9. Sept 2014

September 2014 – Vol 10 N o. 09 

ART ARCHITECTURE INTERIOR 

LADAKH 

A JOURNEY INTO MOONSCAPES 

ARANIKO and 

THE WHITE 

DAGOBA 

MURAL ART 

HAS ANCIENT ROOTS IN NEPAL 

10 th YEAR - ANNIVERSARY SPECIALS 

Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95 

INTERIOR DESIGNING: 

A CHARISMATIC 

CAREER 

NEWLY CONSECRATED 

LICHHAVI 

CHAITYA 

ALL THE WAY FROM NEPAL TO SWITZERLAND 

KOPAN 

MONASTERY

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SPACES ad 

SEPTEMBER 2014 / 3

CONTENTS 

SEPTEMBER 2014 VOL 10 N O. 09 

SPACESNEPAL.COM 

24 Architecture 

KOPAN MONASTERY: 

ARCHITECTURE CREATES MAGIC 

WITH SPACE 

Architecture creates magic with space. 

A perfect sense of harmony of space 

and architecture transforms the place 

to the extent that it seems not of this 

world but of the divine spheres. This 

is what the magic created in Kopan 

monastery with space, architecture, 

and intricate design and decoration 

mingling with faith, mantras, thankas, 

symbols, lights and music. 

32 Interior 

INTERIOR DESIGNING: A CHARISMATIC CAREER 

Interior designing means designing a space, which cleverly fulfils the 

requirement and solves the problem of the user but also keeping it 

comfortable to all 5 senses. Designer looks after thermal and acoustic 

comfort of the space. She or he works on lighting design as well, which 

can create magic in the space without hindering visibility. 

36 

Into the History 

40 

Journey 

LADAKH: A JOURNEY INTO 

MOONSCAPES 

It was the craziest wind I have ever 

confronted with. Wind eroded 

landscapes of Ladakh gives a 

resemblance of Mustang region and 

you feel as if you are travelling in the 

Trans Himalayan regions of Nepal. 

The culture, too, you don't find 

different if you are familiar with the 

people of Tibetan descent. Moreover 

the Indus River, being quite familiar 

with the name, reconnects you with 

one of the oldest civilizations. 

ARANIKO AND THE 

WHITE DAGOBA 

"His legendary life and 

career … had a lasting 

artistic and spiritual 

influence on Asia and 

on China in particular. 

The magnitude of his accomplishments rivals 

those of Brunelleschi, Michelangelo, and 

Leonardo in the West", Anning Jing, a professor 

in the Department of Art, Michigan State 

University, writes, "Anige's biography is more 

than a story of a Nepali artist's gallant adventure 

and phenomenal success in foreign lands. It 

is also a story of how Himalayan Buddhist art 

became an international style." 

52 

Reviving the History 

LICHHAVI CHAITYA 


Araniko in the 13 th century contributed a lot in 

institutionalizing Nepali art and Architecture in 

Asia and in China, in particular. Since the time 

even before Araniko, Nepali artists have been the 

most authentic and skilled experts of Buddhist art 

and have been sought for from across the world. 

Even these days, the world demands Nepali 

artisans for creating or consecrating Buddhist 

arts and statues. The newly consecrated Lichhavi 

Chaitya in Switzerland is another example of the 

reviving the tradition of Araniko. 

MURAL ART HAS ANCIENT ROOTS 

IN NEPAL 

Many of Buddhist Vihars and Bahis 

were built during the time span 

between 12th century and 17th century 

AD. Mural art by then had had been 

well established as an important part 

of entire painting tradition…. Naturally, 

as the number of Buddhist Vihars 

begun to grow in the Valley during this 

58 Art 

period, the earliest wall painting or 

the archetypal ‘Murals’ also began to 

appear in Nepal. Hence in all the possibilities therefore, those early 

monks cum painters and their religious art in the walls then could be 

described as the origins or the genesis of mural art in Nepal. 

49 FROM THE SHELF: THE SIKHARAS 57 PERSPECTIVE: VASTU VS ARCHITECTURE 64 STORE WATCH 66 PRODUCT 72 OPEN SPACES 

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Editorial 

We are at the advent of Dashain, one of 

the most auspicious festivals in Nepal. 

The festivals here in Nepal consistantly 

lighten up our lives within our culture 

providing us bonding time between family 

and friends. It is also a time to recharge 

our spirits – when the monsoon clears up 

to wonderful blue skys ! 

Our cover story this issue is a picturesque feature by Ashesh 

on Ladakh: A Journey into Moonscapes that captures the 

spirit of the place. The wind eroded landscapes of Ladakh 

gives a strong resemblance of Nepal’s Mustang region giving 

it a feel of the Trans Himalayan regions of Nepal. 

In the issue - we have tried to delve into 

fragments of history, with a highlight 

on traditional arts and architecture. The article Araniko and 

the White Dagoba retraces the history of the contribution of 

Araniko in institutionalizing Nepali art and architecture in China. 

Newly Consecrated Lichhavi Chaitya feature is a present 

day example of Nepali craftsmanship’s influence across the 

borders. The feature on Mural Arts Ancient Roots in Nepal 

traces the history of the development of murals or wall art 

in Nepal. Similarly, the architectural perspective on Kopan 

Monastery puts light on the age-old tradition of monastery 

architecture. 

Our regular column on interior appraises the scope of interior 

designing of Nepal with a highlight of the first Interior Design 

IDC Competition jointly organized by SPACES and NFFA - Nepal 

Furniture and Furnishing Association. The design competition 

witnessed an interesting array of participants from the various 

Design Schools here. The results were declared with the 

closing of FURNEX 2014 exhibition – and we congratulate all 

the participants and the winners. 

Get Ready- Get Safe is a column under the theme Impact 

category written to generate an awareness for imminent 

disasters such as earthquakes. Architecture vs. Vastu feature 

provides traditional insights and principles that need to be 

considered while selecting a land and constructing a house. 

Having just returned from an amazing trip to the Jomsom- 

Mustang as well as Manang region, it is indeed with deep 

appreciation I have to echo and urge all our readers to make an 

effort and try and get close to discover these natural wonders 

of our country. People from far and wide are seen trekking and 

appreciating these places – and it is high time our Nepalese 

citizens are also urged to discover these gold mines that 

exists in our country. 

We share our greetings and do hope you enjoy this issue in 

the midst of the festivities. 

Happy Dashain - Namaste ! 

Sarosh Pradhan / Editor in Chief 

10 / SPACESNEPAL.COM


Contributors 

DR MADHAV MANGAL JOSHI, the Vastu Shiromani, is a Vastu, 

Feng-shui and Dowsing expert. The Chairperson of the Vastu 

Bivag at Nepal Jyotish Parisad, he is also the Founder Principal 

of Global Vastu Pratisthan. Also the Chairperson of Nepal Vastu 

Sangh, he is associated with a number of associations home 

and abroad. In recognition of his high patronage to the cause of 

research and development of International Astrology and Vastu, 

Asian Astrologers Congress, India and KP Stellar Astrological 

Research Institute, Mauritius has conferred him Swami 

Vivekananda Award and Hony Doctorate of Vastu Shastra. 

MADAN CHITRAKAR is a well known senior artist and an art- writer 

based in Kathmandu. As a leading art writer of the country, on 

many occasions his writings on Nepali Art have been published in 

prestigious Art publications abroad – notably Japan, India and 

Bangladesh. Two well acclaimed Art books Tej Bahadur Chitrakar: 

Icon of a Transition (2004) and Nepali Art: Issues Miscellany 

(2012) remain to his credit: and a new serious book on Art is under 

publication. A well established artist, his journey in writing has 

had begun in 1976. Presently, he is associated with Tribhuvan 

University, Central Department of Fine Arts and Kathmandu 

University, Centre for Art & Design as a member of the respective 

Subject Committees. He can be accessed at madanc@ntc.net.np. 

SUKRASAGAR is an archaeologist and a specialist in Nepali culture 

and history. He, coauthoring with Mehrdad Shokoohy and Natalie 

H Shokoohy, has recently published Street Shrines of Kirtipur: As 

long as the Sun and Moon Endure (2014). The book focuses on the 

shrines’ chronology from the earliest specimens to the end of the 

twentieth century, the reasons for their erection, their typology and 

their iconography with the aim of providing a broad understanding 

of such features in a wider perspective for all Newar settlements. 

Another important he has coauthored is Jarunhiti (2013). 

SALONI SHRESTHA is an Architect. A graduate from Kathmandu 

Engineering College, she is currently working at National Society 

of Earthquake Technology. Besides Heritage Preservation, 

Rehabilitations and Regenerations, her interests lie in Human 

Rights agenda and she believes in active participation in such 

efforts. In her leisure time she loves to travel, read and pen down 

her experiences over strong black coffee. Also, she works as a 

freelance writer for various magazines. 

CEO 

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Published by 

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Volume 10 N O. 09 | September 

Ashesh Rajbansh 

Sarosh Pradhan 

Deependra Bajracharya 

Jeebesh Rayamajhi 

Madan Chitrakar 

Kasthamandap Art Studio 

Sristi Pradhan 

President - Society of Nepalese Architects 

Ar. Jinisha Jain (Delhi) 

Ar. Chetan Raj Shrestha (Sikkim) 

Barun Roy (Darjeeling Hills) 

Pradip Ratna Tuladhar 

Hemant Kumar Shrestha 

Bansri Panday 

Binam Bajracharya 

Aayush Chitrakar 

Mohein Ranjitkar 

Anu Rajbansh 

Debbie Rana Dangol 

Ashma Rauniyar 

Pramila Shrestha 

Sawan Balami 

Sunil Man Baniya 

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COVER PHOTO: 

Lamayuru Monastery 

Ladakh, India 

© Ashesh Rajbansh 

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REVIEWS 

Fragments of Mustang Revisited 

her painting and it gives an impression of a monument 

bounded by a high altitude floral garden. 

Manang Youth Society (MYS) exhibited 70 arts, including 50 

paintings and 20 photographs, for 4 days starting from 

18 August 2014 at Nepal Art Council Gallery, Babarmahal, 

Kathmandu. The paintings were executed during an 8 day 

residency (24 to 31 May) at Lo-Manthang of Mustang. 

Inaugurated by the Minister of Culture and Tourism Mr. 

Bhim Acharya on 18 August, the exhibition was a part of a 

larger initiative initiated by Manang Youth Society to promote 

Mustang through art. “It is a part of an ongoing project to 

promote various regions of Nepal through the medium of 

Art”, says Tripple Gurung, the President of MYS. MYS had 

hosted 5 celebrated female artists and a photographer 

who spent their 5 days in embodying the mesmerizing 

landscapes and life of Mustang in the mosaic of shapes 

and shades. The participating artists were Bidhata KC, Erina 

Tamrakar, Sunita Rana, Bipana Maharjan, Puja Maharjan and 

a photographer Sajana Shrestha. The five artists created 

altogether 50 paintings and the photographer captured the 

life and landscapes, besides the artists and their process. 

Sunita has worked on 

the landscapes to make 

them more beautiful. 

She has created beautiful 

landscapes by merging 

the scenes of high 

altitude desert with the 

imagination of an artist. 

Though it mesmerizes 

at once, one find no 

variations in terms of 

color and vegetation while 

observing the landscapes 

of Mustang. But, Sunita 

has surpassed nature by 

creating flora and giving 

it a varied color. The wind 

eroded bare terrain of 

Mustang is converted into 

something beautiful in 

Puja has portrayed the high Himalayan life of Mustang. 

The women attired in traditional Tibetan costume gives a 

lively texture to the color of the land. Mostly the women 

in the region wear long-sleeved floor-length dresses; 

almost all in black except the aprons which are normally 

with multicolor stripes. Her depiction of the life there 

seems to be realistic that exercises a very minimal 

freedom to an artist’s imagination. Bipana stands more 

out to blend photographic reality with her subjectivity. 

She has depicted the chortens of the region in her 

paintings but she has used varied colors and unusual 

backgrounds. The chorten is easily standing out in the 

unusually dark background. And the glimpse of woods in 

the foreground also stands as an oasis giving life to the 

morbid picture in ones mind. 

The color of the mountain dessert seems to have 

appealed all participating artists to accept as it is first and 

to create alternatives with the sensibility of ones mind’s 

eye, then. Erina has dissected the earth and has plunged 

in to dig the colorful gems out. Her paintings are the 

embodiments of the beauty hidden underneath the earth 

that one can see with her mind’s eye. 

Similarly, Bidhata indulged herself in embodying the 

interplay of the architecture with the surrounding 

environment. In trying to capture the unexplored beauty 

of Lomanthang, she gravitated towards the beautiful 

white-washed, walled hermitage that used pigments 

unique to upper Mustang. It looks as if these walledhouses 

capture the spiritual essence of the surrounding. 

‘I felt like there is an imitable relationship between nature 

and the human world. To capture the complementing 

beauty of the houses with the nature, my focal point 

became the texture of the walls,” says Bidhata. 



REVIEWS 

A POWER 

PERFORMANCE 

houseful of audience were amused by 

A veteran Bollywood actor Anupam Kher’s 

solo play Kuchh Bhi Ho Sakta Hai on August 

22, at the Army Officers’ Club, Sundhara. 

The performance of Saaransh actor, also 

known for movies like Dilwale Dulhaniya Le 

Jayenga, Hum Aaapke Hai Kaun along with 

critically acclaimed movie like Maine Gandhi 

Ko Nahi Mara was sterling – thanks to the 

well-scripted play with a good direction and 

of course a power performance. 

This versatile and talented actor of Hindi 

cinema made the two-and-half hour long 

play worth watching and proved such a 

long monologue is indeed fun to watch if 

delivered in Kher’s way. 

Directed by Feroze Abbas Khan, this is an 

autobiographical play, thus chronicles Kher’s 

journey as a human being and as an actor. 

The actor enacts his own story on stage, 

capturing his life from Shimla to Bombay. 

As Kher narrated and dramatized some 

important events of his life, the audience 

got glimpses of fun to romantic to struggling 

to sad and successful moments of his life. 

From his first kiss as a teenager to rejection 

in love as a youth to struggle of getting the 

first break in Bollywood to handling of fame 

and success to again being a failure, the play 

captured some major important events of 

Kher’s life. There were ordinary moments in 

his life like that of any other common man. 

And there were some incidents that seemed 

dramatic – like Kher cursing Mahesh Bhatt for 

not letting him do Saaransh, the melodramatic 

encounter with father of the girl he loved. 

While portraying these life incidents, the 

actor interacted freely with the audience thus 

making the audience relate to his story. 

Along with simply narrating the events 

just the way they happened to making 

commentaries of certain incidents which 

were often humorous, the play was 

presented in diverse way. And there 

was imitation of some moments – his 

performance in his first play of his life Prithvi 

Raj Chauhan and doing a rape scene for a 

movie with Jaya Prada. 

The gloom and pain was felt when he told 

his stories of failure – when he was rejected 

for Nehru’s role in Gandhi film, when he was 

in debt and when his face got paralyzed. 

Whether he told his story of success or 

failure, pain or happiness, loss or gain, 

Kher did equal justice to all the parts. 

Neither he was not only basking in his 

success nor was carried away while 

highlighting his failure. Of course, he is 

the man who “celebrates failure”, but as 

an actor, he had delivered his parts with a 

sense of objectivity making the production 

worth watching. And again he was retelling 

his life stories – there were both good and 

bad moments, some were of failures and 

embarrassment, but Kher boldly revealed 

everything. 

Nonetheless, the beautiful light design with 

right music, minimal props of chair, tables, 

a door and a raised platform along with 

display visuals and photographs from his 

movies were few things that accompanied 

Kher for two-and-a-half-hours in this oneman 

performance. Not to forget were the 

applauses of the audience that resounded 

the full house auditorium throughout the 

performance. 

The creative monologue about Kher’s life 

and time is worth a watch. 

It was a charity show orgaisned to raise 

funds for Koseli foundation, a centre for 

children of slums and streets. 



REVIEWS 

FURNEX NEPAL 

Getting Better Every Year 

to promote sales of my product. But 

times have changed and FURNEX is 

a fusion of more organized and more 

approachable way of improving trade 

and commerce.” 

The third edition of FURNEX Nepal, 

which was opened on 26 August 2014 

at the Bhrikutimandap Exhibition Hall, 

concluded successfully leaving a note 

of invitation to see in 2015 again. 

Inaugurated by Honorable Minister 

of Finance Dr. Ram Sharan Mahat, 

the five day long exhibition facilitated 

an exposure for local furniture and 

furnishing manufacturers. During the 

program Dr Mahat officially released 

‘Souvenir,’ a yearly supplement on the 

expo published jointly by FURNEX 

Nepal and Spaces Magazine. Dr Mahat 

emphasized on the importance of 

events like FURNEX in promoting local 

manufacturers and ensured that the 

government is always ready to play a 

supportive role in encouraging Nepali 

products. Other delegates present 

in the opening ceremony were Mr. 

Rajesh Kaji Shrestha, President of 

Nepal Chamber of Commerce and 

Dinesh Shrestha, Vice-President of 

FNSCI. 

FURNEX Nepal is an annual exhibition 

of furniture and furnishing products 

and it is organized by Nepal Furniture 

and Furnishing Association (NFFA). 

Established in 2056 B.S, NFFA is an 

umbrella organization of furniture and 

furnishing manufacturers, product 

importers, distributors, dealers 

and professionals. FURNEX brings 

together all the firms competing in 

the furniture and furnishing market, 

whether imported or local, under one 

roof and helps bring a sense of healthy 

competition between firms. 

Over 100,000 visitors are estimated 

to have visited the exhibition this 

year. Sushila Gauchan, one of the 

visitors, said, “I have visited FURNEX 

every year and it’s better every year. 

The decorations and the number 

of stalls have really increased this 

year.” According to the coordinator 

of the expo Mr Dinesh Agrawal, the 

previous two exhibitions had been a 

training period for them. There were 

63 stalls in this edition of FURNEX 

and all of them were successful to 

pull a number of visitors and brief 

about their products. The spokeperson 

of the exhibition, Mr. Kavindra 

Joshi, informed that witnessing the 

advanced booking for stalls and the 

enthusiasm of possible exhibitors, 

both national and international, was 

an encouraging accumulation of the 

expo’s achievement in its third year. 

Dedicated to promote national 

products that have high potential to 

compete with foreign and imported 

brands, the expo is a revelation for 

manufacturers to get noticed and 

understand their market competition. 

It provides furniture manufacturers 

a fabulous exposure to the market. 

“Forty years ago, this scale of 

exposure was unimaginable,” says 

Mr. Krishna Lal Pradhan, President 

of Nepal Furniture and Furnishing 

Association. He left behind 15 years 

of his government service to shift 

and dedicate his life to the furniture 

sector. “Back then, I only had a 

bicycle that took me around places 

The first ever Interior Design 

Competition (IDC 2014) was a major 

attraction during the exhibition. 

From the first day till the last, the 

Pashupati Paints stall, which had the 

contestant’s work put up for show, 

was never empty. The Yeti Carpet 

Lucky Draw, FURNEX Lucky Draw 

and the chair race and musical chair 

conducted by Featherlite were other 

added attractions of the FURNEX 2014, 

besides the display of state of the 

arts products and wonderful discount 

offers. 

The 5 day long exhibition concluded on 

30 August 2014, but the closing and 

prize distribution evening was held a 

couple of days after at Radisson Hotel, 

Lazimpat. Certificates of participation 

and tokens of love were conferred 

to the exhibitors, supporters and 

sponsors. Similarly winners of the 

IDC 2014 and the winners amongst 

exhibitors also conferred with prizes 

and certificates. The Best Stall Award 

this year went to Imperial and King 

Koil. The Most Crowded Stall Award 

went to R.N. Foam Industries and the 

award of Innovative Domestic Product 

Display went to Craftsman. 

FURNEX Nepal has been honoring 

the senior personalities of furniture 

and furnishing field every year. This 

time Laxmi Prasad Shrestha was 

honored for his continuous service for 

more than 6 decades in furniture and 

Shyam Sundar Agrawal was honored 

for serving for more than 4 decades in 

furnishing field. 


REVIEWS 

Ashley Products at 

FURNITURE LAND 

Ashley Furniture Industries, Inc., established in 1945, is the largest 

manufacturer of furniture in the world. Their first manufacturing 

faculty was built in 1970 in Arcadia with only 35 employees. They 

have customers in more than 123 countries across the globe. Now 

Ashley Furniture is available in Nepal - thanks to Furniture Land. 

One of the most recognized furniture brands in America and the 

number one selling brand of home furniture in North America, 

Ashley Furniture manufactures and distributes home furniture 

products throughout the world. "All the products pass the standard 

quality check and are directly imported from Ashley Industries 

from USA." says Mr. Saurav Joshi, Marketing Manager of Furniture 

Land, "We got the best of imported furniture in Nepal to better suit 

individual needs.” 

As of now they have introduced Ashley’s Bedroom set, Sofa, 

Recliners, Coffee Table, Dining Table set, Lamps and Rugs. 


REVIEWS 

IDC 2014 

In Creating Interior 

Designers an Exposure 

The first ever Interior Design 

Competition came to an end 

with the closing of FURNEX 2014. 

The Idea which was originally 

conceptualized by Spaces and Nepal 

Furniture and Furnishing Association 

(NFFA), and later supported by 

Pashupati Paints and Yeti Carpet, 

gave a fresh new element to the 

FURNEX 2014 and undoubtedly 

made it the highlight of the 

exhibition. 

It started with 50 students from 8 

different colleges. Amongst them, 

15 of the designs were chosen. 

The requirement of this IDC was 

a residential design with cultural 

inspiration while, also including, the 

concept of internal space utilization. 

Our judges were to rate them in 

categories such as architecture, 

ergonomics, functionality, decoration 

and furniture design. The contestants 

were supposed to show this with 

the help of a 2D design and a 3D 

computer rendering. The competition 

was though and in the place of 10 

finalists 11 were to be chosen since 

there was a draw. 

The final round of the IDC 2014 took 

place in FURNEX 2014 where the 

remaining contestants were required to 

put up a small model of their designs 

for public vote. The judge panel had 75 

percent of the vote and the remaining 

25 percent were open to public votes. 

From the first day till the last, the 

Pashupati Paints stall, which had the 

contestant’s work put up for show, was 

never empty. The votes flowed in faster 

than anticipated, and each voter had a 

different view of their own. Voters ranged 

from professional interior designers to 

students and from business persons to 

window shoppers. 

This fresh new idea was really enjoyable 

to a lot of people and had a lot to say 

about it. The visitors opined that this sort 

of competitions really inspires students 

to go towards interior design since such 

events attests that there is a scope for 

this profession in our country. It's also a 

platform for the interior design students to 

show their talent to the public and also to 

show to the public that interior designing 

required a lot of creativity and hard work. 

This competition also provided, not only 

for the top 15 but all the 50 contestants, 

a chance to learn from their mistakes and 

from each other. 

Coincidently, all of the winners are from 

IEC School of Art & Fashion. The first 

position went to Mr. Anish Pyakurel, 

second to Ms. Sona Subba, and the 

third to Mr. Bikram Khadka. Mr. Khadka 

also won Pashupati Paints Best Color 

Combination. The Yeti Carpets Best 

Presentation award went to Ms. Rabina 

Thapa Magar. All the winners were 

awarded with the certificates, token and 

cash prizes. 

Meeting with the winners, they had a 

lot to say about the competition and 

about the scope of the interior designing 

in Nepal. “We all thought it would be 

a common kind of competition but got 

more attention than we expected to 

get,” says Ms. Rabina Thapa Magar. 

Everyone seemed amazed to see the 

large number of voters during the 

FURNEX and didn’t expect there to be 

such a huge crowd. “This is a totally 

new idea that shows what interior 

designing really is,” says Anish Pyakurel. 

Ms. Thapa Magar adds, “A lot of people 

don’t know that there are interior 


REVIEWS 

designers here and this really helps 

build a platform for interior designers all 

over Nepal.” “People don’t know what 

interior designers do,” says Mr. Khadka, 

“It's not just about decorating room, 

there’s a certain layout and principles 

to follow”. Ms. Sona Subba also says, 

“People have a major misconception 

here in Nepal where they think that 

hiring an architect solves all the 

problems and there will be no reason to 

ask for interior designer's help. Events 

like this really help people understand 

the difference.” All of the contestants 

also felt strongly that they should’ve 

gotten a chance to explain their models 

to the visitors in the FURNEX 2014; 

may not be verbally explain about the 

models but at least allowed to keep 

their 2D design plans. “I felt like a lot of 

people voted without understanding” 

says Ms. Subba. Ms. Thapa Magar 

adds, “I don’t think that people actually 

understood our design and voted 

according to how fancy it looked.” 

to pull a lot of visitors and to let them 

know about the scope of interior 

design in Nepal. "Previously interior 

designers used to be hired from India, 

and though there were a number of 

skilled interior designers in Nepal, the 

clients were not informed about the 

fact," says Mr. Sailendra Kumar Sitaula, 

the Country Manager – Sales and 

Marketing of Pashupati Paints "We are 

happy that we could be the part of IDC 

to let people identify skilled interior 

designers in Nepal." While talking about 

what kind of help they can provide 

to the promising interior designers, 

Mr Sitaula says, "We will happily 

extend hands to create an exposure 

to the designers in the market and we 

promise to continue our support to the 

future editions of IDC." 

Pashupati paints had additionally 

sponsored IDC's Pashupati Paints 

Best Color Combination Prize, worth 

of Rs. 50000 cash and Yeti Carpet had 

also additionally sponsored Yeti Carpet 

Best Presentation Prize, worth of Rs. 

51000 cash. 

Asking about their opinion, Mr Anil 

Kedia, The Chief Managing Director 

says that it was worth sponsoring IDC 

2014 for it provided a platform to Interior 

Designers to showcase their talents. 

Pashupati Paints as the title sponsor 

and Yeti Carpets as a main supporter 

had joined hands with Spaces and 

FURNEX to make IDC a success. IDC 

was a major success of FURNEX 2014 


INTO THE HISTORY 

ARANIKO and 

THE WHITE 

DAGOBA 

text JEEBESH RAYAMAJHI 

History books in Nepal and China generously mention that the 

fifth patriarch of the Sakya sect of Tibetan Buddhism, 'Phags-pa 

(1235-I280), spiritual adviser to the emperor Khubilai Khan, requested 

the then king of Nepal to send 100 artist to build a monumental 

golden stupa in Tibet. Araniko, leading a troupe of artists, reached 

Tibet in 1260 and contributed a lot to make the already rich Nepali 

culture of art and architecture flourish in Tibet. Later, considering his 

extra ordinary skills, he was made the highest artisan-official at the 

court of the Mangol emperor Khubilai Khan. 

His works at court are summarized in his epitaph in China: the 

construction of three stupas, nine great Buddhist temples, two 

Confucian shrines, one Daoist temple, and countless images and 

objects made for the emperor, and individual. The exemplary work 

he did in larger scale and extant till today is White Dagoba, also called 

Miaoying Temple, situated on the north side of Fuchengmennei 

Street in Xicheng District of Beijing, China. 

Statue of Araniko at Araniko Gallery, Nepal Bhasa Academy, Kirtipur 

ARANIKO 

The history will never forget the 

contribution of Satyamohan Joshi to 

introduce Araniko at large in Nepal 

through his book Araniko (2044 B.S) 

based on an extensive research. 

According to the genealogical chart 

Joshi presents, Araniko was born in 

1244. The genealogy clearly shows 

that his grandparents were Mitiar and 

Sungti Lachhime and the parents being 

Lakhana and Sumakhachi. He is said 

to have 10 wives. Chayatha Lachhime, 

amongst them, was from Nepal. 

There is no debate for he was born in 

Nepal but the history is not clear about 

where actually his home was in Nepal. 

Considering the views of Baburam 

Acharya and the proofs Joshi puts 

forward, he seems to have been born in 

Patan. 

Geneological Chart of Araniko displayed in Araniko Gallery in Nepal Bhasa Academy, Kirtipur 

In invitation of 'Phags-pa (1235-I280), 

the fifth patriarch of the Sakya sect of 

Tibetan Buddhism, Araniko, in company 

of a number of his native artisans, is said 

to have reached Tibet in 1260 to build a 

monumental golden stupa there. 

Phags-pa was impressed with Araniko 

at their first meeting and appointed him 

the supervisor for the construction of 

the stupa. The relic stupa was built in 

memory of the fourth patriarch of the 

Sakya sect. It was consecrated in the 

main hall of the Sakya monastery. The 

stupa no longer exists, though part of 

the Sakya monastery, dating back to 

Araniko's time, still exists. 

Historical facts tell us that, Araniko was 

later brought to the throne of Kublai 

Khan in around 1264. Understanding 

Araniko's confidence and potential, 

Khan asked Araniko to repair a damaged 

bronze statue which was almost beyond 

repair. 

The restored image was presented to 

the emperor secured his reputation 

at the court. Then after, the emperor 

offered Araniko with all important 

imperial projects. One of the most 


INTO THE HISTORY 

Structural details of 

White Dagoba displayed 

at Araniko Gallery, Nepal 

Bhasa Academy, Kirtipur 

White Daboba illustrated in the book Araniko by Satyamohan Joshi 

13th century Thanka of Tara attributed to Araniko 

important projects Araniko handled is 

the consecration of White Dagoba that 

started in 1271 and ended in 1279. 

During the time White Dagoba was 

being constructed, in 1273, Araniko was 

made supervisor-in-chief of all classes of 

artisans. 

WHITE DAGOBA 

The White Dagoba, one of the 

most important projects Araniko 

accomplished, is 50.9 meter tall, while 

the Baudhdhanath stupa, the biggest 

spherical stupa in Nepal, is only 36 

meter tall. 

As Satyamohan Joshi has observed, 

the dagoba is based on the mandala 

made of triangles and is composed of 

three major parts: a lotus-style plinth, 

an inverted-bowl-shaped body and a 

steeple with trayodashis. 

Its plinth which is raised from the land 

is divided in three parts: having lotus 

style base on the second and the third 

parts. The body of the Dagoba is shaped 

like an inverted alms bowl; it also looks 

like a gigantic bottle, strong and stable. 

The inverted cone-shaped body of the 

steeple stands firm and it features 

Trayodashi, or thirteen heavens. On top 

of the thirteen-tier steeple is a circular 

canopy of 9.7 meter in diameter, made 

of bronze. Thirty six bells and other 

ornaments hang around the edge of the 

canopy, making it look like an enormous 

umbrella over the main body. At the 

top of the canopy is the gold coated 

pinnacle. 

This is taken as the oldest, the biggest 

of its kind and the most beautifully 

designed stupa in China. 

THE LEGACY 

"His legendary life and career … had 

a lasting artistic and spiritual influence 

on Asia and on China in particular. The 

magnitude of his accomplishments rivals 

those of Brunelleschi, Michelangelo, 

and Leonardo in the West", Anning 

Jing, a professor in the Department of 

Art, Michigan State University, writes, 

"Anige's biography is more than a story 

of a Nepali artist's gallant adventure and 

phenomenal success in foreign lands. 

It is also a story of how Himalayan 

Buddhist art became an international 

style." 

While delving into the history, we 

find historians of art and architecture 

engaged in never ending debate on 

the arts and structures accredited to 

Araniko. Sometimes he is described 

as not only legendary but mythical 

hero empowered with divine skills. He 

seems to have been given credit to any 

piece of ancient art or architecture of 

extra ordinary design in Tibet and China, 

regardless the time and place of its 

origin. 

What can be concluded is, Araniko 

was a well accomplished artist and 

architect born in Nepal and contributed 

a lot in institutionalizing Nepali art and 

architecture in Asia and in China in 

particular, either manufacturing stupas 

or creating art by himself or by teaching 

or influencing others to do in the same 

way for centuries after. 

Araniko, Anige, Aniko, Anico or Arniko, 

was not only an individual artist or 

architect but he was a school or a 

long tradition serving continuously in 

manifold for centuries even after his 

death. He was died in 1306. 


ARCHITECTURE 

KOPAN 

MONASTERY 

text JEEBESH RAYAMAJHI photo A RAJNBANSH 

From Kopan, you get a different perspective of the 

world. Enjoy the slow pace of life and take in some 

understanding of yourself and others at the same time. 


ARCHITECTURE 

S 

election of a proper piece of land, 

be it its shape, location or the 

energy it gives, is one of the primary 

requirements of Vastu for building any 

sort of structure. There must be a reason 

for most of the important historical 

temples are found located either at the 

top of hills or on the rivers. Naturally 

river banks are supposed to be full of 

energy the hill tops cleaner and farther 

from maddening crowds. For peace 

loving Buddhist practitioner, perhaps 

it is a smart choice to consecrate 

monasteries on the hill tops. Kopan 

Monastery, founded in 1970 by Lama 

Thubten Yeshe and Lama Thubten Zopa 

Rinpoche, is an example of such a smart 

choice. Situated at the top of pristine 

hill of Kapan, the monastery offers such 

an ambience that you can take as a 

moment to know yourself and the outer 

world at the same time. 

Buddhist Monasteries, be in any form or 

design, are said to be established since 

the time of Buddha. Though very simple 

and minimalist in the initial phases, the 

monasteries have been evolved into 

very grand and sophisticated structures. 

There are a number of Bahas and 

Bahis (Newar Buddhist Monasteries) in 

Kathmandu Valley consecrated during 

the time span between 12th and 17th 

century. They have adapted traditional 

Newar architectures. In course of 

time, newly established monasteries 

especially Tibetan monasteries have 

adapted modern trends and designs to 

go well with spiritual functionality and 

modern aesthetics. 

Kopan Monastery is one of a number of 

Tibetan monasteries around Kathmandu 

valley. A residence for almost 800 

monks and nuns from many parts of 

Tibet, Nepal and India, the monastery 

is also a centre of Buddhist Studies and 

retreat. Within its premises of more than 

50 acre land, it comprises monasteries, 

a school, a Tantric College, hospital, 

library, canteen etc. It also comprises 

magnificently carved stupas and also 

some sheds for rescued animals like 

goats and cows. The nunnery of Kopan 


ARCHITECTURE 


ARCHITECTURE 


ARCHITECTURE 


ARCHITECTURE 

which is called Khachoe Ghakyil Ling 

Nunnery is a little down on the way to 

Baudha. 

For the most part, Tibetan monasteries 

resemble one another in shape 

and decorations: Grand in style and 

decorated with Buddhist symbols and 

thankas or wall paintings. The main 

monastery of Kopan faces east, which 

is considered the best direction to face 

for any monastery. It is a four storey 

building with 75 x 95 feet and with 

the maximum height of 48 feet. The 

façade is featured with separate four 

windows and a small balcony extended 

outward. Though temporary, there is 

a white curtain just below the balcony 

that presents three srivatsas, one of the 

auspicious symbols in Buddhism as well 

as in Hinduism. There are two Kalchakra 

symbols just above each of the upper 

windows. 

On the top in the middle, there is 

the wheel of life flanked by two 

deer, a customary feature of any of 

Buddhist temple. Similarly there are 

four cylindrical dhwajas to symbolize 

Buddha’s victory over maras and 5 

pinnacles on the top. 

Few steps, flanked by Simha and 

Simhini, lead you to the main entrance. 

Before you enter the hall you can see 

at symbolic frescoes painted in vivid 

colours. Flanking the entrance are four 

Dharma Kings of Tibet, also considered 

the protectors of Tibet. The Wheel of 

Life, depicting the cycle of death and 

rebirth is on your left. 

One of the most striking features that 

separate the main hall of any monastery 

from the material world outside is the 

concentration of the energy that is 

maintained with Vastu or architectural 

principles. As a rule, the ground plan 

conforms to a mándala, a visible 

representation of the sum total of 

natural and spiritual forces. But liberty is 

taken as far as it fulfills the functional or 

spiritual purpose. 

As you enter any of the well structured 

monasteries, you feel completely 

light as if you have deposited loads of 

sufferings in the material world outside. 

You feel light as you enter the main 

monastery and you feel completely 

cleansed with the vibration you get 

inside. The effect of lightness in the 

main hall is enhanced by the brightly 

colored decorative elements, effective 

combination of natural and artificial 

lights and the graceful lines of the finely 

carved columns supporting the beams. 

The centre of the hall or temple, in 

theory, is reserved for the principal deity. 

The principle deity which the monastery 

is dedicated to is Lama Tsong Khapa, 

the founder of the Gelug tradition. 

Giving sufficient space in the front to 

accommodate more than 800 monks 

while in special functions in the hall, the 

statue of Tsong Khapa is placed against 

the wall opposite the main entrance. 

On either side of him are the statues of 

his two main disciples. To the far left is 

Atisha, who brought Buddhism to Tibet. 

On the right side altar the center piece 

is the relic stupa of Lama Thubten Yeshe, 

one of the two founders of Kopan 

Monastery. The altar on the left displays 

the statue of Shakyamuni Buddha, 

with Maitreya Buddha on his left and 

Manjushri on his right. 

Architecture creates magic with space. 

A perfect sense of harmony of space 

and architecture transforms the place 

to the extent that it seems not of this 

world but of the divine spheres. This 


ARCHITECTURE 

is what the magic created in Kopan 

monastery with space, architecture, and 

intricate design and decoration mingling 

with faith, mantras, thankas, symbols, 

lights and music. 

Coming out of the main temple, does 

not make you bear load again. Though 

not concentrated as in the main temple, 

the energy created by the monastery 

ambience is more than enough to keep 

you away from worldly avarices. Next to 

the main temple as you turn right along 

the lower road is Tantric College where 

monks are trained in Buddhist rituals and 

mandalas. Three times a year the tantric 

monks make sand-mandalas there. 

Walking outside the college you happen 

to see the eight stupas of enlightenment, 

representing the eight great deeds of 

Shakyamuni Buddha. 

Walking up the steps and along a narrow 

lane you can see the Chenrezig Gompa 

- here regular courses for visitors are 

held. The upper path a little ahead leads 

you to two magnificently carved stupas: 

One is the Enlightenement Stupa in 

memory of the previous abbot, Khensur 

Lama Lhundrup and another one is the 

Thousand Buddha Relic Stupa, with a 

circular pond in front of it displaying a 

statue of the Buddha of Compassion, 

Chenrezig. 

This is one spot to take a pause and feel 

the reality. You can relish the ambience of 

the spot and the views around. Relishing 

the beauty carved intricately around the 

tomb stone of the enlightened one and 

perceiving anichcha, impermanence, 

through the transient bubbles from the 

fountain in the pond, now you will have 

two options: To make a journey back or 

to make a journey into the mind. You can 

embrace both of these options. If tenderly 

handles they complement each other. 



INTERIOR 

INTERIOR DESIGNING: 

A CHARISMATIC 

CAREER 

text PARMI SHAKYA 

Interior designing means designing a space, which cleverly fulfils the requirement and 

solves the problem of the user but also keeping it comfortable to all 5 senses. Designer 

looks after thermal and acoustic comfort of the space. She or he works on lighting 

design as well, which can create magic in the space without hindering visibility. 


INTERIOR 

nicely done interior space, be it private, commercial 

A or public space, can attract anyone’s attention. It 

accentuates both individual and social life, business and 

family well being, elderly and child comfort. People are more 

or less aware about these things but as it is a new field in 

Nepal, people are quite sceptical about taking it as career. 

It must be because they don’t have a clear idea of what 

exactly an interior designer does, where they can be trained 

as a designer and how to sustain as a designer. There is 

abundance of scope, and there is no lack of people aspiring 

to be interior designers. 

Undergraduate degree on Interior design generally comprises 

of 3-4 years courses. To be a good interior designer one 

needs to be creative, innovative and have knowledge of 

material and medium to express their design ideas. So, 

the course contents works on developing these basic 

needs. There are various subjects such as drawing skill, 

basic design, building construction, work-shop, graphical 

communication, history and others. Most of the subjects are 

repeated every semester with advanced syllabus content. 

Drawing skills or interior design develops drawings skills and 

different drawing techniques that help students put their 

ideas on paper and also grow their creativity. It eventually 

teaches how to design. Basic design acknowledges student 

with design process, principles, theories, standards and 

various elements of design which act as guidelines for 

designing. Building construction introduces students about 

different materials used in construction, construction works, 

structural strength,etc.History of art helps student to get 

to know about the origin of this art form and its gradual 

change over the time. It introduces them with different styles 

developed in various periods, which are still very influential. 

Other subjects such as graphical communication and 

workshop help students to express their design through 3D 

and 2D forms and different medias and BIMsoftware such 

as Auto CAD, 3D max, Sketch Up, Photoshop, etc which is 

needed to convince client and also needed for construction 

works. All architectural plans such elevations, sections, etc 

are mainly done using Auto CAD 2D. These drawings are 

very technical and are mainly for the contractors and sub 

contractors. In order to get a clear idea of all the terms 

involved in the construction industry clients usually leave 

all the administrative works to the Interior Designer. This is 

a very important phase in a Clint-Designer trust building. 

Clients depend fully on the Interior Designer for the proper 

progress and follows up of the works. If clients do not trust 

the designer or vice versa the project will be hindered in 

many ways and sometimes the projects comes to stop 

either because the designer has left the project or because 

the clients start to get too much involved into the design 

works. 

There are other subjects included which can be very 

productive after getting into professional life. Vaastu/ 

FengShui and Landscape designing can be of additional 

strength while working as designer. Ethics and professional 

practice help in becoming a good designer and acquire the 

professional attitude. 

After graduation, students will have to deal with clients and 

administrative works. Dealing with clients specially those 

who know what they are expecting from you, as an Interior 

Designer is not an easy task. The clients expect you to behave 

in a very professional manner. Deadlines or any site meetings, 


INTERIOR 

etc has to be dealt in a very professional 

manner. The course also focuses on building 

presentation skills, design representation 

skills and frequent survey and field visits 

which keeps on upgrading students about 

the new development in the market. 

Final year project requires completing a 

project single handedly. The said project 

which has to be chosen by the student needs 

to be an existing building which the latter will 

redesign according to a set of guidelines set 

up by the lecturer in charge. This project/ 

portfolio prepares the students to build 

confidence and prepare them for professional 

career ahead. On the top the students have 

to prepare a Research/Scrap book based on all researches and 

information gathered during the process of the project. The 

whole time frame including pre and final presentation takes 

around 6 months. After the pre final presentation the students 

have to make a model of the chosen project. 

Besides undergraduate course, there are 1or 2-year diploma 

courses and other short courses, which provides with basic 

interior design concept. These courses are mainly short, part 

time courses run mainly for people who have a keen interest 

in interior design but already have a professional career. 

After graduation, one can either work as freelancer or work 

in companies such as architectural and interior design firms; 

furniture manufacturers and showrooms or corporate houses. 

There is a growing demand for Interior Designer in major 

cities of Nepal. Nowadays, people seek interior designer’s 

34 / SPACESNEPAL.COM 

There are various career 

options to choose from. Some 

of them are: 

Interior Design Consultant 

Set Designer 

Lighting Designer 

Colour Consultant 

Property Consultant 

Furniture Designer 

CAD Operator 

Site Supervisor 

Residential Designer 

Product Designer 

Visual Merchandiser 

help to design even a small understairs 

space at their home. There are also people 

who trust fully on interior designer to turn 

their house into their dream home. Also 

there are new restaurants or cafés opening 

everyday around each corner, and it’s 

not just food that attracts people but the 

ambience/atmosphere of the place as well. 

The competition is very tough, so everyone 

wants to have the best looking interiors. 

Some restaurant owners who have spent 

the last couple of years living and working 

abroad and have experience the wave 

effect of interior designing wants to reflect 

this into their own country. They strive to 

seek professional advice from designers, 

either local or international. These services either local or 

international have a cost factor. Needless to say that designer 

with a good reputation charges a fee that clearly reflects his 

reputation but it also keeps a lot of potential clients at bay. 

These clients turn to local designers and it also gives the 

young emerging interior designers in Nepal a chance to prove 

themselves. So, for this purpose interior designers are very 

much looked upon. 

International and local brands are opening their outlets and 

every one wants to stand out from other. They want to 

accentuate their product and draw customer in the store and 

keep them engaged in the store and tempt them to buy. For 

this, there is need of professional help and there starts interior 

designer’s work. International brands are mushrooming 

everywhere in Kathmandu. These big brands want their stores 

to be ‘unique’ and ‘original’. They want customers to feel as

INTERIOR 

if they are in their own house when shopping, the sense of 

complete comfort. One very good example of store design is 

the famous IT company based in California. They have gone 

the extra mile where all interior designers will stop working 

on conceptual ideas after several sketches; they have added 

a little spice, the extra wow factor. Walking into any of those 

stores makes you feel completely submerged in the products 

they are selling. Everything has been properly calculated. 

The amount of ambiance lights inside and overlooking the 

displayed products, the colour of the lights, the furniture 

design, the height of the furniture, etc. The overall interior 

design makes you, the customers feel comfortable and the 

most important factor is it gives you a sense of trust: thus 

pushing you to do some or many purchases. 

But there are some misconception regarding the work 

designers does. Interior designer are not limited to selecting 

curtains and room colour, it is broader than that. Interior 

designing means designing a space, which cleverly fulfils 

the requirement and solves the problem of the user but also 

keeping it comfortable to all 5 senses.Designer looks after 

thermal and acoustic comfort of the space. She or he works 

on lighting design as well, which can create magic in the 

space without hindering visibility. 

Also, if a designer is able to incorporate local material and 

skills in innovative and sustainable way in his/her design, this 

field can get popularity beyond the cities they are in and reach 

out even to smaller cities and might even attract international 

eyes.Some contribution on communal spaces like youth 

clubs, libraries, community clubs, etc can draw attention of 

the locals and acknowledge them about the importance of 

interior design. 


IMPACT 

READY ! 

GETSAFE ! 

text AR SALONI SHRESTHA 

With the passage of time we are 

becoming more and more aware 

about the various wraths of nature. 

Floods, landslides, epidemics and fires 

cause considerable loss of lives and 

property all over the world. Earthquakes 

on the other hand are not so frequent 

but have the potential for causing 

the greatest damage. Geologically, 

Nepal is considered to lie on a seismic 

zone which experiences frequent 

earthquakes. Past records have shown 

that Nepal can expect two earthquakes 

of magnitude 7.5 – 8 on the Richter scale 

every forty years and one earthquake of 

magnitude of 8+ on Richter scale every 

eighty years. The last great earthquake 

that struck Nepal was in 1934 which 

had 8.3 magnitudes; this affected 

the country’s political, economic and 

cultural capital, destroyed 20 percent 

and damaged 40 percent of the valley’s 

building stock. In Kathmandu itself, one 

quarter of all homes were destroyed 

along with many historic buildings. 

This earthquake was not an isolated 

event. Three earthquakes of similar size 

occurred in Kathmandu Valley in the 19th 

Century: in 1810, 1833, and 1866 AD, 

indicating that a devastating earthquake 

is inevitable in the long term and likely in 

the near future. 

Kathmandu today is an entirely different 

city from the one almost leveled in 

1934. It is now a densely populated 

home to almost 2.5 million people, 

many living and working in buildings that 

will not withstand a significant seismic 

event. Experts say that if an earthquake 

of 8 magnitudes occurs anytime soon 

it would displace more than 1.8 million 

people, kill over 100,000 and injure a 

further 300,000 and sixty percent of 

buildings could be destroyed. 

Today's scientists understand 

earthquakes a lot better than we did 

even 50 years ago, but they still can't 

match the quake-predicting prowess of 

the common toad (Bufo Bufo), which 

can detect seismic activity days in 

advance of a quake. So for now all we 

can do is prevent and prepare ourselves 

and our loved ones from the devastation 

of an Earthquake. 


IMPACT 

Today's scientists understand earthquakes a lot better than 

we did even 50 years ago, but they still can't match the quakepredicting 

prowess of the common toad which can detect 

seismic activity days in advance of a quake. 

BEFORE DURING AFTER 

• Make sure you have a fire 

extinguisher, first aid kit, a batterypowered 

radio, a flashlight, and extra 

batteries at home. 

• Learn first aid. 

• Learn how to turn off the gas, water, 

and electricity. 

• Make up a plan of where to meet 

your family after an earthquake. 

• Anchor heavy furniture, cupboards, 

and appliances to the walls or floor. 

• Learn the earthquake plan at your 

school or workplace. 

• Stay calm! If you're indoors, stay 

inside. If you're outside, stay 

outside. 

• If you're indoors, stand against a 

wall near the center of the building, 

stand in a doorway or crawl under 

heavy furniture. Stay away from 

windows and outside doors. 

• If you're outdoors, stay in the open 

away from power lines or anything 

that might fall. Stay away from 

buildings 

• Don't use matches, candles, or any 

flame. Broken gas lines and fire 

don't mix. 

• If you're in a car, stop the car 

and stay inside the car until the 

earthquake stops. 

• Don't use elevators (they'll probably 

get stuck anyway). 

• Check yourself and others for injuries. 

Provide first aid for anyone who needs it. 

• Check water, gas, and electric lines for 

damage. If any are damaged, shut off 

the valves. Check for the smell of gas. 

If you smell it, open all the windows 

and doors, leave immediately. 

• Turn on the radio. Don't use the phone 

unless it's an emergency. 

• Be careful around broken glass and 

debris. Wear boots or sturdy shoes to 

keep from cutting your feet. 

• Stay away from damaged areas. 

• If you're at school or work, follow the 

emergency plan or the instructions of 

the person in charge. 

• Expect aftershocks. 

"Mr. Abishek Kharel, Proprietor of Dakshinkali Hardware Suppliers, is the dealer of Jagadamba cement. 

As per Mr. Kharel, Jagadamba Cement is highly on demand because of its good quality. The packaging/bora is also good." 

Dakshinkali Hardware Suppliers 

Kalanki, Contact: 4302950 

Contact Person:Mr. Abishek Kharel, SEPTEMBER 9841-497950 2014 / 37

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JOURNEY 

LADAKH 

A JOURNEY INTO MOONSCAPES 

text and photo ASHESH RAJBANSH 

It was the craziest wind I have ever confronted with. Wind 

eroded landscapes of Ladakh gives a resemblance of Mustang 

region and you feel as if you are travelling in the Trans Himalayan 

regions of Nepal. The culture, too, you don’t find different if you 

are familiar with the people of Tibetan descent. Moreover the 

Indus River, being quite familier with the name, reconnects you 

with one of the oldest civilizations. 


JOURNEY 

Ladakh is the highest plateau of state of 

Kashmir with much of it being over 9,800 ft. 

It stretches the Himalayan range and the upper 

Indus valley. The Indus River is the backbone 

of Ladakh: Most major historical and current 

towns - Leh, Lamayuru, Bodh Kharbu, Shey, 

Basgo and Tingmosgang are on the Indus River. 

Once it was the connection point between 

Central Asia and South Asia when the Silk 

Road was in use. The sixty-day journey on 

the Ladakh route connecting Amritsar and 

Yarkand through eleven passes was frequently 

undertaken by traders till the third quarter of 

the 19th century. Another common route in 

regular use was the Kalimpong route between 

Leh and Lhasa. These traditional routes have 

been closed since the Ladakh-Tibet border 

was sealed by the Chinese government. Now, 

there are only two roads to link it with other 

Indian territories: Leh-Srinagar road and Leh- 

Manali road. Airway is the best alternatives to 

go to the region. 


JOURNEY 

You can’t help appreciating the beauty 

of wind carved slopes, first, and the 

beauty in the heart of the people there, 

immediately after. The wind eroded 

moonscape is full of statute like residual 

of hard rocks and the terrain of loose 

sand looks like its plinth. The slopes of 

uniform colour, hiding-and-seeking clouds 

over the hills and river snakes through 

the valley make you forget everything. 

The trails to the infinity, some patches 

of greenery around human settlement, 

and shadows of hovering clouds over 

the slopes are sufficient to make you 

lost in appreciating. Further, you will 

be rewarded with the best hospitality 

guided by the higher level humanity: For 

the people living there, you will find, the 

humanity binds anyone from any ethnicity 

or religion and surpases the ‘narrow 

walls’ of any sorts of sectarism. 

PEOPLE AND THE CUSTOMS 

The best example of religious tolerance 

and harmony is found in Ladakh. 

Inhabited by Indo Aryan and Tibetan 

descent, the population is mostly 

dominated by Tibetan Buddhists 

and Muslims. Masjids and Buddhist 

monasteries can be found side by side; 

coexisting and complementing each 

other. 


JOURNEY 

We can see different faces of diverse 

ethnic groups including the slender, 

bearded, hazel-eyed Kashmiris and the 

shorter, broader cheek-boned Ladakhis. 

The women in the region are believed 

to enjoy a high status and relative 

emancipation, compared to other 

parts of India. Another feature which 

is noteworthy is a custom known as 

khang-bu, in which the elders of a family, 

as soon as the eldest son has sufficiently 

matured, retire from participation in 

affairs, giving the headship of the family 

to him and taking only enough of the 

property for their own sustenance. 


JOURNEY 


JOURNEY 

ARCHITECTURE 

Houses are clay topped - strong enough to bear the 

heavy snow fall. The crazy wind that starts its monstrous 

motion after the mid day: the bunker like traditional 

structures are safe from wind outside and warm 

inside. Mostly the historic houses or heritage buildings 

are based on hard rocks, often mingling with natural 

structures. 

The monastic architecture in Ladakh reflects a deeply 

Buddhist approach. Many houses and monasteries 

are built on elevated, sunny sites facing south. Such 

structures in the past were made of rocks, mud and 

wood but are now more often concrete frames. 


JOURNEY 


JOURNEY 

SOME PLACES OF WORTH A VISIT 

Leh is the largest town in Ladakh, this is 

where your sight seeing commences from. 

Now equipped with modern structures and 

development, the town is still dominated by 

the ruined Leh Palace, former mansion of 

the royal family of Ladakh, built in the same 

style and about the same time as the Potala 

Palace. Leh is connected to other parts 

of India by Leh-Srinagar highway in the 

southwest and to Leh- Manali in the south. 

It was before an important stopover on 

trade routes along the Indus Valley between 

China and India for centuries. 

Lamayuru, one of the holiest Buddhist 

places in Ladakh, is situated on the Leh- 

Kargil-Srinagar road, approximately 110 

KM away from Leh. It is known for its one 

of the oldest monastery called Lamayuru 

Gompa. Legend has it that at a time 

Shakyamuni Buddha was under a big lake, 

which was home to many Nagas. It is said 

that the Arahat Madhyantika made water 

offerings to the Nagas and made a crack 

into the ground of the lake to leak out 

the water predicting that in the future the 

teachings of Sutra and Tantra will flourish 

in this place. 

Thereafter, Mahasiddha Naropa (1016– 

1100) visited the place. He spent a long 

time in strict retreat in a cave there and 

turned the place into a sacred land. The 

cave still exists, and forms part of the 

main shrine of Lamayuru Monastery. 

Rinchen Zangpo (958–1055) is accredited 

for establishing the monastery. 

Bodh Kharbu is another place of a 

worth visit. It is situated in Kargil district. 

Located on the Leh-Kargil-Srinagar road, 

it is 160 KM away from Leh. Along with 

the remains of ancient forts, renovated 

monasteries and new settlements, it also 

houses newly established monasteries 

established by well accomplished 

Rimpoches of the region. 



FROM THE SHELF 

THE TRADITIONAL NEWAR ARCHITECTURE OF 

THE KATHMANDU VALLEY 

THE SIKHARAS 

Author: Wolfgang Korn 

Publisher: Ratna Books 

Published Year: 2014 

Language: English 

"In The Traditional Newar Architecture of the Kathmandu 

Valley: The Sikharas, Korn not only documents them 

but also describes the different types of sikharas on 

the basis of his own systematic and measured line 

drawings including the historical development." 

INTRODUCTION 

In the past, most publications 

dealing especially with Nepalese 

building tradition have presented the 

Hindu temples in the form of the so 

called ‘pagodas’ and the Buddhist 

sanctuaries, the stupas and chaityas 

found in the Kathmandu Valley. 

In contrast, the massive towers built 

in brick or stone called sikharas are 

mentioned comparatively seldom and 

not comprehensively enough. 

In 1975, the first recording of 

historic monuments (i.e. temples, 

monasteries and historic sites) was 

published in the form of a catalogue. 

Each monument was represented by 

a photograph, a site plan and a short 

description. 

In 1976, my book, The Traditional 

Architecture of the Kathmandu 

Valley, was published, dealing with 

buildings with slanting roofs such 

as the multi-tiered temples, the 

Buddhist monasteries, Hindu priest 

houses, residential houses, palaces 

and guest houses. It did not mention 

- Professor Nirmal Man Tuladhar 

the Buddhist stupas, chaityas and the 

sikharas. 

In 2003, my study on Licchavi Chaityas 

in Kathmandu Tal was released in 

German. The book about the Buddhist 

stupas has yet to be translated into 

English and published. 

With this publication of the sikhara 

temples, the trilogy of my studies 

completes. As in my first book, the 

different types of sikhara temples are 

represented by technical drawings 

only. 

In 2011, the most comprehensive, 

three-volumned work of Niels 

Gutschow, Architecture of the Newars, 

appeared in the market. Its immense 

value is not only in the many, most 

detailed drawings ever prepared in 

Nepal and the photos of all aspects 

of the Newari building history and 

building types, but also in the volume 

of information concerning the building 

history. 

At the outset I have talked about 

the ‘Nepalese’ building tradition as 

it appears in most publications and 

studies. It would have been more 

correct to call it ‘Newar’ as it was the 

Newars who created this culture. The 

Newars are the ethnic inhabitants 

of the Kathmandu Valley and the 

neighbouring valleys of Banepa and 

Panauti. They were the dominant 

power in a long stretch of the now 

Nepalese Himalaya, ruling from the 

Kathmandu Valley which was earlier 

called Nepal Valley. 

EMERGENCE OF THE SIKHARAS IN 

THE KATHMANDU VALLEY 

As already mentioned, the Indian 

sikhara temple has been built in 

stone and brick since about the 6th 

century. Not much is known about the 

appearance of this temple type in the 

Kathmandu Valley. Slusser (1982: 186) 

writes: 

The existing evidence for Licchavi 

stone architecture, perhaps 

of the kind that prevailed in 

contemporary northern India, is 

extremely fragmentary. But in 

association with the standing Late 

Licchavi or Transitional Period half 

ruined sikhara temple in Pasupati 

compound, and the ubiquitousnes 

of sikharas in Malla architecture 

from at least the 15th century, it 

does lead us to believe that stone 

and brick sikhara-style temples 

were also known during Licchavi 

Nepal. 

‘On stylistic evidence, it can belong to 

the late Licchavi or early transitional 

period’ (Slusser 1982: 147). Gutschow 

(2011: 515) gives an even earlier date 


FROM THE SHELF 

of construction: ‘The miniature stone 

sikhara in Pasupati may date to as early 

as the 8th century’. 

As there is no further evidence of these 

presumptions of early structures there is 

a gap about six centuries. 

‘There are other Sikharas that can be 

securely dated by inscriptions to at 

least the beginning of the 15th century. 

One of these, for example, stands in 

Bhaktapur: a squat little neighborhood 

temple which, according to an in situ 

inscription, was erected in the reign of 

Yaksamalla (A.D. 1428-1482)’ (Slusser 

1982: 147-48). 

Gutschow (2011:51) comments: 

While the earliest extant tiered 

structures under a pyramidal roof 

(Author: so-called ‘pagodas’) date to 

the later 13th century, it is the brick 

towers of the Jagatnatha and Narasiipha 

temples in Bhaktapur and Patan which 

reintroduced the sikhara or ‘Mountain’ 

type of temple to Nepal during the 16th 

century on a larger scale. 

That means that the sikhara temple 

type became popular during the 16th 

century and developed into the most 

popular temple style beside the pagoda 

temple type. Sikharas serve all deities 

of the Hindu-pantheon, such as Siva- 

Mahadeva, Visnu and his incarnations, 

and the Buddha as well in a small 

number. 

Still, the almost sudden appearance of 

this temple type must have been based 

on a long tradition. The basic layout, the 

technical and decorative details must 

have had a source developed in steps 

over a long time. 

Outside the Kathmandu Valley, several 

shikharas have been found only in the 

Karnali zone of western Nepal, erected 

by the local Malla rulers of the small 

Khasa kingdom. These temples, dated 

between the 13th and 14th century, 

show a great similarity to the Indian 

precedents thus originating from a time 

when there is no similar temple found in 

the Kathmandu Valley. 

Figure 2.2 represents a typical example 

still showing finials with one, two or 

even three solid, round plates displaying 

amalaka-design in the function of 

honorary umbrellas of the temples. 

Depending on their size, three, five or 

even seven rathas divide the elevations 

into vertical segments. Also typical, and 

special for the region, are the horizontal 

divisions of the outer rathas in the 

design of amalaka-friezes. These friezes 

are seen on Indian temples too but not 

on sikharas of the Kathmandu Valley! 

In conclusion the sikharas of Western 

Nepal are much more copies of the then 

popular Indian sikharas whereas those 

built in later centuries in the Kathmandu 

Valley display a more indigenous design 

from the very beginning. 

This is not a book review; this is just an 

effort to conveying information to the 

readers on rare and valuable books on 

Nepali art and Architecture. This column 

aims to give a helicopter view on such 

books and thus presents the excerpts 

and illustrations either from the preface, 

introduction, jacket or main contents of 

the book from the shelf. This book was 

kindly provided by Mandala Book Point, 

Kantipath, Kathmandu (Tel. 4227711). 



REVIVING HISTORY 

NEWLY CONSECRATED 

LICHHAVI 

CHAITYA 


text and photo SUKRASAGAR 

Araniko in the 13th century contributed a lot in institutionalizing 

Nepali art and Architecture in Asia and in China, in particular. 

Since the time even before Araniko, Nepali artists have been 

the most authentic and skilled experts of Buddhist art and have 

been sought for from across the world. Even these days, the 

world demands Nepali artisans for creating or consecrating 

Buddhist arts and statues. Bhutan has recently consecrated 

the tallest statue of Guru Padmasambhava and it was made 

possible with the art and craftsmanship of the Nepali artists. Raj 

Kumar Shakya and his team from Nepal was assigned to design 

and build the 155 feet tall statue of Guru Padmasambhava 

in Takela of Eastern Bhutan, and it was completed in March 

2014. The newly consecrated Lichhavi Chaitya in Switzerland is 

another example of the reviving the tradition of Araniko. 

A Lichhavi Chaitya recently carved in Nepal has become a part of Alian Bordier 

Museum complex in the town of Gruyeres, Switzerland. The Chaitya was commissioned 

by Alian Bordier, the Founder of the Museum and the composition 

of the Chaitya was decided by Ulrich von Shroeder. The initial drawing for the 

chaitya was made by Rajan Shrestha of Bhaktapur and carving was done by 

Santalal Dyakhahjyapoo of Khokana. I was the one to supervise the work of 

drawing, carving and dispatching it to Switzerland. 

THE CONCEPTION 

Alain Bordier was one of the great lovers 

of Asian art. He is devoted particularly to 

the Tibetan and Nepalese art. He has a 

museum totally devoted to Tibetan Art 

named TIBET MUSEUM in the city of 

Greyeres in Switzerland. 

Alian has visited Nepal several times 

and he was especially fascinated with 

Lichhavi Art of Nepal. Since he was a 

friend of Ulrich von Shroeder and well 

acquainted with him, he asked Mr. von 

Shroeder to select a Chaitya for him to 

erect in his complex. Ulrich is an expert 

of Asian art: No other people have 

printed more pages of the books on 

Asian Art than him. 

He has written the voluminous books 

individually on the Sculptures of China, 

Tibet, Nepal, India and Sri Lanka. He is 

the man of work who is unbeatable in 

this field. He never ran after the titles of 

Drs. and Profs. He does not believe and 

want authentic chairs. He likes working 

in the fields, camera and computer and 

has been working without a halt. 

Once the project of carving a Lichhavi 

chaitya of Kathmandu chucked out, 

Ulrich selected a design that is not truly 

one piece. He devised combinations 

of many pieces from different places 

and brought out one new creation. This 

product is the result of his hard work 

and creativity. 

ADAPTING THE DESIGN 

First of all a nice base was thought of 

and the example from Kuthuvahi steps 

leading up to Kwaapaadya was chosen 



and is replicated in all four sides of the 

new Chaitya base. The figure is called 

Kinnara in Sanskirt and Lapwadyachaa in 

Newari. Then the Panchadhyaani Buddha 

cube was copied from a simple but artistic 

one from the dilapidated and thrown 

off Chaitya at the outskirt of same 

Kuthuvahi complex. The four niches on 

them were vacant and therefore four 

Dhyaani Budhas were thought of and 

the oldest so far known in Chaitya architecture 

was copied from a small Chaitya 

to the west of Sighabaha Mahachaitya. 

This made the full plan workable. 

SELECTION OF THE STONE 

Once the plan was finalized Mr Santalal 

Dyakhahjyapoo from Khokana was selected. 

He was given the task of carving 

the caitya and one year period of time. 

He is the most talented stone carver in 

Kathmandu valley of today. 

Three men party was formed with Ulrich 

von Shroeder, Santalal and I. Then the 

party went on to select the raw material 

- the suitable stone. They looked for 

the stone in many quarries but suitable 

stone was not easily available. Finally 

the stone in the village of Talku from 

the south of Chandragiri hill was found 

suitable. It took almost four months to 

acquire and transport the raw material 

to the workshop of the sculptor. The 

reason behind the delay was weight of 

the stone and unavailability of the lifting 

equipment in the quarry. 

The work commenced after nearly five 

months from the date of order. It took 

nearly two months to carve out unnecessary 

parts of the stones and bring 



into rough sketch form. When the real art work 

started, nine months had already elapsed and the 

carver remained in hectic situation and requested 

Ulrich for four more months’ extension. He was 

well acquainted with this field and understood the 

problem. 

GIVING LIFE TO THE STONE 

The work went on smoothly after the time period 

was extended. Santalal could work patiently. The 

work was completed in July 2013 and finally Keshav 

Amatya from Kirtipur happened to be on the site. 

He advised us to make a sand blasting on the final 

product and experimented in another image. The 

result was spellbinding and it was decided that the 

same technique would be used as final touch to 

this Chaitya. The final product looked elegant. 

Ulrich inspected the final product and found it 

at the height of perfection in stone carving and 

transported it to Switzerland where Alain Bordier 

received it. It was the generosity of Alain Brodier 

that he agreed to pour some of his resources in 

Nepal. He ordered the product to be dispatched 

by air cargo. Nearly 2000 Kg of stone airlifted to 

Switzerland and then consecrated there finally. 

As a Nepalese, I could not help being proud. 




PERSPECTIVE 

VASTU 

VS 

ARCHITECTURE 

text DR MADHAV MANGAL JOSHI 

If the energy that the land generates is not positive, or if the land does not generate 

energy at all, then the house constructed on it never can be suitable to live in, even if all 

other principles of Vastu have been applied cautiously. 

The main concept of Vastu is not different 

from Architecture. These are 

almost similar. The architecture is more 

concerned with design: Designing house 

in such a way that each section would be 

sufficiently bright and warm. Vastu also 

demands the same: Vastu demands the 

balance of five elements while designing 

a house. The five elements are earth, 

water, air, fire and the sky. 

The land in which we base our architecture 

is the earth element. Moisture 

is also important to be in the structure 

that is water element. There must be 

sufficient air passing through. And, the 

room needs to be sufficiently warm: the 

fire element suffices the rooms with 

warmth. If the room is not sufficiently 

high, then we feel suffocated. This is the 

element of sky to be considered in this 

aspect. So, Vastu teaches to maintain 

the balance of all these five elements. 

Let's consider the earth element first. 

While selecting the land to build any 

structure on, the shape, slope and the 

energy it flows needs to be considered. 

For homes, square shape of land is 

considered to be the best. For seismic 

reasons, too, it is considered the best. 

Rectangular and even circular are other 

alternatives. But it is recommended that 

the length should not exceed the double 

of the breadth if we choose a rectangular 

land; it is risky from seismic reason, 

too. It is believed that the shape of the 

land and the structure should not be of 

multiple corners and the any corner of 

less than 90 degree. But in some cases, 

if the corner in the northeast direction is 

narrower than 90, it is considered to be 

the best. On the contrary the narrower 

corners in some other direction might be 

disastrous. The worst kind of land is of 

triangular shape. 

Similarly the slope of the land facing east 

is considered to be the best. It is believed 

that it brings positive effects in health if 

the land is slanted towards the east. And, 

if the slope is facing the north, that is 

believed to bring wealth. On the contrary, 

the slope of land slanted towards 

west might harm the health and slanted 

towards south might cause poverty. 

Only the perfect shape and the slope 

of the land does not mean that the land 

is the best to construct any house on. 

The energy that the land generates 

also should be considered cautiously. 

Traditionally, in most of the cases in 

Nepal and India, even these days, the 

energy of the land used to be tested by 

smelling the soil or tasting it or digging 

the land and pouring water in it. Europe 

has developed now a special kind of 

measuring rod to test the energy of the 

land. With the help of the rod, which is 

called Dowsing Rod, we can test the energy 

within a few seconds. If we depend 

only on the smelling or tasting the soil to 

measure the energy, the accuracy never 

can be guaranteed. If the energy that 

the land generates is not positive, or if 

the land does not generate energy at all, 

then the house constructed on it never 

can be suitable to live in, even if all other 

principles of Vastu have been applied 

cautiously. You don't feel comfortable to 

live in such houses. 

Only after considering all these things, 

here comes the design: Maybe the role of 

architecture begins only after, but the role 

of Vastu does not end. While designing 

the house the principles of Vastu should 

be followed. Principle of Vastu again 

means maintaining the balance of five 

elements and considering the energy. For 

example, to place the Kitchen, southeast 

is the best direction since it represents 

fire elements. Northeast is the direction 

of water and thus to place water in this 

direction is considered to be the best. 

While considering energy, life force which 

is called pran vayu flows east to west and 

geomagnetic force flows north to south. 

Northeast is the main source of energy, 

thus it is the best direction to place living 

room and also prayer room. 


ART 

‘Visworup’ – the image of the Lord is found in the walls of the prayer room in the private residence of Prime Minister 

Bhimsen Thapa, early 19th century at Lagan Tole, Kathmandu. In the painting, two attendants can be seen – Lord 

Arjun, an important character from the great epic Mahabharata is in the left and the devotee in the right is the 

representation of the prime minister himself. 

PHOTO: RAJENDRA CHITRAKAR, GP SANSTHAN 

MURAL ART 

HAS ANCIENT ROOTS IN NEPAL 

text MADAN CHITRAKAR 

digital support BIJAYA MAHARJAN 


ART 

Details of the fresco painting inside 

the famed 55 Window Durbar 

Complex, Bhaktapur. Different 

episodes from the great Hindu epic 

Mahabharata can be seen in the 

different panels of the painting. 

PHOTO: BIJAYA MAHARJAN 

Many of Buddhist Vihars and Bahis 

were built during the time span 

between 12th century and 17th century 

AD. Mural art by then had had been 

well established as an important part of 

entire painting tradition…. Naturally, as 

the number of Buddhist Vihars begun to 

grow in the Valley during this period, the 

earliest wall painting or the archetypal 

‘Murals’ also began to appear in Nepal. 

Hence in all the possibilities therefore, 

those early monks cum painters and 

their religious art in the walls then 

could be described as the origins or the 

genesis of mural art in Nepal. (Hook) 

In the present day Kathmandu, one would 

hardly fail to notice a liberal presence of 

wall paintings – visible all over the city 

walls in the important thoroughfares 

of the city. A casual visitor may even 

wonder whether the ‘graffiti’ revolution 

has finally arrived in Kathmandu. The 

shapes and forms may vary with a wide 

spectrum of diverse visual imageries 

– from unintelligible psychedelic forms 

to amateurish pop art to community 

messages or forms as desired by funding 

agencies –foreign or local. 

But the unconventional art practice as 

is found today is a recent phenomenon: 

and its appearances could be directly 

attributed to the overwhelming public 

desire to do away with and discourage 

the reviled culture to deface the city 

walls with ugly political slogans. Thus the 

motive has been essentially to save the 

city walls from the ugly political slogans. 

It means the present wall paintings or 

the art of murals - unlike the art of graffiti 

elsewhere, have no or very little bearings 

whatsoever with the mainstream 

contemporary Nepali Art today. 

THE ANCIENT ROOTS 

But unlike the recent wall paintings as 

stated above however, ‘Murals’- as a 

work of serious art too had had appeared 

long ago and had found deep roots in the 

history of Nepali Painting: and had long 

remained an integral part of the central 

stream of painting since then. And unlike 

today, the driving spirit and the motives 

to paint in wall – the murals or frescoes 

was to illustrate the religious beliefs – or 

to serve as constant reminders of the 

faiths. Surprising it may seem today, 

the importance of ‘Murals’ as an art 

then, remained so vital not only in the 

making of the history of art but also has 

remained equally instrumental in a social 

evolution - creation of a caste artists 

‘Chitrakars’ in the medieval Nepal. 

Going by the history, an earliest 

appearance of any painted form or a 

‘Painting’ in Nepali history is dated 11th 

century – revealing the prevalence of 

Buddhist faith dominant then. History 

also revealed that the bulk of the early 

painters then usually doubled as monks 

cum painters. Many of the monks cum 

painters had had made their arrival as 

refugees from the neighboring Pala 

empire – fleeing the onslaught of 

growing Muslim invasions. And in the 

Buddhist tradition they brought in, wall 

paintings or the ‘Murals’ in the exteriors 

as well as inside the antechambers 

constituted an integral part of the 

religious practice. Naturally, as the 

number of Buddhist Vihars begun to 

grow in the Valley during this period, the 

earliest wall painting or the archetypal 

‘Murals’ also began to appear in Nepal. 

Hence in all the possibilities therefore, 

those early monks cum painters and 

their religious art in the walls then 

could be described as the origins or the 

genesis of mural art in Nepal. 

Later in the following centuries too, 

albeit the dominance of religious faiths 

began to shift, it seemed the importance 

of ‘Mural Painting’ did not wane. New 

Buddhist Vihars continued to be added 

in the Valley and so did the growth 

of popularity of mural art. A student 

of history would note that many of 

Buddhist Vihars and Bahis were built 

during the time span between 12th 

century and 17th century AD. Mural art 

by then, had had been well established 

as an important part of entire painting 

tradition. The early monk cum painters 

too had had cast off their yellow robes 

and began to lead a normal married life 

with family. And as for livelihood, they 

had had turned into professional painters 

– catering painting services to both 

Buddhist and Shaiva or Hindu followers. 

The unfailing presence of medieval 

Buddhist imageries found in the 

facades of ‘Bahis’- a smaller monasteryadjacent 

to the larger courtyards known 

as Buddhist Vihars, remain the vivid 

testimony of the popularity and growth 

of mural art in bygone Nepal. And as 

time passed by, the practice to paint 

façade walls had had become too 

conventionalized with set of imageries 

of Buddhist deities considered 

mandatory. Usually the imageries of 

five Dhyani Buddhas or three jewels of 

Buddhism – personalized as Buddha, 

Dharma and Sangha remain the central 

elements – flanked in either side are 

the wrathful guardians –Bajrapani and 

Khadgapani. In addition, subsidiary 


ART 

‘Lord Arjun’ – a detail from the wall painting 

at Lagan Tole, Kathmandu- residence of Prime 

minister Bhimsen Thapa. 

PHOTO: RAJENDRA CHITRAKAR 

elements like ‘Asta Mangala’ – eight 

auspicious symbols and depictions of 

extra human elements or animals like 

monkeys as devotees were also added 

in the overall composition. In the interior 

walls too, images of above stated deities 

and Goddess Green Tara or Arya Tara are 

found in some of the earlier Bahis. 

Although today, in many of the ‘Bahis,’ 

earlier murals have now mostly vanished 

– either due to being plastered all over 

with cement layers and whatever have 

survived are too in mortal threat. That 

is, it all remains in abject dilapidated 

condition. Nonetheless, they bear 

witness to its importance in the annals of 

Nepali Painting. But what has remained 

more interesting and amazing is the fact 

that as time passed by, the religious 

murals as practiced by Nepali Buddhists 

earlier, continued to be followed in Tibet. 

One may note the active practice to paint 

the interior walls of Tibetan Gumbas or 

the monasteries even today. 

In the recent narratives, attempts are 

being made to attribute a work of 

painting, ‘Arya Tara’ found in Tibet, as 

painted by legendary Newar artist Aniko 

(commonly spelled in Nepal as Arniko) 

dating thirteenth century. Although 

‘Visworup’- the deity embodying the entire Universe, is the centerpiece of the fresco painting in the 

famed wall of 55 Window Palace at the Bhaktapur Palace Complex. Please note the human looking facial 

features of the deity. It reveals the desire of King Bhupatindra Malla, 17th century, to personify himself 

as the deity while his queen is sought to represent the consort of the Lord. 

PHOTO:BIJAYA MAHARJAN 

Part of ‘Five Dhyani Buddhas or Celestial Buddha’ – Details from a medieval wall painting, 

14th – 15th century circa, found in the façade of the ‘Bahi’ of Jhwaa Bahal, Kathmandu 

–very near the tourist hub of Thamel. (Pease note the state of sheer disregard and the utter 

ignorance of the historic heritage.) 

PHOTO:BIJAYA MAHARJAN 


ART 

An entrance to a medieval Buddhist Vihar - very 

near the famous Bhaktapur Durbar Square. 

Here, while there are two Buddhist Guardian 

deities in the side walls, Asta Mangala- the eight 

auspicious symbols are painted at the top. 

PHOTO: RAJENDRA CHITRAKAR 

stylistically, the cited work bears many of 

the characteristics of the then prevailing 

Pala School, it is hard to attribute with 

certainty its origins to the stated artist 

for various reasons. Firstly, Aniko who 

led a guild like artisans’ delegation was 

said to be in late teens when he made a 

journey to Tibet: and so, is not likely to be 

an accomplished artist in any specialized 

genre at that tender age. Moreover, the 

described time is so early and sketchy it 

is hard to describe whether Aniko was 

a painter, an architect or a sculptor! It is 

practically impossible for a young man 

of his age gain skills of all the three 

genres of art – unless blessed by a divine 

miracle: and produce a work of the 

quality as is seen! Therefore, the cited 

‘Arya Tara’ may’ve been painted at much 

later date than stated. 

WALL PAINTING REACHES ITS ZENITH 

But what remained true is Mural 

art reached a new height during the 

late Malla period. By then the earlier 

glory and influence of Buddhism had 

reasonably waned and had had been 

well displaced by Shakta cult as the 

state religion. The milieu of painters 

organized as a caste by king Jaysthithi 

Malla had had become thorough painters 

adept in creating divinities from all the 

prevailing faiths then. To them then, 

Shakta imageries were the popular 

elements in the religious art – including 

the Murals. Between 17 th and 18 th 

century, Palace Complexes in Bhaktapur 

and Hanumandhoka Durbar Square 

in Kathmandu began to witness an 

unspoken contest in creating the best 

of the paintings within their palaces. 

Unfortunately, only a small section of 

these historic works are partly preserved 

and can be viewed. 

Famous 55 Window Palace Complex in 

Bhaktapur remains one of the glaring 

examples of our glorious past in this 

regard. Although at its heyday the entire 

palace was replete with exquisite wall 

art, many of the wall paintings have been 

totally destroyed and are scantily visible. 

Today only the front chamber within 

the 55 Windows, there is the majestic 

presence of exquisite frescoes – filled 

in the entire wall spaces. Executed 

in typical Newar Paubha School, the 

centerpiece of the entire mural is 

‘Visworup’- an episode from the great 

Hindu epic Mahabharata. 

Unlike in the epic, the deity as the 

emanation of Lord Bishnu however, here 

the all powerful deity endowed with 

unlimited attributes- personalized in an 

anthropomorphic form with multiple heads 

and hands with emblems is an incarnate 

of Lord Shiva - in embrace with his 

consort. The rest of the imageries narrate 

the story of the epic – divided in panels 

and in sequential order. To top of all, the 

most interesting feature of this unique 

fresco painting is the desire of the king 

Bhupatindra Malla who commissioned the 

work, to personify his own facial image in 

the divine form and his queen as the divine 

consort. The name of the king ‘Bhuptindra’ 

scribbled in Newari script can be clearly 

eligible in the coiffure of the spouse of the 

Lord or the queen. 

Nearer to the modern times – during 

early 19th century too, Nepali Painting 

continued to witness the continual 

desire and profound love for serious 

Mural art. Regardless of the changing 

times and the ruling dynasties, the ruling 

elites continued to display profound 

love and fascinations for wall art. The 

changing times did not diminish the 

earlier popularity to get the walls of the 

prayer rooms and the antechambers 

painted with divine imageries. A series of 

unique wall paintings found in the private 

residence of Prime Minister Bhimsen 

Thapa stands a vivid testimony of this 

continual love and desire. It is about 

two hundred years after the frescoes in 

55 Window palace in Bhaktapur, again 

divine imageries – especially depiction 

of episodes in Mahabharata in general 

and image of ‘Visworup’ in particular are 

found here. Although the central theme 

of ‘Visworup’- a glimpse of the universe, 

has had remained the same, a striking 

difference is the depiction of the Lord as 

an emanation of Lord Vishnu; and he is 

not sought as the personification of the 

devotee or a client. Rather, here he is 

seen in an angrier look – flanked by the 

donor or the client. 

Stylistically, the frescoes from both the 

sites may vary in many respects as a 

result of changing times and growing 

external influences, what remains more 

important in our context is the continued 

importance of the genre in the overall 

history of Nepali Painting. 

Moreover, at the popular level too, fresco 

art has had long remained an integral part 

of Newar social life of Kathmandu Valley 

since the hoary times. Very few may be 

aware of a fact that to decorate the main 

entrance of a household where a wedding 

is taking place, with certain motifs like 

five ‘Panchayan’ deities from Buddhist or 

Hindu faiths along with the auspicious 

symbols in either side. This practice is still 

being observed obediently right till this 

moment. It reflects the importance of wall 

painting in Nepali context. 



ARTSPACE 

PEOPLE 

BEING BAKED 

AND SOLD 

text ASHA DANGOL 

artworks GOPAL KALAPREMI SHRESTHA 

Mirror of his own perception about 

the Man’s desires, this Raku 

Fire Ceramic artworks were created 

during the 2 nd Kathmandu International 

Art Festival. He believes that we are 

born free but we chain ourselves 

with the shackles of desires. He has 

designed his artworks from the cycle’s 

chain cover and the characters were 

developed from mythical male heroes. 

The Artist 

Gopal Kalapremi Shrestha 

(b. 1965) is an award-winning 

ceramic artist from Kathmandu. 

He has earned his bachelor’s in 

Fine Art from Lalit Kala Campus 

and has ten solo shows to his 

credit in Nepal and India. He 

has participated in a number of 

group art exhibitions. The selected art camps he 

was involved in are: Nepal- Bangladesh Art Camp, 

Nepal, 1997; Khoj Residency, India, 2003; SAARC 

Ceramic Art Camp, Sri Lanka, 1985; Asian Mater 

Network Program, South Korea, 2008. He has 

authored several books on clay art and sculpture 

techniques. He is a lecturer at Centre for Art and 

Design, Kathmandu University. 


STORE WATCH 

DEMASA 

AT CITY CENTER 

Demasa has been providing Nepali customers with quality 

kitchenware for over 20 years. They started with French 

crystalwares back then and have increased the quality 

of their products over the years. They’ve a store in City 

Center ever since it opened 5 years ago and also have 

another store in Indra Chowk. 

Demasa has always been able to provide high quality 

products and will never be willing to settle for anything 

less which makes them one of the most outstanding 

stores in the market. The two brothers, Hemendra Agrawal 

and Rishi Agrawal, with their great taste in products, truly 

have been able to satisfy customers with high quality and 

state of the art cooking and dining wares. 

They have high quality imports of products from across the 

globe including Thailand, USA, France, Italy, Czech Republic 

and India. They also have a range of products from fine 

crystal wine glasses to adorable coffee mugs; from unique 

cooking ware to exquisite dining ware; and all from top 

of the line companies such as Pyrex, Corelle, Visions and 

their most acclaimed products from Corningware. 



PRODUCT 

L8185554 

• Olori- Poly Table Lamp 

• Shoe Motif Blue Table Lamp 

• Decorative Drum Shade 

• On/Off Switch 

L823584 

• Puji Pink- Table Lamp 

• Brushed Silver Finished metal 

table lamp 

• Uno Cutout Drum Shade 


L840714 

• Rianna – Poly Table Lamp 

• Hot Pink, blue and green circles 

with chrome finished metal lamp 

• Dumb Shade 


L836244 

• Roni – Ceramic Table Lamp 

• Green glazed ceramic table 

lamp 

• Long drum shade 


R197002 

• Rosemont – Red 

• Size: 62”W*86”D*0.39”H 

• Medium Rug 

• Made in Turkey 

R215002 

• Size: 60”W*87.6”D*0.31”H 

• Prism- Multi 


• Made in USA 

R5000082 

• Cece- Multi 


• Size: 83”W*52”D*1”H 

• Made in Egypt 

R333002 

• Tidal- Multi 


• Size: 52”W*81”D*0.31”H 

• Made in Egypt 

Wine Glass Holder 

Peacock 

• Ceramic Material 

& crystal 

Glasses 

• 6 Crystal wine 

Glass 

• 1 Crystal wine 

bottle 

Available at: 

FURNITURE LAND 

Blue Bird Complex, 

Tripureshwor 

Flower Vase & 

Fruit Vase 

• Rattan material 

• Hand woven 

• Rustic feel 

Flower Vase Glass 

• Glass Material 

• Multi Color 

Fruit Wine 

Glass Holder 

• Ceramic fruit 

basket 

• 6 wine glass 


PRODUCT 

NR-A195LT 

• Gross Capacity-190 ltr. 

• 4 star rating 

• Cool Lock Technology 

• Toughened Glass Shelf 

• Bar Handle 

• Transparent Interiors 

• Door Lock 

• ROHS Compliance 

• Colour - Dark Grey 

NR-A195STG 


• 5 Star Rating 

• Cool Lock Technology 




• Door Lock 


• Colour - Silver 

NR-A195STMF 


• Cool Lock 




• Door Lock 


• Colour - Maroon Floral 

NR-A220STG 


• 4 Star Rating 

• Toughened Glass 



• Ag Clean 


• Colour - Maroon Floral 

Description for Mixture Grinder: 

• Juice jar with unbreakable 

polycarbonate material with juice 

filter 

• Safety lid locking system 

• Unique interlocking safety 

system 

• Original Oil Seal Protection 

System 

• Hardened stainless steel blades 

• Circuit Breaker System 

• Flow Breakers Jars 

Available at: 

TRIVENI COMPLEX 

Ground Floor, 

Putalisadak 

Description for Rice-cooker: 

• Non-stick coating 

• Conveniently Designed 

• Keeps the food warm for 

upto 5 hours after cooking 

• Prevents sogginess 

• Provides more uniform & 

efficient heating 

• Made of High Grade Heat 

Resistant Material 

• A wide variety of dishes can 

be cooked 

BLACK & DECKER 

Available at: 

ALL LEADING 

STORES 


PRODUCT 

GAS STOVE 

Model: CGGS2DD 

Brand: CG 

1900 INDUCTION COOKER 

Model:CGI19PS 

Brand: CG 

MICROWAVE OVEN 

32 Ltrs 

Model: MC3283 FMPG 

Brand: LG 

MICOM RICE COOKER 

Model: RC 18NMF 

1.8 Ltr 

Brand: Toshiba 

HOT POT 

3.0 Ltr 

Model: PLK 30EL 

Brand: Toshiba 

MIXER GRINDER 

Model: CGMG652 

Brand: CG 

Available at: 

ALL THE OUTLETS 

OF CG 

- CV-960Y: 2100 Watt 

Drum Type 

Capacity- 21 L Dusting 

with Blower Functions 

Color : Red and White 

- CV-950Y: 2000 Watt 

Drum Type 



Color : Black and White 

- CV-945Y: 1800 Watt 

Drum Type 




- CV-940Y: 1600 Watt 

Drum Type 




WASHING MACHINE: 

Available in 7kg, 110kg, and 16kg in fully Automatic 

and 10.5 kg and 14kg in Semi Automatics. 

Also Available in 7Kg Front loading washing machine 

(BD-W70MSP) 


PRODUCT 

15 LTRS UF WATER 

PURIFIER 

Model: Crystal 

brand: Kent 

FRONT LOADING 

WASHING MACHINE 

6.0 Kg 

Model: CGWF6HG 

brand: LG 

REFRIGERATOR DOUBLE DOOR: 

Model: GLG392YM 

Brand: LG 

EVERCOOL REFRIGERATOR 

Model: GL 1950 ME4.AINQ 

Brand: LG 

- CV-W1600: 1600 Watts 

Capacity- 5L dusting 

with blower Function 

Available Color: Red 

Available at: 

IEC NEPAL 

Harati Bhawan, 

Putalisadak 

REFRIGERATORS: 

Available in 270 L, 320L, 360L, 380L, 400L, 440L, 

470L,480L, 530L, 570L, 610L, 660L and 720L. 

* 660L available in both double and four door system. 

Available color: Silver and Black. 

* 480L(R-W480PG2) and 720L(R-V720PG1X) Refrigerators 

are Inverter system with dual fan system. 


PRODUCT 

DARKY WALL CLOCK 

Polyvinyl chloride),plastic 

BRIGHT WALL CLOCK 

Polystyrene ),plastic 

INDIGO WALL CLOCK 

MDF + Steel 

PHEONIX PENDANT LAMP 

Iron steel,Metal 

JACK PENDANT LAMP 

Iron steel,STEEL 

ENLIGHTEN CANVAS 

Canvas,MDF WOOD + CANVAS 

Available at: 

INDEX FURNITURE 

Steel Tower, 

Jawalakhel 

DORSY VASE 

Iron steel, STEEL 

EMPIRER CUSHION 

Cotton polyester,100% cotton 

digital printing, velvet 

SAVION VASE 

Stoneware,Stoneware 

REESE VASE 

Stoneware 

BISCO VASE 

Iron steel,Metal Base 

WAVERLY CUSHION 

Cotton polyester,Polyester on 

front , backing with cotton 

MORRIS TABLE LAMP 

Iron steel,Plastic base 

SLYVIA TABLE LAMP 

Iron steel,Metal Base 

LOVE CUSHION 

Cotton 100% 


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OPEN SPACES 

How often do we wake-up early? Sometimes 

when we make something different than usual 

we might see wonders in small things. This is an 

amazing world I saw at Janabahal temple, Ason in 

an early morning. A moment seamlessly frozen in 

time, raining of grains, and giving a very blissful 

feeling! I could not help pointing at and I captured 

the moment instead of silently appreciating it. 

The Photographer: 

Prabesh Maharjan holds a master’s degree in 

Business Administration from Kathmandu 

University School of Management (KUSOM), and 

a bachelor’s degree in Civil Engineering. Currently 

he is working at Butwal Power Company as a 

financial analyst. His involvement is in corporate 

and project finance of hydropower to support 

investment decisions and business growth 

planning. Also dedicated in photography, he 

received Photography Workshop from SCC and 

he also had coordinated PHOTO YATRA Kirtipur 

in 2012, one of the successful projects of SCC. 

Besides, he enjoys travelling. 

The School of Creative Communications is a unique 

blend of creativity and communication. We provide 

a platform for those who dream of nurturing one’s 

creativity through communications. We offer training 

programs on art, photography, creative writing and 

communication skills. We have been conducting 

SCC Explore Photography workshops since its 

establishment in 2009. We also organize SCC Blue 

Bag, a sharing program with scholar once a month. 

SCC is located at Kupondol, Lalitpur, Nepal. (Link road 

to Bagmati River) 

www.scc.org.np 

facebook.com/scc.kathmandu 



PERSONALITY 

CHARITY 

ENSURES HAPPINESS 

Every company must have one or the other forms of 

Corporate Social Responsibility (CSR), under which it 

should be responsible towards the society. Only the 

charitable works can bring sustainable happiness in one. 

Godrej Locking Solutions and Systems 

(GLSS) began its story of manufacturing 

locks in 1897. A symbol of trust and security 

for 117 years in India, it takes pride in being 

able to provide protection to all concerned 

across the world. With the objective of 

growing global, it has tied up with global 

leaders for better & more robust solutions. 

Its partners across the world are: SALTO 

from Spain, EVVA from Austria, and Videx 

from USA. It has celebrated its presence 

in Bahrain, Ethiopia, Ghana, Kenya, Kuwait, 

Oman, Qatar, Sri Lanka, Sudan, Tanzania, 

UAE, Uganda, UK, Yemen and Nepal. In a 

bid to establish a deeper familiarity in Nepal, 

GLSS launched its new series of locks 

in Kathmandu recently which witnessed 

the unveiling of the brand’s myriad locking 

solutions in the premium door handle 

space, hotel card locks for the hospitality 

sector, as well as state-of-the-art innovations 

in the architectural hardware segment. 

The man who leads the international 

business at GLSS is Mr Prasad Sane. An 

MBA in marketing and BE in production, 

Mr Sane takes pride in being a result 

oriented person. He advises others to take 

up every opportunity to grow faster and 

be a successful human being. Swarnim 

Lamsal from SPACES had a chance to talk 

in person to Mr Sane, head of international 

business at GLSS, who was here for the 

launch of its latest products in Nepal. 

Could you tell us about the occasion 

you are here in Nepal for? 

Well, GLSS has been a name taken as 

equivalent to quality, protection, and trust 

in India. It has been the number 1 in India 

for past sixty years! Now, with the vision 

of providing our service in a larger scale 

and to grab the similar position in Nepal, 

we have come here. The occasion is to 

launch our new products. Moreover, we 

are also focusing on brand awareness, 

specifically to the institutional clients, who 

can be a great support to meet our vision! 

GLSS has always been a name for 

protection and trust. Besides, as you said 

it has in the top position for past sixty 

years. However, they are the virtues that 

are more difficult to maintain than to grab. 

How are you planning to continue them? 

To maintain the trust we have gained, we 

make sure that we choose only those 

partners who are trustworthy. The next 

thing that we zero in on is that of our 

products. We try to develop new products. 

For instance, we produce not only locks but 

the locking solutions as well. Besides, we 

produce everything ranging from soaps to 

missiles. We also impart top-level technical 

training to our salesperson. We even reach 

to the rural areas to make sure people are 

safe and secured, both in Nepal and India. 

On the other hand, to maintain our top 

position, I will continue to learn one or 

the other thing. I believe, learning is the 

only thing that helps one to maintain one’s 

position. Besides, I work with my team 

as my family, and I just mentor them. 

I just check if they are doing well and 

following values of the profession. With 

all these, and of course with innovation 

and aggression, I think we will be able to 

maintain all those virtues. 

Do you recall any incident that made 

you change in a new way and that was 

also helpful for your professional lives? 

When I was in second grade, I hit a boy 

very badly. His father got very annoyed 

with me. Even my parents were furious 

at me and made me talk to the boy and 

ask for sorry. Far better is to communicate 

your problems to the concerned person 

than to be nasty and harmful. This very 

message of proper communication is 

what I learnt from the incident. I am 

now continuing to use it throughout my 

life. This message of communication is 

something that I teach my son as well. 

What type of connection do you see 

between your professional and private life? 

3 Idiots is my favourite movie. The movie 

shows that if a person sets a goal and is 

then dedicated to fulfill that goal, he or she 

is definitely going to achieve it. Goal setting 

and innovations are what drive me in both 

of my lives; personal and private lives. 

Furthermore, one always learns from one 

life and implements in another. So, there 

is always a link between these two lives. 

That is why I always make sure that I spend 

ample amount of time with my family. 

What difference did you feel after being a 

businessman from an ordinary person? 

I believe I am still an ordinary person. 

So, the only thing that I constantly do is 

keeping on learning. I understand my past 

and by being focused and positive, I move 

on my track. 

What do you think a business person 

is responsible to the society besides 

growing with the business and catering 

services to the customers? 

I am spending annually some money for 

educating girl children who are poor and I 

also spend some money in yearly basis to 

Elderly home. Every company must have 

one or the other forms of Corporate Social 

Responsibility (CSR), under which it should 

be responsible towards the society. Only 

the charitable works can bring sustainable 

happiness in one. 

What do you say to the new entrepreneurs 

who aspire to be in this field? 

I believe that it is the positive approach and 

optimism that leads a person to the right 

path. When one is positive towards anything, 

it is 100 percent sure that he or she is 

going to achieve that thing. This is what my 

experience has taught me. Be positive and 

hope for the better. Be into a business, a 

businessperson can do a lot of things. 


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CONNECTS 

17 Aditya Hardware Enterprises 

Bluestar Complex, Room # 522, Thapathali 

Ph: 9851007818 

ektakyal@yahoo.com 

39 ATC Pvt. Ltd. 

336/21, Ganesh Man Singh Path-2, Teku Road 

Ph: 977-1-4262220 

atc@wlink.com.np 

19 Balterio - Navin Distributors Pvt. Ltd. 

1st Floor, A.T. Complex, New Plaza, Kathmandu 

Ph: 977-1-4430785 

balterio@navindistributors.com 

www.balterio.com 

06 Beko - Orbit International Pvt. Ltd. 

Putalisadak, Kathmandu 

Ph: 977-1- 4422190 

www.beko.com.np 

80 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. 

Berger House - 492, Tinkune, Kathmandu 

Ph: 977-1-4466038 

info@bergernepal.com 

www.bergernepal.com 

65 Bestbuy Nepal Pvt. Ltd. 

Kupondole, L.P. 

Ph: 977-1-5523289 / 5545481 

info@bestbuynepal.com 

www.bestbuynepal.com 

65 Bricks Café 

Kupondole, Lalitpur 

Ph: 977-1-5521756 

info@brickscafee.com.np 

www.brickscafe.com.np 

54 Buddha Air 

Jawalakhel, Lalitpur 

Ph: 977-1-5542494 

www.buddhaair.com 

48 Chaitanya Spa 

Wellness Healing Spa Pvt. Ltd. 

Bakhundole, Sanepa 

Ph: 977-1-5547774 

info@chaitanyaspa.org 

www.chaitanyaspa.com 

75 Communication Corner Pvt. Ltd. 

(Ujyaalo 90 Network) 

Ujyaalo Ghar (Behind Central Zoo) 


Ph: 977-1-5000171 

info@unn.com.np 

www.unn.com.np 

19 Eco Green Multipurpose Pvt. Ltd. 

Adwait Marg, Baghbazar, Kathmandu 

Ph: 977-9851014820 

nepalecogreen@gmail.com 

www.nepalecogreen.com 

65 Eco Wood Paint 

Adwait Marg, Baghbazar, Kathmandu 

Ph: 977-1-4244831 

nepalecogreen@gmail.com 

07 Exterior Interior 

Hattisar & Bhatbhteni Supermarket, 2nd Floor 

Tangal, Kathmandu 

Ph: 4435419 / 4436876 

extint@wlink.com.np 

73 Foto Hollywood 

Civil Bank Building, Kamladi 

Ph: 977-1-4169060 

www.fotohollywood.com.np 

04/05 Furniture Land 

Blue Star Complex 

Tripureshwor, Kathmandu 

Ph: 977-1-4224797 

sales@furnitureland.com.np 

www.furnitureland.com.np 

11 Index Furniture 

Metro Park Building, 1st Floor, Lazimpat 

Ph: 4415181 

info@indexfurniture.com.np 

www.indexfurniture.com.np 

09 India Design Event 

aica@reifyappl.com 

www.aica.in 

36/37 Jagdamba Cement 

Neupane Tower, 6th Floor 

Tinkune, Kathmandu 

Ph: 977-1-4111500 

jcement@wlink.com.np 

02 JK White Cement 

14 Kuleshwor, Naya Basti, Kathmandu 

Ph: 977-9851050650 

prashant.chaturvedi@jkcement.com 

www.jkcement.com 

75 Kapilvastu Glassfiber Industries 

Milanchowk, Butwal, Nepal 

Ph: 071-549406 

info@kapilvastuglassfiber.com 

www.kapilvastuglassfiber.com 

39 MD Furniture 

Maharajgunj (Opp. U.S. Embassy) 

Ph: 977-1-4721484 

mdfurniture@snet.com.np 

www.mdfurniturenepal.com 

79 Marvel Technoplast Pvt. Ltd. 

Heritage Plaza - II, 2nd Floor, Kamladi 

Ph: 977-1-4169122 

info@marvel.com.np 

www.marvel.com.np 

38 Nagrik - Nepal Republic Media Pvt. Ltd. 

JDA Complex, Bagh Durbar 

Ph: 977-1-4265100 / 4261808 

circulation@nagariknews.com 

55 Pashupati Paints Pvt. Ltd. 

Maitighar, Kathmandu 

Ph: 977-1-4258209 

pashupati@paints.wlink.com.np 

71 Pyramid Vaastu Consultant 

244 Rudra Marga, Ratopool, Kathmandu 

Mobile: 9851151618 / 9815717618 

mundharanp618@gmail.com 

17 Skylight Pvt. Ltd. 

Naxal (Opp to Police HQ), Kathmandu 

Ph: 977-1-4423851 

info@skylight.com.np 

www.skylight.com.np 

78 Starnet Enterprises Pvt. Ltd. 

Shankhamul, Pragatimarga, Kathmandu 

Ph: 977-1-4781945 

info@starnetenterprises.com 

www.starnetenterprises.com 

56 Subisu Cablenet Pvt. Ltd. 

148 Thirbum Sadak, Baluwatar 

Ph: 977-1-4429616 

info@subisu.net.np 

www.subisu.net.np 

15 Technical Associates Services Pvt. Ltd. 

Thapathali, Kathmandu 

Ph: 977-1-4219999 

ta@ta.com.np 

www.tas.com.np 

62 Thamel.com 

Hattisar, Kathmandu 

Ph: 977-1-4416888 / 4416175 

info@thamel.com 

www.thamel.com 

51 Worldlink Communication Pvt. Ltd. 


Ph: 977-1-5523050 

sales@wlink.com.np 

www.worldlink.com.np 

76 Yeti Airlines 

Tilganga, Kathmandu 

Ph: 977-1- 4464878 

reservations@yetiairlines.com 

www.yetiairlines.com 

31 Yeti Polychem Pvt. Ltd. 

Dillibazar, Kathmandu 

Ph:977-1- 4421501 / 9851004448

9. Sept 2014

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