APR-JUN 2021 | VOLUME 1- ISSUE 4 first person lot intheinitial phase... in it and tried to attach my own identity to it rather than just copy nature. I struggled a After Mr. Bangdel’s demise, Iexperimented withlandscapes. Itriedtobring newforms something otherthanlandscapes. good, andpeople liked them, Ifeltlike Ineeded tomoveahead withmypaintingsonto There isalwaysacuriosity about“what next?” Though mylandscapepaintingswere People always want to move forward, the situation they are even if in is perfect for them. from him--what itisandhowtouseit. understand and love the abstract form. colors I got tofully understand the power of outdoors, notinthestudio. Slowly, after joining Mr. Bangdel’s classes, Istarted to those art forms earlier. Ilovedtoshowcaselandscapes in mypaintings. Iworked Mr. Bangdeldidcontemporary, abstract andmodernpaintings. Ididnotunderstand mylife--itgavemea career inwhatof Ilovedoing. until his final daysin 2002CE. Working withMr. thebest decisions Bangdel wasoneof extremely difficult decision, Iquitmyjob at themagazine. We studiedwithMr. Bangdel began tofeelIneededleave everythingelseandfocusonpainting. Though itwasan paintings. Together withsomefriends, Ienrolled inclassesheran at hishouse. Soon, I exhibition heldat theNepal Art Council where he showcased three his hundred of All thischangedafter Imetlegendary artist Lain SinghBangdelin1990 CE at an ten longyears. for atouristmagazinecalledNepal Traveler. paintingfor Ilosttouchwithmypractice of do somethingtomake a living. Iendedupworkingasanart designerandillustrator price. There were no galleries or events where I could showcase my paintings. I had to pursue acareer inart. Duringthosedays, thepaintingswere soldat averyminimal I sooncompletedmybachelor’s degree infinearts. ButIwascluelessabouthowwould my highereducation. Ihappilyaccepted, asitwasmyonlyreal interest. made. The principal Kali Das Shrestha convinced my father that I should pursue arts in learn fine arts then. Hisartist friendsfrom collegelovedtheamateur paintingsthat Ihad My father was a music teacher at the Lalitkala Campus, the only college in to Cont. onpage 3 An Artist WhoPaintsfor Himself jeevan rajopadhyay:

NEPAL ART POST - [email protected] | Tel: 9802020484 | [email protected] formats of creativeformats of expression. Hesoon he started experimenting withother that people, after all, needed change, creative renderings. With the realization paintings causeddisturbancesinhis the mountainsandtrees inhis There cameatimewhenhefeltthat it. of that onefinedayhedecidedwastired with landscapesforalongtime. Solong Artist Jeevan Rajopadhyay, 61, worked BREAK FREE THE POWERTO Cont. onpage3 landscape paintings. determined shapesandboundariesof break free from pre- thelimitations of found happiness in the fact that he could

first article Long Story Short Note Nepalese Art: CURATORIAL PERSPECTIVE How NottoSafeguard Heritage Wa Sya DyoinaBox: INTANGIBLE HERITAGE Puja: Women on Top MYTH BUSTER Art forSale THE ART MARKET NewaCulture Udaaya: Doyensof LIVING CULTURE Gayatri byUdaya Charan Shrestha UNVEILING By SCSuman&Ranju Yadav CONTEMPORARY ART CONTENTS WHERE THE ARTCOMES ALIVE Pg 1 © KGH PUBLICATION

PG8 PG7 PG6 PG5 PG4 PG3 PG2 contemporary art HOPE AMIDST DESPAIR

This painting depicts the entire humanity groaning under the tangential stress caused by the pandemic. This tangential force is first article deadly to humans but friendly to the Tree of Life (earmarked as fecundity and vitality in Mithila artwork – depicted in the border). It generates no negative radial force on the animals, but exerts deforming axial pressure on the entire human race.

However, the overall effect is the invisible force in the spiritual realm, in the form of the inverted Tree of Life that has its roots in the sky, dispensing wisdom and creative energy (reinforced by the icons of a burning lantern and the lighting of the earthen pots) through its branches turned towards the Earth.

The inverted Tree of Life, called Ashvatta Tree in Chapter Ten of the Bhagavad Gita, promises divine benediction for the key (depicted on the top right) that will open the padlocks and finally help to get hold of the devilish virus, thereby putting an end to a life of inactivity, fear and HOPE AMIDST DESPAIR uncertainty. BY SC SUMAN SC Suman Artist/Painter PREGNANCY DURING THE PANDEMIC

I conceived my second child last October and have been struggling to protect myself and a new life from the destructive COVID-19 pandemic. The deadly pandemic has waged a ‘World War’ against the human race on the Earth. On the other hand, millions of doctors, nurses and midwives, mostly mothers, are on the battlefield to save humanity. Similarly, millions of pregnant women, including me, have been in a close fight with the Corona Virus by shielding and taking care of our babies.

As a pregnant artist, I depict the above-mentioned idea in my Mithila artwork. The pregnant woman in the artwork is protecting her unborn baby by covering the womb with Welcome to MoNA. her hands. She dares not to wear a mask, because she Welcome to our WORLD. has to take double breath for herself and her baby. The rectangular border divides the painting into the human world and nature distinctly. The nature outside the border is CHANCE TO WIN “FREE ROUND TRIP safe and flourishing, unabated with trees, leaves, flowers and birds. Quite contrarily, the human world inside the border ECONOMY CLASS TICKET has been badly affected by crippling lives, untimely deaths ON QATAR AIRWAYS SELECTED and devastations. However, millions of mothers of unborn babies are optimistically caring and nurturing their wombs to ONLINE DESTINATION” continue the cycle of the human world.‘

Upto 10%* discount to all the museum visitors on Ranju Yadav Mithila Painting Artist any Qatar Airways selected online destination.

An exhibition that showcases both of these artworks, entitled PREGNANCY DURING PANDEMIC Tangential Stress is a paroxysm of emotions, put together with BY RANJU YADAV the hope that we become less complacent and more appreciative of our nature and life, teaching us humility in the process. Visit mona.com.np for the virtual exhibition.

APR-JUN 2021 | VOLUME 1 - ISSUE 4 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 2 © KGH PUBLICATION THE POWER TO BREAK FREE

From page 1... The departure from his career as a landscape artist came after he enrolled as a student of legendary artist Lain Singh Bangdel. That landed him squarely in the arena of the abstract art format, which has become his mainstay till date.

Says Jeevan, “when I start a new project with a blank canvas, I also start with an empty mind. I do not start out with a plan. After the initial few strokes of the brush, the canvas starts talking to me. And I talk back to it. The canvas guides me, and I follow its voice. The result has always been good.”

In all his works, landscape or otherwise, the use of colors are premeditated. Each tone and hue is deliberate, and has its own meaning. The careful combination of colors create balance and depth, providing aesthetic appeal to the onlooker. “Color has dominated form in my artworks unveiling in recent years,” says Jeevan. “The perceived merit of an artwork of this type is determined by how bold and powerful the strokes are, and Goddess Gayatri, the conjunct form of deities Gayatri, Sabitri and Saraswati, is known as how much confidence is seen in the artist’s the mother of the Veda scriptures. Gayatri is the personification of primordial feminine choice of colors.” energy, which in today’s context characterizes the immeasurable and invaluable roles of This painting featured here, however, cannot women. She is the giver of the Gayatri mantra, which is the most powerful of all mantras, be really labeled as abstract art, as it resembles as pronounced by Lord Krishna in the Hindu epic Mahabharata. The mantra, which the form of an animal -- a shape that one essentially means “We meditate on that excellent light of the sun. May he illuminate our sees in real life. Is Jeevan drifting away from minds.” goes like this: the non-realistic format to something more representational? Perhaps. He certainly is oṃ bhūr bhuvaḥ svaḥ tatsaviturvareṇyaṃ bhargo devasya dhīmahi dhiyo yo naḥ pracodayat contemplating a return to the depictive format after this painting, the first of its kind that he ç e'/\ e'jM :jM tT;ljt'j{/]0o+ euf]{ b]j:o wLdlx lwof] of] gM k|rf]bot\ .. has painted, became an instant crowd puller.

“I have not given it any title,” says Jeevan. “I Goddess Gayatri leave it up to the viewer to interpret and enjoy, by Udaya Charan Shrestha Oil on Canvas, 68 x 99 cm This painting was commissioned by the Museum of Nepali Art. like I do with all my abstract paintings.” Nevertheless, Jeevan admits that his own interpretation of this painting is a bull, mighty jeevan rajopadhyay: An Artist Who Paints for Himself but wayward. It somehow represents the current situation of the nation -- we have From page 1... I had to transfer my style from one technique to another. I never knew if achieved a free and democratic society, but the work I did was correct or not. Eventually, I presented these works in an exhibition, and without order and direction. the public totally loved them. I felt like I was on the right track. My longing for something new led me to the path I am in now -- the correct path, as far as I am concerned. This painting, recently exhibited at the Nepal Art Council as part of “An Exhibition for The abstract form is the extreme form of any painting. In religious philosophy, you start with an Purpose,” is the newest acquisition image of God. Then, after rigorously working on your devotion, you get to the stage of void, at the Museum of Nepali Art. “shunyata”. You will not require any form after you reach that stage. I feel it is the same with abstract paintings.

Nepal Art Post Every artist has his own interpretation and thought processes. I don’t paint for others. I paint monogram in for myself. I do it for enjoyment. The true meaning of art is that it is always for oneself. Any form Ranjana, Nepal’s of art, be it music, literature, painting, etc. is a medium to feel peaceful and to relax. If I can give a moment of pleasure to the viewers with my art, then I feel I am successful. That is my original script. contribution to society.

Before the establishment of the Museum of Nepali Art, there was no permanent space for artists to showcase their work. MoNA has now filled that vacuum. This is very exciting news for artists, the public, and for tourists. Contemporary art is not understood well by the public. and Thanka are accepted well by many because they have spiritual and religious aspects. For contemporary art to achieve greater acceptance by the public, museums such as Scan for digital MoNA can play a big role, as they are the ones who will articulate and promote the art form, versions as well as the artists. The government needs to build international standards of museums in Nepal, following the example set by MoNA.

APR-JUN 2021 | VOLUME 1 - ISSUE 4 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 3 © KGH PUBLICATION

Living Culture Udaaya: Doyens of Newa Culture

by Yaju

Over one hundred native communities are spread out across nooks and corners of Nepal, each with their own distinct language, culture and place of origin.

Today, for many of those indigenous cultures, insecurity is looming high. They are worried about the continuity of their unique identities into the future. In recent decades, more people within the native communities are questioning whether the younger generation will inherit and continue their ancient traditions.

For Nepal, the multitude of diverse local identities is the basis of a national asset that is unmatched globally. Losing this Sketches of the nine occupational groups of the Udaaya people, centuries-old distinctiveness should cause great distresses in displayed as models at the Udaaya Museum, Asan. the upper echelons of national leadership. Sketches by Ekaram Singh Coloring by Prachanda

In recent decades, a lot of global social systems and ways of life have been constantly infused into our indigenous societies, years, the Udaayas numbered around eight thousand in a 2011 promising to bring fulfillment and success in life. These have survey. made it much more difficult to embrace and practice one’s local traditions. Society has been knowingly or unknowingly filtering The Udaayas have helped shape art, architecture, literature, out the rare individual who challenges the new, imported social religion, education, health, social activism and commerce in order. Simultaneously, the bulk of the citizenry have been modern Nepali society. The Udaaya population was categorized gradually opting out of a society that is highly demanding of into nine professional caste groups by the end of the Malla them, consciously or unconsciously. reign (1769 CE): Bania (Shresthacharya), , Shikhrakar, Silakar, Silalik, Sindhurakar, , , and Tuladhar. The Udaaya community of , endowed with a glorious past, is one of the first among several ethnic groups Udaaya Samaj, an association of these nine caste groups, was that has raised an alarm about this looming and fast developing formed in Nepal Era 1117 (1997 CE) to preserve and reform crisis. Udaaya social customs and traditions, keeping up with the dynamic nature of culture. We will bring you details of each of The word Udaaya is believed to have been derived from the these professional caste groups in the upcoming editions of Sanskrit word Upasaka (meaning devout layperson). The the Nepal Art Post. Udaaya people are pious Buddhists, and endorse the ethos of non-violence in personal relations and ritual preferences. Yaju Tuladhar is an architect who aspires to understand her roots Merchants and craftspersons who have been prominent in the better and preserve it for future generations. business and cultural life of Kathmandu for over four hundred

MUSEUM OF NEPALI ART

MASTERPIECES OF NEPALESE ART

Kathmandu Guest House Thamel, Kathmandu

T: 9802020484, 4700632 www.mona.com.np

APR-JUN 2021 | VOLUME 1 - ISSUE 4 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 4 © KGH PUBLICATION

MARCH 2021 | VOLUME 1 - ISSUE 3 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 4 © KGH PUBLICATION the art market art for sale

Values of Co-existence Circumstance by Kabi Raj Lama by Kabi Raj Lama Intaglio | 76/59 cm | Rs 1,70,000 Intaglio | 76/59 cm | Rs 1,70,000

Rhododendron Arboreum I nflnu'/fF; - by Neera Joshi Pradhan Water Color | 15 ‘’ x 22’’ | Rs 90,000

Luculia Gratissima n'FsnL :jfF - by Neera Joshi Pradhan Water Color | 15’’ x 20’’ | Rs 90,000

Mere Concept of (i) and Everything The Taste of Time by Kabi Raj Lama by Kabi Raj Lama Relief | 90/60 cm | Rs 2,00,000 Intaglio | 98/59 cm | Rs 1,70,000

The Museum of Nepali Art does not have any commercial interest in the sale of these items. This is an effort to promote greater traction in the art economy of Nepal. Curcurma Aromatica Turmeric Please contact Siddhartha Art Gallery (phone: 985-1030873) directly for further details. a];f/ - by Neera Joshi Pradhan Water Color/ Graphite | 15’’ x 22’’ | Rs 95,000

APR-JUN 2021 | VOLUME 1 - ISSUE 4 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 5 © KGH PUBLICATION Myth Buster Kumari Puja: Women on Top

Text and Photos by Alok Siddhi Tuladhar

Kumari Puja literally means worship of the pure maiden. There is deeper significance behind this elaborate ritual.

The Newa people have since ancient times deemed all children to be the embodiment of god, a tradition that is rare, if not unique, worldwide. Kumari is one of the most exotic enduring practices where a little girl is deified as a living goddess until she reaches the age of puberty.

The cult of the human goddess Kumari is deep-rooted among Kathmandu Valley’s indigenous Newa people, both Hindu and Buddhist. However, the Kumari Puja ceremony held every year during the month of Asadh (June- July) in Balkumari in the historical core of Kathmandu city is conducted strictly following tantric Hindu rituals. Visitors’ Testimonials Weeks before the Kumari Puja takes place at Balkumari, people jostle to get tickets for the pre-adolescent girls in their family to participate in the rite. During the unveiling ceremony of Samundra Man Organizers allocate high priority to girls who have a tendency to fall sick Singh Shrestha’s contemporary painting titled frequently, as it is believed that partaking in this Puja earns divine merit that Saptalochani Tara and Arya Tara, the Museum of Nepali Art arranged a brief interaction session will keep them healthy. between the artist and students pursuing a degree in fine arts. Here are some comments The festivities include the ritual sacrifice of a goat to the ancient shrine of they had about the event. Balkumari (child Kumari) located in a small abyss at the side of Balkumari street that connects Asan to Kel Tol. Aashish Suwedi: The experience was unreal for me. Being able The participating girls are decked up, venerated and treated to a lavish feast to see the work done by current Nepali artists not only by her family but also by hundreds of other families who take part along with those by legendary artists in the in this grand affair. The participating family contributes food items (grains, same place was a surreal experience. fruits, sweets, small amounts of money, etc.) that are distributed to all other participants. Mikesh Nakarmi: Kumari is worshipped by denizens of Kathmandu as the city’s protector deity. Being an art student, the opportunity to be able The Malla kings, who reigned over the Kathmandu Valley from the 13th to to view the paintings by our living artists was the 18th century, sought the right to rule from Taleju Bhawani, their tutelary amazing. Along with the themed painting titled deity. The royal Kumari, established by the last Malla king of Kathmandu Teaching of Buddha, I also found the Green Jaya Prakash Malla, is the human manifestation of Taleju. Tara very fascinating. The interaction with artist Samundra Man Singh Shrestha helped me Despite the downfall of the Mallas, and that of the Shah dynasty after that, understand the story behind the paintings. the royal Kumari’s tradition is celebrated fervently till today.

In view of Kumari Puja and a plethora of other such traditions that place the Bibek Bajracharya: fairer sex in the center, it can be safely assumed that the Newa society was I am glad I took up this opportunity to visit a matriarchal one. The influence of male-dominated Vedic religious thought the one and only art museum of Nepal which must have gradually turned the Newa civilization into a patriarchal one. Even showcases not only the legendary artists but now, the Newa people give high status to the female gender, especially also the emerging artists of Nepal. This will elders, in many religious, social and cultural facets of society. surely benefit all new, underexposed artists as well as art students like us. The families participating in the Kumari Puja need to understand the allegory behind this extravagant event, rather than practice the ritual blindly. Only with that understanding will this meaningful tradition, and many others Samundra Man Singh Shrestha like this one, will be accepted more easily by the younger generation. The This event helped me understand the problems generation that will surely ask “why” in everything they are asked to do. And that the art students are facing nowadays. I hope we better be prepared with our answers to that critical question. I was able to help solve some of it. I am sure the students benefited from it one way other the A version of this article first appeared in the September 2013 issue of other. We should have more of these events on ECS Nepal Magazine. a regular basis.

APR-JUN 2021 | VOLUME 1 - ISSUE 4 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 6 © KGH PUBLICATION Intangible Heritage Wa Sya Dyo in a Box: How Not to Safeguard Heritage

by Monalisa Maharjan

In the heart of old Kathmandu, nestled in a corner in the busy intersection of Thayemadu, lies a popular place of worship known as Wa Sya Dyo. This name literally translates to “god of toothache” in Nepal Bhasa, the indigenous language of the Newa people of the Kathmandu valley.

Most divinites worshipped throughout the Kathmandu valley have a beautiful human form. The wooden figure of Wa Sya Dyo, however, does not have any distinct appearance -- it is a wooden stump into which hundreds of coins have been hammered in with iron nails.

No one knows when the tradition of worshipping Wa Sya Dyo started. But local legend associates it with the 7th-century CE Kasthamandap, a large wooden pavilion from which Kathmandu The centuries-old shrine of Wa Sya Dyo, the god of toothache, in received its name. People believe the Wa Sya Dyo stump is central Kathmandu, recently covered in a glass box. actually the root of the tree which was used to build the highly venerated Kasthamandap. In recent months, the local government has locked up Wa Sya As implied by its name, people offered homage to Wa Sya Dyo Dyo in a glass box to “protect” it from theft and damage. This when they suffered from toothache -- by performing the ritual of has unfortunately prevented the faithful from hammering a coin hammering a nail onto it. The tradition of adding coins probably or a nail onto it. started about half a century ago, when aluminum coins were introduced in Nepal. Most of the coins hammered into the stump This might be a good way to preserve Wa Sya Dyo’s physical are aluminum coins of 5 paisa and 25 paisa denomination. The structure. But such an intervention cause a harsh, abrupt end to stump is verified by locals of Kathmandu; one can occasionally a centuries-old tradition? Is it not such arbitrary interference that find an elderly person who remembers hammering a nail onto bars devout believers from practicing their faith? This is food for Wa Sya Dyo during his/her youth. thought for you, the reader.

Nowadays, with the easy availability of modern dental care, the Monalisa Maharjan, PhD is a researcher and UNESCO Chair for ancient tradition of worshipping Wa Sya Dyo is rapidly on the Intangible Cultural Heritage and Traditional Knowhow at the decline. This, however, has not diminished the respect shown to University of Évora, Portugal. the deity. People passing by the shrine can still be seen bowing and praying to the god.

Interestingly, the earliest modern dental services in Kathmandu were provided by a row of dental clinics along adjacent Na Gha, which goes north from the shrine of Wa Sya Dyo. Thus, in addition to providing spiritual value, this deity also works as a landmark. This is in conformity with almost every street and intersection in the Kathmandu Valley having a shrine or place of ritual worship -- a function that doubles up as a signpost for the people living in the neighborhood.

The Wa Sya Dyo worshipping tradition might be on the decline, but many dental clinics in adjoining Na Gha are still operational, and are thriving.

While walking along the narrow lanes of Kathmandu, one cannot but help notice that the past and the present always connect nicely.

APR-JUN 2021 | VOLUME 1 - ISSUE 4 NEPAL ART POST - [email protected] | Tel: 9802020484 Pg 7 © KGH PUBLICATION Curatorial Perspective - part 1 of 2 Nepalese Art: Long Story Short Note by Gautama V.

Ancient Nepalese art developed like a lingua franca. Many great artists expressed their views in this common language fluently and beautifully. Although the hidden grammar of this lingua franca is sometimes tantalizingly hidden to us, contemporaneous people did not have any problem understanding it. This is why ancient art did not require any title or label. Unfortunately, however, this means that traditional Nepalese art does not bear the name of the artist. We know not even a single artist of the Licchavi period by name.

Ironically, the hidden grammar of the traditional art suddenly becomes easier to comprehend if we give attention to what is missing in the composition, rather than to what is shown there emphatically. This grammar is based on the popular belief that darshan, or seeing an auspicious or inauspicious object in an artistic representation, affects future events. As a result, the art of the ancient period, almost without exception, is devoid of any representation of death, disease, poverty, or infertility. Rather, we see almost all male and female figures gracefully delineated, plump, and healthy.

Conspicuously, all human figures bear three horizontal lines around their necks, symbolizing their salubrious physical condition. In South Asian art history, this feature is known as prana, but it has nothing to do with the yogic concept of pranayama. Emaciated human figures may appear in this art only when it becomes absolutely necessary to describe a story. According to a Buddhist story, for instance, at one point Buddha Shakyamuni practiced austerity, consuming only one grain of rice in a day. Because this was an important event of Buddha’s life, the representation of an emaciated Buddha meditating under a tree became a popular subject in the art of many Buddhist countries, but not in most parts of South Asia, including Nepal. For the same reason, ancient Nepalese art excludes any representation of Buddha’s parinirvana, although the subject is so widespread in the artistic traditions of China and Japan.

Even though ancient artistic traditions continued, the second phase of development in Nepalese art took place when Tantric artists endeavored to break through earlier traditions. They believed in sadhana, “the ritual of visualization,” rather than in the traditional concept of darshan. According to them, the human body is a tiny representation of the cosmos, and vice versa. In understanding this notion of macrocosm/microcosm through the practice of sadhana, a human being becomes a cosmic deity and achieves supernatural energy. Most of the mandala paintings and representations of multi armed and multi headed deities are based on this Tantric theory.

(The remainder of this article will be published in the next issue of Nepal Art Post.)

Gautama V. Vajracharya is a Sanskritist and the world’s foremost authority in Nepali art history.

Vasudhara Mandala (dated 1367 CE), one of the oldest surviving . Photo courtesy Kapoor Gallery, New York

NEPAL ART POST TEAM | EDITOR: ALOK SIDDHI TULADHAR | DESIGNER: MANISH JOSHI | RESEARCH: URSULA MANANDHAR