Treasure of Nepal - Sample Flip Book

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64
Kathmandu and I have often thought how this shortage of power has contributed to the preservation of these handcrafts. There are always younger boys standing around, engaged in conversation, laughing, learning – watching the hammer and chisel pick out the details, line by line. Apprentices often work from home. They have a chance to prove themselves on the smaller works before they can get a place in a studio like Image Atelier. Rabindra’s workshop has been handed down from one generation to the next creating both Buddhist and Hindu sculptures for temples and monasteries as well as for private customers. They practice the traditional craft of Thodya (embossing in metal sheet) Majha (giving complete form) as it is called in Newari or repoussé as it is called here in the West. In Thodya Majha larger metal sheet is worked from the front and back against formers, and for the smaller details the chasing method is used from the front of the object supported by a hardened pitch mould. After the earthquake in 2015 not much had changed at least to the workshop and the works in progress as far as I could see. The craftsmen took time off to return to their villages and rebuild temporary housing for their families as well as helping out with relief work in the neighbouring communities. I made several visits from late 2014 to 2016 leaving my home in the north east of the city by bicycle or scooter along the busy ring road; a journey of about ten kilometres south to Patan. It was always an adventure. The roads, before the quake, had been undergoing construction – an incomplete section of dual carriageway seemed to be years in the making, and after the quake huge gaps had appeared cutting across the tarmac through the landscape to precarious leaning and cracked houses on the roadside. There were places where the surface had risen by half a metre. Temporary dirt ramps had opened up the road again but traffic was bottlenecked in several places where four lanes were squeezed Left: The head of a large copper Buddha made using the traditional repoussé technique. Top: Two workers discuss the construction of the base of a copper statue. 65
Page 2 and 3: © 2016 - Gary Wornell Text and pho
Page 5 and 6: INTRODUCTION In 2012 I took part in
Page 7: The work in this book covers both s
Page 10 and 11: COPPER CASTING It’s 4:00 am and u
Page 12 and 13: 14
Page 16 and 17: metal, he is in regular demand and
Page 18 and 19: Newly cast bronze dorjes in a small
Page 21 and 22: GILDING जलप
Page 23 and 24: 49
Page 25: motorcycles, scooters, cars, lorrie
Page 30 and 31: COPPER FORMING Inside Rabindra Shak
Page 35 and 36: WOOD काठ क ुद ्न
Page 37 and 38: 75
Page 39: wondered what it must be like movin
Page 44 and 45: STONE CARVING In an open space in B
Page 46 and 47: 94
Page 48 and 49: Prayer beads and antique thangka, B
Page 53 and 54: SILK THANGKA रेसमको थ
Page 55: 125

Treasure of Nepal - Sample Flip Book

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