Jagannath Temple and the grand Taleju
Bhavani Temple. The magnificent Taleju Temple was built in 1563.
One of the tallest and largest temples in the country, towering
more than 40 metres, it is built atop a plinth of brick platform.
Nearby, the Jagannath Temple, built in the 16th century, is known
for the fascinating erotic carvings of human sexual union on the
wooden struts. The Hanuman Dhoka Durbar monument zone encompasses
marvelous edifices built by King Pratap Malla (1641-74 A.D). These
include the Krishna Temple, Kabindrapur, Indrapur Temple,
Panchamukhi Hanuman Temple of Nasal Chowk, and a stone pillar with
his statue atop facing the Degu Taleju Temple. King Pratap Malla
had erected a stone statue of Hanuman, the bravest of the brave
monkey-god in the epic Ramayana, in front of his palace to drive
away evil sprits and be victorious in wars. This palace later came
to be known as the Hanuman Dhoka Durbar, or the palace guarded by
God Hanuman. After the conquest of the valley by King Prithvi
Narayan Shah of Gorkha in 1769, he expanded the palace. Two very
impressive architectural structures, the nine-storeyed Basantapur
and Vilas Mandir, were built during his reign. All the four towers
of this palace are considered remarkable pieces of Nepalese
architecture. This palace square is surrounded by many important
monuments, such as the resident temple of the Living Goddess
Kumari; the Kashtha Mandap, or Maru Sattal, which is the largest
open rest house and a landmark of Kathmandu from which the city
derives its name; Simha Sattal; and the Maju Dewal which is the
tallest temple in theperiphery. Anyone who visits this palace
complex cannot but be overwhelmed by its grandeur and the
architectural heritage which it represents.
Patan Durbar Square
If the Hanuman Dhoka Durbar Square has a unique combination of
Malla and Shah period architecture, Patan Durbar Square, on the
other hand, reflects singular Malla architecture. In comparison to
the Hanuman Dhoka Durbar Square, it is smaller in size, but it
comprises a number of unique architectural styles. Manga Hiti, the
sunken stone water spout, and the magnificent Krishna Temple, a
Shikhara-style temple built of stone, are but a few examples of its
opulence. More than 30 monuments, each a masterpiece, are clustered
in a small area measuring roughly 160 by 70 metres. An additional
30 monuments are located in the immediate vicinity. Professor
emeritus Dr. Eduard F. Sekler of Harvard University has compared
the Durbar Square of Patan to San Marco Square of Venice. The
renowned French orientalist M. Sylvain Levi describes the Patan
Durbar Square as "a marvel beyond the power of words to tell".
Indeed, Patan Durbar is the most spectacular example of Nepalese
architecture in an urban context. Right in the middle of the
hustling downtown Mangal Bazaar stands the famous palace of the
Malla kings known as Maningal Rajprasad, or the palace of Maningal,
probably built during the Lichchhavi period (beginning of the 1st
century to 9th century). Among the latter kings of Patan, Siddhi
Narasimha Malla (1618-61), Sri Niwas Malla (1661-85) and Yog
Narendra Malla (1685-1706) added to the grandeur of the palace
complex. Among its numerous courtyards, the recently renovated
Keshav Narayan Chowk has been converted into a bronze artefact
museum. The main entrance of this courtyard and the windows on the
second floor with the figure of God Avalokeshwar in the middle are
gilded. A highly impressive and exquisite monument is the stone
temple of Lord Krishna, situated in an imposing location in the
Durbar Square complex. King Siddhi Narasimha Malla built this
temple in 1636. It features 21 gilded pinnacles - the highest
number ever built in the valley. Another unique feature of this
temple is the bas-relief carvings on the walls and ceilings,
depicting major scenes from the great Hindu epics, the Ramayana and
Mahabharata. The Krishna Temple of Patan Durbar Square is
undoubtedly one of the finest stone structures in the Kathmandu
Valley and is, thus, of considerable national importance. Other
important temples of the Durbar Square are the Char Narayan Temple
constructed in 1565 by King Purandhar Singh, the Bishwa Nath Temple
constructed by King Sri Niwas Malla in 1626 and the large
rectangular three-storeyed Bhimsen Temple constructed in the 16th
century. There is also the octagonal Shikhara-style Krishna Temple
known as Chyasilin Dewal. Patan Durbar Square, located in the
middle of the city, has assimilated the vibrant atmosphere of a
crowded bazaar. Outside the Patan Durbar Square, there are numerous
other important monuments, such as the Maha Bouddha terra-cotta
Shikhara temple constructed at the beginning of the 17th
century, Hiranya Varna Mahavihara, or the Golden Temple, built in
the early 15th century and the five-storeyed Kumbheshwar Mahadev
Temple built at the beginning of the Malla period - it is one of
the only two surviving five-storeyed temples in the country, the
other being the Nyatapola Temple in Bhaktapur.
In the 1970s, the pioneering Bhaktapur Development Project, with
financial and technical assistance from the German government,
restored considerable portions of the city's lost heritage and
improved its physical infrastructure.
The main attraction of the Bhaktapur Durbar Square is the famous
Golden Gate or Swarna Dwar, built by King Ranjit Malla in 1753.
British historian Perceval Landon praised it as 'the most
exquisitely designed and finished piece of gilded metalwork in all
Asia'. The gate is the main entrance to the palace. The Palace of
55 Windows, built by King Yaksha Malla in 1427 and renovated by
King Bhupatindra Malla, is famous for its intricately carved wood
works. There are many courtyards inside the palace, but they are
closed to the public. The visitor has to be satisfied with the
diversity of monuments around the palace complex.
Upon entering the gate to the Bhaktapur Durbar Square, there are
two temples to the right. One is the two-storeyed Krishna Temple,
with roof struts depicting the 10 incarnations of Lord Vishnu. The
second is a terracotta Shikhara temple dedicated to Goddess Durga
or Bhagawati. The life-size statue of King Bhupatindra Malla with
folded palms atop a stone pillar in front of the National Art
Gallery is another remarkable piece of sculpture. The last Malla
ruler of Bhaktapur, King Ranjit Malla, erected this statue in 1753
as a tribute to Bhupatindra Malla, who enriched the cultural
heritage of Bhaktapur. The Big Bell, installed here by King Ranjit
Malla in 1737, is used while worshipping Goddess Tulaja Bhavani.
Behind this, there is a beautiful stone Shikhara-style temple with
nine pinnacles dedicated to Goddess Batsala built in 1672 by King
Jagat Prakash Malla. Next to the Batsala temple is the twostoreyed
pagoda-style temple of Yaksheswara Mahadev built by King Yaksha
Malla in the 15th century. Taumadhi Square that houses
the Nyatapola Temple is one of the three main squares included in
the world heritage site of Bhaktapur. This square is dominated by
two of Bhaktapur's grandest temples. The Nyatapola, or fivestoreyed
temple of Goddess Siddhi Laxmi, the patron deity of King
Bhupatindra Malla, is by far the most imposing. Its five-step base
gives it a towering height, which makes it the tallest temple in
the country. This grand temple, a masterpiece of Nepalese
architecture, was built by King Bhupatindra Malla in 1702. The
columns around the temple sanctum and door frame have exquisite
carvings. The impressive woodwork includes 108 supporting roof
struts, which depict the diverse forms of the goddess Bhagawati, or
Mahismardini, and other associate deities. In the southeast corner
of this courtyard stands a massive three-storeyed rectangular
temple of Bhairav, also known as Kashi Bishwanath. The original
temple is believed to have been constructed in 1001 during the
reign of King Nirvaya Deva.
Tachapal, or Dattatraya Square, is one of the three main squares
of Bhaktapur. The Dattatraya 42 Temple stands in the east of the
square. It was built by King Yaksha Malla and his son Biswa Malla
in the 15th century. The god Dattatraya represents the Hindu
trinity of Brahma, Vishnu and Maheshwar or Shiva. Surrounding the
Dattatraya Square are several Hindu Maths or monasteries, of which
the most important is the Pujari Math. The Pujari Math is
especially known for the rich 18th century woodcarvings that grace
its doors and windows. Particularly well-known is the famed
intricately carved 'Peacock Window' facing the lane on the east
side of the building. It is supposedly the finest specimen of
woodcarving. In fact, the ancient city of Bhaktapur is home to some
of the rarest and probably the finest examples of Nepalese
woodcarving art and architecture.
Lumbini
Outside the Kathmandu Valley, Lumbini, the birthplace of Lord
Buddha, has been enlisted in the World Cultural Heritage site.
Siddhartha Gautama, who later attained enlightenment as the Buddha,
was born in Lumbini in the spring of 623 B.C. An inscription on a
stone pillar erected by Maurya Emperor Ashoka in 249 B.C.
authenticates that the Buddha was born at this spot. Recent
archaeological excavations have discovered the "marker stone" at
the basement of the Maya Devi Temple, believed to have been laid
there by Emperor Ashoka to denote the exact sacred spot where the
Buddha first put his foot on earth. This has further enhanced the
importance and sanctity of the site. The stupas built during
different periods dating from 3rd century B.C. to 15th
century A.D., the Maya Devi Temple and Pushkarni Pond where the
baby Siddhartha was given his first bath after birth are some
ancient edifices of Lumbini. A Master Plan for the development of
Lumbini was initiated in 1978 as per the design of world-renowned
architect Professor Tange of Japan. The Master Plan segregates the
Lumbini area into four main components: the Sacred Garden which
includes the Maya Devi Temple and the Ashokan pillar; the monastic
zone; the cultural centre; and the Lumbini village. Since the early
1980s, many countries with significant Buddhist populations have
contributed in its infrastructural development. Monasteries
reflecting the architecture of the individual countries have been
constructed in the monastic zone. But much still remains to be done
to give final shape to the Master Plan.
As the birthplace of Lord Buddha, Lumbini is one of the holiest
places of one of the world's greatest religions. It has remained a
hallowed Buddhist pilgrimage spot since very early times. Lumbini
has been designated as the "Fountain of World Peace and the Holiest
Pilgrimage Centre of Buddhists and peace-loving people of the
world". The site remains a place of pilgrimage for both Buddhists
and Hindus alike from all over the world. Besides the existing
World Heritage sites in Nepal, there are many other natural and
historical monuments and sites in the country which merit inclusion
in the World Heritage list.
Art, Architecture,Sculpture and Painting
Nepal's ethnic diversity, religious and cultural beliefs,
festivities, gods and goddesses in their many manifestations,
demons, myths, legends, folklore and myriad spiritual and
supernatural elements have been the subject of profound interest to
visitors. Its cultural mosaic is enriched by folk art and artistic
creations, which are reflected in its music, musical instruments,
paintings (thangkas), masks and curio items of cultural
significance and numerous other objects d'art.
The seven UNESCO monuments of the Kathmandu valley comprising of
three historical palaces known as - Kathmandu Durbar Square, Patan
Durbar Square and Bhaktapur Durbar Square-- two Buddhist stupas-
Syambhunath and Boudanath and two Hindu temples Pashupatinath and
Changu Narayan, were revered as sacred for hundred of years and
there has been a series of contributions and renovations in the
form of constructions of temples, stupas and palaces over the
centuries made by different rulers and Kings. The pagodas are
multi-tiered monuments tapering towards the top with intricate wood
carving in the forms of doors, pillars, windows and struts. These
ubiquitous wooden historical structures are supplemented by bronze
works and stone sculptures together forming the squares and palaces
with profuse representation of images of gods, goddesses, demons,
beasts, mythical figures, kings and the ordinary human beings
engaged in their day-to-day activities. The Lichchavi period is
known as the classical period of Nepalese history because it was
during this period that art and architecture began to take shape.
Trade and crafts flourished under them, and they built magnificent
temples, palaces and monuments. However, it was only under the
later Malla period and the early Shah period from the 14th to the
18th centuries the valley's fabulous cities with their exquisite
pagoda, shikhara and stupa architecture, ornate palaces and
artistic temples came to take shape in the form that we see it
today. Sculptor at work in PatanThe present day neo-classical
buildings were also
built only during the second half of the 19th century
(Rana Regime) with Nepal's first contact with the western
countries. Nepal's ethnic diversity, religious and cultural
beliefs, festivities, gods and goddesses in their many
manifestations, demons, myths, legends, folklore and myriad
spiritual and supernatural elements have been the subject of
profound interest to visitors. Its cultural mosaic is enriched by
folk art and artistic creations, which are reflected in its music,
musical instruments, paintings (thangkas), masks and curio items of
cultural significance and numerous other objects d'art. Harmonious
inter-relationship and tolerance between Hinduism and Buddhism and
the mutual respect and acceptance of each other have created a
congenial environment for the development of art and culture. Early
visitors to the country described the valley as the abode of the
gods and goddesses where there were more temples than houses and
more gods and goddesses than people. Writings by 7th century
Chinese travellers reported well-built towns and settlements with
magnificent palaces and temples. Its narrow streets with roofed
brick houses in a row on both sides, paved squares, open platforms
or stages, stone water spouts and a landscape punctuated by
temples, stupas, monasteries and numerous other religious and
cultural monuments added to its aesthetic beauty. An inventory
prepared in 1975 stated that more than 80 per cent of all
historical monuments in the country were to be found in the
Kathmandu Valley. In the valley alone, there were more than a
thousand splendid monuments. This was what Brown Morton III,
Chairman of the United States National Committee for the
International Council of Monuments and Sites, had to say in 1979:
"The Kathmandu Valley is perhaps the most beautiful place in the
world. Hidden deep in the folds of the Himalayan mountains between
India and Tibet, this exotic centre of an exotic country is nearly
a perfect synthesis of natural and man-made beauty." The natural
splendour of the valley, its history and cultural opulence have
attracted visitors, pilgrims, traders and scholars who dared to
venture into the mountains and inhospitable terrain in search of
the elusive Shangri-la. What makes Kathmandu Valley unique is the
amalgamation of its magnificent natural environment with a living
civilisation reflected in its towns, monuments, festivities, highly
stylised pageants, ritualistic customs, religious traditions and
vibrant culture.
Thangka (Pauva) Art
The art of painting in Nepal is as old as the carvings on stone
and metal, and it is variously expressed in the murals,
manuscripts, Gathas (wooden covers of manuscripts), and on cloth
and paper. As in other forms of Nepalese art, religion has played a
dominant role in painting, too. Thangkas, also known as Pauvas, are
traditional paintings depicting religious themes and deities. It is
prepared on a piece of fine cotton or silk cloth which is coated
with a mixture of glue, chalk and indigo and finally varnished with
the white of a duck's egg mixed with water. The Pauva paintings
have generally been painted by traditional ethnic castes like the
Chitrakars, Shakyas, Vajracharyas and Tibetan Lamas.
Mithila Art
These days, Maithili art or painting is also gaining popularity
among the tourists. Basically, Maithili art is a folk painting
dominated by religious themes. Janakpur in central-south Nepal is
the centre of this school of art. The people of Mithila, generally
womenfolk, paint the walls of their houses with pictures of
different and objects of socio-religious themes in bright colours.
The women of Mithila have cultivated this ceremonial art of drawing
and painting on the mud walls of their houses, the floors of their
thresholds and courtyards. Sita, the princess of Mithila and
consort of Rama of the epic Ramayana, has been the perennial source
of inspiration to the women of Mithila in this ancient craft of
painting. Today, they are experimenting with their ancient art on
paper as a form of prayer. The art of Mithila is heavily influenced
by Tantric cults as in the Pauvas and, therefore, their paintings
are full of Tantric symbols like the Mandala in Tibetan art.
Museums
Nepal Museum, the first and pioneer museum of Nepal, opened to
the general public on February 12, 1939. Located at Chhauni on the
western outskirts of Kathmandu, it later became popular as the
National Museum. It has three sections - history, art gallery and
Buddhist art gallery - housed in three separate buildings. In the
art gallery, there are numerous sculptures of historical and
artistic importance in stone, bronze and wood. The earliest dated
stone statue of King Jaya Verma, circa 185 A.D., is on display
here. The National Numismatic Museum is housed on the top floor of
the history section. The National Museum is open six days a week
except
Tuesdays and public holidays.
The historical old Malla palaces of the valley have also been
converted into museums. The Hanuman Dhoka Palace houses the
biographical museums of the Shah Kings - Tribhuvan, Mahendra and
Birendra. The Patan Museum, with its rich collection of Nepalese
bronze sculptures, has been established in the residential palace
compound of the Keshav Narayan Chowk of Patan Durbar. This Patan
Museum was restored to its earlier glory with the technical and
financial assistance of the Austrian government. It is considered
to be one of the best museums in south Asia. The National Art
Gallery at Bhaktapur was set up in the famous 55 Window Palace of
Bhaktapur Durbar in 1961. In this gallery, thangka paintings, or
traditional Nepalese paintings, dating from the 13th and 14th
centuries are preserved and on display. In Bhaktapur, we have two
smaller museums at Dattatraya Square. The Pujari Math Museum
contains woodcarvings while the Chikanfa Math Museum has bronze
metal artefacts and utensils used for religious rites and household
purposes. Other museums in the valley are the Museum of Natural
History and the Museum of Swayambhu Bikas Mandal at Swayambhu. The
latter holds a collection of Buddhist artefacts in stone. The Nepal
National Ethnographic Museum housed in the Tourism Service Centre
building at Bhrikuti Mandap, Kathmandu displays life size dioramas
depicting the life and culture of different races and ethnic
communities of Nepal. Outside the Kathmandu Valley, there are
regional museums at Pokhara, Surkhet, Dhankuta and Kapilvastu.
Except for the one at Kapilvastu, the other museums are mainly
ethnological museums depicting local culture. Among them, the
prominent ones are the International Mountain Museum at Pokhara,
the Tharu Cultural Museum at Thakurdwara in Bardiya National Park
and The Mustang Eco-Museum at Jomsom in Mustang. These days,
private collectors have also been encouraged to stage exhibitions
to display their collections of different types of traditional arts
and handicraft items. At Lumbini, the birthplace of Lord Buddha,
there is the all important archaeological remains of the Maya Devi
Temple, especially the alcove remains which date from 3rd century
B.C. The archaeological ruins of monasteries date from 3rd century
B.C to 5th century A.D. Numerous artefact items were discovered
while excavating the Lumbini area, such as silver coins, child's
toy and a ram made of clay on wheels which was probably used during
early period. The Buddhist International Research Library at
Lumbini has a rich collection of Buddhist texts. Nepal's museums
have rich collections of archaeological, historical and artistic
importance. Besides the archaeological objects dating from the time
of Lord Buddha unearthed at Lumbini, Tilaurakot and other places in
west Nepal, pre-historic archaeological objects discovered in the
Mustang caves belong to 8th century B.C. Stone statues,
inscriptions, coins and many other archaeological objects have been
discovered in the Kathmandu Valley which dates from the 1st
century. As Nepalese are icon (idol) worshipers, a vast treasure of
cultural wealth in the form of stone, wood and metal sculptures and
religious paintings remain in private possession with private
collectors.
Traditional Handicrafts
Nepalese handicrafts have been popular since long. The mention
of the woolen blanket in the 'Kautilya Artha Sastra' of Chanakya
Bishnu Gupta (Kautilya) which dates back to 4th century B.C. proves
this fact. Nepalese bronze artefacts have been treasured by the
Tibetans since the time of the Lichchhavis (3rd and 4th century
A.D.). During the medieval period, Nepalese handicrafts were very
popular in China and India. Sculptured ornaments and religious
idols and statuettes in gold, silver, bronze, brass, stone and wood
and embossed with semi-precious stones were highly sought-after
merchandise in China and India. Chinese travellers appreciated the
skill and craftsmanship of the Nepalese artisans, especially their
weaving, spinning, wood carving and metal work. The contribution of
the master craftsman, Arniko, who enriched Nepalese handicrafts and
popularised them throughout Tibet, China and other countries of the
Far East was immense. Nepalese handicrafts are deeply rooted in the
socio-religious and cultural lives of the people. They can be
divided into two main categories: articles of daily use and
artefacts/articles of aesthetic value and religious significance.
These range from artefacts linked to ritualistic cults during the
worship of deities to objects used in daily life, like pots and
hairpins to hookahs (hubble-bubble), beads, shawls and skirts.
Ethnic craftsmen have demonstrated their distinct characteristics
in the design, modeling and production process of the artefacts.
The ethnic utilitarian handicrafts constitute a long range of
articles, like khal-lohara (pestle and mortar), amkhora (water
pot), anti (wine jar), sukunda (oil lamp), karuwa (water jar),
thaal (plate), kachaura (saucer), kasaudi (cooking pot), chulesi
(vegetable cutter), gagri (water pitcher), khukuri (gorkha knife)
and dhakki (basket). Nepal's handicraft industry of today is almost
totally dependent on tourism and export. The habit of using
handicraft is, however, gradually increasing among the local
people, too. Projects for the restoration of temples and monuments
launched by both government and non-government agencies with
international cooperation have helped revive and sustain handicraft
production and trade, such as brick and tile manufacturing,
woodcarving, metal and bronze casting, stone carving and so on. In
fact, handicrafts are the true mirror of Nepalese cultural and
artistic heritage and reflect the glorious art traditions of the
past. The fine craftsmanship of Nepalese artisans has not
only attracted foreign visitors, but has also enhanced the
country's image abroad. It is thus one of the country's most
important industries having a wide international market. The skill
has been handed down from father to son and from one generation to
another. Nepalese handicrafts, particularly bronze figures, wooden
artwork, pashmina shawls and thangka paintings have been very
popular gift items among the tourists. Bronze artefacts like the
sukunda, or traditional Nepalese oil lamp, prayer wheels, metal
bells and traditional dolls are some of the highly popular souvenir
gift items coveted by the tourists.
Masks
Other Specialities
The ethnic dresses and ornamentsof Nepal represent a myriad
collection of rich cultural diversity. Dresses and ornaments differ
significantly with climate and regions - as in the high mountains
and the lowlands of the Terai, as well as in the eastern, central
and western regions where different ethnic groups dwell.
Chhetri women from Far west
Other Specialities
Costumes And Ornaments
Nepalese costumes and ornaments are unique and varied in their
own ways. Ethnic groups and indigenous people have their own
typical attire for men and women. The ethnic dresses and ornaments
of Nepal represent a myriad collection of rich cultural diversity.
Dresses and ornaments differ significantly with climate and regions
- as in the high mountains and the lowlands of the Terai, as well
as in the eastern, central and western regions where different
ethnic groups dwell. Normally, Nepalese men wear a long shirt, or
daura, and trouser, or suruwal, while womenfolk wear blouse, or
cholo, and sari. This female attire exudes grace and beauty.
Nepalese women invariably wear some ornaments on their ears, nose
or neck. Gold and silver ornaments are worn by Nepalese women
according to their economic status. Most married Nepalese women
prefer to wear a long necklace of red beads called potey with or
without gold decoration on their necks and put red sindoor on their
heads in between the central partition of the hair. Married women
wear glass bangles generally of red colour on their wrists. Potey
(bead-necklace), red/green bangles and sindoor are the typical
signs of a married woman. Hindu tradition forbids widows of this
luxury.
Nepalese Cuisine
Cooked rice (bhat) or a thick paste of maize or millet powder
called dhedo, with some dal, or lentil soup, and vegetable curry
and hot pickle form the daily staple Nepalese cuisine. People in
the Terai eat roti, a round pancake-like bread made of wheat flour,
with curry and pickles. During feasts, people make preparations of
meat, varieties of curries and sweets. Nepalese cuisine is usually
spicy and hot. Momo, a small round wheat ball stuffed with meat, is
the most popular snack among the natives and foreigners. It is
eaten along with some hot and sour pickle. Momo and chhoyela, or
small pieces of meat steamed or barbecued and mixed with a hot
paste of garlic and other spices, are gaining popularity among
foreigners. Food dishes of Nepal have their own unique taste and
typical flavour and are a gourmet's delight. Nepalese normally eat
food with the hand while seated cross-legged on the floor, usually
upon a thick flat wooden board, though this practice has largely
given way to the dining table and chair in the urban areas.
Musical Instruments
Music is an integral part of Nepalese festivities. The sound of
many-toned drums, blasting trumpets and clashing cymbals accompany
the celebration of festivities. There are numerous indigenous
musical instruments, some very unique to Nepal. Some of these
instruments are popular throughout the country, while some are
played only locally or on specific occasions. The Sarangi, or a
small chordophone which is played by running a bow over the
strings, is made and played by the Gandharvas or Gaines, who are
the traditional folk singers of western Nepal. Air or wind blown
instruments (aerophones) come in various shapes, sizes and sound.
The flute is a popular instrument played with the mouth. The
Sahanai or Panchey Baja produces a very moving sound and is played
during weddings. The Karnal is another air blown instrument that
produces a piercing powerful sound. The Narasingha, Ponga and
Muhali are other types of instruments which are played during
religious and social functions. Among the membranophones, the
Damphu is a double-sided disk shaped drum, topped with leather and
with a long wooden handle. It is played by striking the leather
face with the fingers and palm. The Dhol or Dholak is a
double-headed drum widely used in the Terai region of Nepal during
public fairs and festivals. Dhimey is a double-headed cylindrical
drum with a big wooden body. Its right side is beaten with a light
winded cane and the left with the hand of the player. It is widely
used by the Newars of the Kathmandu Valley. The Mridanga is a
double-headed drum with a heavy wooden body. It produces a gentle
and pleasant sound. The Maadal is the most popular drum. Made of
leather with a wooden body, it largely accompanies folk music and
dances in the hills.
Meditation
The practice of meditation (dhyana) is deep rooted in the
Nepalese society as it is held sacred by both the Hindu and
Buddhist faiths. Meditation is very prevalent in Buddhism and is
practised with great devotion. Meditation is a part of yoga. It
blends the mind and body, giving way to spiritual solace. Seated in
a typical lotus position (Padmasana), practitioners of meditation
close their eyes and chant sacred words (mantra) like 'Om'
synchronising them with their breathing. Meditation is believed to
bring tranquil harmony to the mind. All Nepalese households have
idols of deities at home. The devotees worship the gods every
morning and evening. Folding their palms and closing their eyes,
they pray and meditate for the good health and prosperity of the
family and ultimate salvation (mokshya) of the self after
death.ublished By:
Nepal Tourism Board
Date: 03/06/2012 08:18:56 :
: Yam Thapa