1. January2014

ANNIVERSARY ISSUE – Vol 10 N o. 01
ART ARCHITECTURE INTERIOR
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CONTENTS
ANNIVERSARY ISSUE VOL 10 N O. 01
SPACESNEPAL.COM
19
Culture & Spaces
As SPACES looks ahead to a new
era, we pause here to reflect on
and derive inspiration from the
design expressions and structures
covered in earlier issues.
33
Nepali Manuscript Paintings
Manuscripts are defined as religious
texts copied and embellished
with miniature paintings – that
were frequently donated to monks
of the prevailing religious orders.
Heritage: Calculating Time
The wooden plate ceremonially installed in
40 the vihar currently is not an old one while the
tradition of displaying the calendar itself is an
ancient rite. The vihar houses a special conical
vessel which was used to keep track of time
long before the clock was invented.
67 Books: Art & Culture of Nepal
The transcendent interest of the chroniclers
lay in recording pious undertakings – usually
given as a gift to a temple or the consecration
of an image. If neglected, significance to
the history of Nepalese art and their latent importance merits serious
examination.
69 Artspace: The Third Eye
Erina’s art is also known to capture the invisible and intangible.
She paints her female subjects with the third eye to underline their silent
symbolic function as the ‘shakti’.
70 Go Gadget: Smartphone via the
Smartwatch
The Smartwatch is a newly-arrived add-on for
the Smartphone designed to fit on our wrists
setting itself apart from traditional watches.
72 Perspective: Vaastu: Principles and projection
The state of balance, both internal and external, is the pivot around
which much of Vaastu operates: the balance of energy and the balance
of natural forces.
42
Cover Story Heritage Interior Journey
The Flair of Restaurants
Hospitality is the key to success in
restaurant business, as it brings additional
zest in enjoying the cuisine.
Equally important are the interior
decorations its culture and cuisine
for a superb dining experience.
56
Lukla beckons
Landing on the Tenzing-Hillary airport,
the door to our journey to the
Everest region opened with sublime
ease. Mechanized and modern
transportation ends here and one
will not see beyond this point.
74 Q & A: with Dr. Madan Joshi
This column has been introduced from this issue. which will be continued
in the forth coming issues as well..
76 Market Watch
The entire charisma of a room or an interior space always depends on
the quality, the feel, and the fascinating designs printed on every material
you constantly tend to express in the interior settings of your home,
office or anywhere you feel just at comfort of your home.
80
Art: Mithila Cosmos
Mithali art was actually less secretive and
more possible for everyone to grasp. The
artist’s aspiration was to make people step
back and look at their own lives by being
in root and harmony with nature and the
culture.
84 Report: Arcasia 2013
ARCASIA comprises members from 19
Asian countries with Bhutan having recently
joined the group. During the conference,
architects from Asia presented on topics
relating to spirituality in the architecture of their communities.
89 Opinion:
Spaces Magazine has given a crucial mediated and intellectual space
to Nepali architecture and art. In this regard, we invited 10 Nepali architects
and artists to voice their opinion about SPACES.
94 OpenSpaces
Horse riding has the same significance as the Chyam Dance has. The
picture designates the friendly horse riding done at the annual festival
at Mu-Rachen in Tsum valley, a holy Himalayan pilgrimage valley situated
in northern Gorkha, Nepal.

Editorial
SPACES celebrates its journey of 10 years in this
Anniversary Special. As the magazine looks ahead
to a new era, we pause here to reflect and derive
inspiration from the design expressions and features
covered in earlier issues in the hope that they will,
in turn become anchors on which the magazine and
Nepali architectural design paradigm will rest.
At the very outset - we would like to Thank each
one of you that has supported the magazine
in some way or the other. We also welcome all
the fresh new talents and members to our team
and wish to run this journal in a professional and
meaningful way. As our team gathered at the Patan
Museum on a warm Saturday morning to take a
team picture – many interesting topics crossed our
minds with the tea that followed. How should we
develop SPACES in the coming decade ? In simple
terms – we would like the features better related to
a humane level of experience. We understand that
Architecture and design is about the Building and
Products, but the challenge lies in how We use and
respond to our Space or Architecture. Does it make
us better as a human being, define our identity, be
proud of ...say when we visit the inner cities such
as Bhaktapur, Patan or does it stand devoid of an
understanding – like when we get stuck in a modern
day traffic jam?
Our cover story is about Culture and Space.
Meaningful Architecture and design besides being
something tangible and built, is also invariably
affected by the unseen, intangible spiritual nature of
the place. It is also about the setting, the influence,
the articulation and evolution of our built language.
We also feature Dr.Yam’s exploration of the Nepali
Manuscript Painting. It is interesting to note a
comment that says Buddha is a ‘great teacher and
leader but not a god, his tremendous success was
due to the fact that his experience of enlightenment
was potentially reproducible by anyone.’ Ashesh’s
escapade and photo feature on the Lukla – Everest
Area draws a focus on the natural landscape that
we are blessed with, perhaps encouraging us all to
go for a trek ! We also explore 10 exciting Restaurant
designs that have set a mark in concept, detailing and
overall ambience.
The 17th. ARCASIA International Conference
courageously and successfuly organized by SONA
(Society of Nepalese Architects) in Kathmandu,
brought international and national Architects from 19
member countries to share and talk on the theme
“Spirituality in Architecture” and “Architecture and the
Image of the City”. The success of the conference can
be pointed out to a relevant yet challenging theme
that brought the Architects and design fraternity closer
together on similar issues and challenges within each
country.
At a broader level of understanding, our space or
Architecture and our country is also about orderdisorder,
respect-neglect and changing priorites that
we have had over time. If our past had plenty of
built examples to be proud of with natural harmony
– we are in search for this cohesion presently. Yet
the tangible and intangible wealth of our country still
stands out as lotus flowers in a pond of murky water.
Though we should preserve, conserve and draw
inspiration from our historic and natural setting and
design our contemporary setting in a thoughtful and
meaningful way; yet there is plenty of challenging
work to be done by all of us here presently. For
instance - if we could prevent within our Space the
slaughter and blood being spilt in our festivals in the
name of tradition and sacrifice, we would perhaps
evolve into better human beings. It is surprising that
majority of us in our country feel so on this issue of
animal sacrifice in our public spaces – yet bypass
it saying for the sake of tradition ! Not everything
traditional is good and we need to develop the
courage and strength to remove the inessentials and
bring forward our best. Let the year ahead give us
this inner strength.
A very Happy and successful 2014 ahead.
Sarosh Pradhan
8 / SPACESNEPAL.COM

Contributors
Asha Dangol completed Masters of City and Regional
Planning from University of Texas at Arlington and
Bachelor of Architecture from VNI T, Nagpur. She
has worked in numerous urban planning projects in
the United States and is currently working as Urban
Planner in DUDB C. Her interests include urban
research and regional development and she is keen
to be involved in designing cities that are convenient,
healthful and aesthetically pleasing.
Volume 10 N O. 01 | Anniversary Issue
Chief Executive Officer
Editor-In-Chief
Creative Manager
Editor-Features
Contributing Art Editor
Contributing Editor
Design
Photographer
Correspondent
Intl. Correspondent
Ashesh Rajbansh
Sarosh Pradhan
Deependra Bajracharya
Veneeta Singha
Madan Chitrakar
Kasthamandap Art Studio
President - Society of Nepalese Architects
Ar. Jinisha Jain (Delhi)
Ar. Chetan Raj Shrestha (Sikkim)
Barun Roy (Darjeeling Hills)
Big Stone Medium
Pradeep Ratna Tuladhar
Hemant Kumar Shrestha
Pujan Joshi
Bansri Panday
Administration
Marketing
Admin Officer
Office Secretary
Accounts
Legal Advisor
Anu Rajbansh
Devi Rana Dongol
Ashma Rauniyar
Pramila Shrestha
Sunil Baniya
Yogendra Bhattarai
Susan Barjacharya is a Heating, Ventilation and
Air-conditioning (HVAC) expert, currently Associate
Professor at the Institute of Engineering, Pulchowk
Campus, Department of Mechanical Engineering,
Tribhuvan University.
Dr. Yam Prasad Sharma has been teaching English
and Art History at Lalitkala Campus, Tribhuvan
University. He teaches Art Theory and Aesthetics
at Kathmandu University, School of Arts as visiting
faculty. He earned his PhD in English. He has
been doing research in the field of Nepali Art.
His specialization in research is in the area of
Contemporary Nepali Painting. He is also an art critic
of contemporary Nepali art.
Published by
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Drishti Manandhar is an architect, graduate
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currently working at S G Designs. Fascinated
by Space - she loves to eat, read, sketch,
talk (in radndom order) and write about the
acquaintances in her environemnt. An art
enthusiast by nature she is fascinated by the
ability of words and its power in expression.
SPACES is published twelve times a year at the address above. All rights are reserved in
respect of articles, illustrations, photographs, etc. published in SPACES. The contents of
this publication may not be reproduced in whole or in part in any form without the written
consent of the publisher. The opinions expressed by contributors are not necessarily those
of the publisher and the publisher cannot accept responsiblility for any errors or omissions.
Those submitting manuscripts, photographs, artwork or other materials to SPACES for
consideration should not send originals unless specifi cally requested to do so by SPACES in writing.
Unsolicited manuscripts, photographs and other submitted material must be accompanied by
a self addressed return envelope, postage prepaid. However, SPACES is not responsible for
unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to
editor@spacesnepal.com or sent to the address mentioned above.
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From the Publisher
Greetings from Spaces!
It has been a pleasant and exciting experience to share and communicate with you
significant features on art, architecture and design for a decade through SPACES.
Amidst challenges and obstacles within our fascinating journey of the past 10
years, we have been able to progress due to the invaluable cooperation, feedback
and encouragement from our readers, industry and business organizations. As we walk
towards our objectives, we feel you are always with us.
We began a noble project and kept working on it. Thus, Spaces no doubt
emerged as the first magazine in Nepal that dealt with art, architecture and design
collectively. Our continuity, existence and success has been possible due to your
support along with the united effort of our team. The contributions from all the
members of Spaces’ team have been valuable and we thank each one of you.
Our vision is to introduce Nepali art, architecture, interiors, culture and crafts to the
national as well as international readers, and at the same time provide insights of the
International World art and architecture and design to the Nepali viewers.
Our traditional paintings such as manuscript illumination, paubha, mandala and
narrative scroll, wood carving, stone sculpture and metal craft can recreate the
Nepalese identity across the globe.
We feel rewarded that our humble effort has made an awareness and contributed for
the preservation, promotion and development of Nepali art and culture.
Thank You and we look forward to Your further participation in the years to come.
Ashesh & Sarosh
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12 / SPACESNEPAL.COM

NOVEMBER 2013 / 13

VIEWS
A Voice for Us All
THE SOUTH ASIAN POETRY FESTIVAL
FOR PEACE 2013
by Veneeta Singha
POETRY! The word sparks a multitude
of semantic responses - both cerebral
and emotive. A poetry festival here in
Kathmandu, I submit, is ‘an idea whose time
has come’. The South Asian Poetry Festival
for Peace 2013 comes at an opportune
moment for us to celebrate and honour
the poets of our embattled region and their
myriad, if hidden, contributions to the literary
sphere as well as to our understanding and
appreciation of the world.
“Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so;
For those whom thou think’st thou dost overthrow,
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure; then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul’s delivery.”
Death, Be Not Proud, John Donne (1572-1631)
An acclaimed poet whom I studied with undeterred
intensity and to whom I turn for solace, elucidation and
company is TS Eliot. His poetic compositions, if read with
any measure of contemplation, lay bare many intricacies
and eternal verities of the human condition. Universality
is yet another particularity attributed to Eliot’s almost
metaphysical poetic thought and intimations.
“Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats ...”
The Love Song of J. Alfred Prufrock, TS Eliot (1888-1965)
Without attempting to confine and constrain any
element of the poetic thought process through narrow,
constrictive definitions, I glean here bits of a festival that
few can resist. Poetry is, after all, the nadir of the literary
imagination.
The Festival venue is the historic Patan Durbar Square
- an ancient square yet an unambiguous conceit for
contemporary Nepal. The gajur that embellishes and
completes the temples in the square seemed a fitting
metaphor for poetry itself. Chirag Bangdel, well-known
Nepali artist and poet, welcomed the poets and guests
with words and expressions I am unlikely to forget. He
introduced the Festival as an avenue “to share poetry,
sunshine and happiness: the good things in life.” “Why do
poets write poetry?”
As he began to discuss this art form, the wisdom of
the ages seemed to flow. “Art is as important as the air
we breathe.” The Festival aims to “celebrate universal
humanity; to rediscover the present beyond language,
culture and passports.” The Festival took three years to
materialize and this seemed an apt simile for the times we
live in - bound, as it often appears, by its own realization.
“Poetry catalyzes change.”
“Shanti hamroastitwa, shanti hamroadhikar!”
Abhaya and The Steam Injuns illuminated our journey
into the poetry of South Asia with beautiful acoustic
renditions. I can still hear her singing “Sakdina aba ma,
Mandainameromann ...” In her lyrical words: it was not the
summer sun but the winter sun - a friendly one. The day
was bright, luminous and open.
The Festival brought together 20 poets from Bhutan,
Sikkim, Bangladesh, India and Nepal. The first recital
was by acclaimed Nepali poetess, UshaSherchan.
“Hamilaihamroharaeko Buddha chahinchha!”
www.sharing4good.org
Reena Shrestha
14 / SPACESNEPAL.COM

A Wall as a
Witness of Poetic Justice
by Jeebesh Rayamajhi
Hemanta Shrestha
WHAT WOULD THE COMMON MAN THINK of the
sets of “Court Martial?” Perhaps as the witness box and
judges’ seats which we witness in Bollywood films? The
sets of the popular theatre production, “Court Martial,”
were showcased for a month recently at the Theatre Village
in Lazimpat.
Adapted, designed and directed by Anup Baral, the play
“Court Martial” was a new but nineteenth production
of the Actor’s Studio in Patan. The set was designed by
Sheelasha Rajbhandari, a noted painter and sculptor who
made her debut as a set designer with “Court Martial.”
Although a novice in the field, her design was appropriate
of the space itself and the context of the theatre
production. It was also ample proof that art and theatre are
similar with respect to design and creativity.
As one enters the hall of the theatre, the set is in
reminiscent of a backdrop wall. In front one sees abstract
structures converted into chairs in a matter of minutes.
A small triangular box serves as the witness box with
unusual tables and chairs for the advocates, witnesses and
judges - seemingly realistic but grotesque in shape and
size. After per functory observation, one realizes that this
is not a normal wall but a wall of an army tank - not overtly
realistic and firmly joined with knot bolts and peep holes.
The knot bolts evoke a sense of the regimented formality
of army life and the grotesque that projects ludicrous
justice in motion.
The wall, seemingly a tank, then functions as a barrier,
backdrop and projection screen. The convergence of the
director’s and designer’s creative imagination has given
the wall life: the wall now works as a character revealing
that which the human characters dare not reveal. The
conversational soliloquies between ‘Captain Pokharel’
(played by Subash Thapa) and ‘Captain Rana’ (played by
Karma) are projected by this wall. In essence, the wall,
both a thematic prop and a theatrical device, plays the role
of a witness in an extraterrestrial court, thus becoming a
witness of poetic justice.
NOVEMBER 2013 / 15

VIEWS
Celebrating Five Decades of P.I.E.
Pradeep Tuladhar
PATAN INDUSTRIAL ESTATE, situated at Lagankhel, was
formed in 1963 under the Company Act with sponsorship
from India. It is part of a larger organization called Industrial
Districts Management Limited, formerly known as ID
that was established in 1960, with assistance from the
United States. ID was formed as a pioneer venture in
the organized development of industrial districts (IDS) in
Nepal and an undertaking of His Majesty’s Government
of Nepal. Industries that could either not acquire or not
afford land and facilities elsewhere have come to operate
on Patan Industrial Estate’s grounds. It now provides
facilities at minimal costs to one hundred five industries
that are currently operating there. The estate provides
facilities strictly to organizations not the individual workers.
Despite the fact that the estate was established with the
vision to make a handicraft village to facilitate the creation
of painting, sculpture, woodcarving and crafts, whereas
many industries related to textile, plastic, furniture, electric
goods, printing press, rolling mill along with food and
beverage have been running now.
The Estate also provides infrastructure facilities like
developed land, industrial sheds and warehouses, roads,
drainage and culverts, electricity, and water to the industries
on the estate. It provides security and maintenance, and
promotes the industries through marketing schemes. The
showrooms in the estate facilitate local handicraft industries
to display their products. It gives priority to handicraft
industries while also providing services to other industries
such as textile, plastic, steel and furnishing. The estate
expanded in the area of 166,567 sq.ft. has been providing
employment to 1,600 people.
Patan Industrial Estate also works to promote industries
in the estate and undertake the overall management
and supervision of the entire estate itself and to identify
problems of industrial units set up on the estate and
provides management consultants and extension services
for the improvement of their operation and productivity.
It also disseminates information on feasible projects
and facilities available on the estate. There is a lack of
remaining space available for industries to presently
expand on the estate, which accounts for the estate’s
major problem. When industries experience financial
difficulties, the estate cannot support them much aside
from assisting in the acquisition of bank loans by making
formal requests.
Tourists are invited to come to their onsite showrooms.
The estate does promote onsite industries when orders
come in from abroad and in this sense can act as a third
party between the industries and buyers. Introducing
Nepal to the global audience with the help of its products
like woodcarving, sculptures, paintings and handicrafts,
the Estate has been able to celebrate the golden jubilee.
Other districts and estates have been established in
Balaju, Hetauda, Dharan, Nepalgunj, Pokhara, Butwal,
Bhaktapur, Birendranagar, and Rajbiraj.
16 / SPACESNEPAL.COM

NOVEMBER 2013 / 17

VIEWS
THE PYRAMID VAASTU WORKSHOP was held on
November 23 and 24, 2013 at the Indreni Himalaya Hotel
in Kathmandu. The main focus of the workshop was to
address the challenges, issues and means of rectifying
the ‘Vaastu Doshas’ in residential buildings, offices,
factories, apartments, agricultural land as well as any plot
of land without destabilizing the built spaces. This principle
and knowledge leads to Vaastu compliance through the
installation of proper ‘Pyramid Yantras’.
The workshop was coordinated by Dr. Jiten Bhatt and Dr.
Dhara Bhatt. Dr. Jiten Bhatt is the architect behind the
‘Pyramid Yantra’ and is also a professor of Holistic Healing.
Dr. Dhara Bhatt is a Homeopathy doctor and a practitioner
of ‘Pyramid Vaastu’ and Holistic Healing. She is the author
of the books: ‘Pyramid Yantra for Vaastu’ and ‘Dr. At Home’.
Pyramid Vaastu Workshop
The workshop was a grand success with a total of 33
participants comprising of Nepali Vaastu practitioners,
engineers, doctors, businessmen and ordinary people
including participants from India. The workshop consisted
of two days devoted to discussions on many aspects
of Vaastu knowledge. At the end of the workshop,
certificates were issued to the participants in addition to
kits and books on ‘Pyramid Yantras’.
During the workshop, Guru ji presented additional
‘Pyramid Yantras’ on improving health, study, and wish
fulfillment which are now available in Nepal. In the
public interest, the ‘Pyramid Yantras’ and information
on the Pyramid Vaastu Workshop were put on display
at the Second Furniture and Furnishing Exhibition,
held in Bhrikutimandap from September 25 – 29
September, 2013.
PERCEPTIONS ON THE SACRED MEDITATIVE ART
THE BUDDHIST TRADITIONAL PAINTINGS
Exhibition that was held on January 2014 at
Arniko Gallery, Nepal Academy of Fine Arts
exhibited on the diversity of Thanka paintings
by artists from Nepal, India and Japan. Thanka
art always had an enduring magnetism
towards consciousness, and a pursuit to
understand Buddhism teachings in its various
styles in art and symbols.
“There are many methods to discover these
arts in yourself, your mind and your heart. I
believe compassion is the key and to learn
how to have little compassion for you have
miraculous result in your lives, whereas art
and symbols becomes alive in meditation”
explains Santa Kumar Rai, Head of painting
department, NAFA.
For me to compose his explanation to you
clearly I have an experience to share. A
decade ago, I had enrolled for a meditation
course, where total silence is needed for ten
days. As our mind is said to be like a monkeymind,
it is always jumping from the past, the
present and the future. So the key to this is to
stay in the “Now” and that can only arise if
one starts focusing on their breathing. After
days of this practice, the soreness of body
and joints becomes such an irritation in the
mind that your concentration is impossible.
However the trick of the body is controllable
by the mind. Focusing on the unbearable pain
made the discomfort disappear completely.
The next few days were the best experiences,
I could see the geometrical patterns,the
colorful swirls of the mandala like figures,
gleaming towards me and a sense that I was
some what being a part of the cosmos itself.
Paradoxically, I guess to describe such a state
is difficult; it’s more like describing the colors
of a rainbow to the blind.
Attending the exhibition, my experience
made sense to me when I read a quote by
Benoytosh Bhattacharya where he writes that
a worshipper in deep meditation visualizes
the deity with a variety of symbols and art.
Now coming to the theme of the exhibition,
the art depicted the various cultural Thanka
art that represents deities like the Buddhas,
Dharmapalas, Lokpalas, Dakas, Dakinins, Taras,
Bodhisattvas and their mandalas or cosmic
order. Many of the Thanka deities’ paintings in
the exhibition were in such detailed works, that
it became obvious that the Thanka art is more
significant by its spiritual value rather than its
cultural importance.
As another conversation with an artist
Hira lama, secretary of Nepal foundation
of Buddhist Traditional Fine Arts from
Sindhupalchok expressed to me that Buddhism
reached china, India, Korea and Japan. Hence
many forms of Buddhist art and symbols
started to emerge in various schools of
Buddhism.
This specifi c Thanka painting exhibition’s
main objective was to bring together the
specifi c Buddhist Thanka art of various
cultures and countries under one roof
which hasn’t received suffi cient respect and
recognition. Its goal is in attempting to enrich
the art and the artists to support a genre
that haven’t received suffi cient respect and
recognition from the government and by art
departments alike.Through such events the
organizers believe that Buddhist traditional
arts will be exposed to new generation and
the art preserved to its glory.
18 / SPACESNEPAL.COM

CULTURE
AND
SPACE
FROM AMBIENCE TO VISION
By Sarosh Pradhan and Veneeta Singha
NOVEMBER 2013 / 19

CULTURE
AND
SPACE
THIS ISSUE MARKS THE TENTH ANNIVERSARY OF SPACES MAGAZINE.
Analogous to the evolution of an architectural construction, the
magazine has been designed, built and shaped into the avatar of
Nepal’s premiere art and architectural magazine creating dialogues
on the built environment and changing structural panorama of
Nepal and surrounding regions. As the magazine looks ahead to a new era, we
pause here to reflect on and derive inspiration from the design expressions
and structures covered in earlier issues in the hope that they will, in turn,
will become the anchor on which the magazine and the Nepali architectural
paradigm will rest. I also quote the master sculptor Auguste Rodin and his
chronicler Gilles Néret in an attempt to find and explore the functions of art as
exhibited by architecture.
20 / SPACESNEPAL.COM

WHY TO BUILD? written by Bansri Pandey re-examines a designbuild
expedition for architectural students of the Catholic
University of America in Washington DC titled “Spirit of Place.”
The design quest and processes of four key expeditions in
1999, 2001, 2002 and 2011 help to uncover and coalesce basic
elements of the structural realm: geography, material, pattern,
space, time, culture, shelter, community and form. “The project
at its core has been about developing an innovative modern
language for Nepal based on its sacred past.”
Influence
Yes, form I have looked at and understood, it
can be learnt; but the genius of form has yet to
be studied.
-Rodin
“Rodin’s work will be acknowledged for the energy they seek
to manifest, for their vitality exceeding the bounds of stylistic
execution. They will be, in the full strength of the word, a work
of art.”
INSPIRATIONAL INDIVIDUALITY by Prabina Shrestha
encapsulates fundamental Newari and associated fusion design
interpretations as translated by Dr. Rohit Ranjitkar through
an iconic restoration project in Patan. ‘The house holds at least
200 years of history ... It stands fully restored after two years
of rigorous reconstruction.’ At once eclectic and traditional,
the house fuses essential Newari design idioms and interior
concepts - the ‘chotta’, ‘pati’, wooden carvings, terra cotta
tiles, brass and copper ware, clay artefacts with the legendary
Newari understanding of space as it interacts with structure
and sensibility. ‘Such is the power of place.’
NOVEMBER 2013 / 21

CULTURE
AND
SPACE
Articulation
In Rodin’s view, it was hands thus joined in prayer
which gave rise to the pointed arch.
SINGHA DURBAR by Sabina Tandukar revisits
the locus of Kathmandu’s spatial reality. It’s
monumentality, beauty and significance needs
little introduction. The sculptural language
and socio-political meaning the Singha Durbar
exudes, however, is of infinite allure and
interest. “These palaces unanimously known
as the ‘white elephant’ have given visual dom
inance to the medieval architecture of the
valley.” Built in 1903, it has offered shelter to
Maharajas and modern-day plenipotentiaries
alike. Neo-grEcoan, baroque, corinthian,
post-victorian - stylistic principles we can
scant apply to a Nepali national identity have
brought the world into Nepal and allowed
Nepal to summarily inhabit a global community
by this palace of palaces. “Individual
supremacy” is transposed onto the plinths
and façades while the social axiom, crucial in
any built environment, finds its most profuse
and “profligate” expression to date in Nepal.
The Singha Durbar was renovated in 1973
and much of the compositional glamour and
philosophical underpinnings reverberate in the
intricate artistry, majestic exteriors and sociohistorical
impact.
“Of all Rodin’s oeuvre, it is ‘The Monument to
Balzac’ which most clearly inaugurates the
sculptural language of the twentieth century.”
Singha Durbar exemplifies axial configurations
and scale that are grounded in proportion,
expanse and monumentality. Joltingly western
in style and construct, contradictory notions of
grandeur and slavery; of the absolute and the
unknown; and of salience and volume in the
Durbar are known to, if momentarily, impose a
submission of presence amongst the visitors.
Fountains, embellished gardens, sculptures
and opulent halls in this masterpiece are
metaphors of time and space. Does the Singha
Durbar convey the ideal of democracy and, as
many have observed, fail to represent Nepal?
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SUMMIT VILLAGE LODGE: SPIRITUALLY NEPAL by Veneeta Singha is an
enthused delineation and celebration of the Summit Village Lodge in Risal
Danda. The lodge typifies our preferred, latter-day getaway and nature
experience - the idyllic, sheltered dwelling resting on a hill-top plateau is
immediately Nepali in design and philosophy. However, as it opens up to
the solitary traveller, the plush rooms, sauna and gleaming tableware offer
modern comforts with a heart-felt enthusiasm. “Nature’s spatial metaphors
and colours are unfamiliar to a city-dweller yet completely palpable through
a slowness of perception which is surprising.” When melded in quite this
way, the familiar and the rare find a restive and rejuvenating expression
which is the Summit Village Lodge.
Language
There is an admirable logic and continuity
to the way in which one work gives rise to
the next in Rodin’s oeuvre.
“Though accused of making excessive use of the un worked
surface, Rodin was again far ahead of his time; he appealed
to the imagination rather than to the roles of sculptural
convention.”
TIGER TOPS KARNALI LODGE: RETELLING OF A JUNGLE LODGE
by Siddhartha Lama reclaims the ideal of a jungle paradise
and returns it to its distinctive roots. Carefully gleaning
the processes by which the lodge was renovated and took
its present shape, the key structural element which strikes
through is the perfectly temporal use of local materials and
structural dynamics. With an uncompromising focus on detail,
the lodge was upgraded with clay, reed mats, spiral mats of
braided dried grass, charpoys, woven twine and a surrounding
effect of calm afforded by natural light and mild, neutral
colours. “The challenge, of course, has been to use fairly basic
material and local skills sets to develop a luxury lodge setting
and, in this, Danish design characteristics have managed to
add that required finésse.”
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CULTURE
AND
SPACE
Construct
Suddenly I grasped what unity was. For the first
time, I saw sculptor’s clay.
THE NORWEGIAN EMBASSY: AMBASSADOR’S RESIDENCE,
KATHMANDU by Siddhartha Lama reorients our imagination
to the present with suddenness and simplicity. Allowing
definitive interpretations of cubism and minimalism, the
Residence optimizes the Newari design ethos and postmodern
utilitarianism. Reworking spatial mathematics
through ventilation, light, formality and comfort, the
built reality is centered on the cube form and the atrium.
Both privacy and the social paradigm are given room and
resurgence. “Viewed as a whole, the building breathes
spaciousness and light, presented through the angular lines
of its design and the openness afforded it by the use of glass
and louvres.”
“The forms in, for example, Rodin’s ‘The Three Shades’ are only
suggested, for what is represented is not a sensation or an
emotion but an action, a movement.”
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ARCHITECTURE: IDENTITY AND POLITICAL POWER by Kai
Wiese begins with a powerful statement on the synergy,
disconnect and confluence of Nepali architecture,
identity and politics. It reads: “Architecture is a tangible
manifestation of a civilization.” The prelude is a formalized
thesis of the contributions and creative aspirations of
the Malla Kings of Nepal leading, progressively, into an
authoritative reflection on Nepali architectural influences.
Orchestral in its breadth, this account calls upon the history,
culture, nature, artistry, craftsmanship, typologies, trades
and civilizational values which essentialize power and politics
in the Nepali spatial environment.
Symbolism and strategic meanings find a unique structural
articulation in King Prithvi Narayan Shah’s innovations such
as the ‘Nautalle Durbar’. Subsequent manifestations of the
era also demonstrate its political philosophy. Authority and
location, at the time, were both strategic and ceremonial.
Tumult and upheaval alongside a nascent democracy and
identity were distinct temporal signifiers as King Mahendra
BBSD commissioned the new Narayanhiti Palace. It stands
today as a consummate archetype of a political character that
can only result from balance, symmetry and elaboration.
Expression
“There is an admirable logic and continuity to
the way in which one work gives rise to the next
in Rodin’s oeuvre.”
‘Bridging the centuries in which it seemed that mind had
been banished from sculpture, Rodin revived the tradition
of cinquecento. In his own words: I want to link the past to
the present; to return to memory, judge it, and contrive to
complete it. Symbols are the guidelines of humanity.’
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CULTURE
AND
SPACE
Aesthetics
This work, which could not be destroyed, is the
culminating achievement of my entire life, the very
lynchpin of my aesthetics.
FOR ALL SEASONS: FOUR SEASONS RESORT, LANGKAWI
by Sarosh Pradhan delves masterfully into an island
resort cocooned by limestone cliffs and tropical forests.
This interaction with Lek Bunnag, architect of the island
idyll, imprinted with profound insights into the Malay
culture and heritage, also signifies a move towards
spatial dimensions that are in stark contrast to Nepal.
However, Lek reveals at the outset that the architecture
of Kathmandu Valley will always be his teacher. Moulding
and revitalizing spiritualism, historical narratives and
nature as a catalytic function is intrinsic in many parts
of the world. Crafted by screens, shades and colours,
precise forms in this island resort owe their design to
an archetypal understanding of climate, topography
and, indeed, existence itself. Heritage preservation also
provides the key to the resort's design framework. An
ambient use of light, pavillions, geometrical patterns
and layered domes creatively encase the singular concept
of the inner sanctum. The use of timber realizes into a
consummate Malay style. "Each pavillion has a large
overhanging roof with traditional Malay-style decorative
fascia boards that help reduce glare." A simmer of Thai,
Burmese, Indonesian and ancient Islamic influences, the
final, designed construct is perfect in vision and reality.
Lex believes that "architecture must give serenity and joy
apart from meeting specific needs and functions."
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LIGHT IN THE TUNNEL: THE BARAI AT HYATT REGENCY,
THAILAND by Sarosh Pradhan centers on the Barai Spa
Project which was formulated on a ‘conceptual attitude’ of
strength, arrogance, romance and force supported by the
characteristic seriousness and meditative focus that Lek's
works evoke. ‘Architecture deals with the unseen.’ Theatrical
and symbolic, the project takes the visitor through an
almost baptismal cleansing process - from water to tree
to cornices and, finally, to Hope as communicated by the
spatial serenity. The word spa is, in the deepest sense,
meditation. The ancient rites of purification have found an
absolute modern sensibility and environ. Stillness, solitude
and surprise are built into this sculptured arena giving form
to an aloneness that many rush to encounter.
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CULTURE
AND
SPACE
Memory
All it required was to place a recumbent in one of the monumental
hands which Rodin so brilliantly wrought from the unworked marble.
PATAN DURBAR SQUARE: THE LEGACY OF ALL TIMES by Sabina Tandukar replenishes our imagination with the conscious, real
palpability of one of Nepal’s most beloved durbar squares. ‘Mangah’ in Newari implies centre. The Patan Durbar complex, interwoven
through three courtyards, visually demonstrates the simple living philosophy paramount to the Malla Kings. An impressively
public construct and yet private in essence, the Patan Durbar is Nepal’s foremost material representation of syncretism and
secular thought. The ‘Muk Chowk’ built by Srinivasa Malla is replete with myth, legend and visionary aesthetics. Ceremony, in the
Patan Durbar, is consecrated and immersive through the renderings and detailing. The Patan Museum, restored by the Austrian
Government, displays almost painstakingly the socio-cultural realm of the Malla Kings and of its own reconstruction through the
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exactitude of its framework and fabric. The icons strewn in the Museum imbue the area with sacred tradition just as clearly as with
aura and dignity. ‘Patan Durbar Square in essence is a people’s space.’ The Patan Museum is a sublime exposition of Nepal’s spiritual
and devotional memory, expression, endeavour and structuralism.
‘The French Symbolist poet Baudelaire’s declared intention was to create a universe, a panorama of the passions and sentiments of
humanity. Baudelaire’s vast work became a reservoir of forms on which Rodin continuously drew, sculpting a series of groups and
‘individualized’ statues which acquired, as independent work, the status of masterpieces.’
Deependra Bajracharya
NOVEMBER 2013 / 29

CULTURE
AND
SPACE
Substance
Deependra Bajracharya
RECREATING THE SELF CREATED by Swati Pujari details the
‘dharma initiative’ renovation of the Swayambhu Mahachaitya
in Kathmandu begun in 2009. The Stupa, a symbolic and
spiritual shrine of the Self-Created or the Self-Existent, dates
back to the 4 th Century and is believed to represent creation
and the germination of life in the form of a lotus seed planted
in water. “Within its range of blessings, suffering dissolves,
and compassion begins to emerge. From compassion arise
Bodhicitta, the heart of enlightenment,” writes the Ven
Tarthang Rinpoche in a statement on the Swayambhu Nath
– this has since taken the form of the key guiding statement
for the Mahachaitya’s renovation works. The latest in 14
major renovations, the works comprised three key elements:
the Copper Works, the Gold Works and the Timber Works.
With active engagement of the local community and the
Department of Archeology, the renovation itself was driven by
carefully-documented reinstallation and repairing which drew
heavily from earlier records of each Stupa element. Melding
religious worship, architectural intervention, cultural revival
and socio-historic artisanship, the project inculcates and,
finally, expresses a fundamental return to the divine and life
giving substance enshrined in the Swoyambhu Dharmadhatu
and the five Dhyani Buddhas.
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NOVEMBER 2013 / 31

HERITAGE
A STUDY OF CHARACTERISTICS AND FEATURES
NEPALI MANUSCRIPT PAINTINGS
by Dr. Yam Prasad Sharma
Prajnaparamita manuscript portrays
the goddess Prajnaparamita
and her six female companions.
The centrality of female deities in
Hinduism and Buddhist tantras is an
unmistakable value of both religious
faiths. This particular painting also
raises the form and symbol of the
goddess to a mystical level.
Although art and painting, in particular, are intrinsic to Nepali
cultural rituals since the medieval times, the earliest Nepali
painting is in the Prajnaparamita manuscript dated 1015
A.D. Manuscript illustrations are considered to be characteristically
mystical, symbolic, didactic, anthropomorphic and inter-textual.
Icons and images in the manuscript paintings typically signify
meanings and metaphors beyond the paintings itself. Visual
narratives often present lessons in morality. The implied vision
and textual meanings are, thus, present in the same manuscript
and artwork. Significantly, both Hindu and Buddhist mythological
representations and legends can be found melded in the same
manuscript work thereby suggesting religious harmony and
syncretistic belief systems.
Manuscripts are defined as religious texts copied and embellished
with miniature paintings - the manuscripts were frequently donated
to monks of the prevailing religious orders, priests, pundits and
monasteries. Miniature paintings can also be found on the wooden
manuscript covers. On closer look, a recurrent visual leitmotif
motivates and encourages the readers to delve further. This
unique aesthetic tradition is also found in both Hindu and Buddhist
manuscripts. Important to note, the artists of these socio-religious
homilies are often unknown and unnamed.
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HERITAGE
The Prajnaparamita, Dharanisamgraha,
Paramartha Namasangiti, Gandavyuha
and Pancaraksa are some of manuscripts
in the Buddhist theological cannon.
Prajnaparamita manuscripts are usually
ornamented with allegorical scenes
from the Buddha’s life, Goddess
Prajnaparamita, the Panchabuddhas
(five transcendental Buddhas) and the
Bodhisattvas. A painting depicting the
Buddha’s nativity on the cover of the
Prajnaparamita manuscript, dated 1054
A. D., illustrates the religious harmony
and synergies between Hinduism and
tantras is an unmistakable value of
both religious faiths. This particular
painting also raises the form and symbol
of the goddess to a mystical level.
Prajnaparamita is seated on an open lotus
and has four hands. Two hands form the
Dharmachakra mudra further exhibited
by a gesture of the turning wheel of law.
The upper left hand holds a manuscript
and the upper right hand a mala - the
manuscript signifies attainment of
wisdom. Vase, conches, flowers and
lamps around her create an objectified
connection in keeping with the theme of
wisdom. A vase full of jala (holy water)
The next goddess sits in the Dhyana
Mudra (a gesture of meditation) and the
accompanying one in the Namaskara
Mudra (a gesture of adoration). The four
hands of Goddess Prajnaparamita as well
as the gestures of the Goddess and her
companions amplified by the symbolic
principles of the images are both mystical
and supernatural.
The wooden cover of the Twelfth
Century Prajnaparamita manuscript
artfully presents a seated Buddha
flanked by three Bodhisattvas on each
side and is based on the Buddhist
[
the Buddha is a ‘great teacher and leader but not a god,’ ‘his tremendous success was due to the
fact that his experience of enlightenment was potentially reproducible by anyone.’
[
Buddhism. The Buddha emerges from his
mother Maya Devi’s left hip, immediately
takes his first seven steps and stands
on a pyramid of lotuses. The Buddha is
then welcomed by the Hindu deities:
Brahma, with a basket of grain, and Indra,
with a fish. Fish and grain are considered
auspicious and symbolic offerings in
Hindu deistic traditions. This iconographic
presence of the Hindu gods as part of
Buddha’s nativity, again, expounds on the
ideal of religious concord which was an
identifier of the time.
THE COVER OF THE 12 TH CENTURY
Pajnaparamita manuscript portrays the
goddess Prajnaparamita and her six
female companions. The centrality of
female deities in Hinduism and Buddhist
or Amrita (nectar or elixier of immortality)
is ‘an auspicious sign and symbolizes
plenty.’ Goddess Prajnaparamita is
considered to be the epitome of wisdom
and knowledge. A lamp as the symbol
of enlightenment and wisdom further
reaffirms the prevailing premise. The
conch is a symbol for ‘the Buddha’s
speech’ through which wisdom and
enlightenment can be gained. Three of
Prajnaparamita’s six female companions
are seated on the left hand side and three
on the right. One of the goddesses holds
a sword in her hand which metaphorically
“cuts through the darkness of the
ignorance of all sentient beings.’
Other goddesses sit in the Varada Mudra
(a gesture that confers blessings).
creed of Mahayana - the great vehicle.
The concept of the Bodhisattva owes
its origins to Mahayana Buddhism in
sharp contrast to the Hinayana School
of Buddhism - the small vehicle. The
Hinayana philosophy was also known
earlier as the Theravada which translates
as the teaching of the elder.
According to the Hinayana School, the
Buddha is a ‘great teacher and leader
but not a god,’ ‘his tremendous success
was due to the fact that his experience
of enlightenment was potentially
reproducible by anyone.’ Followers
of Hinayana Buddhism did not follow
idolatry; the overarching belief being that
it was ‘impossible to represent him once
he had passed into Nirvana, a state of
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eing inconceivable in a human.’
and human beings who seek nirvana.
In contrast, the Mahayana School
propounds the theory that enlightenment
is possible for human beings ‘not only
by their own endeavor but also through
the vicarious suffering of a new deity, the
Bodhisattva, an intermediary between
the passive Buddha and the suffering
humans.’ Ernst and Rose Leonore
Waldschmidt write:
‘Enthroned beside the Dhyani Buddhas
in their worlds are so-called Bodhisattvas,
‘Being of Enlightenment’, who are
potential Buddhas or Buddhas designate.
These blessed beings have come
within reach of their goal, the rank of a
Buddha, having travelled the way that
leads through the ten stages (bhumi)
of supreme virtue and perfection; they
have, however, abstained from taking the
final step to deliverance and extinction
in order to stand by those who have
remained behind on earth, their former
companions in suffering, to help them
in their troubles and guide to them
along the right path. These Bodhisattvas,
thus, have the function of helpers to
those who belong to this branch of the
Buddhist religion like the saints in the
western churches.’
Bodhisattvas, the enlightened ones,
function as the bridge between the Buddha
Furthermore, the Prajnaparamita
manuscript cover depicts the Buddha
seated in the Dharmachakra Mudra (a
gesture that denotes teaching of the
law) surrounded by a white aureole.
The Bodhisattvas - Samantabhadra,
Vajrapani, Ratnapani, Avalokitesvara,
Visvapani and Manjusri - are each seated
in the Dharmachakra Mudra and hold
a lotus in the left hand. It is believed
that the Buddha’s teachings have been
transferred to people by Bodhisattvas
who function as mediators. This artistic
and philosophical composition is based
on the teachings of Mahayana Buddhism.
THE PANCARAKSA MANUSCRIPT
paintings, dated 1250 A.D., are also
anthropomorphic, mystical, mythopoeic
and narrative. Inscribed on paper, this
manuscript illustratively depicts five
goddesses as the personification of five
protective charms used to save people
from snakebite, prevent the occurrence
of smallpox and other similar purposes.
The abstract concept of the protective
charm is, thus, given human and divine
attributes. A defining composition in the
manuscript represents a seated Buddha
and the Goddess Mahapratisara.
Devotees are also shown seeking
consultation from the deity on their
ailments and problems. When the
verses of the Pancaraksa are opened,
the personified figure representing
the disease flees. The scene is
didactic and takes on mystical and
anthropomorphic properties. Plants
and trees in the background create a
naturescape and enliven it. Vibrant red,
green and yellow shades against the
deep indigo of the paper also imbue
effervescence. In addition, the borders
are embellished with floral and geometric
NOVEMBER 2013 / 35

HERITAGE
patterns and designs.
The narrative plays in the Gandavyuha
manuscript are emblems of Sudhana’s
spiritual journey, his interaction with
Manjusri, the Bodhisattva of wisdom,
and his ensuing enlightenment. Manjusri
is shown seated on a cushion and
possesses a halo whereas Sudhana is
on the ground without a halo. The artist
of the Gandavyuha manuscript also
captures the landscape with an aesthetic
transposition of rocks, trees, plants and
animals in the scenery.
THE 12 TH CENTURY VESSANTARA
Jataka manuscript paintings are also
narrative and instructional portraying
religious harmony which relationally
defines Buddhism and Hinduism.
According to legend, Vessantara is
a generous prince who gifts a white
elephant to a neighboring kingdom
suffering from drought. Belief has it
that the white elephant could bring rain.
Subsequently, Vessantara’s own country
suffers from drought and the prince
is banished from the country due to
pressure from a public revolt. Vessantara
then goes to the forests with his wife
Madri, his son Jali and his daughter
Krsnajina. One day, when Vessantara
is meditating, Indra arrives in the form
of a brahmin and asks for his son and
daughter. The prince relinquishes his
children and the brahmin takes away the
crying children. This signifies Indra’s test
of endurance which Vessantara passes
and the scene ends with a reunion and a
return to the palace. Implicit in the story
is the moral of helping others and the
importance of kindness. The manuscript
is distinctively Buddhist but incorporates
the Hindu God Indra suggesting,
again, religious synchronicity and a
blending of Hindu and Buddhist spiritual
epistemologies.
The Buddhist manuscripts exhibit
many continuous and flowing curves;
serpentine, sinuous and flexible figures
and a luminosity of texture thus
projecting lively and youthful human
figures. Rajatananda Das Gupta writes
the following on the stylistic quality of
the paintings:
The lines move in continuous flowing
curves and successfully model the
masses and volumes within the given
contour. Human figures are full, sinuous
and rounded while draughtsman-ship
attains the height in the decorative
motifs. Some landscape is also
attempted by arranging stylized plantain
trees at uniform distances.
In Amita Ray’s words, the lines in
the compositions of manuscripts are
‘rounded and sweeping and colour has
almost a modeling effect.’
Hindu manuscripts such as the
Bhagavata Mahapurana, Visnudharma,
Shivadharma, Niswastantra, Lalitavistara,
Devimahatmya and the Ramayana
are also graphically illustrated. These
manuscripts inscribe Hindu deities
such as Vishnu, Shiva, Durga and
representational narrative scenes
serve as value-laden pictorials. The
Visnudharma manuscript cover, dated
1047, shows ten rendered incarnations
of Vishnu. In the Hindu scriptures, Lord
Vishnu imbibes incarnations to protect
other deities and human beings, and to
instill order over demons and sinners
who dominate the earth. The paintings
of these ten incarnations are moralistic
and educational - they are informed by
notions of sin and destruction, and serve
to warn people.
Paintings of fish represent the Matsya
Avatara (an incarnation of Vishnu as fish)
who saves humans from deluge and are,
thus, personifications of the deity and
the deistic principle. As an incarnation of
Vishnu, the fish is an auspicious symbol
in Hindu religious and cultural rituals.
Similarly, the tortoise represents
the Kurma Avatara who saves the
Mandarachal mountain from drowning,
when churning the ocean for amrita
(nectar) known to endow the gods with
immortality. The boar, on the other hand,
represents the Varaha Avatara who
rescues the drowned earth resulting from
an ascendancy of demons and excessive
sin. The boar is known for a commanding,
heroic and militant posture. According
to legend, the earth appears in the form
of female goddess at Varaha’s right
elbow. Again, these are potent signs of
the anthropomorphic character of the
paintings with the fish, tortoise, boar
and the earth all personified and given
human attributes. Their activities are akin
to events in the miracle plays, at once
supernatural and spiritual.
In progression, the Narsimha Avatar
(half man, half lion in form) kills demon
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King Hiranyaksipu to protect his devotee
Prahlada. Allegorically narrated, the tale
is that Hiranyaksipu possesses a boon
by which he cannot be killed by man nor
by animal. Consequently, Vishnu appears
in the incarnation of a hybrid form of
man and lion and is able to destroy the
demon king. In an ensuing mythological
narrative, the Vamana Avatar (dwarf)
destroys the pride and ambition of the
demon King Bali. Here, Vishnu assumes
the form of a brahmin and asks Bali
for land which can be covered in three
strides to sit and meditate in. As Bali
agrees to grant the land, Vishnu tricks
him by stretching his left leg towards
heaven. In two strides, he covers the
entire earth and heaven, and in the third
stride, Vishnu puts his foot on Bali’s head
thus casting him unto hell. Analogous in
function to a morality play, this painting
also follows the main theological ideology
of good and evil.
As the narratives take further shape,
the Parasurama Avatara kills all the
fallen Kshatriyas with his axe. The
Rama Avatara - the central figure in the
Ramayana - together with his brother
Laxman and the monkey friends destroy
the demon King Ravana of Lanka. The
Krishna Avatara also destroys the demon
King Kansa and helps the Pandavas
annihilate the Kauravas. This is part of
the renowned storyline of the wellknown
Hindu epic - the Mahabharata.
In a separate composition, the Buddha
Avatara depicts the Buddha as the ninth
incarnation of Vishnu thereby exhibiting
syncretism in Hinduism and Buddhism.
Fundamental to Hinduism and the
Hindu way of life, important new ideas
developed in the milieu were absorbed
and incorporated into an inclusive socioreligious
paradigm. The Kalki Avatara,
in human form, replete with the sword
and on horseback is thought to espouse
the temporal notion of the future in
order to destroy evil and rescue the
earth as well as his devotees. The
paintings in this manuscript are intricate
representations of important and
absolute mythological constructs.
In some Visnudharma manuscripts,
Vishnu is anthologized with his four
hands holding the sankha (conch), charka
(wheel), gada (mace), and padma (lotus),
ascending towards heaven on his vehicle,
the Garuda The anthropomorphized
God with four hands and on the Garuda
as the vehicle, again, has mystical and
supernatural connotations. The depiction
of Vishnu with his shakti (female power),
Goddess Laxmi, is both frequent and
common in Hindu scriptures.
In observance of the chosen medium
of storytelling and instruction, the
painting on the cover of the Shivadharma
manuscript from the Thirteenth Century,
is also emblematic and anthropomorphic.
Lord Shiva is shown seated at the centre
holding his consort, Parvati, who is
on seated on his lap. Shiva’s weapon
‘symbolizes the tripartite functions
of God in the theistic sense, namely
creation, preservation and destruction.’
Parvati’s mount, the lion, is by her side
and Shiva’s mount, the bull by his. In
the backdrop the Ganga river pours holy
water over the divine couple. The Ganga
is also a personification of the human
form. Ganesha and Kumara, Shiva and
Parvati’s sons, appear on their vehicles,
the mouse and the peacock respectively.
Mount Kailash, Shiva and Parvati’s holy
abode, stands tall in the background.
The Sivadharma manuscript, dated 1069
A.D., shows the shivalinga painted as
an assimilation of erotic and spiritual
meanings. The shivalinga is symbolic of
the union of the lingum (phallus) and the
yoni (vagina) which is believed to be the
source of all creation. Describing the
deistic connotations of the shivalinga,
Lydia Aran writes:
‘The Shiva cult in Nepal comes in the
form of Lingam (Phallus), which was the
early form of Shiva Icon. The Lingam
is roughly cylindrical in shape, standing
upright on it’s narrow end and rounded at
the top. It usually stands on a flat rimmed
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HERITAGE
disc called yoni being possibly the female
symbol. There is an indentation on one
side of the yoni, the purpose of which
is to drain off the water poured over the
Lingam as offering.’
Similar to the shivalinga, both male and
female principles are shown in union
as Uma and Mahesvara; Vishnu and
Laxmi; and Samvara and Vajravarahi
in other Hindu religious iconography.
Significantly, erotic and sacred themes
are anthologized in unison in the Hindu
socio-religious arts.
THE PAINTINGS ON THE 14 TH CENTURY
Devimahatmya manuscript show
Goddess Durga and her varied avatars
alongside which the destruction of
Mahisasura (the buffalo demon),
Sumbha, Nisumbha and Raktabija
are also depicted. Myth has it that
Mahisasura and his army were terrorizing
the gods and men. In response to their
prayers for intercession, Durga appears in
the form of a beautiful girl in a mountain
forest to seduce the demons. Seeing her,
a demon mentions her to his king after
which Mahisasura sends a messenger
with a marriage proposal to Durga. She
asks to see his master following which
Mahisasura appears with his army to
wage war on her. Mounted on the lion
and armed with weapons in her many
hands, Durga attacks Mahisasura and
the other demons and, finally, destroys
them. The paintings also describe Durga
killing the demon, Sumbha, in the
avatar of Kalyani. In another rendition,
she destroys Nisumbha assisted here
by Chamunda. In the episode of the
Dhumralochana Vadha, she attacks the
demon with an arrow from the cloud.
The demon, hit on the chest by the arrow,
somersaults in agony with the arrow
producing iridescent flames. Flowers,
colorful rocks and lush mountains ‘serve
as the background of the painting’, and
create typical ‘Nepalese landscapes’.
Although the majority of the manuscript
paintings are religious in form and theme,
the Hitopadesa manuscript compositions,
dated 1594 A.D., deal with secular themes
that are relevant even in the present day.
In this manuscript, two animal fables
are represented visually – the first fable
recounts the story of the old vulture - an
infirm and blind vulture works as a babysitter
for other birds and is given food by
the birds in return for the work. One day, a
cat appears and befriends the blind vulture
with flattery upon which the cat climbs
the tree, devours all the chicks leaving
only the carcasses. When the parent birds
return, they are enraged and kill the old
vulture. The moral of the fable, therefore,
is that one should not believe in flattery.
The second fable recounts the story of the
jackal and the deer. The jackal befriends
the deer, takes the deer to a green field
to graze where the farmers have set a
trap. The deer is, thus, ensnared in the
trap as the jackal aims to eat the deer.
However, the jackal fails in this illfated
plan when the farmers release
the deer from the trap. In these visual
works of art, animals and birds are
also personifications and projections of
human foibles and fallibilities.
In summation, the Nepali religious
manuscript paintings artistically and
inter-textually present and celebrate the
religious harmony that characterized
the Nepali society of the time. They
also share features similar to Indian
manuscript paintings although Nepali
artists are known to have creatively used
these influences to render their own
unique context.
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38 / SPACESNEPAL.COM

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For the Country of Nepal
Thanvi and Sons
5,6 Share Market Complex, Putalisadak, Kathmandu
Tel: +977 1 4242046
Now in Pokhara
Jasnath Impex, New Road, Pokhara, Kaski
Tel: 9856035952
NOVEMBER 2013 / 39

HERITAGE
CALCULATING TIME:
THE CALENDAR
AND THE TITHI
by Rajendra Shakya
THE practice of keeping track of
time has evolved through time
itself, to take shape in what we
now call the modern calendar. Though
the modern calendar follows traditional
systems of calculation, many new
ways to display these calculations
have easily emerged in calendars of
manifold shapes and sizes.
The Hiranya Varna Mahavihar, a 12th
Century Buddhist Monastery popularly
known as the Golden Temple of
Patan, is famed to have retained the
traditional calendar in its original form.
The modern almanacs have, however,
taken away considerably from the
use of this traditional calendar. Public
display of the traditional calendar at
important sites such as the monastery
was a popular occurrence in Nepal.
The traditional, orthodox hand-written
calendar, in the form of a wooden
plate, was and remains the only source
for ascertaining the Nepali “tithi” (day
count based on the movement of
the moon i.e. the lunar calendar) and
establishing the exact and auspicious
date and time for rituals, festivals and
Nepali astrological chart
are at public display of
traditional calendar at
important sites, which
are popular occurances in
Nepal, and are still based
long before the clock was
invented, according to the
movement of the moon.
astrological events such as the eclipse.
The Joshi astrologers, from Nagbahal,
draw the traditional Nepali astrological
chart each year, as they have done for
decades, by taking the wooden plate
home a few days ahead of the Nepali
New Year’s Day to prepare the handwritten
almanac for the rest of the year.
This calendar includes the tithi(s) which
confers the day count for the whole
year and also determines the exact day
for each festival in the calendar year.
The Joshi family continues to receive
special recognition from vihar for
updating the traditional Nepali almanac
and also receives a share of the
offerings during all key events of the
vihar, such as the bare chhuyegu
(a Buddhist initiation rite) and the
aacha luyegu (initiation ritual into the
Bajracharya priesthood), says Dipak
Bajracharya, a priest from the vihar.
As the traditional calendar is made
of wood, it lasts for only a short
span of time and is, thus, changed at
regular intervals. The wooden plate
ceremonially installed in the vihar
currently is not an old one while the
tradition of displaying the calendar
itself is an ancient rite.
The vihar houses a special conical
vessel which was used to keep track
of time long before the clock was
invented. This vessel, with a small
leak at the tip, was placed with the
tip down and filled with water, thus
functioning more as an hour glass to
determine time usually calculated in
the ghadi and the pala. In the past, the
Joshis from Nagbahal determined the
time of day with the help of the vessel,
affirms Bajracharya.
40 / SPACESNEPAL.COM

THE FLAIR OF RESTAURANTS
Text by Pujan Joshi, Photographs by Pradeep Ratna Tuladhar
IN every culture, the food represents a vital part or maybe even a representation
of a community itself. It does symbolizes on how we congregate on a reflection
of a culture by the dishes we are served. Though we should never criticize on
any cultural cuisines we don’t understand, the growing popularity of cultural
dishes of various countries now introduces the flavors of a culture, its people and
the community itself. The presentation of its cuisine to new taste in the capital has
now become a significant responsibility for many restaurants.
Nowadays hospitality is the key to success in every restaurant business, as it brings additional zest in
enjoying the cuisine. Even equally important are the interior decorations that play a prime temperament in
initiating an ambience of the culture and its cuisine with a superb dining experience.
Today we see a lot of restaurants mushrooming in the city, and the motivation could definitely be the
change in the statistics of people who now prefer to eat outside. Rather than complying with a repetitive
routine of two meals a day with their taste buds fixed to comparable flavors, they seek an escapade to
search new exciting flavors and an ambience that makes a memorable experience.
It turns out to be appealing and fascinating how cuisine and the interiors of a restaurant entice people
in enjoying their dining experience. Hospitality and the hygienic enthusiasm of a restaurant should be a
paramount criterion for their customers as nothing beats a temptation to go to a restaurant for a second
or even countless times for a meal you would remember till you are ninety four years old. Now wouldn’t that
be a dining experience of a lifetime.
As for the ambience and the interiors, it adds a magical and delightful sense of ingredient to the taste
buds and the flavors of the cuisine you order. Like a candle light dinner for a couple who seeks a romantic
sentiment for them to cherish, can in reality be a tribute to their dining experience. It’s no surprise as we
now see restaurants as in vogue for people of all age in Kathmandu too.
So our task in this particular article is to present you ten different restaurants in terms of the appetizing
cuisine, ambience, menus served, quality of the service, location and the remarkable interiors. Now keep
in mind, there are obviously more than ten restaurants that offer the best in everything. Hence we are on
the lookout for many more restaurants for our coming article editions and who knows maybe your favourite
restaurant might be featured in our coming editions. Therefore Bon Appetite to all of you food lovers and
do start exploring for a cuisine that will have a life-long impression.t
42 / SPACESNEPAL.COM

EMBER RESTAURANT
Ambience: A gorgeous open courtyard, fireplace,
cozy interiors with a touch of European -styled
building with one of the finest spaces among
restaurants in the capital seems suitable for all
occasions.
Location: Bhat Bhateni, Kathmandu.
01
NOVEMBER 2013 / 43

Factory Restaurant & Bar
Ambience: As the name suggests the restaurant flanks
a factory theme, a building with traditional Nepali style
02
porticoes. The vibrant character of the metal casts
ceilings and walls lends warmth and vibrancy to the
space taking away the stern character of a factory.
Location: Mandala Street, Thamel, Kathmandu
44 / SPACESNEPAL.COM

MULCHOWK, BABAR MAHAL REVISTED
Ambience: The Mulchowk replicates the actual Babar
Mahal Palace and is considered to be one of the grandest
palaces to have been built in Nepal. The location
imbues it with historic aestheticism, old world charm,
and certain elegance.
Location: Babar Mahal Revisted, Kathmandu
03
NOVEMBER 2013 / 45

GRILL ME
Ambience: The restaurant hosts outdoor and indoor seating areas
04
with an open bar, and a private lounge. Its simplicity maintains
interesting detailing from stone, wood and iron, which are the three
basic elements used to create a rustic ambience.
Location: Jhamsikhel, Kathmandu.
46 / SPACESNEPAL.COM

PURPLE HAZE:
Ambience: A tribute to the legendary guitarist Jimi Hendrix, the
name itself is an indication of an environment for live rock bands.
If you’re looking for a chill out night with a heavy rush for Rock n
Roll then this is the rock bar that will surely not dishearten you.
Location: Thamel, Kathmandu.
05
NOVEMBER 2013 / 47

SWOTHA
Ambience: A facility with classic elements like hipped roof,
wooden balcony and the typical brick façade display a pleasant
art of traditional Newari architecture renovated with much
06
interest and care respecting the historicity of the house,
preserving the Newari tradition.
Location: Patan, Lalitpur
48 / SPACESNEPAL.COM

TAMAS
Ambience: The restaurant’s lure lies in its décor with a huge
tree as its focus piece. The bar in the courtyard, the open
kitchen, the white walls and the shimmering curtains all
come together to create a Shangri-La in the city.
Location: Naxal, Kathmandu.
07
NOVEMBER 2013 / 49

BRICK CAFÉ
Ambience: The Statue of Goddess Durga seems to enchant the old
traditionally designed house that was fully restored. As the name
08
suggests the entire ambience comes alive with the old bricks that
shows the adoration of old and historic structures & cultural dances.
Location: Kupondole, Lalitpur.
50 / SPACESNEPAL.COM

ARENA SPORTS LOUNGE
Ambience: A place that offers space for live sports entertainment where
people from every walk of life can come to enjoy, relax and socialize on
big screens, plus to make it even more special the games will be pumped
through lively surround sound system.
Location: Satghumti Chowk, Thamel, Kathmandu
09
NOVEMBER 2013 / 51

LITTLE ITALY
Ambience: The sturdy-looking heavy wooden door, fine marble
flooring and checkered patterns of wood pieces and glass seem
to entice its customers. The semi-partitions of bricks with
10
wooden laminations and pebbles complement the ambience
of the interior space make a memorable dining experience.
Location: Durbur Margh, Kathmandu.
52 / SPACESNEPAL.COM

JOURNEY
LUKLA BECKONS
A journey to Everest Base Camp
56 / SPACESNEPAL.COM

FLYING on Tara Air to Lukla (2860 m) was an exceptional experience – I was
enraptured by the captivating yet serene view of the mountain ranges that lay
just a few minutes away from Kathmandu. Landing on the Tenzing-Hillary Airport,
also known as Lukla Airport, the door to our journey to the Everest region opened with
sublime ease. Mechanized and modern transportation ends here and one will not see
beyond this point. Lukla is a small town in Solukhumbu District in the Sagarmatha Zone.
NOVEMBER 2013 / 57

JOURNEY
The History Channel has recently rated Lukla Airport as the most
dangerous airport in the world in a program entitled ‘Most Extreme
Airports’ first broadcasted in 2010. You also have to be very lucky to get
a confirmed ticket and the airport is one of the busiest in the domestic
sector in the country.
The beginning of the Everest Base Camp trek brings fresh and healthy air
with none of the pollutants which are so omnipresent in our cities. The
journey itself is an eternal test of fitness and endurance – the trek up,
armed with a backpack of a few essentials moves progressively towards
higher altitudes. The Sagarmatha National Park, a UNESCO World
Heritage site, itself elicits excitement and a palpably new wave of energy.
Affordable and comfortable accommodation, hot food and Internet
service are readily available in the established hotels and motels. Known
for it’s commendable hospitality, the people are welcoming thus making
the start of the trek relatively stress free and harmonious. We went to a
nearby hotel for lunch and met with our porters to discuss the details of
the load they would be carrying for the rest of the journey.
Previous page: View from on way to Kala
Patthar, photo taken of Mount Everest seen
on the background and Khumbu glacier on
foreground. We were at 5360 meters high.
Top: Namche bazar, a village in Khumbu
area at 3,440 mt. A main trading centre of
Khumbu region, also for acclimatization to
prepare for high altitude and the gateway to
Mt. Everest .
Left: A scenic view from Everest View
Hotel, situated at 3880 mt, famous for its
panoramic view of Mount Everest and other
high peaks.
58 / SPACESNEPAL.COM

After the meal, we headed towards Phakding
(2610 m), frequented as the main stopping
point for many trekkers en route to the Everest
Base Camp. The three-hour trek, primarily
downhill through rhododendron, magnolia and
pine forests, supremely urges one to capture
the panoramic natural beauty with a camera –
the immediacy and impact of the mountains
often give way to a sudden need to record
for posterity some of the magic and beauty.
A small village of hotels and lodges then
appeared eager to serve weary travelers and to
comfort tourists of possibly, every nationality.
This became our chosen stop and dwelling for
the first night of the trek.
The next morning, we packed our luggage
and began the journey towards Namche. After
walking for two hours, we reached Monjo (2835
m). Reaching this village somewhat similar to
Phakding, we chose a hotel for our afternoon
meals which was enhanced by a characteristic
touch of warm hospitality.
The 200 ft. hill climb towards Namche
(3440m) was the first in a series of climbs.
Namche Bazaar is a historic and delightful
town, popular with trekkers in the Khumbu
Region particularly as the rightful place for
altitude acclimatization. It is also known as
‘the Gateway to the High Himalaya’, and is the
main trading centre for the Khumbu Region.
Following our itinerary, we planned to stay in
Namche for three days for acclimatization. The
next stop was Everest View Hotel en route to
Khumjung Village. Our choice - the Camp de
Base Hotel - is hailed as the most sought after
in Namche and is run by Nyima Tashi Sherpa.
The facilities included exemplary hospitality,
comfortable rooms with attached bathrooms,
delicious food and the availability of handy
services such as quick laundry and a good
NOVEMBER 2013 / 59

60 / SPACESNEPAL.COM

Tengboche presents a panoramic view of the
Himalayas, including the Everest, Nuptse, Lhotse,
Ama Dablam and Thamserku
Left: Tourists walking on
the way to Tengboche,
Mount Thamsekru on
background.
Top: Tengboche presents
a panoramic view of the
Himalayas, including
the Everest, Nuptse,
Lhotse, Ama Dablam and
Thamserku
internet connection. How could we possibly
leave Namche after three days?
We were served a hearty breakfast the next
morning after which we visited the Everest
View Hotel. Situated at 3,880 m, the hotel has
the distinction of being the highest-located
hotel in the world and affords a spectacular
view of Mt. Everest (8,848 m). Interestingly,
one cannot see the hotel until one almost
reaches it. Hidden in a ridge overlooking Mt.
Everest, Lhotse, Ama Dablam, Thamserku and
Tawoche, it also blends gracefully with the
surroundings. We returned to Hotel Camp de
Base for lunch and spent the remaining time
resting from the rigors of our journey.
It must be noted that our busy schedule kept us
disciplined throughout the trek - early mornings
began at 6 with breakfast at 7 and then
preparation for another arduous climb or a stroll
across a flat plateau area followed by long and
short uphill climbs.
Khumjung (3790 m) was our next destination
- it lies near Mt. Khumbila where the largest
school in the Khumbu Region is located. In
this mountainous area, many children walk
long hours every day to attend school. With
all the roofs on the houses here colored
green, the village is, charmingly, called the
‘Green Village’. A sacred cave high above the
village also claims to have offered shelter to
Guru Padmasambhava.
The return back to Namche in the afternoon
gave us a welcome and much-needed rest
When the time came to leave Namche, we
were acutely aware that the same comforts and
facilities would not be available further ahead in
the trek.
Our next stop was Tengboche (3,867m) which
houses the largest gumba in the Khumbu Region
– the Tengboche Monastery or Dawa Choling
Gompa built in 1923. Tengboche presents a
panoramic view of the Himalayas, including
the Everest, Nuptse, Lhotse, Ama Dablam
and Thamserku peaks. Acclaimed summiteer,
Tenzing Norgay, was born in Thani Village and the
story goes that he was once sent to Tengboche
Monastery to become a monk.
NOVEMBER 2013 / 61

JOURNEY
62 / SPACESNEPAL.COM

NOVEMBER 2013 / 63

HERITAGE
few travelers are comfortable and many are known to
suffer symptoms of altitude sickness
Previous Page: Nearing
Pheriche, 4380 meters,
lodges have good facilities
including internet. The
village is a popular stop
for trekkers and climbers.
Top: The sunrise on
Mount Kongde Ri, a
trekking peak located four
km west of Namche bazar,
Hotel Camp De Base.
The journey became increasingly interesting
as we ascended to higher altitudes - we
stopped at Pheriche (4371 m) and Lobuche
(4940 m) where the air was thin and crisp
and, as we climbed up the steep slopes, this
resulted in heavy breathing and a high pulse
rate. Pheriche is a popular and well-known rest
stop for trekkers and climbers and is home to
the Himalayan Rescue Association which runs
a hospital built in 1975 with a grant from the
Japanese. Primarily a farming village growing
potatoes and buckwheat, and herding yaks,
summertime in the village sees many village men
employed by trekkers as guides and porters.
The village of Lobuche which lies near the
foot of the Khumbu glacier is one of the last
overnight stops on the trail to the Everest
Base Camp. From Lobuche, trekkers can
either complete the trail or stop completely
at Gorakshep (5164 m) which is the very last
stop to provide accommodation and lodging.
A frozen lakebed comprising sand, modern
amenities became available at Gorakshep only
recently. Known as a launching pad to reach the
Kala Patthar, there is a giant dune from which
the Mt. Everest can be seen at the closest
possible proximity. At this altitude, few travelers
are comfortable and many are known to
suffer symptoms of altitude sickness or acute
mountain sickness (AMS). I was rescued and
saved here, back in 2005, when our helicopter
crashed during a landing attempt at the Everest
Base Camp.
Ashesh Rajbansh, photographs and text
Started early as a hobbyist, eventually earing form the passion for photography
and serving for Canon as technical advisor in Nepal was more that I could ever
dream. Conceptualizing and promoting SPACES was yet another reason that I
feel very lucky. Conducted numerous workshops in Nepal on behalf of Canon and
serving mostly corporate and international clientele has given me the level of
satisfaction that I can say I’m blessed.
64 / SPACESNEPAL.COM

NOVEMBER 2013 / 65

21" LCD TV

BOOK
ART & CULTURE OF NEPAL
Provision of free shelter is believed to endow the donor
with boons that favorably affect his rebirth and afterlife and
is also an ancient practice.
IT was with reluctance that I
agreed to reprint, as the book –
‘Art and Culture of Nepal’, some
of the papers I have written over the
past thirty years on Nepalese art and
culture. I felt that it was immodest
- akin, it seemed, to creating one's
own festschrift - an assemblage of
essays which a colleague compiles
in tribute. My Nepalese colleagues
assured me, however, that this was
a misguided, personal view that did
not hold much weight. I hope they
are right. Since my papers have been
published primarily in specialized,
scholarly journals in the West (which
rarely reach Nepal), my colleagues
argued that it was incumbent on
me—even at this late date—to make
them more readily available. The fact
that Madhab Maharjan of Mandala
Book Point so enthusiastically
endorsed their views and urged me
forward was also instrumental.
The reprint would not have been
possible without the gracious
permission of the original publishers
and, in the case of photos which
are not my own, the permission of
institutional and private copyright
owners. I extend my thanks to all,
particularly for the knowledge I
gained from two young Nepalese
scholars, Mahesh Raj Pant and
Gautama Vajracharya, during an
intensive collaboration period in
the 1960s. The Sanskritists and
historians of the time and stellar
members of Samsodhanarnandala
(a research circle) have since earned
doctorates in foreign lands. Thanks
are gratefully due to Gautama
Vajracharya and Manuela Fuller who
co-authored some of the papers and
generously permitted the reprinted.
The volume is divided into sections
labeled under sculpture, painting,
and architecture. The papers
themselves are less about art as an
aesthetic experience and more about
art which plays, or has played, an
active role within the cultural milieu
in which it was produced. This can
be validated by the clear and sharp
cultural dimension of many historical
chronicles, inscriptions and the living
culture itself giving Nepalese art its
distinctive appeal.
The Nepalese vamsavaiis (dynastic
chronicles) are well-established
and primary historical sources
for Nepalese history, and, more
specifically, that of Kathmandu
Valley. The transcendent interest
of the chroniclers lay in recording
pious undertakings – usually
given as a gift to a temple or the
consecration of an image. These
chronicle documents are of major,
if neglected, significance to the
history of Nepalese art and their
latent importance merits serious
examination. A typical passage from
the Gopalaraja-vamsavali chronicle
recounts the reigns of three Gupta
rulers, J i vagupta, Visnugupta, and
Bhumigupta, who are historicallydocumented
royal figures of
Kathmandu Valley in the 6 th and early
7 th century A.D.
TEMPLE STUDY
In the imposing concourse of
Nepalese temples, two stand out
as atypical - the Kasthamandapa
in Kathmandu and the Dattatreya
in Bhaktapur. Although they now
serve religious functions and are
considered to be temples, both
buildings were originally sattals - a
type of dharmasala or free public
rest house. As two of the oldest
existing buildings in Kathmandu
Valley, these two structures deserve
special attention.
The construction of free public
rest houses, or dharmasala, is a
common phenomenon in India and
Nepal. Provision of free shelter is
believed to endow the donor with
boons that favorably affect his rebirth
and afterlife and is also an ancient
practice. In Nepal, the custom has
existed from the early Christian
Period and prevailed to the present
day although the custom is waning
as a result of acculturation to foreign
standards. Few new dharmasalas are
built today and many old ones either
lie in decay or are being converted
for varied uses.
The dharmasala is also a common
feature of the Nepalese countryside
and the townscapes of Kathmandu
Valley. Visibly smaller than the
famous ‘pagoda’ temples, these
free public shelters are, however,
equally characteristic of Nepalese
architecture and, in fact, outnumber
the temples. Morphologically, the
dharmasala and temple represent
different functional aspects of
Newari architecture. Legendary
dynasties apart, the Newars
were first organized into a fullyfunctioning
political entity by the
Licchavi kings (Circa 300 - 850 A.D.)
and, again, by the Malla kings in
1200 A.D.
NOVEMBER 2013 / 67

ARTSPACE
The Third Eye by
Asha Dangol
HER recent painting – comprises
both the male and female
characters. Thematically, her
paintings focus on the man and woman
couple as well as the relationship
therein –a potent artistic commentary
on Nepali society and our surroundings.
The characters often appear to be
thinking and looking towards the
distance. Erina’s art is also known to
capture the invisible and intangible.
In this painting, her figure(s) display a
softness, delicacy and sensuousness
- the artistic rhythms and strokes
suggest a peaceful moment in time.
The epic female figure with the
third eye, large elongated eyes and
a meditative mood has become her
distinct and signature aesthetic style.
The elongated eyes borrow elements
from the Ajanta Cave Paintings, and
yet the facial expressions and attire
are definitively Nepali. The third eye
on the forehead is also exceedingly
evocative and symWbolic. Erina paints
her female subjects with the third
eye to underline their silent symbolic
function as the ‘shakti’.
Stylistically, Erina draws bold lines
over a colored surface and, thus,
composes the central figure in a
relatively simple manner. The soft
colors, textures and lines elicit a
perceptible sensation. The easily
identifiable rhythmic and serpentine
hair signifies feminine sensuality. A
palette of deep yellow is accompanied
with a dash of gold in the middle
of the canvas whereas the top and
bottom of the artworks are white thus
capturing the hues of her individual
and unique creative style.
Stylistically, Erina draws bold lines over a
colored surface and, thus, composes the
central figure in a relatively simple Erina Tamrakar manner.
She is a celebrated visual artist and co-founder of the Kasthamandap Art Studio and E-Arts Nepal, Nepal’s premiere
online art gallery. She was awarded the third and first prize at the National Art Exhibition in 2000 and 2005 respectively.
Among her accomplishments, she has won the Arniko Yuwa Sewa Kosh Gold Medal in 2008 and
was honored with the ‘Young Achiever’s Award’ 2011 by Today’s Youth Asia and awarded the Old
Wing, Chinichi News Paper Japan.
NOVEMBER 2013 / 69

GO GADGETS
The ‘Next Generation’
Smartphone via the Smartwatch
by Ganesh Aacharya
The Smartphone could be
making the new generations
smarter than they think.
Everything Google is allowing huge
amounts of “interpreted” information
and data accessible on the “Smart
screen” now small enough to fit
in the palm of our hands. The
Smartphone was earlier given the
dubious distinction of being a status
symbol of the rich. The evolution of
and advances in technology, however,
have made it possible for every
mobile phone user to turn into the
savvy Smartphone user of today with
varying degrees of investment - from
very low to very high.
And now we have before us the
next step in “smartness:” the
Smartwatch. It is a newly-arrived
add-on for the Smartphone designed
to fit on our wrists. Setting itself apart
from traditional digital and analog
wrist watches, the Smartwatch
has some interesting “smartness”
features - it is not just a watch but,
in fact, the future of the watch itself.
Not just smart wrist-show, it can
also be called a PDA with built-in
features such as instant messaging,
telephone, gaming, camera and FM
Radio playback. It is a music player for
the music lover, a speedometer for the
speed adventurist and a new device
for the gadget collector.
Life gets busy. What phone features
are you not entertained by? For many
people, it is the size of the phone, the
need to use the phone while driving
and so on. As my recommendation,
the Smartwatch will make you think
about those things. Let’s talk all
things Smartwatch! Boosted by
demand from the new generations,
mobile phone companies and other
producers are now ensuring state-ofthe-art
supply. The Smartwatch can
also be called the ‘next generation’
remote control of the Smartphone.
The Smartwatch is usually connected
to the Smartphone via Bluetooth
and becomes fully functional as a
‘remote’ for the phone. Interesting?
Convenient? Of course! The music
player, messaging, camera, Facebook,
Twitter and much more can be used
via this ‘smart’ gadget.
Imagine that you are at a large
public celebration event and you
are concerned about your phone’s
security (which is likely to happen).
Now you can keep you phone inside
a bag that you are carrying and
control it with the Smartwatch - just
a watch for others but a Smart-PDA
for you! Imagine that you are on
your morning walk, now you can
change the songs you listen to and
the FM stations on your phone by
your watch! You can even view your
heartbeat rate and your walking
speed, all on the ‘next generation’
watch known as the Smartwatch.
The Nepali market does not offer
a wide variety of Smartwatches.
This is, however, likely to change.
The Samsung Galaxy Gear is the
only Smartwatch available in Nepal
but we can expect the iWatch,
Pebble, Sony Smartwatch and
other world popular brands in the
Nepali sphere in the near future.
The war of the Smartwatches, it is
reported, has actually already begun.
The Smartwatch can cost over 20
thousand rupees - a worthwhile
investment for being ‘smarter’ in the
gadget world.
I am waiting for new brands of the
Smartwatch in Nepal; it’s already on
my wish-list. What about you?
70 / SPACESNEPAL.COM

NOVEMBER 2013 / 71

PERSPECTIVE
VAASTU
Principles and Projection
Earth, wind, fi re, water and sky are the essence
from which the planet originated and the keys to
understanding it.
An introduction
The Panchatatwa are the foundational
elements in the Hindu socio-philosophical
cannon developed and practiced since
ancient times. These tatwa – earth, wind,
fire, water and sky – are the essence from
which the planet originated and the keys to
understanding it. Existence, thus, emanates
from these tatwa and finds realization
through them. The concept of energy and its
paramount importance to the earth are central
to Hindu existential dialectics and thought.
Matter is, then, a consequence of energy.
Dr. Mangal Madhav Joshi, a Vaastu Shiromani,
describes Vaastu, in theoretical terms,
as a framework of thought models and
interpretations that guide and mediate the
construction, design and optimal use of space.
An optimized environment is, thus, achieved
by applying and inculcating environmental
constructs and factors into the design and
philosophy of the built truth. Human habitation,
comfort and health along with a conducive
exterior reality are carefully interlaced and, thus,
deliverable. In the Vaastu ideology, the perfect
residence and sanctuary are also likened to the
functioning of the human body – synergistic
and neural.
The state of balance, both internal and external,
is the pivot around which much of Vaastu
operates: the balance of energy and the
balance of natural forces. Drawing heavily from
the needs of the human physiognomy, Vaastu
transforms space into an environ structured
and envisioned to be beneficial to human life
in absolute terms.
This column has been introduced from this issue. which will be continued in the forth coming
issues as well.
Dear Readers, Send your query and questions. Vastu Shivamani Madhav Mangal Joshi will clarify
your queries.
72 / SPACESNEPAL.COM

VISIT US AT:
Somany Ceramics Limited
Rajesh Sanitaryware, Kathmandu, Nepal
rajeshsanitary@gmail.com

PERSPECTIVE
Q & A
with
Dr. Madav Mangal Joshi
Where should be the entrance of the
main gate? What role does it take for the
house?
Subhadra Byanjankar, Kathmandu, Nepal
Vaastu principles are based on the four cardinal
directions and the four soft directions, each
of which possess both negative and positive
translations and results. A fundamental diktat
by which the Vaastu principles can be applied
is the Swastika symbol - the sign displays how
the intrinsic knowledge and values of Vaastu
are deciphered through its own shape. The
energy balance crucial to any structure holds
the key to the positive and ideal interpretation
of the Swastika. Energy flows in optimally from
the east; the infrared rays of the sun are, thus,
most potent from this cardinal direction. The
absolute positive value is calculated as +10/10.
The opposite is the Southeast and calculated as
-10/10.
What are the role and the impact of the
four directions in our life according to
Vaastu?
Meena Shah Khadka, Kathmandu, Nepal
The four cardinal directions
also derive from the
Panchatatwa. A good home
is where the most time is
spent. Consequently, the
wise use of the directional
environment is critical in
both role and impact.
Does Vaastu treatment
vary in different
countries? If so, what
are main things to
consider?
Sagun Shrestha, Sydney, Australia
Incorporating climatic and topographical
elements, proximity to the mountains and
the sea are also significant factors in terms of
the use and nature of the four directions. For
example, in South India, where Vaastu is an
important practice, the hot climate necessitates
cool environments and, as a result, the South
is blocked to keep the heat away. In European
countries, the major influencing factor is
proximity to the sea and due to the absorptive
capacity of water, the structural environment is
built around this assertion.
What are the effects of Vaastu in the
personal life of an individual?
Abhishek Shrestha, Lalitpur, Nepal
There are many parameters and variables that
Vaastu brings into the built environment and
habitation. Hindu epistemology categorizes
energy as life force energy and geomagnetic
energy. The first relates to human and
environmental health and the second to
biophysical cells and minerals. These are active
and passive in nature respectively. The body
and mind are seen in terms of two directions:
east and north/south. A meeting of energy and
the resulting force are seen through the lens of
a bio-electric magnet. Health is, consequently,
maintained and enhanced by facilitating the
flow of positive energy as well as reflect and
closing the direction that allows it to escape.
Is there any correction tool in Vaastu to
correct the flaws after completing the
construction?
Nagina Shrestha, Kathmandu,
Nepal
for habitation.
Taking the analogy of the
human body again, Vaastu
is equipped to function as a
"health check-up." The growth
and spread of a disease, such
as cancer, can be stalled and
remedied by varied measures.
Similarly, Vaastu can help
remedy flaws and structural
configurations to ensure a
healthy, complete built system
How do we define different concepts
of Vaastu in different communities e.g.
Newar, Hindu etc.?
Nilkantha Shrestha, Kuleshwor
The sun - the primary source of energy - does
not differentiate between communities and
people. Polarities exist in nature but are equated
to forms and functions. Similarly, Vaastu can be
seen as a universal principle and ethos that finds
diverse interpretations and applications.
74 / SPACESNEPAL.COM

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Where To Buy
The entire charisma of a room or an interior space always depends on the quality, the feel,
and the fascinating designs printed on every material you constantly tend to express in the
interior settings of your home, office or anywhere you feel just at comfort of your home.
These days we tend to see patterns and color combination of every sensitivity and perception
in material and art- print creativity.
We present you the contemporary yet culturally distinctive patterns specially only on cushions and
bed -sheets from several impressive emporiums in the city. Please note that the materials of each
company vary according to your taste, feel, resilience and lasting permanence.
The product material varies from 100% cotton, Polyester & Net, Decostickers.
If you are on the lookout for these products then you are
bound to find other products that equally bring an appeal to
your liking. Bed-sheets, Cushion Cover, Table Cover,
Pillow Cover, Apron, Napkin, Dinner Mat, Wine
Bottle Cover, Laundry Bag, Vegetable Bag, Coffee
Mat, and Blankets. Spaces have specifically selected
the extravaganza of shops you can definitely rely on to
find your choices for your décor.
Cotton Mill, Kamladi, Bhancha-Ghar
Product: Cushion Cover, 100% Cotton
Made In Nepal, Price: Varying From Size
Cotton Mill, Kamladi, Bhancha-Ghar
Product: Cushion Cover, 100% Cotton
Made In Nepal, Price: Varying From Size
Cotton Mill, Kamladi, Bhancha-Ghar
Product: Cushion Cover, 100% Cotton
Made In Nepal, Price: Varying From Size
Cotton Mill, Kamladi, Bhancha-Ghar
Product: Cushion Cover, 100% Cotton
Made In Nepal, Price: Varying From Size
76 / SPACESNEPAL.COM

MARKET
Emporios, D-Décor, Teku
Product: Bright Orange Bed-Sheet
Price: Rs 5990
Cotton Mill, Kamladi, Bhancha-Ghar
Product: 100% Cotton Double Bed-Sheet Set
Price: Rs 2345
Cotton Mill, Kamladi,
Product: 100% Cotton Single Bed-Sheet Set
Price: Rs 1970
Emporios, Florida Lavasa, Teku
Product: Pure Cotton 3 pcs Bed-Sheet
Price: Rs 6990
Emporios, Waves, Teku
Product: Cotton Bed-Sheet (230*250 cm)
Price: Rs 6990
Emporios, Florida Lavasa, Teku
Product: Pure Cotton 3 pcs Bed-Sheet
Price: Rs 6990
Emporios, Romantika, Teku
Product: 100% Cotton 3 pcs Bed cover
Price: Rs 6800 – 13500
NOVEMBER 2013 / 77

PRODUCTS
Wedding Collections
From November 25th, 2013 to February 1st, 2014, Index
Furniture Nepal will be introducing its new promotional
campaign that is targeted at customers who have family
members or friends who are getting married. Under
the title, “Wedding Collection”, Index Furniture will be
introducing new bedroom sets, new sofa sets for the living
room and other home items likes cushions, table and floor
lamps, dining sets, table clocks and other decorative items.
During this promotional campaign, Index Furniture will be
offering 10% discount to all customers on all bedroom
sets and on the purchase of any living room set worth Nrs.
50,000/- or above. For the bedroom sets, customers will
be eligible for the 10% discount when they purchase any
combination of a bed, a wardrobe and a dressing table.
Customers who purchase any bedroom set are also eligible
for 10% discount on any mattress.
Along with this promotion, we are extending our special
privileges to our ‘Joy card’ members. Index ‘Joy Card’ is
our membership card which provides various privileges
to our customers. All ‘Joy Card’ members are eligible
for points on purchases over Rs.1000 which can be
redeemed for various items at the store in the future. Our
Joy cards members are also now eligible for 5% discount
on purchase of any mattresses, a special birthday gift
voucher and are also eligible for 3-15% discount with our
associated partners.
According to Alisha Shakya, Merchandising Manager at
Index Furniture Nepal, the company is introducing a wider
selection of home decorative items as there is a high
demand for these items and are unavailable in the market.
These items are perfect to use as gifts for weddings.
Besides, until now, there is no one stop solution for home
furnishing and Index Furniture is in the path to fill this gap.
At the moment, Index Furniture will have an HDI section
only at the Jawalakhel Showroom but will be expanding in
the future.
At Index Furniture, all customers can also get the services
of the designers for free. With the 3-D rooms to show
software, the designers are able to suggest a variety
of ways to decorate homes. All items are exclusively
imported from Index Living Mall in Thailand, of which Index
Furniture Nepal is a sole franchise.
78 / SPACESNEPAL.COM
COM

PRODUCTS
All about Store
DONRACKS, an ISO 9001 certified organization was established in
1989. The company comes from the stable of Tool & Machine Tool
Engineers. It is engaged in manufacturing, importing and exporting
of retail, industrial and warehouse storage racks. The importance of
visual merchandising is paramount for any retailer in order to maximize
sales and effectively manage its inventory. Donracks offers innovative
solutions to run your stores smoothly and make your customers happy.
The display and storage racks offered by Donracks are well designed,
dust free storage and durable with multi-purpose.
The storage racks provided by DONRACKS is appreciated with utmost
satisfaction by global clients. Saleways is the biggest client for
racking in Nepal. Mr Sushil Pradhananga MD of Saleways, expresses
“customers should feel welcoming by the stores looks and ambiance”.
He says, “The store should have the entire product displayed in a correct
position and place with ample of light and walking aisle”. Per, Nikunj
Agarwal, “Saleways has always been particular about the aesthetics
of the mart and quality of the racks accross all th eir stores”. Some of
the other major clients are Nilgiris, Aditya Birla Group, Relaince, Croma,
TATA group, Whirlpool, Hisense Tv, Videocon and Lifestyle. Donracks
brand has also been chosen by Bigmart Supermarket project initiated by
Triveni Group. According to Mr. Prince Khetan, MD Mega Mart Pvt Ltd,
“Donracks has been our chosen brand mainly due to their commitment
of providing high quality supermarketing display racks with flexibility
to adjust and fit to any sort of space. They also provide a wide range of
all other miscellaneous fixtures required by us for attaining efficiency in
terms of creating the desired ambience for our stores.”
The Donracks product range includes Heavy Duty Pallet Racks, VNA
Racks, Double Duty Pallet Racks, Cantilever Racks, Mezzanine Floor,
Slotted Angle Racks, Drive In/Drive through Racks, FIFO Racks, Fruit
and Vegetable racks, Pharmacy Racks, Library Racks. Donracks have
executed more than 5000 products in India and aboard. The products
are being used by companies in various different industries such as
pharmaceutical, automobile, energy, logistics, cold stores and much
more. The company has a separate team of design engineers too.
An effective visual merchandising plan helps to attract, educate,
engage and motivate the customer towards making a purchase.
We are in the era of modern retail which gives utmost priority to
aesthetics of the store. Visual merchandising is a commercial game
but there are a lot of thoughts that need to go into it to make the
customer feel happy. Racks in this case plays a very important Role
in visual merchandising and helping the store hive its fi nal way to
display the products .There’s simply no reason why you should wait
12 weeks or longer for your store fi xtures to be manufactured. This
delay could potentially effect new product launches, restrict expansion
and negatively affect your profi ts. Donracks consistently honors
its customers with an industry- leading average lead time of 3 to 4
weeks. Eight weeks of extra time allows you to implement a more
nimble go-to market strategy, open stores or expand sooner, launch
new merchandise faster, react quickly to new market factors and
repair or modify existing fi xtures with little down time.
NOVEMBER 2013 / 79

Mithila Cosmos
The Tree Of Life
by Pujan Joshi
Every artist has a story so influential that it often mesmerizes the persona of the art in a
way that it signifies an extraordinary devotion, passion and patience on the individualistic
and cultural perspective of life. These are the artist that takes contentment in sketching and
painting on mythology, tradition and culture in a compassionate approach.
80 / SPACESNEPAL.COM

ART
My search for mithali traditional arts had led me to
an art gallery at Babar Mahal, Kathmandu, where
the Mithila art culture by Subodh Chandra Das
better known by his art signature initials as S.C.
Suman had showcased his myth- poetic art from
Dec 10th 2013 – Jan 6th 2014.
As I noticed the fine and dedicated art with its
miniscule geometrical details done possibly only
by hands and mind of years of experience and
affection. My observation in S.C. Suman’s paintings
collection kept striking me that all the paintings had
a tree centered as the main focal segment of the
Mithali art. It obviously had to be a symbol of great
significance, as the tree in almost all the religion
does stand for the metaphor for life and the whole
symbol for existence. But what did it all mean in
the Mithali mythology and its basis for its cultural
symbolism? I was about to have an interesting
conversation with the artist himself.
After a moment of literally being hypnotized by the
art, it looked as if there was a hidden message
in his art, trying to express something out of the
ordinary. Though it looked a bit complex .I found
out the Mithali art was actually less secretive and
more possible for everyone to grasp. The artist’s
aspiration was to make people step back and look
at their own lives by being in root and harmony
with nature and the culture.
As the warm afternoon sun started gleaming in
the courtyard, I ventured out of the exhibition hall
to have a glimpse of the renowned artist and if
fortunate enough maybe a composed conversation
of his art and on his influences to have had
become such an accomplished artist. Who had
already claimed a series of awards &
certificates and to name a few , such
as Rastriya Pratibha Puraskar (National
talent ) by the Nepal Government ,
two national Awards in the National
Art & Craft Exhibition presented by
Nepal Association of Fine Art (NAFA),
Nepal and Certificate of Excellence
presented by KU & American Embassy
Kathmandu, Nepal.
Our conversation started and obviously
it started with his childhood, I wanted
to discover the origin behind such a
creative mind, and to my astonishment
his story did have touching ingredients,
like I had thought.
NOVEMBER 2013 / 81

ART
I chose this style as the painting becomes
more earthy and organic in color. I must
sometimes wait for the perfect seasons for
the flowers and plants to bloom to get my
desired color in my paintings.
Hence began a journey where he wanted to present his
identity and his culture in his art. As a poem lover, he started
to understand the importance of music, art and poem and
started blending it in his own unique and tranquil style that he
considers that each of his paintings have a story.
So what is Mithila painting? Its said to be originated from
the village madhubani,in Mithila region, Bihar. Mithali ancient
art form been passed down through generations. The legend
goes that the Mithila painting began when King Janak, ruler
of Mithila asked to paint the homes when his daughter Sita
was getting married to Lord Ram in the Ramayana texts.
Originally women were the foremost part of these elaborate
symbolic paintings. In another interesting touch the massive
earthquake of 1934 in Bihar had most of the villages walls
and houses left in ruined and a British colonial officer in
Madhubani District discovered a vibrant newly exposed
paintings in the interior walls of homes. He then took these
pictures and those pictures are now considered to be the
early Mithali photographic images and was later popularized
all over the world.
Subodh Chandra Das was born in Siraha District, Nepal
in September, 1961. He remembers his childhood as to
growing up in the Mithila art culture greatly inspired by his
grandmother. The paintings used to be done in the walls in
almost all the interior walls of any homes in their village.
As the eldest brother of three, his father had high hopes of
his son becoming a doctor or an engineer and had always
discouraged his son to be influenced in an art culture where
women were doing it were thousands of years.
As he went on his high school days, he remembers an art
exhibition where his brothers and friends forced him to
compete because a minister was inaugurating the program.
In his innocent sparkle in his eyes made me appreciate the
special moment when he was awarded the best prize. A
grasp of comforting air and S.C Suman remembers how
he had to hide the prize from his father as he sometimes
did get beatings for not following his orders to pursue his
dreams. It was only after the head master told his father
of the news but ironically he didn’t show any signs of
encouragement but again from then onwards he was never
discouraged by his father in anyway.
What does your painting tend to focus on?
For me my painting focuses on the environment, war,
instability and crimes, all over the world. They have become
my prime focus; hence I always try to promote such
awareness in my art. The tree of life is a symbolic way for
me to raise awareness or more ever a consciousness to the
people of the world. Eventually, we are all one branch of a
tree of life.
I noticed mandalas and sacred geometry in your art;
does it have any significance to Mithila culture or art?
Yes , it does have a connection. Mandala is known as Aripan
in Mithila culture and is related to Hinduism and Buddhism
and even ancient cultures too. I believe that every ritual
action of the cultures reflects the close living with nature.
Mandala is cosmos, and we are a tiny speck of it. Mandala
represents infinity And infinity makes you wonder and
mandala art is the answer.
All your painting seems to be so rich in color is there any
special color pigments you use or oil colors?
Colors in Mithila Art has always been of great importance,
people in the Ancient days used to use various herbs
and, Plants and flowers to get their vibrant colors for their
paintings. I chose this style as the painting becomes more
earthy and organic in color. I must sometimes wait for the
perfect seasons for the plants and flowers to bloom to get
my desired color in my paintings.
As I started conversing for an hour in topics we like, his art
and his philosophy eventually made a lot of sense. A tree of
life , or the symbol of life has three stages in Mithila culture
and art, they are the roots that is in touch with ground ,
the leaves that reach out to the sky and the branches that
waves around. We beings are like the branches of a tree. If
one dies, the other is bound to sprout out if not disturbed.
Or in other words to simplify to understand is that trees are
a nesting place for birds, but what we find cruelty when a
snake eats the chicks is actually balanced when a bird brings
a snake for its chicks to feed. As complicated as it sounds
it’s better to understand that a life in a tree shows the tree
of life. This is what the artist S.C.Suman’s exhibition; Mithila
Cosmos was all about, circumambulating the tree of life.
82 / SPACESNEPAL.COM

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NOVEMBER 2013 / 83

REPORT
arcasia 2013 by
Zohvah Basnyat
“A place is known by its history. If the history of the place is respected, its soul
continuities to live but if the history is forgotten then it survives without a soul.”
- Ar. Monayya Zafar
ARCASIA hosted the 17th ARCASIA
Forum and Council Meeting in
Kathmandu from October 5 – 10, 2013
and brought together international and
Nepali architects to share perspectives
on and discuss “Spirituality in
Architecture,” the theme of the
conference, and “Architecture and the
Image of the City”. ARCASIA comprises
members from 19 Asian countries
with Bhutan having recently joined
the group. During the conference,
architects from Asia presented on
topics relating to spirituality in the
architecture of their communities.
The ARCASIA President, Ar. Tan Pei
Ing, opened the conference by saying,
“With our collective effort, ARCASIA
84 / SPACESNEPAL.COM
can emerge as the strongest and most
relevant organization representing
Asia, both now and in the future.”
Starting with compelling visuals and
glimpses of the architectural heritage
and the UNESCO World Heritage
Sites of Nepal, the program was
inaugurated by President Dr. Ram
Baran Yadav. The Session Chairpersons
for the conference were Mr. Kishor
Thapa, Secretary of Ministry of Urban
Development; Mr. Chhabi Raj Pant,
Ministry of Physical Infrastructure
and Transportation and Urban
Development and President Dr. Ram
Baran Yadav. Mr. Bishnu Panthee,
Chairman of the Forum Steering
Committee, gave the end note to
the inauguration. Winners of various
architectural design competitions were
awarded by Dr. Ram Baran Yadav.
The session presentation was hosted
by Coordinator and MC, Ar. Rajesh
Thapa. An exhibition of the design
competitions was on display outside
the hall along with entertainment
programs between sessions.
The Keynote Speaker, Ar. Charles
Correa, presented on the
Champalimaud Centre for the
Unknown in Lisbon, Portugal. A
medical research centre, he described
it by saying, “It uses the highest
levels of contemporary science and
medicine to help people grappling
with real problems: cancer, brain
damage and going blind. And to house

Welcoming the guest of honor Dr. R.B.Yadhav
Session chair heads with Dr. S.R.Tiwari and Ar. Tan Pei Ing
these cutting-edge activities, we
tried to create a piece of architecture
as sculpture and beauty; beauty as
therapy.” Correa is known as one
of India’s greatest architects having
defined the contemporary Indian
sensibility and its articulations; a new
Indian identity through a language of
global resonance. With presentations
by expert speakers from many nations
of varied cultural norms, the event
brought to the fore remarkable topics
and discussions on architecture today.
‘Spirit of a Building, Entrance Threshold
and Image of the City’ presented by
Rashika Abeyawardana and Pabalu
Wijegoonawardane from Sri Lanka,
discussed architecture as an entity that
stimulates sense and evokes emotions
and memories. The design of a building
can influence a predetermined mindset
and, in such a building, the design of
the entrance threshold, between the
external environment and the interior
space, plays a significant role in how
we experience the spirit of a building.
In a paper titled ‘The Identity, Civility
and Spirituality of Bird-friendly Design’,
Dr. James Karl Fischer argued that
ARCASIA members could take the
lead in replenishing spatial biodiversity
and augmenting an authoritative
spiritual architecture paradigm.
The environmental problem of bird
collisions arose somewhat recently
in Asia due, in part, to the ubiquitous
adoption of transparent glass as an
industrialized architectural norm. In
response to the phenomenon, Dr.
Fischer has started the “Save a Billion
Birds” Campaign.
‘The Body, Mind and
Soul in Architecture -
Connecting Spirituality
with the Physical’
Ar. Anju Malla’s presentation on
‘Spirituality in Architecture: An Image
of the City’ briefly touched upon
emerging trends such as the move
from rural to urban and from the
residential to public area settlements
in search for open space and
nature. Mr. Xu Zong Wei, ARCASIA
Vice President and Executive Vice
President and Secretary General of
the Architectural Society of China,
presented on ‘The Issue of Art
and Aesthetics in Architecture’. He
shed light on the importance of art
and aesthetics in architecture and
highlighted examples such as the
Forbidden City, the Summer Palace
(where??), the Temple of Heavens and
other world famous structures. He
opined that China needs to improve
its understanding of architectural art
and, additionally, give due respect
to architectural creations. He paid
homage to the works of Antonio Gaudi
which epitomize a harmony between
art and function. The aesthetic bearing
of an architectural project must follow
five points: natural, harmonious,
simple and local beauty and the
beauty of keeping in tune with time.
Ar. Sabina Tandukar discussed the
importance of ‘Water Architecture
and the Spirit of the Place’ in her
presentation. The importance of water
conduits is amply displayed by historic
settlements and important buildings
of the present day: the space and
function it serves are also self-evident
- a clear signal that the spirit of the
traditional Nepali hiti(s) is still alive in
our society. The location, function and
constructional process of the hiti(s),
she believes, is present and potent
every time we visit these structures
and as we rediscover the harmony
between our inner state and our
immediate surroundings.
‘The Body, Mind and Soul in
Architecture - Connecting Spirituality
with the Physical’ was yet another
interesting paper presented by Ar.
Sultana Zakia Rahman. She began
NOVEMBER 2013 / 85

REPORT
Asia there are exemplary ‘heritage cities’ that mesmerize us with aspiritual
essence, elsewhere there is a deep disconnect between cites and nature making
the city system and its urban elements highly unsustainable.
with the premise that man is a spiritual
being by virtue of the depth of his
thoughts and practices. The manner
in which the spiritual dimensions of
architecture have inspired people in
the past and how we address this
today in contemporary practice is a
measure of the value and importance
of a complete architectural vocabulary
which puts spirituality at the centre of a
rising cultural globalization experienced
everywhere today. Inspiring the new
generations to view architecture
through the angle of spirituality, she
added, would help shape a future of
harmony and balance.
Ar. Aimi Ramizah Roslan, an
accomplished architect, fashion
designer and model from Malaysia,
presented on the transformation of a
city that is possible through a visionary
leader. In ‘Restoration of Malaysian City
Identity: Case study of Federal Territory
of Putrajaya’, she made a strong and
exceptional case for Malaysia which
holds a distinction in the pages of
post-modern architectural history. Dr.
Mahathir Mohamad, known to be the
mastermind of present-day Malaysia,
gave the country a fresh approach and
direction to Malaysian Architecture
and the Malay-Islamic architectural
identity. She presented the case
study of Prang Besar (meaning ‘war’)
renamed by Dr. Mahathir to Putrajaya
(meaning ‘victorious prince’). The city
is a shining example of architectural
transformation. The Prime Minister’s
office complex is located at the highest
point, overlooks the entire city and the
use of Malay-Islamic Architecture can
be observed and admired from it.
Ar. Poonam Shah presented her
paper: ‘Civility in the Durbar Squares’
which gave a bird’s eye view of the
palace squares of Kathmandu Valley.
The locales, planning and functions
of these palace squares are excellent
examples of a civic consciousness
where every element compliments the
rest whether it is the built environment
or the functional directions.
86 / SPACESNEPAL.COM
Winners of the Design Competitions
Friendship Night and Dinner at Army Officers Club
Keynote speaker Ar. Charles Correa
presenting his book
Display of design competition winners
International Delegates
International Delegates
International Delegates

A DAY OUT WITH
Charles Correa
by Drishti Manandhar
roads fascinated him the most as he
felt it was such a humble gesture of
architecture. Nowadays we hardly
make structures dedicated to others,
we are so caught up in “our” own little
world, we hardly have a place for a
“give” architecture.
ARCASIA was a much anticipated
event for Nepal - partly because we
would get to attend one of the rare
international architectural event in our
hometown Kathmandu. The idea of
meeting architects and students from
all over Asia was both overwhelming
and exciting. We were very excited
about the attendance of Charles Correa
as the keynote speaker.
The two-day event commenced with
various presentations from luminaries
from all over Asia as well as from
Nepal along with an exceptional
presentation delivered by Prof. Charles
Correa. On the final day of ARCASIA,
I was requested impromptu by the
organizing committee to accompany
Prof. Charles Correa to Bhakatapur.
After an hour to my amazement - I was
sitting at the front seat alongside the
Driver Dai, panic stricken, mumbling
a prayer, with Charles Correa and his
wife Monica at the backseat of the car.
This was the start of an unforgettable
day with Charles Correa.
On our way to Bhaktapur, he asked
me about the ACP cladded newly
constructed buildings everywhere in
the valley. He added that when we get
inspired by architecture of elsewhere,
for a matter of fact we easily forget
they were best suited to be elsewhere
too. As a student myself, I did look up
to these amazing international designs
and imagined them here and not a split
of second would I consider the climatic
conditions and the social backdrop of
the host place. And even more peculiar
was how Mr. and Mrs. Correa were
impressed with the little details such
as the Chaityas and temples on top
of the houses, Namaste roof, brick
cladding, cornices, bahals and those
little temples alongside the road. And
he sighed - ‘So this is your city’. I
responded with a Yes. The combination
of those tall buildings with the little
Namaste guys peeping in, the gullies,
the temples and all the mayhem
constructions, yes that is our city.
As we got near to Bhaktapur
the skyline and the environment
transformed. The patis alongside the
Standing at the entrance of Bhaktapur
Durbar Square he was astounded by it’s
grandeur. As we explained about the
Malla Palaces, the aankhijhyal, cornices
and struts, he was amazed and curious
by the stories behind it. The dalins for
bhoj (feasting), the consideration of
other life in the form of architecture itself
like bhaupwas, nagpokharis, birds on
temples roof, guardian lions and little
considerations were what touched him
the most. As we walked along the stone
paved gullies he gestured how amazing
Nepalese architecture was, how visually
complementing the backdrop. It actually
was the pinnacle of temples gleaming
with the horizon, the perfect tint on
the bricks, the trees and the natural
environmental context. I recall the quote
at the start of his presentation at the
ARCASIA opening ceremony “Place
represents the part of truth that belong
to architecture.” And that was exactly
what I felt at that time.
As we ended our trip having juju dhau
(local king curd) and quati (mixed
beans soup) the sheer pleasure and
glint in Mr. and Mrs. Correa’s eyes still
makes me nostalgic. The immense
pride I felt in being a Nepali and the
jewels in our architecture was beyond
explanation. His meaningful quote
“Every generation has to re-invent its
culture in new material. It is a question
of transformation, not just a transfer of
images from the past” is something
for us to all think and act upon.
(Published in ASA Newsletter. Vol 9)
NOVEMBER 2013 / 87

88 / SPACESNEPAL.COM

OPINION
The Identity of Nepali Art and Architecture lies in its Tradition
IT is widely believed that the art and architecture of Nepal are in a state of flux as traditional
Nepali society gradually transforms into a modern one. Consequently, concretized and
serviceable buildings are displacing traditional architectural aesthetics. Modern architecture
in its entirety, however, is not lacking in aesthetic values and is known to incorporate beautiful,
carved images in built spaces blending modernity with tradition thereby creating appealing
skylines. However, the majority of the so-called ‘modern buildings’ in our immediate surroundings
are huddled, functional blocks that evoke a sense of inhumanity, coldness, suffocation and a
concomitant chilling sensation. It is, therefore, crucial that we rethink our approach to comfort,
ambience, interiors and aesthetics in relation to the structured environment and the cityscape.
Take the example of the Durbar squares of Kathmandu
Valley famously known as the masterpieces of
Newari Architecture: they present decorative
painted walls, pillars with intricately -carved images,
windows augmented by beautiful floral patterns,
doors embellished by auspicious signs along with
ample space and floors paved with organic bricks, all
contributing to a structurally rhythmic skyline above
the buildings themselves. Important to note, form and
function as well as aesthetic and utilitarian values are in
perfect balance as though in a symphony.
It is safe to surmise that if attention had been given to
aesthetics and well being and if unabated greed had
been controlled, the same functional blocks would
instead have been striking pieces of architecture for
time immemorial. In the same manner, Nepali art and
artistic heritage are becoming highly modernized and
many contemporary Nepali artists prefer to be known
as modern and postmodern artists. The popularity of
traditional Nepali sculptures and paintings, however,
is witnessing a resurgence. The identity of Nepali art
lies in its tradition. Another trend reveals that Nepali
art is moving from the figurative to the non-figurative,
from the referential to the non-referential and from the
concrete to the abstract. Let us comparatively assess
the dual contexts of European and Nepali art: Is it
possible that such vastly different contexts can give rise
to an artistic milieu of value and substance?
Preserving the use and usefulness of traditional
architecture and art while applying modern trends
and technology are the twin needs of the hour here in
Nepal. Spaces Magazine has given a crucial mediated
and intellectual space to Nepali architecture and art. In
this regard, we invited 10 Nepali architects and artists
to respond to the following questions:
i) What do you think about SPACES? How did you
know about it first?
ii) How do you feel about the content and writing?
Kindly mention your suggestions, if any.
iii) Is there a good scope in the field of architecture /
interior design category in Nepal?
Excerpts from the responses and answers follow.
NOVEMBER 2013 / 89

OPINION
Spaces is the only magazine of its category in Nepal and it has managed to effectively secure a good
readership base. It also needs to widen its horizons and include the many diverse products that are
available in the market. With vast and progressive improvements now in content and presentation,
Spaces could be the ‘go to’ magazine in terms of new products and services such as a regular listing of
suppliers in the field. A new section highlighting the latest design trends would serve the readership
well. There is huge scope in the field of architecture and interior design having experienced a wave
of tremendous change in the last five years. The importance of professionalism for quality work
and design has also surfaced. With an increasing number and variety of commercial and residential
projects, there is ample work for everyone. The challenge of implementing better design, sourcing
and superior materials to ensure suitable end results must be addressed
Mr. Rishi Saraf, Interior Designer
“Spaces has contributed
significantly to contemporary
architectural vibes here but
coverage on international
architectural practices is limited.
Highlights of international art and
architectural competitions, expos,
exhibitions and seminars could
enhance both theme and content.
The governance stalemate in
Nepal has percolated to emerging
architectural and interior design
practices. Recent political events,
however, have added a new
narrative which could herald a gain in the momentum of economic
activity. There has always been scope for architecture and interior
design in Nepal. The visible index of prosperity is first seen through the
built spaces as we walk around in any part of the world. Our profession,
as architects, has a significant role to play.”
Mr. Debesh Raj Bhattarai, Architect
“Spaces is now in
homes and offices
affording us the means
with which to achieve
smart and costeffective
solutions.
The ICT Association
of Nepal (Information
Communication &
Technology Association
of Nepal) executives
introduced Spaces in
2010. The dedication
and commitment of
the Spaces Editors and Staff show in each issue of the
magazine. Nepal’s transitional phases of the past will now,
hopefully, enable the formation of a stable government in
the days ahead. The NRNs and local business houses see
investment potential in hotels and multi-complexes. Art
and architecture are among the upcoming and booming
sectors but sound policies and guidelines must be put in
place by the government.”
Mr. Shovan Sainju, General Secretary, ICT Nepal
“Spaces is the first magazine in Nepal focusing on architecture and design. When the magazine was
first published, we suggested that a serious architectural design magazine must be modeled along the
lines of A+D (Indian Design Magazine focusing on core architectural issues). Spaces is now so generic
that even the designer’s names and contributions are missed out in the reviews and articles. Perhaps
the model could be changed to Inside Outside - a viable model with a design focus and a ‘coffee table
book’ look. The existing scope for architecture and interior design will increase in consonance with
the transformation of Nepal from a primarily rural to urban society. Secondary cities, such as Pokhara,
Biratnagar, Chitwan and Birgunj, are now engaging professional designers in key projects. This will
increase as other areas, such as Nepalganj and Bhairawa, become more urbanized.”
Mr. Arun Dev Pant, Architect
90 / SPACESNEPAL.COM

OPINION
“Spaces is an informative magazine on current architectural
practices in Nepal. It should also cover issues for the lay
man such as quality construction and building maintenance.
Additionally, there is scope outside Kathmandu Valley for
emerging and new architects.”
Mr. Purusottam Dangol, Architect
“Spaces is a familiar publication since its inception
due, in part, to the founding members. However,
there are too many advertisements. Importantly,
there is only a hand full of magazines dealing with art
and architecture in the Sub-continent.”
Dr. Rohit Ranjeet, Conservationist
“The magazine’s focus on heritage buildings is important and necessary but more
could be done considering the number of old buildings that are being torn down in
Asan, Indrachowk, Dilibazaar. What did we, as a community, gain and lose from the
recent expansion of the Kathmandu and Patan roads? Did the city acquire new open
spaces? How have the ancient public spaces been transformed over time and do
they still fulfill their original purpose? Spaces could generate much needed public
dialogue and discourse from articles that cover these topics and issues. Coverage
on contemporary office spaces and homes is also interesting. Sometimes, however,
the buildings that are written about are overhyped – the absence of extraordinary
buildings in the city may have lead to this problem. Spaces is also too Kathmandu
centric - what about urban planning and architecture in places such as Palpa,
Tansen, Dhankuta? There could definitely be a more focused thrust on eco-friendly
architecture and solutions. Additionally, features on interior spaces which delineate
a before-and-after scenario would be worthwhile. Including art in an ‘architecture
and interiors’ magazine is definitely an enlightened approach to promoting art as an
essential component of interior spaces. The advertisements for sanitary wares and
electrical fittings are great as they provide an insight into what is locally available.”
“The magazine’s focus on heritage buildings is important and necessary but more
could be done considering the number of old buildings that are being torn down in
Asan, Indrachowk, Dilibazaar. What did we, as a community, gain and lose from the
recent expansion of the Kathmandu and Patan roads? Did the city acquire new open
spaces? How have the ancient public spaces been transformed over time and do
they still fulfill their original purpose? Spaces could generate much needed public
dialogue and discourse from articles that cover these topics and issues. Coverage
on contemporary office spaces and homes is also interesting. Sometimes, however,
the buildings that are written about are overhyped – the absence of extraordinary
buildings in the city may have lead to this problem. Spaces is also too Kathmandu
centric - what about urban planning and architecture in places such as Palpa,
Tansen, Dhankuta? There could definitely be a more focused thrust on eco-friendly
architecture and solutions. Additionally, features on interior spaces which delineate
a before-and-after scenario would be worthwhile. Including art in an ‘architecture
and interiors’ magazine is definitely an enlightened approach to promoting art as an
essential component of interior spaces. The advertisements for sanitary wares and
electrical fittings are great as they provide an insight into what is locally available.”
Sangeeta Thapa, Art Curator
NOVEMBER 2013 / 91

ENVIRONMENT
Thermal Behavior
&
Energy Performance
by Er. Susan Bajracharya
An atrium is a covered, centroidal, interior space with skylights and one or more
glazed facades around which a building is organized.
INTRODUCTION
An atrium is a covered, centroidal,
interior space with skylights and one
or more glazed facades around which
a building is organized. The glazed
interior spaces which can be found
in train stations and greenhouses are
not considered atriums because the
former are not closed and the latter are
not connected to a building. A space
must possess or exhibit at least three
conditions to be considered an atrium:
it should be connected to a building;
it must be protected and covered
from harsh weather and it must, also,
provide for day lighting.
It is becoming increasingly critical that
buildings be designed as significantly
low on energy dependence,
particularly non-renewable energy.
Heating, ventilation and airconditioning
(HVAC) systems along
with artificial lighting in buildings
account for approximately 25 percent
of national energy consumption in
USA and Canada. In order to reduce
energy use, a comprehensive
understanding of the thermal
behavior of a building in providing
requisite comfort and amenities is,
therefore, imperative.
Atrium buildings offer immense
potential for energy conservation by
enabling passive cooling in the summer
and passive heating in the wintertime.
The large volumes of air in an atrium
can be used to reduce non-renewable
energy use. Recognition of the energyconserving
potential of atriums has
increased in recent years. The key
issues of the day on the thermal
behavior and energy performance
of atrium buildings are: Energy use;
Temperature stratification and stack
effect; Heat transfer through envelopes
and Space conditioning.
92 / SPACESNEPAL.COM
ENERGY USE
The atrium, as a structural component, is
incorporated into a spatial environment
for a variety of reasons such as its
architectural role. Glazed areas are
primarily expanded for convenience and
comfort. In the past, buildings were
oriented for the views they afforded
with very little importance given to
their energy-conserving potential. As a
result, most atrium buildings were not as
energy efficient as they could have been.
Most atrium spaces are also fully
conditioned so that they can be used
throughout the year making energy
use relatively high. Following the
energy crisis in the 1970s, awareness
of energy and environmental
issues emerged in the mainstream.
Consequently, many examples of
both energy-intensive and energyconserving
atrium buildings exist
around the world. Atriums provide
possibilities for day lighting, passive
heating and passive cooling while
simultaneously posing difficulties with
respect to glare control, overheating,
indoor air quality, fire and smoke
control, condensation on surfaces,
housekeeping as well as acoustics.
The fundamental posit is that
atriums must be incorporated into
structured spaces as part of an energy
conserving strategy.
Several studies have shown (for
example??) that an atrium building can
be energy efficient if it is only partiallyconditioned
or fully-conditioned with
a blend of current energy-efficiency
design strategies. Early studies have
also enhanced our understanding
of the thermal behavior of atrium
buildings. The energy performance
of an atrium building depends
proportionally on geographic location
and orientation; the ratio of atrium
size to adjacent spaces; adaptation of
passive cooling and passive heating
strategies; envelope constructions and
operating hours; temperature set point
and, finally, equipment.
TEMPERATURE STRATIFICATION
AND THE ‘STACK EFFECT’
Temperature stratification is defined as
the temperature difference between
the temperatures at any two levels
(usually highest and lowest) in an
enclosed space. The height and solar
gain in many atriums (through glazing)
contributes to extreme temperature
stratification when compared with
typical and institutional spaces - this
further effects environmental control
requirements. The difference in density
between cold and hot air creates a
vertical pressure difference resulting
in air moving from the bottom to
the top (known as the ‘stack effect’)
provided that openings at both levels
exist. The climate also influences the
‘stack effect’ in atrium buildings. It is
more intense in cold climates because
of higher temperature differences
between the indoors and the outdoors.
Studies have shown that temperature
stratification in atriums is high when
the air circulating units are blocked
allowing for natural ventilation in
the summer. However, when the air
circulating units are kept running during
winter, temperature stratification is
very low. With vents open at the top
and bottom levels of the atrium, natural
ventilation, driven by the ‘stack effect’,
is high when compared with vents kept
open only at the top in summer.
HEAT TRANSFER THROUGH
ENVELOPES
The fraction of exterior glazed
envelopes to intermediate envelopes
in atrium spaces depends on the

configuration and type of atrium.
Typically, a high proportion of an
atrium’s exterior envelopes is glazed
with extensive height compared with
conventional built spaces. Therefore,
it is difficult to meet criteria for
u-values of exterior walls and roof
recommended by ASHRAE Standard
90.1. Overall heat loss and gain are
higher in an atrium compared with
conventional building envelopes.
The magnitude and direction of
conductive or convective heat
transfer through glazed areas are
also dependent on temperature and
pressure gradients due to the ‘stack
effect’ and the air trapped between
the indoors and outdoors. Extensive
glazed areas also allow for large
quantities of radiation heat transfer.
Atrium spaces are, thus, affected by
climatic conditions such as extremely
high temperatures during the day
and rapid heat loss during the night.
Consequently, problems such as
over-heating in the summer and mild
winters as well as cold drafts and
condensation on glass surfaces in the
wintertime are known to occur.
A glazed roof (sky light) is a another
distinctive feature of the atrium
building with extensive areas
exposed to direct solar radiation.
A large glazed roof admits solar
radiation during the day and radiation
heat loss during the night. Solar
radiation in winter helps reduce
heating loads and increases cooling
loads in summer. Radiation heat loss
at night can also be used as a cooling
strategy in summer. The roof of the
atrium must, therefore, be designed to
capture less solar radiation in summer
and more solar radiation in winter.
SPACE CONDITIONING
The climate is a key factor to consider
when selecting a suitable thermal
strategy for an atrium building. The
next variable is the thermal behavior
of the building - heat deficit and heat
surplus. Based on the thermal strategy,
there are three types of atrium
buildings: Warming atriums; Cooling
atriums and Convertible atriums.
A Warming atrium is designed to
maximize the capture of solar radiation
through a low sectional aspect ratio
which helps to maintain higher
temperatures as compared to the
outdoors. A Cooling atrium is designed
to admit less solar radiation through a
high sectional aspect ratio that helps
to create buoyancy–driven ventilation.
Skylights are also designed to exclude
direct solar radiation in a Cooling
atrium. A Convertible atrium should
be capable of working as a Warming
atrium in winter and as a Cooling atrium
in summer. External shading devices
that admit low-angle sun in winter and
exclude high angle sun in summer help
considerably in this regard.
A Warming atrium is suitable for
cold climates with heat deficit
buildings whereas a Cooling atrium is
appropriate for warm to hot climates
in heat surplus buildings. Convertible
atriums are particularly suitable in
countries with cold winters and
hot summers. Atriums also vary
significantly in terms of thermal
(space) conditioning ranging from
unconditioned to partially-conditioned
and fully-conditioned.
CONNECTS
02 JK White Cement Works
14 Kuleshwor, Naya Basti, Kathmandu
Ph: 977-9851050650
prashant.chaturvedi@jkcement.com
www.jkcement.com
03 Deluxe Trading Company
Putalisadak, Kamaladi, Kathmandu
Ph: 977-1-4245317
04 Beko
Putalisadak, Kathmandu
Toll Free No: 1660 01 12345 4422190
www.beko.com.np
05 Everest Bathware
Tinkune, Airport Road
Ph: 977-1-4480680/4485292
padam@everestnp.com
07 Emporios
Kathmandu Business Park, Teku
Ph: 977-1-4104522, 4104523,4104524
09 CP Interior Pvt. Ltd.
Grande Tower, Dhapasi, Kathmandu
Ph: 977-1-6923826/9841276048
cpinterior@mail.com.np
www.cpinterior.com.np
11 Index Furniture
Metro Park Building, 1st Floor, Laximpat
Steel Tower (Old Unity Tower), Jawalakhel
Ph: 4415181/5000270
13 Technical Associates Services
Thapathali, Kathmandu
Ph: 977-1-4219999/9802030479
ta@ta.com.np
www.tas.com.np
17 Samman International
Sukedhara, Kathmandu
Ph: 977-1-4374672,4378725
31 Pashupati Paints
Maitighar, Kathmandu
Ph: 977-1-4265405,4258209
32 Worldlink Communication
Jawalakhel, Lalitpur
Ph: 977-1-5523050
sales@wlink.com.np
www.wlink.com.np
38 Eco Green Multipurpose Pvt. Ltd.
Adwait Marg, Baghbazar, Kathmandu
Ph: 977-1-4244831/9851014820
www.nepalecogreen.com
39 Bombay Dyeing
Thanvi & Sons
Share Market Complex, Putalisadak,
Ph: 977-1-4242046
thanviandsons@gmail.com
41 Balterio
1st Floor, A.T. Complex, New Plaza, KTM
Ph: 977-1-4430785/4428196
balterio@navindistributors.com
www.navindistributors.com
53 Kitchen Concepts Pvt. Ltd.
Teku Road, Kathmandu
Ph: 977-1-4221858,4212097
nepalkitchen@wlink.com.np
www.kitchenconcepts.com.np
54 Starnet Enterprises
Sinamangal, Airport Road, Kathmandu
Ph: 977-1-4416175
inro@starnetenterprises.com
www.starnet.com.np
55 Ultimate Décor
Swyambhu, Kathmandu
Ph: 977-1-4672997
65 Bira Prefab House
Patan Industrial Estate, Kathmandu
Ph: 977-1-5522253, 9721361113/8
contact@birafurniture.com.np
www.birafurniture.com.np
66 Nagarik
JDA Complex, BaghDurbar
Ph: 977-1-4265100,4261808
circulation@nagariknews.com
68 Buddha Air
Jawalakhel, Lalitpur
Ph: 977-1-5542494
www.buddhaair.com
68 New Technical
Sanepa Road (Eye Gate), Lalitpur
Ph: 977-1-5545242, 5538655
ntwps@wlink.com.np
www.ntwpsg.com
71 Pyramid Vaastu Consultant
244 Rudra Marga, Ratopool, Kathmandu
Mobile: 9851151618, 9815717618,
mundharanp618@gmail.com
73 Somany
Tripureshwor, Kathmandu
Ph: 977-1-4260714
73 ATC Pvt. Ltd.
336/21, Ganesh Man Sing Path-2, Teku
Ph: 977-1-4261220,4262220
Fax: 977-1-4262140
75 Skylight
Naxal (Opp to Police HQ)
Ph: 977-1-4423851,4415209
info@skylight.com.np, www.skylight.com.np
75 MD Furniture
Maharajgunj (Nabil Bank Building)
Ph: 977-1-4721484,2151832
mdfurniture@snet.com.np
83 New Snapper Photo
New Road, Kathmandu
Ph: 977-1-4224645
newsnapper@hotmail.com
88 Foto Hollywood
1st Floor, Civil Bank Building
Kamaladi, Kathmandu
Ph: 977-1-4169060, 2004774
95 Marvel Technoplast
Heritage Plaza - II, 2nde Floor, Kamaladi
Ph: 977-1-4169122/3
info@marvel.com.np
www.marvel.com.np
96 Berger Jenson & Nicholson
Berger House - 492, Tinkune, Kathmandu
Tel.: 977-1-4466038, 4466751
Toll Free No.: 16600123432
Fax: 977-1-4466039
E-mail: info@bergernepal.com
NOVEMBER 2013 / 93

OPEN SPACES
Open Spaces is dedicated column at SPACES,
where School of Creative Communications
(SCC) will contribute photographs related to
art, culture and many more. SCC, is open
platform for the creative beings, it is located at
Kupondol, Lalitpur.
www.scc.org.np
http://www.facebook.com/scc.kathmandu
Chyam (masked dance), one of the famous dance performed in the every
local festival in the Tsum Valley. Horse riding has the same significant as the
Chyam Dance has. The picture designates the friendly horse riding done at the
annual festival at Mu-Rachen in Tsum valley. Tsum Valley is a holy Himalayan
pilgrimage valley situated in northern Gorkha, Nepal. It has the imposing
backdrop of Ganesh Himal. The local people are mostly of Tibetan origin and
speak unique vernacular. The valley also possesses some historic monasteries,
including Rachen Gumba and Mu Gumba.
About the photographer
Lopsang Chiring is from a Chhokang village in Tsum valley. He is an ex-police
officer of Nepal Police. He is currently working with Norwegian Cruise Line and
continues his photography to capture whatever fascinates him. He is a first batch
student of SCC Photography Workshop. He credited to photo traveling book
‘Trekking in the Manaslu Region and Tsum Valley-2013’
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