bŭkˈtəpoorˌ or Bhadgaonbädˈgăˌŭn, city (1991 pop. 61,405), E Nepal, in a valley 4,553 ft (1,401 m) above sea level, surrounded by high Himalayan peaks. It is a processing center for the crops of the surrounding area; textiles and ceramics are produced. A religious center, Bhaktapur was founded in 12th cent. by King Ananda Malla as Khwopa, the capital of the Newar Malla kingdom. When the Gurkhas conquered the Nepal valley in 1768, Bhaktapur surrendered peacefully, thereby escaping their plunder. Landmarks include many ornate temples and the well-preserved palace (c.1700) built by King Bhupatindra Malla. The city is known as Nepal's "Cultural Capital" and is a UNESCO World Heritage site.
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Saturday, December 13, 2008
Thursday, December 11, 2008
DURBAR SQUARE
Bhaktapur’s Durbar Square is the gem not only of Bhaktapur, but also of the entire nation. The most fascinating structure here is the world-renowned 55-Window Palace. The elaborately carved windows and doors are something that visitors simply cannot help admiring. The seat of royalty before 1769 AD, the building now houses the National Art Gallery—the museum better known for its rich collection of paubha scroll paintings and breathtaking artworks in stone.
The world famous Golden Gate rubs shoulders with the 55-Window Palace. An unparalleled specimen of repousse art dating back to 1756 , it is the entrance to the marvelous Taleju Temple Complex. Getting into it leads to a number of artistica-lly designed chowks (courtyards) including the Royal Bath, which is adorned with the well-admired Golden Faucet among others.
Another artwork that unfailing-ly bewitches visitors in the Square is the Big Bell. Big enough to match its name, the bell was erected by Ranajit Malla (r. 1722-1769), Bhaktapur’s last Malla king. It was used in those days for paying homage to Goddess Taleju, the lineage deity of Malla rulers, as well as to call assemblies of the citizens to discuss on given subjects concerning the state. Today, it is rung twice a day as a mark of tribute to the goddess. Right next to it is a smaller Barking Bell. To one’s surprise, all dogs around it start whining the moment it is rung by its caretaker.
The Yaksheswor Mahadev Temple equally adds to the Square’s unparallaled beauty. Named after its builder king, Yaksha Malla (r. 1428-82), the two-storied pagoda was constructed after Kathmandu’s world famous Pashupatinath temple. It is noted for its wooden struts full of erotic carvings.
Other notable monuments in and around the historic Durbar Square are: the octagonal Chyasin Mandap, Siddhi Laxmi Temple, Shiva Temple (Fasi-dega), Vatsala Temple, Bhandarkhal Complex, Chatu Brahma Mahavihar, Indrayani Temple, Balakhu Ganesh Temple, Tripura-sundari Temple and the Char Dham symbolizing the four greatest Hindu pilgrimage sites.
The world famous Golden Gate rubs shoulders with the 55-Window Palace. An unparalleled specimen of repousse art dating back to 1756 , it is the entrance to the marvelous Taleju Temple Complex. Getting into it leads to a number of artistica-lly designed chowks (courtyards) including the Royal Bath, which is adorned with the well-admired Golden Faucet among others.
Another artwork that unfailing-ly bewitches visitors in the Square is the Big Bell. Big enough to match its name, the bell was erected by Ranajit Malla (r. 1722-1769), Bhaktapur’s last Malla king. It was used in those days for paying homage to Goddess Taleju, the lineage deity of Malla rulers, as well as to call assemblies of the citizens to discuss on given subjects concerning the state. Today, it is rung twice a day as a mark of tribute to the goddess. Right next to it is a smaller Barking Bell. To one’s surprise, all dogs around it start whining the moment it is rung by its caretaker.
The Yaksheswor Mahadev Temple equally adds to the Square’s unparallaled beauty. Named after its builder king, Yaksha Malla (r. 1428-82), the two-storied pagoda was constructed after Kathmandu’s world famous Pashupatinath temple. It is noted for its wooden struts full of erotic carvings.
Other notable monuments in and around the historic Durbar Square are: the octagonal Chyasin Mandap, Siddhi Laxmi Temple, Shiva Temple (Fasi-dega), Vatsala Temple, Bhandarkhal Complex, Chatu Brahma Mahavihar, Indrayani Temple, Balakhu Ganesh Temple, Tripura-sundari Temple and the Char Dham symbolizing the four greatest Hindu pilgrimage sites.
Thursday, August 7, 2008
Newari Musical Instruments
As human being develops they tried to entertain themselves through different medium. Among different mediums musical instruments is one of them. People invented different kinds of musical instruments according to their views and ideas. People were using musical instrument from ancient time to entertain themselves. In Nepal, the musical instruments were developed rapidly as human brain developed. So it is fact that Nepal is one of the rich countries in cultural heritage due to the traditional instruments and music available.
The various musical instruments are played in Newari society in different occasions like religious programs, cultural programs and mostly in happy moments like festival, Jatra, Puja, Marriage and even used in death ceremony.
According to experts in Nepal, 200 various musical instruments are developed. And. among them 108 types of musical instruments are currently being used. In which most of the instruments are being used in Newari society.
The musical instruments are categorized into four groups. They are
1. Musical instruments that use skin (Dhimaya, Dha, Khin, Daha, Dam Khin, Mag Khin, etc)
2. Musical instruments played by striking two objects (Bhushya, chushya, Ta, Tai-nai, etc.)
3. Musical instruments that use string (Piwach, Sarangi, Guitar, Sitar, Violin, etc)
4. Musical instruments played by mouth (Basuri, Murali, etc)
In Newari instruments, most of the instruments are made up of skins. These types of instruments are played by combining other musical instruments to produce better musical beat. In Kathmandu valley the musical instruments named “Dhimaya”, which is made up of skins is one of the famous musical instrument. And this instrument is mostly used in Newari culture.
Dhimaya Musical Instrument:
Dhimaya is one of the important musical instruments. It is said that God Mahadev has invented this musical instrument. In Nepalese history this instrument has been used since Kirat age. This instrument is mostly used in Newari culture by “Jyapu” caste of Kathmandu valley. They play this musical instruments in different festivals and programs.
The size of this instrument is mostly 40 inch-radius and 17 inch- length to 51 inch-radius and 21 inch-length. The wooden part is covered with metal to make it attractive. Along with this instrument other instruments like Bhushya, Chushya and Tai-nai are also played. Mostly Bhushya is played and its size is around 10 to 21 inch. In Lalitpur, this instrument is played during Machhindra Nath Jatra and in different occasions. This instrument is one of the main instrument played in Newari culture.
Newari Typical Dress
The majority of people residing in the Kathmandu Valley are Newars. Their facial features are a mixture of Mongoloid, Caucasian, Australoid and Tibetanish also. The skin pigmentation varies from very dark to very fair.
Among the various ornaments worn by Newars, the one that distinctly stand out are, "Loonswan" which is a gold plate worn at the center of the head with superb designs all over with a coral containing an image of Lord Ganesh in the middle. A huge golden necklace known as "Tayo" which hold significant meanings is also important. A "Ghau", which is golden pendant with stones joined to the necklace is also impressive. "Kilip" as the name suggest is worn at the back of the head. The word probably came from the english word 'clip'. Te "Teek Ma" is another elaborate pieceworn on the head. It has many small strings attached to a point and is worn on the side. Beside these, some of the commonly worn ornaments are "Patachin shikha" or a simple gold necklace, "Company shika" which is a necklace made of coins, and "Bhimpuma", another necklace made of coral. The earrings are u-shaped and are called "Makansi". The hand are adorned with gold rings and bangles. "kalli" which is usually made of silver is also worn around the ankles.
Though most of the Newars wear sarees they call it a "parsi", and unlike the other instead of putting the end at the back, they wrap it around their waist above the pleats. A "patuka" is usually worn above it and the blouse completes the attire. However the Jyapu community wears a distint saree popularly known as "Haku Patashi", which is plain black saree with a red border. They were a full sleeved blouse which is tied at four different corners and is called 'Thana tagu kapoya lan'. Above it,a shawl or "haku gacha" is also worn. Then men wear a knee length dress, the upper part of which, resembles women's clothing, but is slightly loose and is called "lan" and the trousers worn with it is called "Suruwa".
However , one must note that newars living in various parts of kathmandu valley not only speak different dialects of Newari, but also wear differents types of clothings. Even the festivals are not the same as that can be seen during Gai Jatra and the Mohani festivals. And some festivals are only celebrated in Bhaktapur and Thimi
Nepal Script
Nepal Script is the script which can be taken as Nepal's original script on the way of script development. Ashokan Brahmi Script is the oldest script found in SAARC countries. It is also well known as Ashokan Script as king Ashoka spread this script in many places. Ashokan inscription in the Brahmi Script of 255 B.C. in pillar of Niglihawa of Kapilbastu district is the oldest one found in Nepal which roughly translates as-"king Piyadasi beloved of the gods, after 14 years of his coronation enlarged for the second time the stupa of Buddha Kanaka Muni, & after 20 years of his coronation he came himself & worshipped (&) he caused (this) stone pillar to be erected."
Gupta Script was developed in early Lichhivi period. It was in use from 4th to 7th century. Gupta Script and Kutila script are now named Pro Lichhivi script and Post Lichhivi script as decided by HMG, Archeology & culture dept. Different forms of are seen in different places such as in Devanagar (Patna), Bengal, Mithila, Kashmir, Nepal etc., and different name were given according to the cradles.
On the way of Script development Primary Nepal script was developed in 9th century, from Kutila script. Nepal script was developed in 10th century. Sharad Kasah, a well known epigraphist notes popular Nepal script (Prachalit lipi), Ranjana, Golmol, Bhujinmol, Pachumol, Kunmol, Kwenmol, Hinmol and Litumol- these 9 types of Scripts can be taken as Nepal's own script i.e. Nepal script. Among these, popular Nepal script was most widely used script which is in use till today (i.e. from 9th to 21st century). This script is more or less similar to Devanagari Script because both were developed from Brahmi script.
Ranjana (Calligraphy) is artistic script. It is also considered as holy script, which developed in 11th century. This script is spread in many countries like India, Tibet, China, Mongolia, Japan etc., specially in Buddhist monasteries. It has thick & thin attractive lining. Thick lined script can mark the paper for longer duration. This script is considered as world's 2nd most beautiful & artistic script. Kutaksyar is a way of writing Ranjana script especially in writing mantras, slogans etc, which, unlike others, runs from up to down.
It is worthwhile noting that scripts are not always related to the particular language. Though many inscriptions and manuscript are found written in Nepal Bhasa, Nepal script was most widely used to write Sanskrit language than Nepal Bhasa. Nepal script was also used to write Maithali language. A few years ago, a book 'Tarka Bitarka' by Nagendra Sharma has been published in Nepali Language in Nepal script. Brahmi script is parallelly related to Pali and Sanskrit. Today including Nepali, other languages : Hindi, Nepal Bhasa, Tamang, Maithali, for instance, are written in Devanagari. Even English we write is in Roman script. So, Nepal script does not belong to particular language or caste. It is the universal script of Nepal.
Gupta Script was developed in early Lichhivi period. It was in use from 4th to 7th century. Gupta Script and Kutila script are now named Pro Lichhivi script and Post Lichhivi script as decided by HMG, Archeology & culture dept. Different forms of are seen in different places such as in Devanagar (Patna), Bengal, Mithila, Kashmir, Nepal etc., and different name were given according to the cradles.
On the way of Script development Primary Nepal script was developed in 9th century, from Kutila script. Nepal script was developed in 10th century. Sharad Kasah, a well known epigraphist notes popular Nepal script (Prachalit lipi), Ranjana, Golmol, Bhujinmol, Pachumol, Kunmol, Kwenmol, Hinmol and Litumol- these 9 types of Scripts can be taken as Nepal's own script i.e. Nepal script. Among these, popular Nepal script was most widely used script which is in use till today (i.e. from 9th to 21st century). This script is more or less similar to Devanagari Script because both were developed from Brahmi script.
Ranjana (Calligraphy) is artistic script. It is also considered as holy script, which developed in 11th century. This script is spread in many countries like India, Tibet, China, Mongolia, Japan etc., specially in Buddhist monasteries. It has thick & thin attractive lining. Thick lined script can mark the paper for longer duration. This script is considered as world's 2nd most beautiful & artistic script. Kutaksyar is a way of writing Ranjana script especially in writing mantras, slogans etc, which, unlike others, runs from up to down.
It is worthwhile noting that scripts are not always related to the particular language. Though many inscriptions and manuscript are found written in Nepal Bhasa, Nepal script was most widely used to write Sanskrit language than Nepal Bhasa. Nepal script was also used to write Maithali language. A few years ago, a book 'Tarka Bitarka' by Nagendra Sharma has been published in Nepali Language in Nepal script. Brahmi script is parallelly related to Pali and Sanskrit. Today including Nepali, other languages : Hindi, Nepal Bhasa, Tamang, Maithali, for instance, are written in Devanagari. Even English we write is in Roman script. So, Nepal script does not belong to particular language or caste. It is the universal script of Nepal.
Newars of Kathmandu
Centrally located people of the country, the Newars are believed to be the most ancient inhabitants of the Kathmandu Valley or the “Melting Pot”. Mostly following Buddhism and Hinduism, they have a complicated culture with festivities which can be seen all the year round. Mostly based in traditional business, this culture has enormous collection of ancient music and artisans as its products. They have a special year that indicates the culture to be 1127 years as they celebrate their new year on October according to lunar calendar. Mostly dependent on farming, arts and crafts as their profession, their rich festivals and cultural rituals and lifestyles are still visible to anyone entering the valley of Kathmandu, specially Patan, Kasthamandap and Bhaktapur cities.
John K. Locke who did a detailed research on Newari culture; especially through his book “Karunamaya” describing the cult of the chariot festival of Nepal has rightly stated:
“The original inhabitants of the Valley are Newars who still comprise about half of the population of the Valley. Here also there has been a meeting of races and cultures. The Newars have been active traders with the plains and with Tibet since the beginning of their history, and the Valley has provided a new home for refugees from India from the time of Buddha and the rise of the Mauryan Dynasty right down to the Indian Mutiny in 1857. While the refugees from north and south tended to settle on isolated hillsides and in the shelter of inaccessible valleys where, until the push for development and modernization of Nepal, they remained closed units, cut off from their neighbors of a different race and culture on the near-by ridges and in the valleys beyond.”
During the early periods the newcomers from north and south were integrated into the Newar society of the valley, they became Newars in process. This further contributed to the cultural fabric of Newar society. Therefore, “Newar” is not an ethnic term but a cultural term denoting the very rich and complex culture of the society of the valley.
In fact, the Newars were a ‘nation’ apart, until they merged into the larger Nepal formed during the eighteenth century by a large and powerful group that came from outside Kathmandu Valley. These later arrivals, the Shahs of Gorkha and other Chhetris and Brahmans, dominated the valley in short order and set about to unify the country politically, while the Newars underwent a significant process of change.
Today the term ‘Newar’ embraces people of both Mongoloid and Mediterranean physical types who speak both Nepali, an Indo-Aryan language, and Newari, a Tibeto-Burman language which includes some half a dozen dialects.
Because of the complexities in the composition of Newar society, scholars in the past have developed various interesting theories about their origins. The Newari language, although greatly influenced by Sanskrit, is still distinctly a Tibeto-Burman tongue. Although it uses Devanagri script today, it does have its own script as well. Sylvain Levi put forward the theory that Newars migrated to Nepal from “regions north of the Himalayas”.
Some other scholars suggest that the Newars may have originated in South India, with ties or distinct similarities to a Hindu community on the Malabar Coast called the Nair, or Nayar. This theory was probably based on the mere phonetic similarity of terms that describe them and one or two other coincidences of customs, not believing either of these theories complete. Christoph von Furer-Haimendorf draws his own conclusion that “the bulk of the Newar people had been settled in the Nepal Valley since prehistoric times.”
Regmi, however, speculates that the early Newars may have an ancestry connected with both the Kiranti and the Lichhavis, one-time rulers of the Nepal Valley.
During the course of history a considerable amount of cultural influence has been exerted on the Newar culture by various immigrant groups. These immigrants were ultimately absorbed into the Newar community. Of all the people who migrated to the Nepal Valley, the Malla Kshatriyas of India were the most distinctive.
Conclusion:
Since most agree to the fact that the valley was drained by Manjushree who definitely had come down from north, it proves to the fact that the first settlement in the valley have been the Mongolians. There must have been other migrants from the south penetrating the huge jungles armed with malaria, settled in the valley or at its surface at the least which eventually led to a mixture of dialects and varied customs as Manjushree and his followers is believed to be a part of early Buddhism that represents compassion and definitely not . In due course of time, the civilization must have established a common name and hence the beginning of Newar civilization is estimated to be around the 6th century B.C. when the Kiratas, Kolliyas, Salmaliyas, Sakyas, Lichhavis and Shresthis combined to form the earliest known group of the Nepal Valley. The Mallas ruled from the thirteenth to the eighteenth century, when they were finally replaced by the Shah Kings. The Mallas brought with them the influence of a Hindu socio-religious base. To an otherwise non-caste country they introduced the caste system after the fashion of the Indian Hindu caste hierarchy followed by the Indian immigrants to Nepal.
Today, the bulk of the Newar population is concentrated inside the valley in the large cities of Kathmandu, Patan, Bhadgaun, Kirtipur and half a dozen smaller towns. In addition, a fair number of Newars have settled in villages and markets outside Kathmandu Valley during the course of the last two centuries.
“A Newar has been defined as an inhabitant of the Valley of Nepal who speaks Newari”.
John K. Locke who did a detailed research on Newari culture; especially through his book “Karunamaya” describing the cult of the chariot festival of Nepal has rightly stated:
“The original inhabitants of the Valley are Newars who still comprise about half of the population of the Valley. Here also there has been a meeting of races and cultures. The Newars have been active traders with the plains and with Tibet since the beginning of their history, and the Valley has provided a new home for refugees from India from the time of Buddha and the rise of the Mauryan Dynasty right down to the Indian Mutiny in 1857. While the refugees from north and south tended to settle on isolated hillsides and in the shelter of inaccessible valleys where, until the push for development and modernization of Nepal, they remained closed units, cut off from their neighbors of a different race and culture on the near-by ridges and in the valleys beyond.”
During the early periods the newcomers from north and south were integrated into the Newar society of the valley, they became Newars in process. This further contributed to the cultural fabric of Newar society. Therefore, “Newar” is not an ethnic term but a cultural term denoting the very rich and complex culture of the society of the valley.
In fact, the Newars were a ‘nation’ apart, until they merged into the larger Nepal formed during the eighteenth century by a large and powerful group that came from outside Kathmandu Valley. These later arrivals, the Shahs of Gorkha and other Chhetris and Brahmans, dominated the valley in short order and set about to unify the country politically, while the Newars underwent a significant process of change.
Today the term ‘Newar’ embraces people of both Mongoloid and Mediterranean physical types who speak both Nepali, an Indo-Aryan language, and Newari, a Tibeto-Burman language which includes some half a dozen dialects.
Because of the complexities in the composition of Newar society, scholars in the past have developed various interesting theories about their origins. The Newari language, although greatly influenced by Sanskrit, is still distinctly a Tibeto-Burman tongue. Although it uses Devanagri script today, it does have its own script as well. Sylvain Levi put forward the theory that Newars migrated to Nepal from “regions north of the Himalayas”.
Some other scholars suggest that the Newars may have originated in South India, with ties or distinct similarities to a Hindu community on the Malabar Coast called the Nair, or Nayar. This theory was probably based on the mere phonetic similarity of terms that describe them and one or two other coincidences of customs, not believing either of these theories complete. Christoph von Furer-Haimendorf draws his own conclusion that “the bulk of the Newar people had been settled in the Nepal Valley since prehistoric times.”
Regmi, however, speculates that the early Newars may have an ancestry connected with both the Kiranti and the Lichhavis, one-time rulers of the Nepal Valley.
During the course of history a considerable amount of cultural influence has been exerted on the Newar culture by various immigrant groups. These immigrants were ultimately absorbed into the Newar community. Of all the people who migrated to the Nepal Valley, the Malla Kshatriyas of India were the most distinctive.
Conclusion:
Since most agree to the fact that the valley was drained by Manjushree who definitely had come down from north, it proves to the fact that the first settlement in the valley have been the Mongolians. There must have been other migrants from the south penetrating the huge jungles armed with malaria, settled in the valley or at its surface at the least which eventually led to a mixture of dialects and varied customs as Manjushree and his followers is believed to be a part of early Buddhism that represents compassion and definitely not . In due course of time, the civilization must have established a common name and hence the beginning of Newar civilization is estimated to be around the 6th century B.C. when the Kiratas, Kolliyas, Salmaliyas, Sakyas, Lichhavis and Shresthis combined to form the earliest known group of the Nepal Valley. The Mallas ruled from the thirteenth to the eighteenth century, when they were finally replaced by the Shah Kings. The Mallas brought with them the influence of a Hindu socio-religious base. To an otherwise non-caste country they introduced the caste system after the fashion of the Indian Hindu caste hierarchy followed by the Indian immigrants to Nepal.
Today, the bulk of the Newar population is concentrated inside the valley in the large cities of Kathmandu, Patan, Bhadgaun, Kirtipur and half a dozen smaller towns. In addition, a fair number of Newars have settled in villages and markets outside Kathmandu Valley during the course of the last two centuries.
“A Newar has been defined as an inhabitant of the Valley of Nepal who speaks Newari”.
Though the most elaborate Hindu temples are those dedicated to the worship male deities such as Shiva, Ganesha, Vishnu etc, far greater attention is paid to the propitiation of less august though more powerful and dangerous female deities. In addition to the popularity of such non-Tantrik female deities as Saraswati, Lakshmi and Parvati, the newars devote a great deal of their ritual activity to the worship of the Devi in one of her many dangerous mature, blood lusting forms (kali, Durga, Ajima, Bhairavi, Taleju etc). But the most notable and perhaps the unique feature of their religion is the prominence given to the worship of the Living Virgin Goddess — The Kumari
History of Kumari
Kumari Puja or "Virgin worship", is a feature of Hinduism of the greatest antiquity dating back at least to the vedic period.The earliest known reference occurs in a Sixth or Seventh century B.C. in which the sakti ('divine energy' or 'female creative principle') is adressed as Kanya Kumari. Thus for the evidence points solely to the existance of the goddess called Kumari; there is no information at all concerning the nature of her worship. Vamsavali provides a due to the possble origin of the unique practice of worshipping young girls as living Kumaris. There are many tales of the evidence of the kumari.The history of the kumaris can be analysis in the many of the facts. The most valuable facts are mentioned here as below.
Once there was a raja(king) Lakshmikamadeva of kantipur who reigned from about 1024 to 1040 A.D. He thought that his grandfather had acqures so much wealth and conqueres the four quarters of the world through the aid of the Kumaris, resolved to do the same. With this intention he went to the Patan Durbar, and having worshipped as Kumari the daughter of a bandya(shakya cast), living in a bihar near the Durbar, known by the name of Lakshmi-barmam, he erected as images of kumari and established the Kumari Puja("Virgin Worship").
A similar tale focussing on the dice game and subsequent retreat of the goddess into the form of a shakya girl is told in Patan, though the relevent monarch is said to be either Sidhinarasingh(King of Patan"), the seventeenth century monarch who built the first Taleju Temple. The widely known story recounts how kumari as Taleju used to come to speak to Siddhinarasingh in his agama in the palace. He ruled the kingdom in accordance with her advice. Then one day when they were playing tripasa his queen saw them through the keyhole. She complained to the king and when the goddess heard this she told him that she could not come anymore to a palace where she was regarded with suspicion. Siddhinarasingh was worried and asked her if they couldnot perhaps continue to meet if she too some other form.She then told him that she would enter into the body of a young girl whose parents were of a degraded and low proession.Siddhinarasingh himself looked for such a family and he selected the doodah, a section of the Bajracharya caste whose members gather gold-dust from rubbish and melt it down for re-working.
Kumari Ghar — House of Living Goddess
The Kumari who was once the tutelary divinity of the malla kings of patan, is still of considerable importance, especially in her own town. King Siddhinarasingh malla used to play tripasa( a kind of game) with Kumari in his own palace. one day queen saw them playing tripasa through a key hole. She complained to the king and when the goddess heard this, told the king that she couldnot come to the palace where she was regarded with suspicion.The King felt afflicted by the misbehaviour of queen and he beged apolize himself and also requseted her to meet in the otherway.and then kumari let him know that she would take a birth in the middle class family. And house where kumari is borned is known as "kumari Ghar"(kumari's house). And since the day, the house where living goddess kumari lives is regarded as "kumari ghar".
Now Patan kumari has not granted the official house or governmental house yet. She has been living with her family in her family house. The residense of the family house of Kumari is knowm as the "Kumari Ghar". The next new kumari has her own house as Kumari ghar. Recent kumari Chanira Bajracharya has being living with her family at the Ghabahal. It lies in the central part of the kumari city near by the Patan Durbar Square.
The Selection of Patan Kumari
The Patan Kumari is chosen from the daughters of the Hawbaha men. The descriptions of the selection procedure by the the selection commitee is describe here. When the previous incumbent, who was then about 12, was seen to be no longer fit because of some strange signs of ugliness on her face, a report was sent to the Hakim of the Chebhadel section of the Patan administrative system. The Hakim was one of the surviving officers of the old Malla regime and untill the position was abolished tasks in recent years, the hereditary incumbent carried out a number of ceremonial tasks. In Malla times he would have been one of the most powerful men in the kingdom. He came to Habaha and after looking at the girl declared her unfit , whereupon a man immediatly went around the locality announcing that all iligible girls should be brought to the baha. Twenty girls came and sat on the raised platform(Phalcha) just to the right of the entrance where the Malpujari(chief Priest) of Taleju, a Deo Brahman by caste, examined them with the Hakim acting as witness.Partly by interrogation of the girl's mother and partly by physical examination he reduced the field to just four. Then Malpujari then took them to the Bada Guruju (Royal priest) in Kathmandu for the final selection. The wife of the Bada Guruju first examined them physically and as a result two more were disqualified. Now the Bada Guruju asked two male assistants what they thought and after some consultation. Then the Bada Guruju , after a brief examination, declared her to be the next Kumari. The things that the Bada Guruju takes the examinitaions are listed here:
* The girl must belong to the Bajracharya clan, a community of goldsmiths, no more than a handful in number.
* Her family background must be impeccable with a reputation for piety, and the committee studies the candidate for calmness and poise.
* She must possess all the 32 lachchins (characteristics) of physical perfection. Her skin must be blemish-free, her hair and eyes, very black. Her body has to be sturdy as a Banyan tree, thighs like those of a deer, neck like a conch-shell and tongue, small and moist. The voice will be crystal clear, hands and feet dainty and sexual organs small and well-recessed. Strangely, for a child, she should also have a set of 40 teeth.
* Her horoscope must match that of the king's.
* If the blood-loving Taleju is to reside in her, she must not be repelled at the sight of gore. And to test her fearlessness, the child is pushed into an odiferous room with 108 decapitated buffalos laid out in a sea of blood. Men wearing horrid masks dance among them in an effort to frighten the child, who walks clockwise through this scene of carnage. If she cries out, faints or shows any sign of hysteria, she is immediately disqualified and the next candidate is brought forward for consideration.
Once the Kumari is chosen, she must be purified so that she can be an unblemished vessel for Taleju. She is taken by the priests to undergo a number of secret Tantric rituals to cleanse her body and spirit of her past experiences. Once these rituals are completed, Taleju enters her and she is presented as the new Kumari. She is dressed and made up as a Kumari and then leaves the Taleju temple and walks across the square on a white cloth to the Kumari Ghar that will be her home for the duration of her divinity.
Various specialist had stated thier own veiw on the selection of the Kumari. Dr. Allen has presented the criteria in detail for the selection of Kumari. The source of such information is Bajracharya the family of which alone has the privilege of their daughters endowed with such virtues. In his words the qualities and the virtues would be Kumari is supposed to possess are enumerated as made available to him by Bajracharya as below:
1) Feet well proportioned.2) Spiralling lines on the soles of the feet. 3) Nails well proportioned. 4) Long and well formed toes. 5) Feet and hands like those of a duck (with netlike lines). 6) Feet and hands soft and firm. 7) The body broad at the shoulders and narrow at the waist. 8) Thighs like those of a deer. 9) Small and well recessed sexual organs. 10) Chest like a lion. 11) Well-spread shoulders. 12) Long arms. 13) Pure body.14) Neck like a conch shell. 15) Cheeks like lion. 16) Forty teeth. 17) Teeth white and nicely shaped. 18) No gaps between teeth. 19) Tongue small and sensitive. 20) Tongue moist. 21) Voice clear and soft like a duck’s. 22) Eyes blue/black. 23) Eyelashes like those of a cow. 24) A beautiful complexion with white luster. 25) A gold-coloured complexion. 26) Skinpores small and not too open. 27) Hair-whorls stiff and turning to the right. 28) Hair black. 29) Forehead large and well-proportioned. 30) Head round with cone-shaped top. 31) Body shaped like a banyan tree. 32) Robust body.
The Aunti Kumari
Auntie Kumari is still virgin. She was selected and incarnated Goddess Kumari when she was 2 and half year. To the surprise to all whoever knows her and has visited the Kumari house admits there is one more miracle in the world to know how she has deserved the right to be worshipped and remained virgin even at the age of 56.
Officially Government denounced her as official Kumari on the only ground that she has grown old and can no longer be accepted as child and selected another one but in practice she remained virgin and maintained her chastity without being menstruated as yet at 56. She is being honored and worshipped
as usual.
Tantrik Buddhist Dance Of Nepal
The Nepal Valley full to the brim with Buddhist culture established by Adi Buddhas like Dipankara is a land of glory graced by Swayambhu Mahachaitya, the self-emanating light, a vast array of Chaityas, temples, Jinalaya (monasteries), home of saints and sages. Nepal is a country with a long tradition of Sravakayana, Mahayana, and Vajrayana Buddhism since the ancient times to the present day accompanied by a continuous flow of rituals, cultural activities in the form of fairs, pilgrimages observed with piety and devotion. The august presence of Swayambhu Mahachaitya and a magnificent chain of monasteries have rendered the cultural tradition a meaning and a purpose.
It is this Swayambhu Mahachaitya which was the pivot of meditation, yogic practice and Buddhist rituals in the past. There is Sangha in each Vihar. Worship is done in each Agama. People carry on Buddhist ritual activities through meditation, yoga, and worship, praying for the attainment of Nirvana and Bodhisattvahood. People dedicate their lives to public welfare in every possible way in order to attain Nirvana. There is a tradition of doing welfare of the people by becoming siddhas and Bodhisattvas. Besides this, Vajrayana is practiced and Chachas are sung and chacha dances are performed to explain the meanings of various concepts of Vajrayana philosophy in a simple and delicate manner. By keeping each tradition alive, our ancestors living in bahas and bahis had living. The cultural history of Nepal bears witness to this fact. This very chacha tradition is still alive among the Vajracharyas and Shakya. This is the main reason why Manjushri and Swayambhu Mahachaitya, the Builders of Nepal's glorious past, can never be forgotten. Both will continue to be objects of veneration and piety in the distant future.
Introduction of Chacha
In order to perpetuate and preserve Vajrayana Buddhism bestowed by the Buddha, and Bodhisattvas through external and internal Pujas in their respective bahas and bahis, the former Acharyas had continued the practice in tune with the spirit of time. In this context, Charyagiti (Chacha song), Charya Nrtya (Chacha dance) constitute a potential treasure of the philosphy of Vajrayana Buddhism. This chacha does not exist simply in the form of a musical and poetic devotional song, but is also a medium of instilling the enthusiasts and devotees into the philosophy of Prajna, (Knowledge), Karuna (compassion) and Prajnaupaya (ways of Knowledge) through the knowledge like that of Pragaparamita being fully immersed in spiritual thinking and enternal truth. In this context, charya is one of the elements which is very much important in this external and internal tradition. There is the practice of chanting Chacha, Charya and cha: cha: the tradition of chachas like Vajragiti, Charyapada, etc within the Tantra tradition continues properly in the Nepal Valley, since the past.
The manifestation of the female deities of this tradition such as Heruka, Khaganana, Hevajra, Nairatna, Vajrayogini, etc. has taken place at the time of manifestation of Swayambhu Jyotirupa. In line with this tradition, after the Nepal Valley was made worthy of settlement by cutting of the ridge of Nagadaha with his Chandrahasa Khadga (sword named Chandrahasa) by Guru Mahamanjushri, a party of men who had seen Jyotirupa made a search of the spread of root of the lotus and eventually had the Darshan of Khagana Devi (Guhyes tiwari) After the Darshan of Khaganana Devi, Chacha of Hevajra Nairatnma (also called shodasabhuja chacha) was chanted and Puja was offered in full praise of Khaganana Devi. Similarly, he (Manjushri) had darshan of chakrasmvara and Vajravarahi and also chanted chacha. This is still a popular belief among the Buddhist of Nepal.
Considering the sad condition of the Chacha in the Kathmandu Valley, a group of enthusiastic Varacharayas and Shakyas established a Dance Mandala. This Mandala was established in Nepal Samvat 1116 (1996) with the objective of introducing the chacha in its original spirit truly representative of the essence of Vajrayana Buddhism.
In fact, in this fast changing work 40 years is a long period. Even then, chacha has not become popular among the people to the desired extent. It would not be too far to say that the Vajracharyas and Shakyas have remained away from taking initiative in this direction due to social criticism. The political and economic disparities and incongruities in Nepal are not less responsible for the decline of popularity of Chacha.
In order to preserve and protect the historic tradition of chacha in the Kathmandu Valley, Vajracharyas and Shakyas have kept alive the chacha, the worship of bahas and bahis and the ritual activities connected with the chacha. They have to guard against further deterioration of this tradition. It is time that chacha must not be confined to Agama ritual but it must be improved and preserved employing its various positive aspects as far as possible. The bahas and bahis which have a pride of place in Nepal must be developed as seats of Buddhist learning and culture as in the past. For this, Vajracharyas and Shakyas have to move ahead thinking the ways and means of developing their rich cultural heritage in tune with the challenges of time. It is only through this outlook that the Buddhist cultural heritage of the Kathmandu Valley can be preserved for years to come.
It is this Swayambhu Mahachaitya which was the pivot of meditation, yogic practice and Buddhist rituals in the past. There is Sangha in each Vihar. Worship is done in each Agama. People carry on Buddhist ritual activities through meditation, yoga, and worship, praying for the attainment of Nirvana and Bodhisattvahood. People dedicate their lives to public welfare in every possible way in order to attain Nirvana. There is a tradition of doing welfare of the people by becoming siddhas and Bodhisattvas. Besides this, Vajrayana is practiced and Chachas are sung and chacha dances are performed to explain the meanings of various concepts of Vajrayana philosophy in a simple and delicate manner. By keeping each tradition alive, our ancestors living in bahas and bahis had living. The cultural history of Nepal bears witness to this fact. This very chacha tradition is still alive among the Vajracharyas and Shakya. This is the main reason why Manjushri and Swayambhu Mahachaitya, the Builders of Nepal's glorious past, can never be forgotten. Both will continue to be objects of veneration and piety in the distant future.
Introduction of Chacha
In order to perpetuate and preserve Vajrayana Buddhism bestowed by the Buddha, and Bodhisattvas through external and internal Pujas in their respective bahas and bahis, the former Acharyas had continued the practice in tune with the spirit of time. In this context, Charyagiti (Chacha song), Charya Nrtya (Chacha dance) constitute a potential treasure of the philosphy of Vajrayana Buddhism. This chacha does not exist simply in the form of a musical and poetic devotional song, but is also a medium of instilling the enthusiasts and devotees into the philosophy of Prajna, (Knowledge), Karuna (compassion) and Prajnaupaya (ways of Knowledge) through the knowledge like that of Pragaparamita being fully immersed in spiritual thinking and enternal truth. In this context, charya is one of the elements which is very much important in this external and internal tradition. There is the practice of chanting Chacha, Charya and cha: cha: the tradition of chachas like Vajragiti, Charyapada, etc within the Tantra tradition continues properly in the Nepal Valley, since the past.
The manifestation of the female deities of this tradition such as Heruka, Khaganana, Hevajra, Nairatna, Vajrayogini, etc. has taken place at the time of manifestation of Swayambhu Jyotirupa. In line with this tradition, after the Nepal Valley was made worthy of settlement by cutting of the ridge of Nagadaha with his Chandrahasa Khadga (sword named Chandrahasa) by Guru Mahamanjushri, a party of men who had seen Jyotirupa made a search of the spread of root of the lotus and eventually had the Darshan of Khagana Devi (Guhyes tiwari) After the Darshan of Khaganana Devi, Chacha of Hevajra Nairatnma (also called shodasabhuja chacha) was chanted and Puja was offered in full praise of Khaganana Devi. Similarly, he (Manjushri) had darshan of chakrasmvara and Vajravarahi and also chanted chacha. This is still a popular belief among the Buddhist of Nepal.
Considering the sad condition of the Chacha in the Kathmandu Valley, a group of enthusiastic Varacharayas and Shakyas established a Dance Mandala. This Mandala was established in Nepal Samvat 1116 (1996) with the objective of introducing the chacha in its original spirit truly representative of the essence of Vajrayana Buddhism.
In fact, in this fast changing work 40 years is a long period. Even then, chacha has not become popular among the people to the desired extent. It would not be too far to say that the Vajracharyas and Shakyas have remained away from taking initiative in this direction due to social criticism. The political and economic disparities and incongruities in Nepal are not less responsible for the decline of popularity of Chacha.
In order to preserve and protect the historic tradition of chacha in the Kathmandu Valley, Vajracharyas and Shakyas have kept alive the chacha, the worship of bahas and bahis and the ritual activities connected with the chacha. They have to guard against further deterioration of this tradition. It is time that chacha must not be confined to Agama ritual but it must be improved and preserved employing its various positive aspects as far as possible. The bahas and bahis which have a pride of place in Nepal must be developed as seats of Buddhist learning and culture as in the past. For this, Vajracharyas and Shakyas have to move ahead thinking the ways and means of developing their rich cultural heritage in tune with the challenges of time. It is only through this outlook that the Buddhist cultural heritage of the Kathmandu Valley can be preserved for years to come.
Newars, new and old
Newars are supposed to be Nepal's early settlers, according to one theory even lending their name to the country. They form not a caste, but a complex community--in 1854, the Muluki Ain divided Newars into the equivalent of the four castes, from Brahmins (Rajopadhyaya and Vajracarya), to dalits (Pode and Cyama khalak).
There were only scattered references to Newars in the classic accounts of Nepal (Kirkpatrick in 1811, Hamilton in 1819, Hodegson and Oldfield both in 1880). The first comprehensive piece of research on Newars appeared in 1923, in KP Chattopadhyaya's An Essay on the History of Newar Culture followed, 25 years later by Dilli Raman Regmi's The Antiquity of the Newars of Kathmandu. Western scholars started to focus on Newar communities after Gopal Singh Nepali's full-length book in 1965. One of them was Gerard Toffin.
In the last 30 years, Toffin, now a director of research at France's mammoth National Centre for Scientific Research (CNRS), has written a number of papers exploring different aspects of Newar culture. Most of Toffin's work is in French (bar a two-page preface to the 1993 Nepal: Past and Present, which he edited), and non-speakers have long felt the need for translations. Himal Books' new volume of selected papers by Toffin is good news for academics and laypeople.
The 13 research papers in Newar Society: City, Village and Periphery are based on extensive fieldwork and personal observation and constitute a significant contribution to the social study of Nepal.
Toffin begins with the Citrakars, Rajopadhyayas, and Maharjans of the city. In his work on the painter Citrakars, he focuses on their two main guthis (si guthi and desla guthi), kinship and marriage patterns and, of course, their art, which sometimes functions as medicine. Toffin describes how they treat Jwanakai, which is thought to be caused by snakes, by painting two lions on the sides of the affected area. The chapter on the Rajopadhyayas mainly deals with the history of the caste and their role as the priests of Hindu Newars. The author argues that, despite substantial changes in their tradition and rituals, the religious identity of the Rajopadhyayas is still largely intact. Toffin's chapter on the social and territorial organisation of the Maharjans of Kathmandu city-their twah or tol system-and their vocal and instrumental music. To readers who equate Maharjans with farmers, this new information is fascinating.
The three papers on the little known Lalitpur Maharjan village of Pyangaon come from Toffin's long periods of fieldwork. He makes a detailed study of Swagumi, who "adopted a Jyapu lifestyle and became Newarised" in one, and in another provides a picture of intercaste relationships, particularly between 'pure' and 'impure' castes, and the position of Swagumi within the Newar caste system. Toffin's third Pyangaon paper is about the socio-religious structures of the Maharjans, this time as villagers. A detailed comparative study of the Maharjans in city and village would have been welcome.
Two chapters are devoted to the little-known Balami and Pahari communities who live on the 'periphery', defined here as "the intermediate space located between Kathamandu Valley and the middle hills of central Nepal and its forested areas". Toffin convincingly identifies them with Newars, because their caste, kinship, and guthi rules are the same, as is their language.
Three papers focus on specific aspects of Newar society, the guthi system, the Mohani festival, and funeral rites in relation to the Newar castes. Toffin explains how guthis "regulate several aspects of Newar social and religious life, and even possess economic functions in some limited cases". Similarly, he analyses how Panauti Newars observe the Mohani festival with special devotion to Asta Matrika, Nava Durga, Taleju, and Kumari, and how the 14 different Newar caste, from Rajopadhyaya to Pode, of the area perform funeral rites.
The last two chapters deal primarily with the recent changes in urban and rural Newar society. One focuses on the role of modern ethnic associations in constructing the identity of a particular caste or group, the other on the changing status and role of women in Newar society, in the context of recent amendments in the Muluki Ain.
All the papers were written at different times as independent articles. Together they sometimes lack coherence, or can get repetitive. What pulls the volume together is Toffin's 21-page introduction, which successfully synthesises the different themes explored and reflects an up-to-date understanding of Newar society and culture.
There are some omissions and errors. Except in a few cases, the data on population, household, and the like are dated. For example the 2001 census puts Citrakars and Rajopadhyaya at over 5,000 each, while Toffin's essay says there are 1,200 and 1,500 respectively. The Jyapu Mahaguthi and Citrakar Samaj are mentioned, but not the Manandhar Sangh which was founded in 1954. The discrete index entries for Manandhar and Sayami, the same caste group, are confusing. History of Nepal was written by BJ Hasrat, and not RL Hasrat. The collection would also have benefited from a glossary of Newari terms.
These minor shortcomings do not, however, lower the standard of the book. Toffin's work is a significant contribution to the study of Newar society and culture, and, as the publisher's note says, "will certainly be very useful to the Newar themselves to help them understand their own society differently, if not better. It will also prove extremely informative to non-Newars in understanding one of the most ancient, complex, and fascinating social groups of Nepal."
There were only scattered references to Newars in the classic accounts of Nepal (Kirkpatrick in 1811, Hamilton in 1819, Hodegson and Oldfield both in 1880). The first comprehensive piece of research on Newars appeared in 1923, in KP Chattopadhyaya's An Essay on the History of Newar Culture followed, 25 years later by Dilli Raman Regmi's The Antiquity of the Newars of Kathmandu. Western scholars started to focus on Newar communities after Gopal Singh Nepali's full-length book in 1965. One of them was Gerard Toffin.
In the last 30 years, Toffin, now a director of research at France's mammoth National Centre for Scientific Research (CNRS), has written a number of papers exploring different aspects of Newar culture. Most of Toffin's work is in French (bar a two-page preface to the 1993 Nepal: Past and Present, which he edited), and non-speakers have long felt the need for translations. Himal Books' new volume of selected papers by Toffin is good news for academics and laypeople.
The 13 research papers in Newar Society: City, Village and Periphery are based on extensive fieldwork and personal observation and constitute a significant contribution to the social study of Nepal.
Toffin begins with the Citrakars, Rajopadhyayas, and Maharjans of the city. In his work on the painter Citrakars, he focuses on their two main guthis (si guthi and desla guthi), kinship and marriage patterns and, of course, their art, which sometimes functions as medicine. Toffin describes how they treat Jwanakai, which is thought to be caused by snakes, by painting two lions on the sides of the affected area. The chapter on the Rajopadhyayas mainly deals with the history of the caste and their role as the priests of Hindu Newars. The author argues that, despite substantial changes in their tradition and rituals, the religious identity of the Rajopadhyayas is still largely intact. Toffin's chapter on the social and territorial organisation of the Maharjans of Kathmandu city-their twah or tol system-and their vocal and instrumental music. To readers who equate Maharjans with farmers, this new information is fascinating.
The three papers on the little known Lalitpur Maharjan village of Pyangaon come from Toffin's long periods of fieldwork. He makes a detailed study of Swagumi, who "adopted a Jyapu lifestyle and became Newarised" in one, and in another provides a picture of intercaste relationships, particularly between 'pure' and 'impure' castes, and the position of Swagumi within the Newar caste system. Toffin's third Pyangaon paper is about the socio-religious structures of the Maharjans, this time as villagers. A detailed comparative study of the Maharjans in city and village would have been welcome.
Two chapters are devoted to the little-known Balami and Pahari communities who live on the 'periphery', defined here as "the intermediate space located between Kathamandu Valley and the middle hills of central Nepal and its forested areas". Toffin convincingly identifies them with Newars, because their caste, kinship, and guthi rules are the same, as is their language.
Three papers focus on specific aspects of Newar society, the guthi system, the Mohani festival, and funeral rites in relation to the Newar castes. Toffin explains how guthis "regulate several aspects of Newar social and religious life, and even possess economic functions in some limited cases". Similarly, he analyses how Panauti Newars observe the Mohani festival with special devotion to Asta Matrika, Nava Durga, Taleju, and Kumari, and how the 14 different Newar caste, from Rajopadhyaya to Pode, of the area perform funeral rites.
The last two chapters deal primarily with the recent changes in urban and rural Newar society. One focuses on the role of modern ethnic associations in constructing the identity of a particular caste or group, the other on the changing status and role of women in Newar society, in the context of recent amendments in the Muluki Ain.
All the papers were written at different times as independent articles. Together they sometimes lack coherence, or can get repetitive. What pulls the volume together is Toffin's 21-page introduction, which successfully synthesises the different themes explored and reflects an up-to-date understanding of Newar society and culture.
There are some omissions and errors. Except in a few cases, the data on population, household, and the like are dated. For example the 2001 census puts Citrakars and Rajopadhyaya at over 5,000 each, while Toffin's essay says there are 1,200 and 1,500 respectively. The Jyapu Mahaguthi and Citrakar Samaj are mentioned, but not the Manandhar Sangh which was founded in 1954. The discrete index entries for Manandhar and Sayami, the same caste group, are confusing. History of Nepal was written by BJ Hasrat, and not RL Hasrat. The collection would also have benefited from a glossary of Newari terms.
These minor shortcomings do not, however, lower the standard of the book. Toffin's work is a significant contribution to the study of Newar society and culture, and, as the publisher's note says, "will certainly be very useful to the Newar themselves to help them understand their own society differently, if not better. It will also prove extremely informative to non-Newars in understanding one of the most ancient, complex, and fascinating social groups of Nepal."
The Artistry of the Newars
FOR many travelers, Katmandu is just a staging place for expeditions, the town they go through to get to the Himalayas. Trek organizers typically set aside a day for shopping and a standard half-day tour that whisks through some of the notable religious sites. Impressive as these are, they give scarcely a glimpse of the real architectural and artistic glories of the Katmandu Valley, which are the legacy of its indigenous inhabitants, the Newars.
Until conquered by the Gorkhas, who unified Nepal in 1768-69, the three cities of the Katmandu Valley -- Katmandu, Patan and Bhaktapur -- were separate Newar kingdoms. Their artists and craftsmen, whose skill was noted by visitors as early as the seventh century, left their stamp on the art of Tibet and China.
I got my first look at the distinctive Newari style several years ago when a Nepali friend took my husband and me on a short visit to Bhaktapur, seven miles east of Katmandu and the best-preserved city of the valley. We stepped into another world: there were temples bearing grand multi-tiered roofs, and superb palace facades covered with a tapestry of carved woodwork, window frames and balconies of startling intricacy. Among this confusion of shrines and palaces, artisans sat in their shop doorways crafting objects in metal, wood and clay, while farmers drove cattle and women sifted grain. We were immediately smitten, and had to come back for a closer look.
On a return trip to Nepal last June I asked our hotel manager to find us a guide to the architectural treasures of the Katmandu Valley. He introduced us to Dhurba K. Deep, a Newari poet and author of articles about Newari culture, with whom we arranged a two-day tour. Mr. Deep, a slender, sprightly man, is highly knowledgeable about his country's history, religion and art, and he regaled us with myths about the gods and legends of the Newari kings.
Over the centuries the Newars excelled at every art they turned their hands to. As architects, sculptors and painters they created innovative and powerful forms; throughout Southeast and Central Asia they were acknowledged masters at casting bronze and copper, arts they still practice.
But perhaps the quintessential Newari art was woodcarving. With their talent for design and invention, the Newars turned the window into a lavish display of the carver's skill and imagination; instead of a rectangular hole, the window became richly decorative, exuberant, playful. Lintels and sills were horizontally extended, often framing an intricate latticed center assembled without glue or nails, and embellished with abstract and figurative images: birds, snakes, flowers, demigods. The Newars created beguiling patterns on brick walls, much as Persians, Turks and others did on carpets.
On a grander scale, the Newari kings of each of the three cities built a Durbar (or Palace) Square, competing to fill it with the most magnificent palaces and temples.
This outpouring of architectural splendor was quickly apparent the first day of our tour, in Bhaktapur, a medieval city free of cars. A German group cleaned it up in the 1970's, and it has remained well kept. The population is still almost entirely Newari.
We left our car and driver near the city gate, guarded by two stone lions, and stepped into Durbar Square, a vast, magnificent space filled with temples and shrines, yet spacious and uncrowded. One has the impression of sculpture everywhere, peopling the square with the pantheon of Hindu gods and mythological creatures. The architectural ensemble is a knockout; one hardly knows what to look at first. But Mr. Deep had a plan, and he led us to the northern end of the square, to the old royal palace.
Fierce, protective deities, masterworks of Newari sculpture, guard the entrance to the palace -- the Sun Dhoka (Golden Gate), whose shining golden doors, pillars and tympanum, created in 1753 from lavishly gilded copper, are profusely adorned with fabulous beasts and important deities that also had power to safeguard the royal family within. The "55-window palace" (I did not count) presents a characteristic Newari facade of brick embellished with intricately carved windows. The local clay imparts sensuous colors to Newari bricks: soft rose shading to apricot or blue. Against this field of warm, subtle color, the dark, rich brown of wooden windows and balconies stands out boldly.
The palace courtyard displays elaborately carved roof struts, characteristic of the Newars. Visitors can peek through a doorway into a 14th-century inner courtyard, a sacred shrine accessible only to Hindus. A new wing of the palace houses the National Art Gallery, containing an excellent collection of Newari sculpture and painting. Guides can be hired who can unlock a room containing 17th-century wall paintings.
Bhaktapur's Durbar Square was dense with temples until several were destroyed in an earthquake in 1934, which created the spacious appearance it has today. But many fine temples survived, some topped with the high, tapered shikara-style roof of southern India, others in pagoda style with multiple tiers of roofs.
We were stepping down from a lovely octagonal temple when we spotted a religious procession carrying plates of flowers. We decided to follow, and as we wound through curving lanes, keeping the group in sight but also gazing right and left, fine Newari windows appeared everywhere, not just on palaces.
SURPRISES awaited everywhere. Strewn throughout the three cities are small former Hindu and Buddhist monasteries now occupied as houses. Their courtyards, adorned with intricately carved doors and windows and accessible to visitors, appear through open archways. Some of the finest temples are hidden in courtyards reached through narrow alleys, a secret world that is one of the delights of exploring a Newari city.
The procession halted in Taumadhi Square, second of Bhaktapur's three great squares. Here Mr. Deep turned our attention to the towering Nyatapola Temple, its stairs guarded by pairs of stone sculptures: at the base a pair of monumental wrestlers, above them elephants, then lions, griffins and other mythological creatures. Each pair is considered to have 10 times the strength of the larger creatures just below. Another multi-tiered temple has been converted into a restaurant, Cafe Nyatapola, where we stopped for soft drinks and a good view of the square.
Bhaktapur is still a city of farmers. Men edged past us carrying loads of hay or baskets of vegetables suspended from poles balanced across their shoulders. Sheaves of unhusked corn hung from upper-story windows; chickens and sheep roamed the streets.
In the smaller squares, women wearing the distinctive Newari dress -- black saris edged with red bands -- were spreading newly harvested grain on mats to dry. Potters' Square, lined with sheds where potters worked at their wheels, was filled with terra-cotta ware drying in the sun.
The most famous of all Newari windows, a fantailed peacock emerging from a delicate web of latticed wood, is at Pujari-math, a former Hindu monastery just off Dattatreya Square, the oldest of Bhaktapur's three grand squares. Dattatreya is the woodcarvers' center; studios are full of handsome carvings and the best of the colorful marionettes sold all over the valley. The Woodcarving Museum is in Pujari-math, opposite a Brass and Bronze Museum.
We finished the first day of our tour by driving to Changu, a small Newari agricultural village barely altered by tourism and the 20th century, on a steep ridge about four miles north of Bhaktapur. Its temple, Changu Narayan, occupies the center of an arcaded courtyard containing stone sculptures dating from the earliest Newar dynasty, the Licchavi period (A.D. 300-879). Its famous images of Narayan, one of the manifestations of Vishnu, have a serene but elemental force.
The next morning we drove to Patan (also known as Lalitpur), about 20 minutes from the center of Katmandu. It is now virtually part of Katmandu, separated only by the Bagmati River. Its Durbar Square, packed with an almost bewildering collection of temples, is the heart of the city's everyday life, with women washing clothes in an old carved water tank at one end and vegetable sellers at another. The palace and its courtyards are laden with treasure -- sculpture, dazzlingly intricate windows, and roof struts carved into magnificent figures. Other superb temples are found along Patan's back streets.
In the afternoon we visited Katmandu's Durbar Square, linked to other squares that wrap around the old royal palace. It is a thicket of temples, and pulses with life and color. People sit on temple steps selling oranges, lentils and spices, chatting with friends and giving haircuts. Porters march through the square with bales of hay and bolts of cloth; taxis, rickshaws, and bicycles loaded with bananas weave through the crowds.
Here is Kumari Bahal, home of Nepal's living goddess, the Kumari Devi, a young Newari girl considered to be the incarnation of Taleju, the special goddess of the kings of Nepal. A Kumari is selected when she is about 4 or 5, and replaced at puberty by another child. Visitors may enter the gate, guarded by stone lions, and view the courtyard, with its exquisitely carved windows and balconies. Mr. Deep gained us a glimpse of the Devi on condition that we not photograph her: a young girl in a red sari, her hair piled above her head, her eyes outlined in black, her expression masklike.
The vigor and astonishing variety of the religious imagination are boldly manifested in the square, and every major style of Newari architecture is present. Along with temples dedicated to deities more familiar to Western visitors, such as Shiva, Vishnu and Krishna, there are ferocious images of the fanged, grimacing Bhairab, demonic in appearance but a powerful defender of the faith. A splendid 17th-century palace facade of rose-colored brick with elegantly carved windows and roof struts, a royal display of Newari virtuosity, contrasts with the Kast hamandap (Sanskrit for Wooden Pavilion), the massive, foursquare 12th-century wooden structure that gave the capital city its name.
This most ancient of buildings is not cordoned off but used un-self-consciously by ordinary people, comfortably at home in the monuments of their culture. Inside the Kasthamandap we found a group of sari-clad women in one corner, sitting cross-legged on the floor, led in song by a Hindu priest. In another corner, men sat chatting with friends. Just outside is a waist-high shrine to Ganesh, the elephant-headed god who destroys obstacles and watches over new beginnings. (Mr. Deep said that despite its size it is the most important Ganesh shrine in Katmandu.)
Amid the tumult of the square I watched a young girl approach the shrine, touch her head to the floor, daub the image of Ganesh with vermilion powder, then pick up a flower petal from the shrine and put it on her head. In a moment of private, ancient ritual she had honored the god and taken onto herself some of his power.
In the world of the Newars, marketplace, palace and temple share space; art, faith and daily business flow together. Making the most of the Katmandu Valley When to Go
The Katmandu Valley has a mild climate and can be visited comfortably at any time of year. Winter days are sunny and not especially cold, evenings chilly enough for a sweater and jacket. Weather is ideal in spring and fall. During the monsoon season (mid-June through mid-September), days can be sunny and very warm and rain often falls from early evening through the night. The country code for Nepal is 977, the city code for Katmandu 1. Where to Stay
The 76-room Hotel Shangri-la, on Lazimpat, Post Office Box 655, telephone 412-999, fax 414-184, is a comfortable, attractive place with the loveliest garden in town and a charming terrace restaurant. Rooms are decorated with handsome drawings of Newari facades. A double room is about $110.
Hotel Vajra, 271-545 or 272-719, fax 271-695, 51 rooms in an old Newari house and garden, is interesting but inconveniently far from the center of Katmandu: it's hard to get taxis there. A double room is about $70.
The 80-room Katmandu Guest House in the Thamel district, 413-632 or 418-733, is popular with climbers and trekkers; there are many similar and cheaper hotels in the area. Where to Eat
Dinner for two with a liter of beer costs between $12 and $20 at most good restaurants. The Ghar-e-Kebab, on Durbar Marg, 221-711, has superb Indian food. A Newari master of the sarod, a stringed instrument similar to a sitar in appearance, plays every evening except Thursdays between about 7 and 8:30 P.M., and throughout dinner on Wednesdays. He is followed at 8:30 by a group who perform the romantic, slightly melancholy Indian ghazal songs except on Wednesdays, and throughout dinner on Thursdays. Thayabhu, just off Lazimpat, 411-570, has attractive decor and Nepali and Newari food, both similar to Indian food, the latter distinguished by interesting bean salads and spicy pancakes. Bhoe Chen, 228-787, is a small, simple but charming place above Kailash Bookstore, near Hotel Yak and Yeti, with very good Newari food. Bhancha Ghar, in a handsomely restored Newari house on Kamaladi, east of Durbar Marg, 225-172, is a bit more expensive, with Nepali food.
The National Gallery of Art in Bhaktapur is open 10:30 A.M. to 4:30 P.M., until 2:30 on Fridays, and closed on Tuesdays. Traditional Newari paintings and statues. The Woodcarving and Brass and Bronze Museums in Bhaktapur are open 10 A.M. to 5 P.M., until 3 P.M. on Fridays, and closed on Tuesdays. The Patan palace courtyard is closed on Saturdays. The old palace of Katmandu is open 10:30 A.M. to 4 P.M. daily.
A taxi with driver may cost about $30 a day; the charge must be personally arranged. You can also reach Patan by bus and Bhaktapur by trolley-bus. Dhurba K. Deep's charge as guide is $50 a day; his numbers are 521-266 and 216-603. Should he be unavailable, hotels can find other guides
Until conquered by the Gorkhas, who unified Nepal in 1768-69, the three cities of the Katmandu Valley -- Katmandu, Patan and Bhaktapur -- were separate Newar kingdoms. Their artists and craftsmen, whose skill was noted by visitors as early as the seventh century, left their stamp on the art of Tibet and China.
I got my first look at the distinctive Newari style several years ago when a Nepali friend took my husband and me on a short visit to Bhaktapur, seven miles east of Katmandu and the best-preserved city of the valley. We stepped into another world: there were temples bearing grand multi-tiered roofs, and superb palace facades covered with a tapestry of carved woodwork, window frames and balconies of startling intricacy. Among this confusion of shrines and palaces, artisans sat in their shop doorways crafting objects in metal, wood and clay, while farmers drove cattle and women sifted grain. We were immediately smitten, and had to come back for a closer look.
On a return trip to Nepal last June I asked our hotel manager to find us a guide to the architectural treasures of the Katmandu Valley. He introduced us to Dhurba K. Deep, a Newari poet and author of articles about Newari culture, with whom we arranged a two-day tour. Mr. Deep, a slender, sprightly man, is highly knowledgeable about his country's history, religion and art, and he regaled us with myths about the gods and legends of the Newari kings.
Over the centuries the Newars excelled at every art they turned their hands to. As architects, sculptors and painters they created innovative and powerful forms; throughout Southeast and Central Asia they were acknowledged masters at casting bronze and copper, arts they still practice.
But perhaps the quintessential Newari art was woodcarving. With their talent for design and invention, the Newars turned the window into a lavish display of the carver's skill and imagination; instead of a rectangular hole, the window became richly decorative, exuberant, playful. Lintels and sills were horizontally extended, often framing an intricate latticed center assembled without glue or nails, and embellished with abstract and figurative images: birds, snakes, flowers, demigods. The Newars created beguiling patterns on brick walls, much as Persians, Turks and others did on carpets.
On a grander scale, the Newari kings of each of the three cities built a Durbar (or Palace) Square, competing to fill it with the most magnificent palaces and temples.
This outpouring of architectural splendor was quickly apparent the first day of our tour, in Bhaktapur, a medieval city free of cars. A German group cleaned it up in the 1970's, and it has remained well kept. The population is still almost entirely Newari.
We left our car and driver near the city gate, guarded by two stone lions, and stepped into Durbar Square, a vast, magnificent space filled with temples and shrines, yet spacious and uncrowded. One has the impression of sculpture everywhere, peopling the square with the pantheon of Hindu gods and mythological creatures. The architectural ensemble is a knockout; one hardly knows what to look at first. But Mr. Deep had a plan, and he led us to the northern end of the square, to the old royal palace.
Fierce, protective deities, masterworks of Newari sculpture, guard the entrance to the palace -- the Sun Dhoka (Golden Gate), whose shining golden doors, pillars and tympanum, created in 1753 from lavishly gilded copper, are profusely adorned with fabulous beasts and important deities that also had power to safeguard the royal family within. The "55-window palace" (I did not count) presents a characteristic Newari facade of brick embellished with intricately carved windows. The local clay imparts sensuous colors to Newari bricks: soft rose shading to apricot or blue. Against this field of warm, subtle color, the dark, rich brown of wooden windows and balconies stands out boldly.
The palace courtyard displays elaborately carved roof struts, characteristic of the Newars. Visitors can peek through a doorway into a 14th-century inner courtyard, a sacred shrine accessible only to Hindus. A new wing of the palace houses the National Art Gallery, containing an excellent collection of Newari sculpture and painting. Guides can be hired who can unlock a room containing 17th-century wall paintings.
Bhaktapur's Durbar Square was dense with temples until several were destroyed in an earthquake in 1934, which created the spacious appearance it has today. But many fine temples survived, some topped with the high, tapered shikara-style roof of southern India, others in pagoda style with multiple tiers of roofs.
We were stepping down from a lovely octagonal temple when we spotted a religious procession carrying plates of flowers. We decided to follow, and as we wound through curving lanes, keeping the group in sight but also gazing right and left, fine Newari windows appeared everywhere, not just on palaces.
SURPRISES awaited everywhere. Strewn throughout the three cities are small former Hindu and Buddhist monasteries now occupied as houses. Their courtyards, adorned with intricately carved doors and windows and accessible to visitors, appear through open archways. Some of the finest temples are hidden in courtyards reached through narrow alleys, a secret world that is one of the delights of exploring a Newari city.
The procession halted in Taumadhi Square, second of Bhaktapur's three great squares. Here Mr. Deep turned our attention to the towering Nyatapola Temple, its stairs guarded by pairs of stone sculptures: at the base a pair of monumental wrestlers, above them elephants, then lions, griffins and other mythological creatures. Each pair is considered to have 10 times the strength of the larger creatures just below. Another multi-tiered temple has been converted into a restaurant, Cafe Nyatapola, where we stopped for soft drinks and a good view of the square.
Bhaktapur is still a city of farmers. Men edged past us carrying loads of hay or baskets of vegetables suspended from poles balanced across their shoulders. Sheaves of unhusked corn hung from upper-story windows; chickens and sheep roamed the streets.
In the smaller squares, women wearing the distinctive Newari dress -- black saris edged with red bands -- were spreading newly harvested grain on mats to dry. Potters' Square, lined with sheds where potters worked at their wheels, was filled with terra-cotta ware drying in the sun.
The most famous of all Newari windows, a fantailed peacock emerging from a delicate web of latticed wood, is at Pujari-math, a former Hindu monastery just off Dattatreya Square, the oldest of Bhaktapur's three grand squares. Dattatreya is the woodcarvers' center; studios are full of handsome carvings and the best of the colorful marionettes sold all over the valley. The Woodcarving Museum is in Pujari-math, opposite a Brass and Bronze Museum.
We finished the first day of our tour by driving to Changu, a small Newari agricultural village barely altered by tourism and the 20th century, on a steep ridge about four miles north of Bhaktapur. Its temple, Changu Narayan, occupies the center of an arcaded courtyard containing stone sculptures dating from the earliest Newar dynasty, the Licchavi period (A.D. 300-879). Its famous images of Narayan, one of the manifestations of Vishnu, have a serene but elemental force.
The next morning we drove to Patan (also known as Lalitpur), about 20 minutes from the center of Katmandu. It is now virtually part of Katmandu, separated only by the Bagmati River. Its Durbar Square, packed with an almost bewildering collection of temples, is the heart of the city's everyday life, with women washing clothes in an old carved water tank at one end and vegetable sellers at another. The palace and its courtyards are laden with treasure -- sculpture, dazzlingly intricate windows, and roof struts carved into magnificent figures. Other superb temples are found along Patan's back streets.
In the afternoon we visited Katmandu's Durbar Square, linked to other squares that wrap around the old royal palace. It is a thicket of temples, and pulses with life and color. People sit on temple steps selling oranges, lentils and spices, chatting with friends and giving haircuts. Porters march through the square with bales of hay and bolts of cloth; taxis, rickshaws, and bicycles loaded with bananas weave through the crowds.
Here is Kumari Bahal, home of Nepal's living goddess, the Kumari Devi, a young Newari girl considered to be the incarnation of Taleju, the special goddess of the kings of Nepal. A Kumari is selected when she is about 4 or 5, and replaced at puberty by another child. Visitors may enter the gate, guarded by stone lions, and view the courtyard, with its exquisitely carved windows and balconies. Mr. Deep gained us a glimpse of the Devi on condition that we not photograph her: a young girl in a red sari, her hair piled above her head, her eyes outlined in black, her expression masklike.
The vigor and astonishing variety of the religious imagination are boldly manifested in the square, and every major style of Newari architecture is present. Along with temples dedicated to deities more familiar to Western visitors, such as Shiva, Vishnu and Krishna, there are ferocious images of the fanged, grimacing Bhairab, demonic in appearance but a powerful defender of the faith. A splendid 17th-century palace facade of rose-colored brick with elegantly carved windows and roof struts, a royal display of Newari virtuosity, contrasts with the Kast hamandap (Sanskrit for Wooden Pavilion), the massive, foursquare 12th-century wooden structure that gave the capital city its name.
This most ancient of buildings is not cordoned off but used un-self-consciously by ordinary people, comfortably at home in the monuments of their culture. Inside the Kasthamandap we found a group of sari-clad women in one corner, sitting cross-legged on the floor, led in song by a Hindu priest. In another corner, men sat chatting with friends. Just outside is a waist-high shrine to Ganesh, the elephant-headed god who destroys obstacles and watches over new beginnings. (Mr. Deep said that despite its size it is the most important Ganesh shrine in Katmandu.)
Amid the tumult of the square I watched a young girl approach the shrine, touch her head to the floor, daub the image of Ganesh with vermilion powder, then pick up a flower petal from the shrine and put it on her head. In a moment of private, ancient ritual she had honored the god and taken onto herself some of his power.
In the world of the Newars, marketplace, palace and temple share space; art, faith and daily business flow together. Making the most of the Katmandu Valley When to Go
The Katmandu Valley has a mild climate and can be visited comfortably at any time of year. Winter days are sunny and not especially cold, evenings chilly enough for a sweater and jacket. Weather is ideal in spring and fall. During the monsoon season (mid-June through mid-September), days can be sunny and very warm and rain often falls from early evening through the night. The country code for Nepal is 977, the city code for Katmandu 1. Where to Stay
The 76-room Hotel Shangri-la, on Lazimpat, Post Office Box 655, telephone 412-999, fax 414-184, is a comfortable, attractive place with the loveliest garden in town and a charming terrace restaurant. Rooms are decorated with handsome drawings of Newari facades. A double room is about $110.
Hotel Vajra, 271-545 or 272-719, fax 271-695, 51 rooms in an old Newari house and garden, is interesting but inconveniently far from the center of Katmandu: it's hard to get taxis there. A double room is about $70.
The 80-room Katmandu Guest House in the Thamel district, 413-632 or 418-733, is popular with climbers and trekkers; there are many similar and cheaper hotels in the area. Where to Eat
Dinner for two with a liter of beer costs between $12 and $20 at most good restaurants. The Ghar-e-Kebab, on Durbar Marg, 221-711, has superb Indian food. A Newari master of the sarod, a stringed instrument similar to a sitar in appearance, plays every evening except Thursdays between about 7 and 8:30 P.M., and throughout dinner on Wednesdays. He is followed at 8:30 by a group who perform the romantic, slightly melancholy Indian ghazal songs except on Wednesdays, and throughout dinner on Thursdays. Thayabhu, just off Lazimpat, 411-570, has attractive decor and Nepali and Newari food, both similar to Indian food, the latter distinguished by interesting bean salads and spicy pancakes. Bhoe Chen, 228-787, is a small, simple but charming place above Kailash Bookstore, near Hotel Yak and Yeti, with very good Newari food. Bhancha Ghar, in a handsomely restored Newari house on Kamaladi, east of Durbar Marg, 225-172, is a bit more expensive, with Nepali food.
The National Gallery of Art in Bhaktapur is open 10:30 A.M. to 4:30 P.M., until 2:30 on Fridays, and closed on Tuesdays. Traditional Newari paintings and statues. The Woodcarving and Brass and Bronze Museums in Bhaktapur are open 10 A.M. to 5 P.M., until 3 P.M. on Fridays, and closed on Tuesdays. The Patan palace courtyard is closed on Saturdays. The old palace of Katmandu is open 10:30 A.M. to 4 P.M. daily.
A taxi with driver may cost about $30 a day; the charge must be personally arranged. You can also reach Patan by bus and Bhaktapur by trolley-bus. Dhurba K. Deep's charge as guide is $50 a day; his numbers are 521-266 and 216-603. Should he be unavailable, hotels can find other guides
Products Of Bhaktapur
Bhaktapur is rich in its traditional culture and skills. The generations of master craftsmen have been carrying on their time –honored traditions of arts &crafts. There are plenty of shops and stalls catering to visitors around Durbar square and Taumadhi tole. Some of the major products from the crafts people of Bhaktapur are as follows.
Wood carvings
The art of wood carving has been the pride of Nepal for many centuries. Wood work has been part of the traditional architecture of Nepal and wood carvings have graced monasteries, temples, places and residential homes since the 12 th century. Bhaktapur is renowned for its wood carving and one of the good examples in the Handicrafts centers. The rich masterpieces in wood carving on the struts, pillars, windows of temples and buildings still boasts the skills of the craftsmen of Bhaktapur. Today, wood carving products like wooden frame, lamp stands, jeweler boxes, statues and so on have become popular souvenirs for foreign tourists as well as locals. Fabulous wood carved furniture, wooden toys and masterpieces of windows or sculptures- anything might catch your attention. Carving continues to play an important role in the traditional constructions being built in the valley today. Traditionally, woodcarving was confined to Newari artisans or Kami (Shilpakers).
Paubha / Thangkas paintings
Bhaktapur is reputed to be a centre for Thangkas painting. Thangkas are painted on cotton canvas with water soluble pigments, both mineral and organic, tempered with an herb and glue solution. The entire process demands great mastery over the drawing and perfect understanding of econometric principles. The physical construction of a Thangkas, as with the majority of Buddhist art, is highly geometric. Arms, legs, eyes, nostrils, ears, and various ritual implements are all laid out on a systematic grid of angles and intersecting lines. A skilled Thangkas artist will generally select from a variety of pre-designed items to include in the composition, ranging from alms bowls and animals, to the shape, size, and angle of a figure's eyes, nose, and lips. The process seems very scientific, but often requires a very deep understanding of the symbolism of the scene being depicted, in order to capture the essence or spirit of it. Paubha and Thanka’s are religious murals made on canvas usually depicting images of the Hindu and Buddhist deities, their incarnation and philosophies.
Terracotta
Bhaktapur is center of terracotta products. The two pottery squares are widely popular where they are produced. Potters, who are kumaha by cast, are popular to shape the clay in various forms. First lumps of clay are shaped on wheels. Then they are dried under the sun for two to three days. Next they are fired in chimneys for three full days. Potter are ever busy making small to large pots, statues of animals, birds toys and soon.
Traditional masks
Bhaktapur is renowned for traditional mask production. Masks are usually produced by the people of special cast called pun. Black clay, cotton, white cloths, Nepali paper and paints in the hands of these skilled puns produce masks that are used in traditional dances including the famous Nava Durga dance. Small as well as large replicas can serve as an attractive piece of souvenir.
Handloom
Modernization has some how affected the traditional handloom product but still Bhaktapur is famous for its traditional hand cloths if you walk through the tranquil alleys of Bhaktapur, you may still hear the sounds of the handloom tar its is a traditional craft of the local Newars. Haku patasi- solid black with red bordered saris, patuka, shawl, kopya Nan, natural black cap i.e. taka topi are typical Newari dresses woven in Newari designs using handloom products. The topi are another Bhaktapur speciality. The expert weavers are now producing Pashmina scarves and shawls as well.
Jujudhau (king curd) yogurt
The city of Bhaktapur is renowned for its Juju Dhau or Bhaktapur KO Dahe (curd from Bhaktapur). Traditionally the buffalo milk is used to produce this delicacy. The tasty yogurt is also known as king curd. It is the typical desert in a Newari community. In every ceremonial feast, yoghurt plays an important role. One should not miss it while visiting Bhaktapur. A visit to Bhaktapur is not complete without trying a bowl of Juju Dhau.
Metal crafts
It is also one of the important products of Bhaktapur, usually produced by a cast called Tama (Tamrakar). They are still handcrafted in the same method used at the time the craft originated centuries ago and represent auspicious, religious and powerful deities. Then there are the hand tapped pots, vases and bells used in homes all over Nepal . One can find people at work in the small alleys of sakotha.
Wood carvings
The art of wood carving has been the pride of Nepal for many centuries. Wood work has been part of the traditional architecture of Nepal and wood carvings have graced monasteries, temples, places and residential homes since the 12 th century. Bhaktapur is renowned for its wood carving and one of the good examples in the Handicrafts centers. The rich masterpieces in wood carving on the struts, pillars, windows of temples and buildings still boasts the skills of the craftsmen of Bhaktapur. Today, wood carving products like wooden frame, lamp stands, jeweler boxes, statues and so on have become popular souvenirs for foreign tourists as well as locals. Fabulous wood carved furniture, wooden toys and masterpieces of windows or sculptures- anything might catch your attention. Carving continues to play an important role in the traditional constructions being built in the valley today. Traditionally, woodcarving was confined to Newari artisans or Kami (Shilpakers).
Paubha / Thangkas paintings
Bhaktapur is reputed to be a centre for Thangkas painting. Thangkas are painted on cotton canvas with water soluble pigments, both mineral and organic, tempered with an herb and glue solution. The entire process demands great mastery over the drawing and perfect understanding of econometric principles. The physical construction of a Thangkas, as with the majority of Buddhist art, is highly geometric. Arms, legs, eyes, nostrils, ears, and various ritual implements are all laid out on a systematic grid of angles and intersecting lines. A skilled Thangkas artist will generally select from a variety of pre-designed items to include in the composition, ranging from alms bowls and animals, to the shape, size, and angle of a figure's eyes, nose, and lips. The process seems very scientific, but often requires a very deep understanding of the symbolism of the scene being depicted, in order to capture the essence or spirit of it. Paubha and Thanka’s are religious murals made on canvas usually depicting images of the Hindu and Buddhist deities, their incarnation and philosophies.
Terracotta
Bhaktapur is center of terracotta products. The two pottery squares are widely popular where they are produced. Potters, who are kumaha by cast, are popular to shape the clay in various forms. First lumps of clay are shaped on wheels. Then they are dried under the sun for two to three days. Next they are fired in chimneys for three full days. Potter are ever busy making small to large pots, statues of animals, birds toys and soon.
Traditional masks
Bhaktapur is renowned for traditional mask production. Masks are usually produced by the people of special cast called pun. Black clay, cotton, white cloths, Nepali paper and paints in the hands of these skilled puns produce masks that are used in traditional dances including the famous Nava Durga dance. Small as well as large replicas can serve as an attractive piece of souvenir.
Handloom
Modernization has some how affected the traditional handloom product but still Bhaktapur is famous for its traditional hand cloths if you walk through the tranquil alleys of Bhaktapur, you may still hear the sounds of the handloom tar its is a traditional craft of the local Newars. Haku patasi- solid black with red bordered saris, patuka, shawl, kopya Nan, natural black cap i.e. taka topi are typical Newari dresses woven in Newari designs using handloom products. The topi are another Bhaktapur speciality. The expert weavers are now producing Pashmina scarves and shawls as well.
Jujudhau (king curd) yogurt
The city of Bhaktapur is renowned for its Juju Dhau or Bhaktapur KO Dahe (curd from Bhaktapur). Traditionally the buffalo milk is used to produce this delicacy. The tasty yogurt is also known as king curd. It is the typical desert in a Newari community. In every ceremonial feast, yoghurt plays an important role. One should not miss it while visiting Bhaktapur. A visit to Bhaktapur is not complete without trying a bowl of Juju Dhau.
Metal crafts
It is also one of the important products of Bhaktapur, usually produced by a cast called Tama (Tamrakar). They are still handcrafted in the same method used at the time the craft originated centuries ago and represent auspicious, religious and powerful deities. Then there are the hand tapped pots, vases and bells used in homes all over Nepal . One can find people at work in the small alleys of sakotha.
Temples And Squares In Bhaktapur
Bhaktapur is the marvel of Kathmandu Valley and perhaps the most popular of the three Newar towns of the Kathmandu Valley. Fourteen kilometres east of Kathmandu, this peaceful, conservative town stands in sharp contrast to the bustle of its two adjacent cities. The kings of Bhaktapur ruled over Kathmandu and Patan from the twelfth century to the 14th century.
Bhaktapur is in many ways the most medieval of the three major cities in the Kathmandu Valley. Despite recent development, the city still retains a distinctly timeless air, with much of its glorious architecture dating from the end of the 17th century.
Newar art and architecture in Bhaktapur rival the best craftsmanship of the Malla period (from the 12th to the the 18th century). Though a massive earthquake of 1934 destroyed many temples, bahals (monastery courtyards), and residences, the city is still a living proof of the highest craft standards in this part of the world.
The Golden Gate was built in 1753 and since them it has earned fame as the most magnificent piece of metal craft in the entire country. The superbly crafted image of Goddess Taleju (tantric Goddess, a manifestation of Durga) is at the center and is a four-headed figure with ten arms. The top of the gate is adorned with a figure of Garuda. The panels depicting many deities around the doorframes are skilfully crafted and may be the finest in the valley.
Nyatapol, Taumadhi Tol
Bhakatapur's second main square is Taumadhi Tol, which features the five-roofed Nyatapola, the highest temple in the valley
Templet Nyatapola ligger på pladsen Taumadhi Tol.
Den 30 m høje pagode blev bygget i 1702 og er nok det bedste eksempel på traditionel nepalesisk pagodearkitektur.
(Kineserne lærte at bygge pagoder af den nepalesiske arkitekt Arniko.)
Nyatapola temple (nyata=five, pola=roof) with its unmatchable five-tier pagoda is dedicated to Goddess Siddhi Lakshmi (tantric Goddess). The architectural design is superb with skillfully carved windows, beams, 20 pillars and 108 struts. It was built by King Bhupatindra Malla in 1702. There are five pairs of statues flanking the steps leading to the temple. These pairs of guardians on each plinth are placed in order of increasing strength. The first two figures are the two Malla era wrestlers believed to have equalled the strength of ten men. On the next higher plinth are the elephants, then the lions, the griffins and finally two demi-Goddesses represented by a tigress and a lioness, Vyagrini and Singhini (Simhini) respectively. Each successive figure is supposed to be ten times stronger than the one before it.
Potters' square
Pottery is very clearly what this square is all about. Under shady open verandahs or tin-roofed sheds all around the square, potters' wheels spin and clay is moulded. In the square itself, thousands of finished pots sit out in the sun to dry, and are sold in the stalls around the square
Dattatraya Square
At the east of the square stands the large Dattatraya Mandir. This is a three-storey pagoda style temple and is said to be the oldest in Bhaktapur and is believed to have been built out of wood from a single tree in 1427 during the reign of King Yaksha Malla.
Bhaktapur is in many ways the most medieval of the three major cities in the Kathmandu Valley. Despite recent development, the city still retains a distinctly timeless air, with much of its glorious architecture dating from the end of the 17th century.
Newar art and architecture in Bhaktapur rival the best craftsmanship of the Malla period (from the 12th to the the 18th century). Though a massive earthquake of 1934 destroyed many temples, bahals (monastery courtyards), and residences, the city is still a living proof of the highest craft standards in this part of the world.
The Golden Gate was built in 1753 and since them it has earned fame as the most magnificent piece of metal craft in the entire country. The superbly crafted image of Goddess Taleju (tantric Goddess, a manifestation of Durga) is at the center and is a four-headed figure with ten arms. The top of the gate is adorned with a figure of Garuda. The panels depicting many deities around the doorframes are skilfully crafted and may be the finest in the valley.
Nyatapol, Taumadhi Tol
Bhakatapur's second main square is Taumadhi Tol, which features the five-roofed Nyatapola, the highest temple in the valley
Templet Nyatapola ligger på pladsen Taumadhi Tol.
Den 30 m høje pagode blev bygget i 1702 og er nok det bedste eksempel på traditionel nepalesisk pagodearkitektur.
(Kineserne lærte at bygge pagoder af den nepalesiske arkitekt Arniko.)
Nyatapola temple (nyata=five, pola=roof) with its unmatchable five-tier pagoda is dedicated to Goddess Siddhi Lakshmi (tantric Goddess). The architectural design is superb with skillfully carved windows, beams, 20 pillars and 108 struts. It was built by King Bhupatindra Malla in 1702. There are five pairs of statues flanking the steps leading to the temple. These pairs of guardians on each plinth are placed in order of increasing strength. The first two figures are the two Malla era wrestlers believed to have equalled the strength of ten men. On the next higher plinth are the elephants, then the lions, the griffins and finally two demi-Goddesses represented by a tigress and a lioness, Vyagrini and Singhini (Simhini) respectively. Each successive figure is supposed to be ten times stronger than the one before it.
Potters' square
Pottery is very clearly what this square is all about. Under shady open verandahs or tin-roofed sheds all around the square, potters' wheels spin and clay is moulded. In the square itself, thousands of finished pots sit out in the sun to dry, and are sold in the stalls around the square
Dattatraya Square
At the east of the square stands the large Dattatraya Mandir. This is a three-storey pagoda style temple and is said to be the oldest in Bhaktapur and is believed to have been built out of wood from a single tree in 1427 during the reign of King Yaksha Malla.
Bhaktapur (Bhadgoun)
Situated at an altitude of 1,401 m, Bhaktapur covers an area of four square miles. Bhaktapur or "the City of Devotees" still retains the medieval charm and visitors to this ancient town are treated with myriad wonders of cultural and artistic achievements. The past glory of the Malla rulers continue to be reflected at the Durbar Square. Pottery and weaving are its traditional industries. The city lies about 14 km east of Kathmandu.
Orientation and Arrival
Bhaktapur drapes across an east-west fold in the valley, its southern fringe sliding down towards the sluggish Hanumante River. Owing to a long-term westward drift, the city has two centres (residents of the two halves stage a boisterous tug- of-war during the city's annual Bisket festival} and three main squares. In the west, Durbar Square and Taumadhi Tol dominate the post-fifteenth-century city, while Tachapal Tol presides over the older east end.
You'11 arrive by one of two routes. The handy trolley bus, departing from the National Stadium south of Kathmandu's GPO every fifteen minutes or so, drops you on the main road about ten minutes' walk south of town, as do the frequent Barhabise-bound buses from Kathmandu's City Bus Park. Arriving by minibus from the City Bus Park, you'11 be deposited near Sidha Pokhri, a five-minute walk west of Durbar Square. Local buses from Nagarkot terminate at Kamal Binayak, five minutes northeast of Tachapal; tourist buses from Nagarkot continue to the main intersection just north of Durbar Square.
Bhaktapur has no rikshaws and just a few resident taxis, but it's compact enough to be explored on foot One-speed bikes can be rented along the road east of minibus park (west of Durbar Square).
Highlights:
* Watch RITUAL DANCES, such as Mahakali Pyakhan and Bhairav Pyakhan, which will be staged in the UNESCO World Heritage Site of Durbar Square as well as Taumadhi and Dattatreya Squares. These dances will run throughout the Festival enhanced by and enhancing the majesty of these ancient and mysterious settings.
* Walk the path of the gods as you dance to Traditional Musical ENSEMBLES which will circumambulate the city on Bhaktapur’s ritual procession route: the Pradaksinapath or Saparu (Gai Jatra) route.
* Be welcomed by the sounds of the enormous Nagara Drums, featured in the film The Little Buddha. Their thunderous beat will continue during the festival's entire five days filling the visitor’s heart with the mysteries of Bhaktapur’s past.
* Learn about Traditional Newari Handicrafts, such as wood-carving, weaving, mask-making and thanka painting, at Nasamana Square in the art and craft exposition. Bhaktapur’s acclaimed craftsmen will reveal the age-old traditions throughout the festival.
* Watch Potters demonstrate their ancient CERAMIC skills at Talako and Sujamari. These generation-old skills will mesmerize the visitor and give a glimpse into Bhaktapur’s rich artistic history.
* Be enthralled by Bhaktapur’s mysterious and sacred Nau-Baja musical ENSEMBLES at Wakupati Narayan temple, Sujamari Square and Til Madhav Narayan temple, Taumadhi. These ensembles comprised of nine different drums and other subsidiary instruments bring alive the mysterious of Bhaktapur’s Newar traditions.
* Browse over 60 stalls displaying Bhaktapur’s handicrafts and other industrial products at the INDUSTRIAL AND TRADE FAIR organized jointly by the Bhaktapur Municipality and the Bhaktapur Chamber of Commerce and Industry (BCCI). Here you can purchase, or just browse the best of Bhaktapur’s locally made handicrafts and arts.
* Feast on Newari delicacies at the FOOD FESTIVAL located in Bhaktapur’s Durbar Square. This will please the pickiest gourmets and hungriest gourmands alike.
* Gaze upon Bhaktapur’s unique traditions of art and culture in the EXHIBITION OF PHOTOGRAPHS AND PAINTINGS presented at the Kuthu Bahi, a famed Buddhist monastery located in the western part of the city. The exhibition portrays Bhaktapur’s unique traditions of art and culture.
* Be delighted at a BOOK EXHIBITION which will feature books on Newar tradition and culture, as well as texts about traveling, trekking, mountaineering, religion, meditation, wildlife and other subjects related to Nepal. Even the choosiest book-worm will be overjoyed.
* Visit the National Art Gallery in Durbar Square, as well as the National Wood Working MUSEUM and Bronze and Brass Museum in Dattatreya Square. The National Art Gallery features one of the finest collections of Nepali art in the world. Excellent pieces of carvings are on display at the National Woodworking Museum, and the Bronze and Brass Museum displays varieties of traditional Newari utensils such as kalash (ritual jars), kitchenware, ritual butter-fed lamps, water vessels, ink-pots, hookahs, and spittoons.
* View displays of traditional Newari Costumes and Ornaments at the new Municipality Building in Chyamasingh.
* Let your vision soar at the Kite flying EXHIBITION featured at Lamagal. A huge collections of Newar traditional multicolored kites, as well as kites shaped like the temples Nyatapola and Bhairabnath will fill the sky.
* Discover Bhaktapur by following the map A WALKING TOUR OF A MEDIEVAL CITY, which will acquaint visitors with places of religious, historical and archeological importance.
* Read more about BHAKTAPUR FESTIVAL 1997, informational articles on Newari tradition and culture, and other facts needed by travelers, in a Souvenir Magazine which will be distributed free to foreign tourists and Nepalese travel and trade professionals during and after the festival. All the information needed to visit and enjoy Nepal will lie between its covers.
Orientation and Arrival
Bhaktapur drapes across an east-west fold in the valley, its southern fringe sliding down towards the sluggish Hanumante River. Owing to a long-term westward drift, the city has two centres (residents of the two halves stage a boisterous tug- of-war during the city's annual Bisket festival} and three main squares. In the west, Durbar Square and Taumadhi Tol dominate the post-fifteenth-century city, while Tachapal Tol presides over the older east end.
You'11 arrive by one of two routes. The handy trolley bus, departing from the National Stadium south of Kathmandu's GPO every fifteen minutes or so, drops you on the main road about ten minutes' walk south of town, as do the frequent Barhabise-bound buses from Kathmandu's City Bus Park. Arriving by minibus from the City Bus Park, you'11 be deposited near Sidha Pokhri, a five-minute walk west of Durbar Square. Local buses from Nagarkot terminate at Kamal Binayak, five minutes northeast of Tachapal; tourist buses from Nagarkot continue to the main intersection just north of Durbar Square.
Bhaktapur has no rikshaws and just a few resident taxis, but it's compact enough to be explored on foot One-speed bikes can be rented along the road east of minibus park (west of Durbar Square).
Highlights:
* Watch RITUAL DANCES, such as Mahakali Pyakhan and Bhairav Pyakhan, which will be staged in the UNESCO World Heritage Site of Durbar Square as well as Taumadhi and Dattatreya Squares. These dances will run throughout the Festival enhanced by and enhancing the majesty of these ancient and mysterious settings.
* Walk the path of the gods as you dance to Traditional Musical ENSEMBLES which will circumambulate the city on Bhaktapur’s ritual procession route: the Pradaksinapath or Saparu (Gai Jatra) route.
* Be welcomed by the sounds of the enormous Nagara Drums, featured in the film The Little Buddha. Their thunderous beat will continue during the festival's entire five days filling the visitor’s heart with the mysteries of Bhaktapur’s past.
* Learn about Traditional Newari Handicrafts, such as wood-carving, weaving, mask-making and thanka painting, at Nasamana Square in the art and craft exposition. Bhaktapur’s acclaimed craftsmen will reveal the age-old traditions throughout the festival.
* Watch Potters demonstrate their ancient CERAMIC skills at Talako and Sujamari. These generation-old skills will mesmerize the visitor and give a glimpse into Bhaktapur’s rich artistic history.
* Be enthralled by Bhaktapur’s mysterious and sacred Nau-Baja musical ENSEMBLES at Wakupati Narayan temple, Sujamari Square and Til Madhav Narayan temple, Taumadhi. These ensembles comprised of nine different drums and other subsidiary instruments bring alive the mysterious of Bhaktapur’s Newar traditions.
* Browse over 60 stalls displaying Bhaktapur’s handicrafts and other industrial products at the INDUSTRIAL AND TRADE FAIR organized jointly by the Bhaktapur Municipality and the Bhaktapur Chamber of Commerce and Industry (BCCI). Here you can purchase, or just browse the best of Bhaktapur’s locally made handicrafts and arts.
* Feast on Newari delicacies at the FOOD FESTIVAL located in Bhaktapur’s Durbar Square. This will please the pickiest gourmets and hungriest gourmands alike.
* Gaze upon Bhaktapur’s unique traditions of art and culture in the EXHIBITION OF PHOTOGRAPHS AND PAINTINGS presented at the Kuthu Bahi, a famed Buddhist monastery located in the western part of the city. The exhibition portrays Bhaktapur’s unique traditions of art and culture.
* Be delighted at a BOOK EXHIBITION which will feature books on Newar tradition and culture, as well as texts about traveling, trekking, mountaineering, religion, meditation, wildlife and other subjects related to Nepal. Even the choosiest book-worm will be overjoyed.
* Visit the National Art Gallery in Durbar Square, as well as the National Wood Working MUSEUM and Bronze and Brass Museum in Dattatreya Square. The National Art Gallery features one of the finest collections of Nepali art in the world. Excellent pieces of carvings are on display at the National Woodworking Museum, and the Bronze and Brass Museum displays varieties of traditional Newari utensils such as kalash (ritual jars), kitchenware, ritual butter-fed lamps, water vessels, ink-pots, hookahs, and spittoons.
* View displays of traditional Newari Costumes and Ornaments at the new Municipality Building in Chyamasingh.
* Let your vision soar at the Kite flying EXHIBITION featured at Lamagal. A huge collections of Newar traditional multicolored kites, as well as kites shaped like the temples Nyatapola and Bhairabnath will fill the sky.
* Discover Bhaktapur by following the map A WALKING TOUR OF A MEDIEVAL CITY, which will acquaint visitors with places of religious, historical and archeological importance.
* Read more about BHAKTAPUR FESTIVAL 1997, informational articles on Newari tradition and culture, and other facts needed by travelers, in a Souvenir Magazine which will be distributed free to foreign tourists and Nepalese travel and trade professionals during and after the festival. All the information needed to visit and enjoy Nepal will lie between its covers.
Wednesday, July 30, 2008
Saturday, July 26, 2008
Introduction
(Bhaktapur Jillā), also Bhadgaon or Khwopa (Nepal Bhasa:Khvapa) is an ancient Newar town in the east corner of the Kathmandu Valley, Nepal. It is located in Bhaktapur District and has approx. 78,000 inhabitants. The male inhabitants of this city wear a special type of cap called the Bhaad-gaaule topi. This city is famous for its yoghurt or curd ju-ju Dhau - king of curd.
Bhaktapur's main square, Durbar Square, houses the 55-window Palace which was constructed by King Bhupatindra Malla and was home to royalty until 1769. It is now a National Gallery. Close by is the Golden Gate which leads into Mulchok Court which is home to the Taleju Temple. This temple, like others in the main towns of the Kathmandu Valley, is dedicated to the goddess Taleju Bhawani and includes shrines to the both Taleju Bhawani and Kumari. Entrance to the temple is restricted to Hindus and the living goddess strictly cannot be photographed.
From time immemorial it lay on the trade route between Tibet/China and India. This position on the main caravan route made the town rich and prosperous: each autumn the traders from Tibet came with sheep ("changra"), fitting nicely with the main Hindu holidays, 'Mohni' (Parbatiya: Dasain; Hindi: Dussehra), when nearly everyone in Nepal sacrificed male animals to the goddess Durga. On the return trek the traders brought back to Tibet grains, sugar or Buddhist scriptures.
This prosperity fueled the cultural life: ie. the temple builders developed a Pagoda-style, spreading it through Tibet all the way to Japan. Finest of all is the five-tiered, heaven piercing Nyatapole.
Bhaktapur is a popular day-trip destination for tourists visiting Kathmandu. Lately, with more air-pollution in Kathmandu, more and more tourists are staying in Bhaktapur for a few days, before arrangements for trekking are finished. For foreign tourists the entry fee is NPR 750/$10; for nationals of SAARC-countries and China the fee is NPR 50.
Bhaktapur's main square, Durbar Square, houses the 55-window Palace which was constructed by King Bhupatindra Malla and was home to royalty until 1769. It is now a National Gallery. Close by is the Golden Gate which leads into Mulchok Court which is home to the Taleju Temple. This temple, like others in the main towns of the Kathmandu Valley, is dedicated to the goddess Taleju Bhawani and includes shrines to the both Taleju Bhawani and Kumari. Entrance to the temple is restricted to Hindus and the living goddess strictly cannot be photographed.
From time immemorial it lay on the trade route between Tibet/China and India. This position on the main caravan route made the town rich and prosperous: each autumn the traders from Tibet came with sheep ("changra"), fitting nicely with the main Hindu holidays, 'Mohni' (Parbatiya: Dasain; Hindi: Dussehra), when nearly everyone in Nepal sacrificed male animals to the goddess Durga. On the return trek the traders brought back to Tibet grains, sugar or Buddhist scriptures.
This prosperity fueled the cultural life: ie. the temple builders developed a Pagoda-style, spreading it through Tibet all the way to Japan. Finest of all is the five-tiered, heaven piercing Nyatapole.
Bhaktapur is a popular day-trip destination for tourists visiting Kathmandu. Lately, with more air-pollution in Kathmandu, more and more tourists are staying in Bhaktapur for a few days, before arrangements for trekking are finished. For foreign tourists the entry fee is NPR 750/$10; for nationals of SAARC-countries and China the fee is NPR 50.
Wednesday, July 23, 2008
Place Around
Surya Binayak
Situated in beautiful surrounding of Bhaktapur, the temple of Ganesh is placed in a sylvan setting to catch the 1 st rays of the rising sun. Surya Binayak is one of the valley’s 4 main Ganesh shrines. A steep stairways climbs up to the temple on a forested hilltop. Lord Ganesh is very popular as the god of wisdom and good luck, among Hindus. Devotees throng this temple especially on Tuesday and Saturday to pay homage and offer animal sacrifices to the elephant- headed deity. The image of the god sits in an enclosure in the bottom of a Shikhara and there’s a second golden image on the Shikhara spire. Statues of Kneeling devotees face the image and the Shikhara is flanked by large bells.It is a good picnic spot flanked by many attractive landscapes. During marriage seasons, one may chance upon newly married couples seeking blessing from the god for peace, pleasure and mutual harmony in their martial life. Because of its height, the place is also pleasant to view the Bhaktapur city as well as the Himalayan panorama.
Behind the main temple, there exists a very thick forest of Schima Wallichi and Castanopsis Indica with thick undergrowth. It is very lively to see the flowering of many wild plants in spring. Rhododendron Arboreum, the national flower of Nepal , blooms in spring season at the upper level of the forest. The whole forest turns reddish during the season. Different types of orchids are also found hanging in the trees in this forest all the year round. This type of forest is one of the best breeding grounds for different kinds of resident and migratory birds sing here in different seasons. Lot of warblers can be seen during winter. Winter is the best time for bird watching in these areas since many types of birds can be seen and the forest will be free from leeches. Moreover, it is one of the best wintering grounds for finches, warblers, birds of prey and many other birds. It is the best refugee place and breeding ground for many summer visitors like flycatchers, cuckoos and bee-eaters. Many resident birds like doves, magpie, treepie, woodpeckers, flower peckers, nuthatches, laughing- thrushes, Minivet, barbets and bulbuls can be seen everywhere in the forest. The eastern and south eastern parts of the forest, since it is more exposed to the sun rays, have more bird diversity. Bird activities in that part of the forest areas are more easily seen in the early mornings. This forest area is the second place where White- Bellied Yuhina can be seen in the Valley.
Thimi
Thimi, the valley’s fourth- largest town, lies on a plateau 4km west of Bhaktapur. The name is said to be a corruption of Chhemi, which means “capable people”, a bit of flattery offered by Bhaktapur to make up for the fact that the town used to get mauled every time Bhaktapur to make up for the fact that the town used to get mauled every time Bhaktapur picked a fight with Kathmandu or Patan. Thimi, a large Newari village built on a raised plateau surrounded by a sea of fields. The town’s main artery, accessible only on foot, runs north- south, linking a series of temple- studded square. This place is better known for its superb craftsmanship on ceramics and papier-mâché masks, as well as green vegetables. Pottery is an even older local specialty, and one can watch potters at work in alleys and courtyards all over the north end of town. The process is the same as in Bhaktapur, except that the capable people of Thimi have traded in their traditional wooden wheels for concrete- filled truck tyres. Pottery doesn’t travel well, but one might be tempted by the elephant shaped flower pots.Thimi only temple of note is that of Balkumari, a 16 th century pagoda located near the southern end of the main north-south lane. The temple is the focus of frenzied New Year’s festivals in April, when dozens of deities are ferried around on palanquins and red powder is thrown like confetti. Many festivals are celebrated here with music and dances performance on various occasions. The festival of 32 palanquins of deities tongue boring festival, different kinds of mask dances like Mahakali dances, Bhairab Dance, folk dances, Jyapu Jyapuni Dance, Lusi dance are a few to name.
Mahakali and Maha Laxmi (North of Bhaktapur)
At thé north eastern side of Bhaktapur, right towards Nagarkot is the Mahakali temple where the shrine tops a small hill an dis reached by a steep flight of steps . Just beyond this temple, on the right downhill at the left side, the tiny, open, double roofed temple is of Maha Laxmi temple.
Changu Narayan temple
Situated on a small hillock, the temple of Changu Narayan is decorated with magnificent arts works in metal and wood. In fact it is one of the finest examples of Nepalese architecture.
The beautiful and historic temple of Changu Narayan is about 6 km north of Bhaktapur. Although the temple dates from 1702, when it was rebuilt after a fire, its origins go right back to the 4 th century and there are many important stone images and sculptures dating from the Licchavi period. It is said to have been built by King Hari Datta Verma in 323 A.D. Despite the temple’s beauty and interest it attracts relatively few visitors because of its comparative inaccessibility, although these days you can drive right to the temple via Bhaktapur. Alternatively, it makes a pleasant walk from that town or an interesting destination on the walk down from Nagarkot.
Climb up the ancient stone steps leading to the top of the hill. A large square courtyard embraces the classical broad- roofed pagoda, this latest version dating from the early 18 th century. The double roofed temple is dedicated to Vishnu in his incarnation as Narayan the preserver, and is exceptionally beautiful with quite amazingly intricate roof struts depicting multi-armed goddesses. The temple is fronted by a figure of Garuda said to date from the 5 th century. The man-bird mouth of Vishnu has a snake around his neck and kneels with folded hands facing the temple. Stone lions guard the wonderfully gilded door, flanked by equally detailed gilded window. Two pillars at the front corners carry two of the traditional symbols of Vishnu, the conch shell and the charka.
In Nepali terms, relatively recent and the much older images found in the temple courtyard are of equal interest. There are various images of Vishnu, carrying the symbols associated with the god in his four hands. Other images include one of Vishnu as Narsingha, his man-lion incarnation. Another shows his as Vikrantha, striding across the universe. Behind these two images is a small black slab showing Narayan reclining on the serpent Ananta at the bottom and Vishnu with 10 heads and 10 arms in the centre. This beautifully carved image dates from the 5 th or 6 th century. Other points of interest include the statues of King Bhupalendra Malla and his queen, kneeling in a gilded cage in front of the temple. Look at the brick paving of the courtyard. In the centre, triangular bricks are used rounded- corner bricks.
Places to visit in Changu Narayan
GARUDA:
One of the proud collection of Changu Narayan complex is the pillar with in inscription engraved on it, and installation of human Garuda donated by king Mandev in the year 464 A.D a great devotee of Vishnu, the pillar and statue of Garuda are considered to be the oldest records of religious importance to be discovered not only in the shrine but in the whole valley of Kathmandu.the language of inscription Sanskrit but it is written in Licchavi script. After Mandev king Amsuverma, an illustrious ruler of 7 th century replaced the worm out golden shield and Garuda.
STATUE OF MALLA KING AND QUEEN:
Bhupalendra Malla, the king of Kantipur had renovated Kileswor temple in1691 A.D and arranged the priest for it’s worship, in 1704 as the queen Bhuban Laxmi and got the enthroned idols of her self and her late husband, Bhupalendra Malla established at the main gate .The statue of Bhupalendra Malla was stolen on 2 nd September 2001and reinstall in the same place.
RIDHARA VISHNU:
Sridhara Vishnu was built in the 9 th /10 th century A.D Vishnu is known under a 1000 names. 24 of them are so important that they are recited daily as al litany by all devout Vaishnavas. In all these 24 forms Vishnu is depicted standing erect and holding various emblems in his hands. The figures comprising of Vishnu’s clearly dominates the two images; his consort Laxmi here called Sri, on his right, and his carrier, Garuda on his left.
VISHNU VIKRANT:
Another magnificent work is of a sculpture of Tribikram Vishnu of 8 th century A.D .this sculpture depicts the scene of a popular myth of lord Vishnu and his is tower bail. The lower panel of the stele has depicted the poses of bestowment by Bali to Vishnu .there are not many figures of Tribikram Vishnu in the valley. All the ones that we have in the valley are of a Licchavi period .among them the Tribikram image of vaishnavaite image in Nepal .
NARASIMHA: Narshimha is an outstanding work of the 10 th century .the theme of the image is to abolish sins from the face of the earth. God Vishnu in carted in the form of a half man, half-lion creature to kill the demon king Hiranyasyapu.
KANTI BHAIRAV:
Guarding the west entrance of the courtyard, Kanti Bhairab commands the first respect of a pilgrim.
KILESWOR TEMPLE :
The small two tiered traditional style temple dedicated to lord Mahadav in the form of a pig has been recently constructed in 17 th century as the temple is famous for it’s erotic motifs, which are depicted in the lower part of the struts .The four faced Shiva- linga has been placed in the main sanctum.
GARUDA NARAYAN:
The 1300 year old Sridhar Narayan image of lord Krishna is in the courtyard on the left. The Garuda Narayan in a figure with exceptional qualities and brilliant imaginative aptitude work of the 9 th century, the theme of the image is commencing to fly to balkuntha, abode of lord Vishnu. This is the single contribution of the Licchavi period, not only the courtyard but in the entire Kathmandu valley. This figure of Narayan has been depicted in the 10 rupees bill issued by the Nepal Rastra Bank.
NATESHWOR:
The dancing form of lord Shiva belonging to the Malla period is located in front of the north gate of Changu Narayan.
MAHAVISHNU:
The domical temple of Mahavishnu is in the north east of the courtyard houses a very rare image that is about 400 yrs old.
THE ELEPHANT:
Long ago, when the craftsmen were carving a stone into an elephant for the southern gate, it could not be done in a day. The next day, it was believed that it had moved to present location. As the carving resumed, it bled. It remained untouched and has attained a god image statue.
BAIKUNTHA VISHNU/ VISHWORUP :
Near the Vishnu Sridhar there stands another well- preserver polished stone sculpture of Baikuntha Nath, Vishnu riding on Garuda, his mount. In this 12 or 13 th century statue, the majestic figure of Vishnu, holding his weapons and his emblems in his main hands, is seated on a throne made of the symmetrically spread arms and wings of the mythical bird Garuda, who seems to be at the point of taking off with his divine passenger. The statue rests on a square stone base with a water collecting and draining channel.
RAKTESHORI CHHINNAMASTA : The rectangular temple with five finals has images of the seven mother goddesses with Shiva, parvati and Ganesh that are inside the temple. A temple dedicated to Chhinamasta of Shakti cult was constructed during 17 th century A.D. It is situated in the south east side of the Changu Narayan temple. According to the Hindu mythology, goddess parvati offered her own head to feed her hungry friends saheli and prakriti and became famous as Chhinamasta this name literally translated into English means, the beheaded one.
VISHWORUP:
A beautiful steal of Vishworup theme is placed on well carved stone motive platform .It depicts the scene form the Bhagwat Gita in which Krishna manifests his universal form to an awe-stuck Arjun. The principle figure of Vishnu stands firmly in the center of the composition the state is segmented into three levels i.e. which represent the nether world, the terrestrial world and heavens. This is the 8 /9th century figure, unparallel in beauty and theme, not a single Licchavi sculpture found in the valley can be compared with this sculpture.
THE SURROUNDING AREA BHIMSEN COTTAGE :
Ascending the stone staircase from the eastern door of the temple courtyard, single roof Patti can be seen on the northern side of the courtyard. Inside the Patti there are the idols of Bhimsen, Draupati Jaya and Vijaya.Infront of this cottage there is a palace belonging to Malla period, having been affiliated on account of the demise of hi young son, the grieved king Yog Narendra Malla of Lalitpur had come to stay here .There is open sky museum having best example of the stone statue of chaturmukhi Narayan including different stone statue of different periods.
HISTRICAL, STONE, TAPS STONE STEPS AND POND:
There are different types of monuments like stone taps, stone steps and ponds artistic stone water tank in the surrounding of the temple. These surrounding monuments and the village give the glimpses of the lifestyle of the medieval period.
CARNIVALS, FESTIVALS AND FAIRS:
Since Licchavi period, many carnivals, festivals and fairs are organized on various occasions, the carnivals are called “JATRA” in Nepal . Some of the important Jatra are Changu Narayan Jatra, kalash Jatra, mahashanan festival and Haribokhani ekadashi. There are special communes to organize various Jatra, festivals and fairs.
Festivals at Changu Narayan
1. Baisakh Krishna Trayodashi
2. Baisakh sukla Dwadashi
3. Aashad sukla Trayodashi
4. Bhadra Krishna Aastami
5. Shrawan Sukla Dwadashi
6. Yugodi Parva
7. Dashain Parva
8. kartik sukla Ekadashi
9. Marga sukla Dwadashi
10. Poush sukla Purnima
Nagarkot
Like many of Nepal ’s best highways, the road to Nagarkot serves mainly strategic, not scenic purpose: Nagarkot was originally developed as an army camp- tourist facilities came later, with government encouragement. Nagarkot is a popular tourist resort of Nepal . It is situated 32 km east of Kathmandu at an altitude of 2175 m above the sea level.Nagarkot is by far the most favored hill resort in the Kathmandu valley. There are various places around the edge of the Kathmandu valley which offer great mountain views, but the resort village of Nagarkot is generally held to be the best.
No other place in the valley is so ideal like this serene place for savoring the splendors of the great Himalaya stretching from the Annapurna massif in the far west to Mt. Kanchenjunga in the Far East . Beside its natural beauty there are some historically and religiously important temples and buildings, such as Mahadev Pokhari- below the tower, where people in and around the valley mostly flock to during Janai Purnima, kali Devi temple, Mahanka Panchakanya temple, Jalpadevi, Remborchhe Gumba- a Buddhist monastery and two historical caves Chamero Gupha and Raksi Gupha are the other attraction for the tourist and Nepali alike.
A pilgrimage to Nagarkot will nearly always be rewarded with a view between October and March, but you will be very lucky to catch more than a glimpse through the clouds of some snow-capped mountains in the June to September monsoon period. It can get very cold at Nagarkot in autumn or winter so if you’re staying overnight come prepared with warm clothing. The best thing about Nagarkot is that you don’t have to stay in an expensive hotel to get a view right out of your window. The main centre of Nagarkot, in reality a small cluster of guest houses, is a 10 minute walk north of the main road. It was never a traditional village, so while the views can be stunning, and the surrounding countryside is great for walking, the unplanned scatter of lodges is not itself attractive.
Situated in beautiful surrounding of Bhaktapur, the temple of Ganesh is placed in a sylvan setting to catch the 1 st rays of the rising sun. Surya Binayak is one of the valley’s 4 main Ganesh shrines. A steep stairways climbs up to the temple on a forested hilltop. Lord Ganesh is very popular as the god of wisdom and good luck, among Hindus. Devotees throng this temple especially on Tuesday and Saturday to pay homage and offer animal sacrifices to the elephant- headed deity. The image of the god sits in an enclosure in the bottom of a Shikhara and there’s a second golden image on the Shikhara spire. Statues of Kneeling devotees face the image and the Shikhara is flanked by large bells.It is a good picnic spot flanked by many attractive landscapes. During marriage seasons, one may chance upon newly married couples seeking blessing from the god for peace, pleasure and mutual harmony in their martial life. Because of its height, the place is also pleasant to view the Bhaktapur city as well as the Himalayan panorama.
Behind the main temple, there exists a very thick forest of Schima Wallichi and Castanopsis Indica with thick undergrowth. It is very lively to see the flowering of many wild plants in spring. Rhododendron Arboreum, the national flower of Nepal , blooms in spring season at the upper level of the forest. The whole forest turns reddish during the season. Different types of orchids are also found hanging in the trees in this forest all the year round. This type of forest is one of the best breeding grounds for different kinds of resident and migratory birds sing here in different seasons. Lot of warblers can be seen during winter. Winter is the best time for bird watching in these areas since many types of birds can be seen and the forest will be free from leeches. Moreover, it is one of the best wintering grounds for finches, warblers, birds of prey and many other birds. It is the best refugee place and breeding ground for many summer visitors like flycatchers, cuckoos and bee-eaters. Many resident birds like doves, magpie, treepie, woodpeckers, flower peckers, nuthatches, laughing- thrushes, Minivet, barbets and bulbuls can be seen everywhere in the forest. The eastern and south eastern parts of the forest, since it is more exposed to the sun rays, have more bird diversity. Bird activities in that part of the forest areas are more easily seen in the early mornings. This forest area is the second place where White- Bellied Yuhina can be seen in the Valley.
Thimi
Thimi, the valley’s fourth- largest town, lies on a plateau 4km west of Bhaktapur. The name is said to be a corruption of Chhemi, which means “capable people”, a bit of flattery offered by Bhaktapur to make up for the fact that the town used to get mauled every time Bhaktapur to make up for the fact that the town used to get mauled every time Bhaktapur picked a fight with Kathmandu or Patan. Thimi, a large Newari village built on a raised plateau surrounded by a sea of fields. The town’s main artery, accessible only on foot, runs north- south, linking a series of temple- studded square. This place is better known for its superb craftsmanship on ceramics and papier-mâché masks, as well as green vegetables. Pottery is an even older local specialty, and one can watch potters at work in alleys and courtyards all over the north end of town. The process is the same as in Bhaktapur, except that the capable people of Thimi have traded in their traditional wooden wheels for concrete- filled truck tyres. Pottery doesn’t travel well, but one might be tempted by the elephant shaped flower pots.Thimi only temple of note is that of Balkumari, a 16 th century pagoda located near the southern end of the main north-south lane. The temple is the focus of frenzied New Year’s festivals in April, when dozens of deities are ferried around on palanquins and red powder is thrown like confetti. Many festivals are celebrated here with music and dances performance on various occasions. The festival of 32 palanquins of deities tongue boring festival, different kinds of mask dances like Mahakali dances, Bhairab Dance, folk dances, Jyapu Jyapuni Dance, Lusi dance are a few to name.
Mahakali and Maha Laxmi (North of Bhaktapur)
At thé north eastern side of Bhaktapur, right towards Nagarkot is the Mahakali temple where the shrine tops a small hill an dis reached by a steep flight of steps . Just beyond this temple, on the right downhill at the left side, the tiny, open, double roofed temple is of Maha Laxmi temple.
Changu Narayan temple
Situated on a small hillock, the temple of Changu Narayan is decorated with magnificent arts works in metal and wood. In fact it is one of the finest examples of Nepalese architecture.
The beautiful and historic temple of Changu Narayan is about 6 km north of Bhaktapur. Although the temple dates from 1702, when it was rebuilt after a fire, its origins go right back to the 4 th century and there are many important stone images and sculptures dating from the Licchavi period. It is said to have been built by King Hari Datta Verma in 323 A.D. Despite the temple’s beauty and interest it attracts relatively few visitors because of its comparative inaccessibility, although these days you can drive right to the temple via Bhaktapur. Alternatively, it makes a pleasant walk from that town or an interesting destination on the walk down from Nagarkot.
Climb up the ancient stone steps leading to the top of the hill. A large square courtyard embraces the classical broad- roofed pagoda, this latest version dating from the early 18 th century. The double roofed temple is dedicated to Vishnu in his incarnation as Narayan the preserver, and is exceptionally beautiful with quite amazingly intricate roof struts depicting multi-armed goddesses. The temple is fronted by a figure of Garuda said to date from the 5 th century. The man-bird mouth of Vishnu has a snake around his neck and kneels with folded hands facing the temple. Stone lions guard the wonderfully gilded door, flanked by equally detailed gilded window. Two pillars at the front corners carry two of the traditional symbols of Vishnu, the conch shell and the charka.
In Nepali terms, relatively recent and the much older images found in the temple courtyard are of equal interest. There are various images of Vishnu, carrying the symbols associated with the god in his four hands. Other images include one of Vishnu as Narsingha, his man-lion incarnation. Another shows his as Vikrantha, striding across the universe. Behind these two images is a small black slab showing Narayan reclining on the serpent Ananta at the bottom and Vishnu with 10 heads and 10 arms in the centre. This beautifully carved image dates from the 5 th or 6 th century. Other points of interest include the statues of King Bhupalendra Malla and his queen, kneeling in a gilded cage in front of the temple. Look at the brick paving of the courtyard. In the centre, triangular bricks are used rounded- corner bricks.
Places to visit in Changu Narayan
GARUDA:
One of the proud collection of Changu Narayan complex is the pillar with in inscription engraved on it, and installation of human Garuda donated by king Mandev in the year 464 A.D a great devotee of Vishnu, the pillar and statue of Garuda are considered to be the oldest records of religious importance to be discovered not only in the shrine but in the whole valley of Kathmandu.the language of inscription Sanskrit but it is written in Licchavi script. After Mandev king Amsuverma, an illustrious ruler of 7 th century replaced the worm out golden shield and Garuda.
STATUE OF MALLA KING AND QUEEN:
Bhupalendra Malla, the king of Kantipur had renovated Kileswor temple in1691 A.D and arranged the priest for it’s worship, in 1704 as the queen Bhuban Laxmi and got the enthroned idols of her self and her late husband, Bhupalendra Malla established at the main gate .The statue of Bhupalendra Malla was stolen on 2 nd September 2001and reinstall in the same place.
RIDHARA VISHNU:
Sridhara Vishnu was built in the 9 th /10 th century A.D Vishnu is known under a 1000 names. 24 of them are so important that they are recited daily as al litany by all devout Vaishnavas. In all these 24 forms Vishnu is depicted standing erect and holding various emblems in his hands. The figures comprising of Vishnu’s clearly dominates the two images; his consort Laxmi here called Sri, on his right, and his carrier, Garuda on his left.
VISHNU VIKRANT:
Another magnificent work is of a sculpture of Tribikram Vishnu of 8 th century A.D .this sculpture depicts the scene of a popular myth of lord Vishnu and his is tower bail. The lower panel of the stele has depicted the poses of bestowment by Bali to Vishnu .there are not many figures of Tribikram Vishnu in the valley. All the ones that we have in the valley are of a Licchavi period .among them the Tribikram image of vaishnavaite image in Nepal .
NARASIMHA: Narshimha is an outstanding work of the 10 th century .the theme of the image is to abolish sins from the face of the earth. God Vishnu in carted in the form of a half man, half-lion creature to kill the demon king Hiranyasyapu.
KANTI BHAIRAV:
Guarding the west entrance of the courtyard, Kanti Bhairab commands the first respect of a pilgrim.
KILESWOR TEMPLE :
The small two tiered traditional style temple dedicated to lord Mahadav in the form of a pig has been recently constructed in 17 th century as the temple is famous for it’s erotic motifs, which are depicted in the lower part of the struts .The four faced Shiva- linga has been placed in the main sanctum.
GARUDA NARAYAN:
The 1300 year old Sridhar Narayan image of lord Krishna is in the courtyard on the left. The Garuda Narayan in a figure with exceptional qualities and brilliant imaginative aptitude work of the 9 th century, the theme of the image is commencing to fly to balkuntha, abode of lord Vishnu. This is the single contribution of the Licchavi period, not only the courtyard but in the entire Kathmandu valley. This figure of Narayan has been depicted in the 10 rupees bill issued by the Nepal Rastra Bank.
NATESHWOR:
The dancing form of lord Shiva belonging to the Malla period is located in front of the north gate of Changu Narayan.
MAHAVISHNU:
The domical temple of Mahavishnu is in the north east of the courtyard houses a very rare image that is about 400 yrs old.
THE ELEPHANT:
Long ago, when the craftsmen were carving a stone into an elephant for the southern gate, it could not be done in a day. The next day, it was believed that it had moved to present location. As the carving resumed, it bled. It remained untouched and has attained a god image statue.
BAIKUNTHA VISHNU/ VISHWORUP :
Near the Vishnu Sridhar there stands another well- preserver polished stone sculpture of Baikuntha Nath, Vishnu riding on Garuda, his mount. In this 12 or 13 th century statue, the majestic figure of Vishnu, holding his weapons and his emblems in his main hands, is seated on a throne made of the symmetrically spread arms and wings of the mythical bird Garuda, who seems to be at the point of taking off with his divine passenger. The statue rests on a square stone base with a water collecting and draining channel.
RAKTESHORI CHHINNAMASTA : The rectangular temple with five finals has images of the seven mother goddesses with Shiva, parvati and Ganesh that are inside the temple. A temple dedicated to Chhinamasta of Shakti cult was constructed during 17 th century A.D. It is situated in the south east side of the Changu Narayan temple. According to the Hindu mythology, goddess parvati offered her own head to feed her hungry friends saheli and prakriti and became famous as Chhinamasta this name literally translated into English means, the beheaded one.
VISHWORUP:
A beautiful steal of Vishworup theme is placed on well carved stone motive platform .It depicts the scene form the Bhagwat Gita in which Krishna manifests his universal form to an awe-stuck Arjun. The principle figure of Vishnu stands firmly in the center of the composition the state is segmented into three levels i.e. which represent the nether world, the terrestrial world and heavens. This is the 8 /9th century figure, unparallel in beauty and theme, not a single Licchavi sculpture found in the valley can be compared with this sculpture.
THE SURROUNDING AREA BHIMSEN COTTAGE :
Ascending the stone staircase from the eastern door of the temple courtyard, single roof Patti can be seen on the northern side of the courtyard. Inside the Patti there are the idols of Bhimsen, Draupati Jaya and Vijaya.Infront of this cottage there is a palace belonging to Malla period, having been affiliated on account of the demise of hi young son, the grieved king Yog Narendra Malla of Lalitpur had come to stay here .There is open sky museum having best example of the stone statue of chaturmukhi Narayan including different stone statue of different periods.
HISTRICAL, STONE, TAPS STONE STEPS AND POND:
There are different types of monuments like stone taps, stone steps and ponds artistic stone water tank in the surrounding of the temple. These surrounding monuments and the village give the glimpses of the lifestyle of the medieval period.
CARNIVALS, FESTIVALS AND FAIRS:
Since Licchavi period, many carnivals, festivals and fairs are organized on various occasions, the carnivals are called “JATRA” in Nepal . Some of the important Jatra are Changu Narayan Jatra, kalash Jatra, mahashanan festival and Haribokhani ekadashi. There are special communes to organize various Jatra, festivals and fairs.
Festivals at Changu Narayan
1. Baisakh Krishna Trayodashi
2. Baisakh sukla Dwadashi
3. Aashad sukla Trayodashi
4. Bhadra Krishna Aastami
5. Shrawan Sukla Dwadashi
6. Yugodi Parva
7. Dashain Parva
8. kartik sukla Ekadashi
9. Marga sukla Dwadashi
10. Poush sukla Purnima
Nagarkot
Like many of Nepal ’s best highways, the road to Nagarkot serves mainly strategic, not scenic purpose: Nagarkot was originally developed as an army camp- tourist facilities came later, with government encouragement. Nagarkot is a popular tourist resort of Nepal . It is situated 32 km east of Kathmandu at an altitude of 2175 m above the sea level.Nagarkot is by far the most favored hill resort in the Kathmandu valley. There are various places around the edge of the Kathmandu valley which offer great mountain views, but the resort village of Nagarkot is generally held to be the best.
No other place in the valley is so ideal like this serene place for savoring the splendors of the great Himalaya stretching from the Annapurna massif in the far west to Mt. Kanchenjunga in the Far East . Beside its natural beauty there are some historically and religiously important temples and buildings, such as Mahadev Pokhari- below the tower, where people in and around the valley mostly flock to during Janai Purnima, kali Devi temple, Mahanka Panchakanya temple, Jalpadevi, Remborchhe Gumba- a Buddhist monastery and two historical caves Chamero Gupha and Raksi Gupha are the other attraction for the tourist and Nepali alike.
A pilgrimage to Nagarkot will nearly always be rewarded with a view between October and March, but you will be very lucky to catch more than a glimpse through the clouds of some snow-capped mountains in the June to September monsoon period. It can get very cold at Nagarkot in autumn or winter so if you’re staying overnight come prepared with warm clothing. The best thing about Nagarkot is that you don’t have to stay in an expensive hotel to get a view right out of your window. The main centre of Nagarkot, in reality a small cluster of guest houses, is a 10 minute walk north of the main road. It was never a traditional village, so while the views can be stunning, and the surrounding countryside is great for walking, the unplanned scatter of lodges is not itself attractive.
Hotels
There are many hotels, guest houses and lodges with different catagory. Each provides different facilities with various price list of rooms. There are hotels price starting from USD 5 to USD 90 per night, You can choose your hotel according to your needs and budget. Its sure that you get back the worth of price you spend during you are in Bhaktapur with lots of fun with different culture, temples, monuments and smily beautiful people. Bhaktapur's another very poupar spot is Nagarkot which is very famous among tourist for beautiful panoramic view of mountains, Sun Rise and Sun Set.
1 Bhadgaon Guest House
2 Bhaktapur Guest House
3 Golden Gate Guest House
4 Khwopa Guest House
5 Kumari Guest House
6 Namaste Guest House
7 New Nyatapola Inn
8 Shiva Guest House
9 Sunny Guest House & Cafe
10 Taleju Guest House
11 Traditional Guest House
HOTELS IN NAGARKOT
1 Club Himalaya
2 Everest Cottage (P) Ltd.
3 Hotel View Point
4 Hotel Flora Hill (P) Ltd.
5 Hotel Galaxy Nagarkot
6 Hotel Space Mountain
7 Hotel Sun Rise (P) Ltd.
8 Himalayan Guest House
9 Himalayan Hill Resort
10 Hotel Mountain & Sunrise
11 Hotel Niva Home
12 Hotel Snowman
13 Hotel Elephant Head
14 Mountain Resort
15 Nagarkot E. View
16 Nagarkot Cottage
17 Nagarkot Mountain Resort
18 Peaceful Cottage & Coffee
19 Rodi Ghar Guest House
20 Sanga Resort
21 The Tea House
22 The Fort
23 The End of the Universe
For Hotel booking, sightseeing, trekking and for more informations all over Nepal Please, contact: dipesh@merobhaktapur.com
1 Bhadgaon Guest House
2 Bhaktapur Guest House
3 Golden Gate Guest House
4 Khwopa Guest House
5 Kumari Guest House
6 Namaste Guest House
7 New Nyatapola Inn
8 Shiva Guest House
9 Sunny Guest House & Cafe
10 Taleju Guest House
11 Traditional Guest House
HOTELS IN NAGARKOT
1 Club Himalaya
2 Everest Cottage (P) Ltd.
3 Hotel View Point
4 Hotel Flora Hill (P) Ltd.
5 Hotel Galaxy Nagarkot
6 Hotel Space Mountain
7 Hotel Sun Rise (P) Ltd.
8 Himalayan Guest House
9 Himalayan Hill Resort
10 Hotel Mountain & Sunrise
11 Hotel Niva Home
12 Hotel Snowman
13 Hotel Elephant Head
14 Mountain Resort
15 Nagarkot E. View
16 Nagarkot Cottage
17 Nagarkot Mountain Resort
18 Peaceful Cottage & Coffee
19 Rodi Ghar Guest House
20 Sanga Resort
21 The Tea House
22 The Fort
23 The End of the Universe
For Hotel booking, sightseeing, trekking and for more informations all over Nepal Please, contact: dipesh@merobhaktapur.com
Facts and Figures of Bhaktapur
Area : 138.46 sq .km . the smallest district of the country
East west length : 16 km.
North south length : 2.2 km.
Latitude : 27 o 36’ to 27 o 44’ north
Longitude : 85 o 21’ to 85 o 32’ east
Temperature : Maximum 32 o c. Minimum -2 o c.
Major Rivers : Monohara, Hanumante, Mahadev, Ghatte Khola, Khasyangkhusung, Tabaya Khusi
Average annual rainfall : 56mm
Nearest district East
Kavre Palanchowk District
West Kathmandu & lalitpur District
North Kathmandu & Kavre Palanchowk District
South Lalitpur District
Political and Administrative Division Development Region : Central
Zone : Bagmati
District Headquarter :
Bhaktapur Municipality
Parliamentary Constituency : 2
VDC : 16
Municipality : 2
Land used pattern
DescriptionArea (Sq.Km)Area (%)
Agricultural Land 96.57 80.1
Forest Land 12.46 10.32
Bushes 6.82 5.65
Settlement 2.67 2.21
Others 2.18 1.81
Irrigation Facilities
Total Agricultural land 3322 Hector
Population
Total population 225461
Male 114798(50.92%)
Female 110633(49.08%)
Population Growth Rate 2.71%
Literacy Rate
Total Literacy Rate 59.15%
Male 69.20%
Female 49.08%
Population Distribution by Caste, Religion and Language
Religion
Hindu 92.1%
Buddhist 7.4%
Other 0.4%
Caste
Newar 62.8%
Brahman 10.20%
Chettri 18.2%
Tamang 4.7%
Language
Newari 60.9%
Nepali 34.3%
Tamang 3.8%
Major crops and production
Paddy
25,850 metric ton per year
Corn
6300 metric ton per year
Wheat
15025 metric ton per year
Pulse (dal)
545 metric ton per year
Millet
200 metric ton per year
Major fruits:
Orange, lemon, guava, pears, junar, haluwabed
Major vegetables:
Cauliflower, Peas, beans, cucumber, pumpkin, carrot, Ginger, Garlic, Cabbage, Tomato.
Major Animal Farming:
Cow, Buffalo , Goat, Sheep, Pig, Poultry, Rabbit
Road Facilities
Black topped: 82 km
Graveled: 42.75 km
Earthened: 192.49 km
Postal service
District post office 1
IIaka post office 8
Additional post office 13
Telecommunication Facilities
Digital telephone lines:
8853(digital), 15(VHF/ Marts)
Existing telephone Exchanges:
4(Gathaghar, Bhaktapur Municipality , Nagarkot, Nankhel)
East west length : 16 km.
North south length : 2.2 km.
Latitude : 27 o 36’ to 27 o 44’ north
Longitude : 85 o 21’ to 85 o 32’ east
Temperature : Maximum 32 o c. Minimum -2 o c.
Major Rivers : Monohara, Hanumante, Mahadev, Ghatte Khola, Khasyangkhusung, Tabaya Khusi
Average annual rainfall : 56mm
Nearest district East
Kavre Palanchowk District
West Kathmandu & lalitpur District
North Kathmandu & Kavre Palanchowk District
South Lalitpur District
Political and Administrative Division Development Region : Central
Zone : Bagmati
District Headquarter :
Bhaktapur Municipality
Parliamentary Constituency : 2
VDC : 16
Municipality : 2
Land used pattern
DescriptionArea (Sq.Km)Area (%)
Agricultural Land 96.57 80.1
Forest Land 12.46 10.32
Bushes 6.82 5.65
Settlement 2.67 2.21
Others 2.18 1.81
Irrigation Facilities
Total Agricultural land 3322 Hector
Population
Total population 225461
Male 114798(50.92%)
Female 110633(49.08%)
Population Growth Rate 2.71%
Literacy Rate
Total Literacy Rate 59.15%
Male 69.20%
Female 49.08%
Population Distribution by Caste, Religion and Language
Religion
Hindu 92.1%
Buddhist 7.4%
Other 0.4%
Caste
Newar 62.8%
Brahman 10.20%
Chettri 18.2%
Tamang 4.7%
Language
Newari 60.9%
Nepali 34.3%
Tamang 3.8%
Major crops and production
Paddy
25,850 metric ton per year
Corn
6300 metric ton per year
Wheat
15025 metric ton per year
Pulse (dal)
545 metric ton per year
Millet
200 metric ton per year
Major fruits:
Orange, lemon, guava, pears, junar, haluwabed
Major vegetables:
Cauliflower, Peas, beans, cucumber, pumpkin, carrot, Ginger, Garlic, Cabbage, Tomato.
Major Animal Farming:
Cow, Buffalo , Goat, Sheep, Pig, Poultry, Rabbit
Road Facilities
Black topped: 82 km
Graveled: 42.75 km
Earthened: 192.49 km
Postal service
District post office 1
IIaka post office 8
Additional post office 13
Telecommunication Facilities
Digital telephone lines:
8853(digital), 15(VHF/ Marts)
Existing telephone Exchanges:
4(Gathaghar, Bhaktapur Municipality , Nagarkot, Nankhel)
About Bhaktapur
Situated at an altitude of 1401 m above sea level Bhaktapur only is a very unique old town. This city is divided into 24 traditional localities covers an area of 5 sq.km. Founded by King Ananda Dev in 889 A.D. Bhaktapur is said to have been built in the shape of conch shell-a sacred symbol of Lord Vishnu. The word Bhaktapur means the city of devotees.
Form the airport
Travelers wishing to come to Bhaktapur directly from the Tribhuvan International Airport are recommended to take the prepaid taxis at the airport exit gate. Normally, it should not take more than 30 Minutes to get to Bhaktapur and it should not cost more than Nepalese Rupees 350-400.
Form Kathmandu
For comfortable traveling, a meter taxi would be the best means to get to Bhaktapur. In this case, it will take between 40-45 minutes to get to Bhaktapur and it should not cost more than Nepalese rupees 400.
For tourist looking for an adventurous travel, traveling by local buses could prove to be interesting. Express mini buses leave from the mini bus park in Baghbajar. Buses departing in every 10 minutes charges Rs. 15 per passenger for a one- way trip.
One can also rent a motorbike or a mountain bike to get to Bhaktapur. On a motorbike it is less than ½ an hour ride and on mountain bike it should not take more than 50 minutes. The advantage of hiring a bike is the extended rides to many other interesting driveways and trails beyond Bhaktapur city.
From Patan (Lalitpur)
In every 15 minutes mini buses leave for Bhaktapur from Patan. One can get on these buses at the lagankhel bus park and enjoy a one- way trip for Rs 15.
Form the airport
Travelers wishing to come to Bhaktapur directly from the Tribhuvan International Airport are recommended to take the prepaid taxis at the airport exit gate. Normally, it should not take more than 30 Minutes to get to Bhaktapur and it should not cost more than Nepalese Rupees 350-400.
Form Kathmandu
For comfortable traveling, a meter taxi would be the best means to get to Bhaktapur. In this case, it will take between 40-45 minutes to get to Bhaktapur and it should not cost more than Nepalese rupees 400.
For tourist looking for an adventurous travel, traveling by local buses could prove to be interesting. Express mini buses leave from the mini bus park in Baghbajar. Buses departing in every 10 minutes charges Rs. 15 per passenger for a one- way trip.
One can also rent a motorbike or a mountain bike to get to Bhaktapur. On a motorbike it is less than ½ an hour ride and on mountain bike it should not take more than 50 minutes. The advantage of hiring a bike is the extended rides to many other interesting driveways and trails beyond Bhaktapur city.
From Patan (Lalitpur)
In every 15 minutes mini buses leave for Bhaktapur from Patan. One can get on these buses at the lagankhel bus park and enjoy a one- way trip for Rs 15.
Home
This is an online information gallery of Bhaktpaur city. We are proud to launched this site
www.mybkt.blogspot.com towards you. We let you know through this site that
Bhaktapur is “Living Heritage”, “City of Culture”, “City of Devotees”,
“Nepal’s Cultural Gem” and “Tradition-loving inhabitants”.
If you want to know about the detail information about the work, culture, living style of the people of Bhaktapur through this site, feel free to contact us. We are sure that this site let you visit Heritage city Bhaktapur.
www.mybkt.blogspot.com towards you. We let you know through this site that
Bhaktapur is “Living Heritage”, “City of Culture”, “City of Devotees”,
“Nepal’s Cultural Gem” and “Tradition-loving inhabitants”.
If you want to know about the detail information about the work, culture, living style of the people of Bhaktapur through this site, feel free to contact us. We are sure that this site let you visit Heritage city Bhaktapur.
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