Lakes of Nepal
Nepal is yonder. Its beauty is unparallel, at times feels fictitious. A step beyond its urban realm is a year back in time. One gets to experience mother nature, inhale her sweet perfume in every breath and rediscover tranquillity and bask in her lap. This nation is home to numerous lakes. Reaching its shores is an adventure, one worth every sweat and tear.
Birendra Lake
Locally referred to as Birendra Taal (Lake), its freshwaters are from the Manaslu glacier in the Gorkha district. Its vicinity is known as Samagaun and is near Punhyen glacier and gompa (monastery). To reach this heavenly destination, one must embark on the trails of Manaslu.
The main trek is a 13-day journey with a few additional days added to it by your trekking agency for sightseeing in Kathmandu. The region has plenty to offer for an explorer, but the strict regulations make it troublesome. Thus, many opt for Annapurna's circuit instead.
The trek begins around Soti Khola. The drive is around 8/9 hours. After which, daily trekking time average around 6 hours to Samagaun. A day of site seeing and acclimatisation later, the trek to Samdo begins. Another day for acclimatisation is added as the journey further peaks at 5135m while traversing through Larkya La Pass.
The final destination is Syange. After which, it's a 7/8 hour drive to Kathmandu. This trek offers more than just a chance to see Birendra lake. An excellent panoramic view of the Himalayas awaits you at Larkya La.
Peaks such as Himal Chuli (7193m), Ngadi Chuli (7893m), Mt. Manaslu (8163m) and Manaslu North(7157m) and Shringi Himal (7187m) are the highlights of this trek.
Rara
The mystic and calm waters of Rara has been the calling for adventures for countless years. It is a bucket list destination for many Nepalese due to its popularity. The lake is in the district of Mugu. The closest airport is Jumla or Talcha airport, which is accessible through a flight from Nepalgunj. The main trek begins at Jumla airport and ranges from 2 to 3 days. Whereas from Talcha, it is a few hours walk.
The neighbouring dense green hills are home to several rare species of birds and animals. The national park established in 1976 protects these alpine and sub-alpine ranges along with the wetlands. It is the largest lake in Nepal and lies at 2,990 m.
A journey to this region is recommended from April to May (Spring) and September to November (Autumn).
Fun Fact! The lake is widely popular due to its ability to change colours into various shades during the daytime.
Shey Phoksundo
The turquoise water of this magnificent lake at golden hours is hard to describe. Sitting by it with the distant sound of a waterfall under an open blue sky is an experience straight out of heaven. The Phoksundo lake is within Shey Phoksundo National Park, the largest and only trans-Himalayan protected area of Nepal. On the southern end of the lake lies the village of Ringmo on top of a landslide dam created 30-40,000 years ago.
This body of water lies at an elevation of 3,660 m (12,010 ft). Surrounded by glaciers in its upper range, it is famous for its magnificent turquoise colour. Near the lake's outlet is the country's highest waterfall. The trek to this part of Nepal is strenuous, but the reward is an experience worth multiple lifetimes. The trip offers landscapes beyond words. Getting to experience the lifestyle of the ethnic community is a bonus.
The region is best visited between March to May (Spring) and September to November (Autumn). The closest airport is Juphal airport in Dolpa. The far-western region of Nepal is only accessible through the airport in Nepalgunj. The main trek ranges from 4-5 days to Ringmo. By road, the journey includes a 24-25 hour bus ride from Kathmandu to Radi Bazar.
In the next part of this article, we shall discover the lakes of Tsho Rolpa, Rupa, Gokyo and Tilicho.
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Good Reads on Nepal
The richness of Nepal at times is unfathomable. Discovering, experiencing and understanding its various facets is a tremendous task which altogether is a lifetime experience. This journey can be aided by endeavors and knowledge of great individuals who have defied odds, broken barriers and traversed miles to unearth Nepal's beauty.
Beyond Possible by Nimsdai Purja
ISBN: 978-9937-9341-4
I start this list with the book of a former soldier who had a dream. He wished to defy odds and accomplish a task labelled impossible. I had the honour of meeting Nirmal 'NIMS' Purja during the introductory press event for his mission. At the end of which, I was rendered speechless. 14 mountains towering 8000 metres awaited a man who wished to summit them in 7 months.
On the 29th of September 2019, with the successful ascent of Shishapangma in Tibet, the world fell silent. 14 peaks submitted in six months, six days. The book is a collection of his thoughts, vision, experience and reality. It takes the reader laced in the shoes of Purja atop the death zones where life hangs by a thread. It instils upon you the importance of hope, hard work and dedication along with the beauty of mother nature.
The rest, I leave for you to discover.
Mustang by Michael Peissel
ISBN: 7088-1589-8
This book takes you back in time to a glorious kingdom in the north-western region of Nepal. The author led an expedition for fifteen days from Kathmandu to this mystical ground in the mid-twentieth century.
His experiences have been compiled in this book. Even today, it is good to guide you through the regions unique heritage. Within the walls of Lo Mantang, he witnessed an ancient world. The regions culture, history, traditions and settings are well documented in this book.
Yak Girl by Dorje Dolma
ISBN: 978-93-5076-186-1
Yak Girl is a memoir of Dorje Dolma who's parents summoned all the courage to embark on a month-long trek from Dolpa to Kathmandu. Their daughter, age 10, was suffering from a life-threatening condition.
Where there is a will, there is a way.
The path for Dolma is through the mystic lands of Dolpa, one of the most isolated places in Nepal. Even today, this region is referred to as the 'Virgin lands of Nepal.' Her memoir allows you to discover Dolpa in the 80's and her journey spanning continents to save her life.
The Newar Merchants in Lhasa by Keshar Lall
ISBN: 99933-0-187-6
The Newars, an ethnic group native to the Kathmandu valley, gained a stout reputation as merchants in medieval times. Their ability, courage, strength and wit enabled them to dominate the tributaries of the ancient silk route above central Nepal.
Every adventure is a glorious tale in the making. This book by Keshar Lall complies the untold accounts of these daring men across the great Himalayas. The author's ability to mute his voice during the translation is utterly remarkable.
This quick read takes you on a journey with these men through the high mountain passes and into the heart of Lhasa in Tibet.
Kathmandu by Thomas Bell
ISBN: 978-81-8400-578-3
No book to date has been able to compile the history of Nepal like Kathmandu by Thomas Bell. The author takes a structural approach to building the foundations of this country based on selected readings and experiences. He adds to it his personal encounters, which gives this book a unique touch.
The author came to Nepal on an assignment to cover the civil war. Who knew he would find a fit here and settle down. This book is highly recommended for those who wish to gain a good understanding of Nepal's settings.
Taste of Nepal by Jyoti Patak
ISBN-13: 978-81-8363-085-6
A land of rich culture equals a land of diverse cuisine. Nepal is home to not just its exclusive taste. It is also a Shangri-la where aromas and delights of the Indian sub-continent meet. This prize-winning book is one of few cookbooks on Nepalese cuisine available in the market.
Cultural discovery does not always mean a trip through narrow gullies and high mountains of Nepal. A plate of food is more than just its ingredients. It is the gateway to learning about the regions topography, history, culture, technique and taste.
The author brings you more than 350 authentic recipes. It is a road down memory lane and straight to the kitchen.
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The Moving Temples of Kathmandu Valley - Part V
In this edition, we look into the moving temple of Bhaktapur. Commonly referred to as Biska Jatra, it is a unique celebration exclusive to the principalities of Bhaktapur. Celebrated with utmost veneration and respect, it overtime has become an intangible landmark. The highlights are the tug-of-war, vermilion festival and the tongue piercing ceremony.
Born and raised in this beautiful valley, I’ve had the honour of witnessing most of its chariot festivals. The moving temples are the same every year, but the pomp and flair never fail to strike a bolt of awe in my heart. The creaking of wood, thunder of cheers and clang of metal combined create a euphoric atmosphere. It never seems to get old.
In this article, we dive into the final moving temple of this valley. It is the hallmark of a unique festival celebrated in Bhaktapur. Collectively, it is known as Biska Jatra. This festival is celebrated in various dwellings of this region.
Did you know Bhaktapur was the capital of Nepal Mandala (Ancient Nepal)? This city is by far the most organized amongst its sisters (Lalitpur and Kathmandu). King Ananda Malla commissioned this city in the 9th century.
“This younger brother (Ananda Malla, son of Abhaya Malla being very generous and wise gave up the sovereignty over the two cities (Kathmandu and Lalitpur) founded a city of 12,000 houses, which he named Bhaktapur (Bhatgaon) and included sixty small villages in his territory. After this, the Raja having obtained the favour and directions of Chandeswari founded seven towns; viz Banepur(Banepa) near Chandeswari Pitha; Panavati ( Panauti) near the Pragya Tirtha of Nepal. Celebrated in the Shastras, on the site of where Panchala-des formerly stood, Nala near Nala Bhagvati, Dhaukhel(Dhulikhel) near Narayana; Khadpu near Dhaneswar; Chaikot, near the residence of Chakora Rishi; and Sanga, near Nasika Pitha.” (Wright,1990)1
Another fun fact, the festivals original name is Bisyaku Jatra. It means a celebration (jatra) after the death of serpents (Bisyaku).
Click here to read our article on the tale of Biska Jatra
On the first day of this celebration, a great tug of war ensues between (Thane) uptown and (Kone) downtown. Teams tussle to bring the kha (chariot) of Bhaila Deo (Bhairab) to their part of town. His chariot features three roofs, a dhoma (horizontal log), a golden pinnacle and four wheels.
The design features exquisite Newar woodwork with no nails. A joint based locking system (chuka) holds the chariot together. At the heat of war, it sways beautifully.
Simultaneously, in another part of town, Nakinju Ajima (Bhadrakali) is placed on a similar but smaller chariot. These two deities meet on the 4th day at Yoshin Khel. This area gets its name from Yoshin, meaning a long wooden pole erected in the middle of an open field (Khel).
Biska jatra also has another meaning. It symbolizes conjugation, creation and continuity of life. The depiction of which is the mating of Bhailo Deo and Nakinju Ajima. Their symbolic copulation occurs at Gahiti during midnight of new years day.
A local legend states how Bhailo Deo’s chariot doesn’t even move an inch during copulation. It is rather Nakinju Ajima who passionately dashes Bhailo Deo.
On the final day of the festival, the chariots head to their designated locales. The shrines are removed and carried to their temples.
Celebrations of Biska occur at various other localities of Bhaktapur. In Thimi, it is called Sindoor Jatra. Similar, Chapacho and Bode also have their version of Biska.
Click here to read our article on Sindoor Jatra.
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The Moving Temples of Kathmandu Valley - Part IV
The grand jubilation of Kumari Jatra celebrated during Yenya Punhi (Indra Jatra) is a sight to remember. A day when magic and mystery from all parts of Nepal Mandala (Ancient Nepal) meet at Yeh (Kathmandu) for an opulent festival.
Every Newar dwelling has its mammoth festivity. Matysendras chariot festival is the largest of Patan and Indra Jatra is of Kathmandu. The celebrations of the capital is unique due to the intersection of multiple facets.
Folk tales state how Lord Indra (King of heavens) descended to earth looking for Parijat (Night Jasmine). He took mortal form and found the plant in the yard of a Newar farmer. While picking the flower, he was caught and imprisoned.
As he did not return, his mother began to worry for his safety. She asked Phul Kusi, the white elephant of Lord Indra, to find him.
It searched for him day and night but failed to locate him. While roaming the streets of Kantipur (old city within Kathmandu), Phul Kusi was mesmerized by the music of the festivities. It danced its way through the streets with the locals.
Flabergasted was Phul Kusi when it reached the city centre. Chained atop a tall wooden pole was Lord Indra.
Phul Kusi took the news to swarga loka (heaven), and in a flash mother of Indra descended from heaven. She demanded her son be released. The locals told her that he was a thief. Indra watched the argument and began to grow restless. A great light imitated as he revealed his identity.
The locals were rendered speechless and feared his wrath. His mother offered them something that they could not refuse in exchange for her son.
She promised them a final rainfall before harvest season so that their crops can prosper. Also, she vowed to show them the gateway to heaven.
They freed him and followed them to the outskirts of the city. She tricked the villagers and generated a large mist. Amidst the confusion, the trio returned to heaven.
A fascinating tale, isn’t it?
The true origins of this festival, however, is still debated. The closest scientific rendition requires understanding various elements of Newar society. On a gist, the full moon of this period is Yenya Punhi. Primordially this day marked the last of Barsha (rainy season). Post which is Sarad (Autumn). Hoisting of a pole is a ceremonial act. The same can be seen during the end of winter and beginning of spring (Biskah Jatra of Bhaktapur). A similar act is placing scarecrows (Gatha Mwah) at the nearest crossroad after the saplings mature during the plantation season. This day is known as Gatha Mugah or Gathe Mangal.
Newar festivities begin in full swing after this day (Gathe Mangal) and end on Sithi Shasti/ Sithi Nakah, right before plantation season.
Now, onto the glorious chariots of Yenya Punhi.
As mentioned previously, over time this day as gained various facets. One of which is of Kumari Jatra, a grand festival of the guardian of this valley. She is viewed as the primordial protector along with Bhairab. Their worship dates back to the origin of this vale.
Click here: To read our article on the Kumari
According to chronicles, King Jaya Prakash Malla commissioned the festival. He incorporated Kumari Jatra into Indra Jatra. The living goddess and the living gods (Ganesha and Bhairab) are placed onto pagoda-style chariots and circulated on a designated route for three consecutive days.
On the first day, the chariots are pulled to Kwaneya (Downtown) area by revellers. The jubilation lasts till late as the route is quite ridiculous and narrow. At around 5 pm the next day, the trio are taken to Thaneya (Uptown). Revellers are encouraged by traditional tunes played by musicians. The final route is to Nanichaya (Midtown). It makes way from Basantapur to Pyaphal, Yatkha, Kilagal, Bedasing, Indra Chowk, Makhan and comes to an end at Basantapur.
A ritual (Kumari Puja) commences in front of the Kumari Chhen (home), after which Kumari Jatra is complete.
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The Moving Temples of Kathmandu Valley - Part III
Every temple has a story. Within it lies a deity who has provided some boon to its devotees. His/her celebration is an act of acknowledging their righteous act and reliving history. The Newars added pomp and flare to this celebration with mammoth chariots, traditional tunes and communal merrymaking.
Continued….
The trio applied their findings. In a few years, they witnessed an end to the slumber. The fields began to resemble gold swaying with the gentle winds of the harvest season. Slowly but steadily, the lost lustre returned to Nepal Mandala (Ancient Nepal).
The people hailed Matsyendra as a messiah. A consensus emerged to honour his compassion and immortalise him. A temple was envisioned on the outskirts of the principal dwelling by the trio. It was designed in the Shikhara style and built at Bunga (A small village 5.2 kilometres away from Lalitpur).
The small village was renamed Amarpur by the monarch, meaning immortal or everlasting. It was an effort to memorialise Matsyendra and make him a god. Taking it a step further a chariot festival was conceptualised.
Lalitpur already had numerous chariot festivals. The monarch instructed to discontinue them. He wanted to make room for a mammoth celebration of Matsyendra. The legend of Chak Baha Dyo (Min Nath) states how he did not want his festival discontinued. Priest Bandudatta requested him numerous times, all of which failed. Min Nath opened his third eye and projected a great beam of light. It hit a stupa outside the cortex.
His chariot festival is the only one that continues.
Why is Matsyendras chariot so tall is a common question. It is because the core features seven kha’s (levels). The first is known as biman kha. At this level, the idol of Matsyendra sits accompanied by his caretakers. The top kha is known as yaka kha, as a single member of the Barahi (woodworkers) community installs it. The remaining five levels are dedicated to Dhalaksha’s Lokanath, Matilinagar’s Batuk Bhairav, Satha’s Naryana, Calalse’s Harisankar, Kolima’s [ Kulimha’s] Mahesvara.
In a bygone era the chariot used to be pulled every year from Bunga to Lalitpur. During the Malla era, either Siddhi Narasimha or Sri Nivas Malla envisioned a glorious plan.
" Historical sources are silent on the matter, but historians have deduced that possibly as early as 1621, at any rate by 1652 when Kunu Sharma wrote his Kritipataka eulogizing the city, one or other of the two kings had taken the decision to establish a second temple of Karunamaya (Matsyendra) in Lalitpur itself.
Henceforth Karunamaya was to spend six months in each temple, thus bringing him closer to the people of Lalitpur, who were his devotees and no doubt increasing the popularity of the King. Ta Bahah was chosen as the site for his new temple. It seems that the membership of this ancient monastery had died out and some Vajracharyas from a small monastery in Dau Bahah twah called Bhelakhu Bahah [29] were assigned to it (Locke 1980:334; 1985: 137). " (N. Gellner, 1996)
References
N. Gellner, D. (1996). A sketch of the history of Lalitpur (Patan) with special references to Buddhism. CNAS Journal, 23(1), 139–140.
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The Moving Temples of Kathmandu Valley - Part II
Since time immemorial, humans have created temples. It is a place of worship where individuals offer their prayers and gratitude to their deities. These infrastructures are static, making it difficult for all to reach them at times. Whereas in Nepal, temples move from one place to another in select few days. A process in which, god comes to our squares and doorsteps.
In Nepal Mandala (Ancient Nepal), the natives took notes from various neighbouring cultures and devised a unique system. They noticed how their temples were static, and with age, its citizens were not able to make long commutes to offer prayers and gratitude to their deities. Thus, they envisioned a magnificent secondary temple. These were to be mobile, allowing those incapable of reaching the main temple to bask in the gods' aura.
These temples were to be crafted seasonally and display symbolic markers of the deity. For mobility, they envisioned a temple with wheels. They would be created in a manner to mimic the primary temple and display its hallmarks. This ambitious dream of the past developed the rich cultural reality of modern Nepal.
The biggest festival of the Newars revolves around these very mechanized temples.
It helped strengthen faith and communal unity among the diaspora. It also became a catalyst in the development of Newar culture and heritage.
Renowned for trade endeavours, Newars amassed wealth and built themselves a robust network. They invested in magnificent temples and dedicated their success to them. Today these have become the hallmark of Newar culture and tradition.
There are numerous chariot festivals dedicated to various deities of Kathmandu valley. Amongst them, some chariots are a feat of human ingenuity that feature unique craft and symbolism. In this article, we shall explore in brief these elements along with handy information which shall add value to your journey of discovering the true beauty of Nepal.
The chariot festival of Rato Matysendranath
A jewel of the citizens of Lalitpur, it is dubbed the longest in the world. Worship and revelling of Rato Matsyendranath, natively known as Karunamaya (Lord of Compassion) and Bunga Dyo (God of Bungamati), last for almost 3-4 months.
Centred around the samaritan act of Matsyendra, who helped the kingship and people of Nepal Mandala during the Lichhavi era, this chariot festival is an earnest dedication to his compassion. As per the Matysendra vamshavali (chronicle), Nepal mandala faced a crisis in a bygone era. A series of unfortunate events caused crops to wither: a famine that lasted for 12 years.
Over time various interpretations developed of the cause. The most popular is of Lord Goraknath, a discipline of Matysendranath meditating upon the great nagas (snakes) leading to a drought. But a scientific analysis using holistic overview, observation and comparative analysis shows how it was a mysterious disease that ravaged the farms of Nepal Mandala.
Society was agricultural. Farming was the backbone of our economy. The citizens practised a subsistence form of living and were highly dependent on their farming yields. Thus, such an infection proved deadly.
The monarch of Nepal Mandala, King Baradeva, consulted with his chief astrologer Bandhudatta Acharya. He advised making a journey to Kamakhya in Assam. He must have learned about the geographical similarities and their agricultural prowess through historical insight and networks. King Narendra Deva (father of King Bara Deva, who had left worldly affairs to live in a monastery in Bhadgeon), priest Bandhudatta and Rathacakra Jyapu left for Kamakhya.
They acquainted Matsyendra, a leprous agricultural master of Kamakhya who provided the needed to the trio. As per the vamshavali, they returned with a holy vessel (Kalash) containing the essence of Matsyendra. Interpreting this scientifically, he (Matsyendra) must have provided various seeds that would suit Nepal Mandala's topography. He must have also imparted the needed knowledge to make agriculture sustainable and reliable.
Matsyendra being leprous is through my research observations. Devotees are not allowed to touch his idol. You shall become leprous is communicated to them by the caretakers. The statue moulded for the chariot festival is a replica of him. The weak stature and disfigured hand is a telltale sign that helps add weight to my findings.
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The Moving Temples of Kathmandu Valley - Part I
Even though an imitation, over the years, the festival of Seto Matsyendranath has created its own identity. It has developed various symbols and is a timeless heritage of Kathmandu. Today it is known as Jana Baha Dyo (God of Jana Bahal of Ket twah). The idol is viewed as Aryavalokiteswara (God of compassion) by devotees.
The moving temple of Seto Matsyendranath
When King Gunakamadeva created a new city north of Lalitpur, it was a sight to behold. He named it 'Suvarna- pranali- Kantipur' (Wright, 1990, p.154). The monarch, however, was not satisfied. He greatly missed Matsyendra of Lalitpur, his glorious temple in Bunga and the chariot festival. He wished for his new city to have something similar.
"Then, in imitation of the Lokeswara jatra of Patan, he made an image of Khasarppa Lokeswara, and caused his jatra to be celebrated every year." (Wright, 1990, p.155)
A shikhara style temple within the Hambal monastery housed Khasarppa Lokeswara. During the last years of the Lichhavi era of Nepal Mandala (Ancient Nepal), Mukunda Sena, King of Palpa, attacked this valley. "The victorious soldiers broke and disfigured the images of the gods, sent the Bhairava placed in front of Machchindranatha to their own country, Palpa and Butawal." (Wright, 1990, p.171)
The Bhairab stolen from the Hambal monastery today is known as Tansen Bhairab. The shikhara temple and monastery were in ruins. In the aftermath, people found that the statue was lost. Hundreds of years later, during the reign of Yaksha Malla, it was discovered by potters looking for clay. King Yaksha recognised the ancient idol when it was brought to the palace by them.
From here on, it became Yamaleswara.
The site of its rediscovery was renamed Yamal (today is known as Jamal) by the monarch. "The king, having seen the image, performed the rituals of renovation; took the image inside the city and established it by building a large temple." (Bajracharya et al., 2016, p. 90)
He built a mammoth temple in the cortex of Jana Baha in Ket Twah. During the reign of his son Pratapa the grounds of Hambal monastery was converted into a pond. The temple was rebuilt but housed a different deity. "Pratapa Malla, then rebuilt the chariot of Lokesvara, the white Matsyendra, according to tradition. He had Lokesvara placed on the chariot and initiated an annual procession that moved the chariot around the city." (Bajracharya et al., 2016, p. 106)
From then on, the image was called white (seto) Matsyendra.
Members of various communities tasked with creating the chariot finish the building process by Chaitya Dashain. On this day, the idol is placed on a palanquin and brought to Durbarmarg. A traditional musical ensemble leads the march. A loud cheer erupts once the parade reaches the area.
The statue is placed within the chariot by the caretakers. A military regiment dressed in traditional Gurkha uniform offers salutations. Three muskets perform an aerial salute once the wheels make their first spin.
The revellers pull it to Asan Chowk. In the next two days, the chariot circumvents the traditional route and reaches Lagan. It circles the mother tree thrice. After which, the festival comes to an end.
The festival falls on the following days in 2021 AD.
Day 1 of chariot festival - Durbarmarg- Bhota Hiti- Asan - 20th April 2021
Day 2 of chariot festival - Asan - Indra Chowk- Basantapur - 21st April 2021
Day 3 of chariot festival - Basantapur- Maru- Jasi Dewal- Lagan - 22nd April 2021
References
Wright, D. (1990). History of the kingdom of Nepal. Asian Educational Services. (Original work published 1877)
Bajracharya, M., Gutschow, N., & Michaels, A. (2016). Nepālikabhūpavaṃśāvalī (History of Kings of Nepal): Vols. 1 (Introduction and Translation) (First edition). Himal Books.
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The Vermilion Festival: Sindoor Jatra
Commonly referred to as Sindoor Jatra, it is also known as Biska Jatra of Thimi. It is one of the most vibrant festivals celebrated in Kathmandu Valley. The highlight is the ceremonial use of vermilion powder which adds a new layer of pomp and flair. The locals rejoice for four days during the new year period, devotees offer prayers and worship various gods and goddesses.
Even though celebrated in a Newar township, the Sindoor Jatra is the jubilation of the Nepali new year (Vikram Sambat). Newars generally do not celebrate the solar new year, rather mark Nhu Daya bhintuna in October. The festivities occur in the locales of Thimi and Bode. The festival begins a day before the new year day. The locals perform Gunsin Chhoyekegu, which means firing of forest wood.
A traditional wooden pole known as yoshin is erected outside the temple premises of Balkumari by locals. It, however, has sadly been discontinued due to various reasons. A chariot festival takes place in Vishnuvir during the day. Deities are taken on khats (chariots) to Kwachhen (Dakshin Barahi) from Layakhu during the night. Once the revellers reach Kwachhen they revolve the chariot multiple times.
On new years day, devotees present offerings and pray to Balkumari. They flock in masses to her temple in old Thimi. Through time immemorial, she is the consort of Bhairab. They both are the guardian deities of Kathmandu Valley.
During the evening, devotees perform righteous acts such as lighting oil lamps. Some even place them on their legs, chest, forehead, arms and lie static for hours.
The next day (2nd Baisakh) is the highlight of this festival. Several khats (chariots) are carried to the Balkumari temple in the morning by revellers. Thirty-two khats are spaced around the temple which later circumvent it. To liven up the atmosphere, musicians play Dhimay Baja (traditional drums and cymbals). These tunes help encourage the revellers. Devotees and locals colour each other in vermilion powder, a symbol of prosperity. The entire area is filled with vibrancy and joy as devotees make merry while revolving their community chariots.
Thousands await for an idol of Ganesha, which is brought from Nagadesh by locals. Commonly referred to as Khat Ganesh, once his chariot arrives, a loud cheer erupts. Once Ganeshas’ chariot completes circumventing the temple premises, it tries to make a break for home. Revellers hoist up their chariots, and a game of catch ensues. Other chariots try to block its path. By hook or crook, Khat Ganesh is brought back to Nagadesh by revellers. The festival does not end until Khat Ganesh reaches Nagadesh.
After which, the procession of chariots makes way for the Taleju temple. A sizeable number of animal sacrifices are made here by the priests. Once the ceremonies are over, members carry the chariots back to their community, bringing an end to the festivities.
Simultaneously in the village of Bode, seven chariots are circumvented through a prescribed route. At Bhangu Tole of Bode, the iconic tongue piercing festival occurs. A member of the Shrestha clan of Bode volunteers to have his tongue (jibro) pierced. The locals believe spirits enter his body, and he experiences a spiritual trance. With an iron spike pierced in his jibro, he carries around a bamboo rack on his shoulder. Multiple flaming torches are placed on the frame by righteous men. He then walks around town in a designated route.
Locals believe that a successful tongue piercing ceremony brings good fortune to the villagers and the volunteer. The act though painful is righteous and holy. The volunteer becomes the town hero until next year.
The next day (3rd Baisakh) is the Biska Jatra of Chapacho and Bode. Communal chariots are taken around the area by locals who rejoice and make merry.
The end of this act draws Biska Jatra to a close. It is a unique festival native to the principalities of Bhaktapur. Marked with great fanfare: it is also known as the festival of human emotion. Over the years, it has become a non-tangible landmark of Bhaktapur, which draws thousands of onlookers and devotees. It, along with multiple similar festivals, help create Nepal’s image as a lifetime experience.
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Sighting The Living Goddesses of Kathmandu Valley - Part III
Amongst the various living goddesses of Kathmandu valley, the divinity of Kathmandu is unique. She is raised in one of the most ornate ways by her caretakers, which has not lost its traditional charm. Her valour, beauty and excellence are unparallel, and the respect shown to her is profound. She even has her very own chariot festival known as Kumari Jatra.
In the final edition of this series, we shall look into sighting the living goddess of Kathmandu. This city has numerous living manifestations such as in Basantapur, Kilagal, Tokha and Makhan. But we shall focus this article specifically on the divinity of Basantapur.
Along with the previous, Kathmandu is home to numerous others.
The tradition in Makhan Tole revived again in 2018 AD. Formerly Mubahal, Maitidevi, Mikhu Bahal also hosted their living goddess. Close historical analysis shows how this tradition was cherished by numerous Bahal’s (households of Shakya and Bajracharya). Over the years, various constraints led to the discontinuation of the practice.
Click Here: To Read Our Article On The History of The Living Goddess In Nepal.
The divinity of Kathmandu is the most celebrated amongst her sisters. She has her festival known as Kumari Jatra, which occurs during Indra Jatra (An archaic celebration surrounded upon Lord Indra’s visit to Kathmandu). During the festival (Kumari Jatra), which lasts for three days, the living goddess is placed on a pagoda chariot by her caretakers. It then circumvents the dwellings of Kathmandu.
The first day of revelling is known as Kwaneya (Downtown), the second Thaneya (Uptown) and the final day Nanichaya (Mid-town). Revellers and volunteers pull the chariots of Kumari, Lord Ganesh and Lord Bhairav into these areas so that devotees may get to see their goddess.
The three chariots feature three living deities. Lord Ganesh and Lord Bhairav are the two living gods of Kathmandu valley. Alike their brethren, these living gods clad in red and awaken their third eye. Apart from these three days, it is hard to sight them.
Just like in Lalitpur, the living goddess makes an appearance during the chariot festival of Seto Matsyendranath. Also known as Yalameshwor ( Yala meaning Kathamandu and eshwor, god) during the Lichhavi period, today it is commonly referred to as Jana Baha Dyo (the god of Jana Baha).
She overlooks the ceremonial bath of Yalameshwor at Jana Baha and, on the final day of revelling, she views the festival at Lagan Tole of Kathmandu. This celebration of Yalameshwor commences during Chaitra Dashain (March-April). The chariot is pulled from Durbarmarg of Kathmandu and rests at Asan on day one, then at Basantapur and on the final day is advanced to Lagan Tole.
Special worship is conducted outside the temple of Tulaju Devi (Taleju) during the Changu Kalash Yatra by the high priests of Tulaju temple. On this day, a kalash is brought from Changu Narayan of Bhaktapur to Kathmandu on foot by priests. The living goddess is brought to a worshipping ground right outside the Tulaju temple by her caretakers. After the rites are over, she is taken back to the Kumari Chhen by them.
On the eve of victory day, she, like her sisters, partake in a special ceremony. She is taken to the Tulaju temple by her caretakers and high priests, where she performs various rituals to make way for victory day. This tradition is common in all three principal cities (Kathmandu, Lalitpur and Bhaktapur). The communal Kumaris, however, do not partake in this ritual.
The living goddess losses her divinity when she becomes reaches puberty. She bids farewell not just to her godliness but also to the Kumari Chhen. She is placed on a palanquin and is bid a ceremonial goodbye by her second family (caretakers of Kumari Chhen). She is then no different from any mortal girl. But, her service to this country and her greatness always stays in our heart. Passing by her on the streets of Kathmandu, our heads automatically lower, and a beautiful smile comes to our face.
The cycle then goes on. A new girl takes the throne of the living goddess.
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Festival of Colours in Nepal
The use of colours as a symbolic tool to mark joy and fanfare is a common tradition. It is used in various festivals throughout many cultures to symbolise festivity, joy and victory. In Nepal, two distinct festivals: Sindoor Jatra, and Holi have one thing in common; colours.
On the full moon day of Falgun, citizens of the Indian subcontinent rejoice in a unique festival known as Holi. The celebrations revolve around the age-old tradition of welcoming spring. It, along with Bisakh Jatra and Sindoor Jatra, are marked by the people of Kathmandu valley. They symbolise the end of winter and the beginning of the harvest season.
Over the years, Fagu Purnima has taken on many facets. Myths and folk tales help add mysticism and vibrancy to this day. In Kathmandu valley, a ceremonial pole known as Chir is erected in the lyakhu (palace) premises a few days before the full moon. It is decorated with vibrant coloured clothes by the people. Priests perform special rites, and devotees flock to receive blessings.
The process of erecting a wooden pole is not unique and exclusive to Kathmandu valley. The Maypole hoisted on May Day celebrations in Europe is an age-old tradition of festivity.
An interpretation of this day (Holi) revolves around a demon-king named Tarakasur. He ran rampant troubling the gods and causing problems. Tired and helpless, they concluded to consult Lord Shiva. But he was engaged in deep meditation after losing his wife, Sati Devi. The many gods of heaven planned on marrying Lord Shiva with Parvati, the daughter of the Himalayas. But they dared not to awaken the mighty Shiva. Thus they sought the help of Kamadeva, the god of love.
Kamadeva went to Kailash and shot a powerful arrow. It awakened Lord Shiva. To the surprise of all, he opened his third eye and shot a beam of light that burnt Kamadeva to ashes. As intended, the gods put forth the marriage proposal, which Lord Shiva accepted.
The ancients divided the year into two halves:
1. January to June (Longer days and shorter nights)
2. July to December (Longer nights and shorter days)
The second half belong to demons. During this part of the year, they are powerful and cause many troubles. As nights are longer, they terrify and conduct mischiefs. After the winter solstice, the sun begins its northern journey (Uttarayana), bringing an end to the demonic hold. Tarkasurs death came through the hands of Kartikeya, ending his tyranny. Coloured powder symbolises the victory of good over evil.
The second lore is of another demon king known as Hiranyakashyapu. His son Prahlada was a great devotee of Lord Vishnu. Numerous attempts to realign Praladha failed. Amongst these attempts was when Dhunda, the kings' sister, grabbed Praladha and jumped into a fire, she was blessed not to be harmed by fire. The intention was to burn Praladha alive, but Lord Vishnu saved him and burned Dhunda instead. She is also known by the name Holika, and connecting lore states the day got its name from this event.
King Hiranyakashyapus' end came through the hands of Narashingha, the lion avatar of Lord Vishnu. This act is the highlight of Kati Pyakhan (Kartik Naach), presented in Patan Durbar Square in the month of Kartik (October- November).
Click Here: To Read Our Article On Kartik Naach
Yet another tale goes as follows, Putana, a she-demon planned to kill Krishna. She hatched a plan and disguised herself as a mortal. She poisoned her milk and went to him. She allowed him to suckle her but failed to realise that he was not an ordinary child. He sucked Putana until she died.
All three stories revolve around attempts of evil and how the good is always victorious. We have developed various ways to commemorate this act. We play with colours (Holi), illuminate our homes (Dipawali) and share greetings and blessings (Dashain). We celebrate with our loved ones, visit temples, rejoice in various delicacies and share our affections with all.
Holi is celebrated for two consecutive days by Nepalese. The first day is a national celebration. Whereas, the second is Terai Holi which features robust fanfare in the Terai region of Nepal.
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Sighting The Living Goddesses of Kathmandu Valley - Part II
When one traces the pages of history. The practice of worshiping a living goddess dates back to the Lichhavi era. From then till now, various changes have occurred in this tradition. But the respect bestowed upon her shall be the same for time immemorial.
In the previous article, we learned about the unique practice of Ekanta Kumari of Bhaktapur. Moving further, we shall learn more about the living goddesses of Lalitpur and Kathmandu.
Click Here: To Read Our Article On The History of The Living Goddess In Nepal.
Lalitpur
The first living goddess of ancient Nepal (the valley kingdom of Nepal) was in Lalitpur. In the Bihar of Lakshi-barman near the durbar (palace), King Lakshmikama-deva established an image of Kumari. He began worshipping the daughter of a bandya (Shakya and Bajaracharya are called bandya in ancient Newari language). Before this, much evidence is not available of the practice.
Back to the future, she now calls Ratnakar Mahabihar home. In its quaint ambience, she lives her divine mortality up till she becomes pubescent. After which, she bids farewell to divinity, and a new child takes the throne.
During her reign, she offers blessings daily to devotees. The hours are not regular, but she welcomes the woes and praises of her people. Apart from this, she adorns her helm, clads in red and embellished in ornaments during festivals.
It is not every day nor every festival, however. But, a select few occasions require the oversight of the living goddess.
Let us start, shall we?
The first sighting is one of many during the Rato Matsyendranath chariot festival. It is the most important tradition that dates back thousands of years. She is seated on her throne, placed at her pati (a resting house) at Lagankhel during the ceremonial bath of Rato Matsyendranath. She overlooks the ritual and offers blessings to her devotees.
During the first leg of the chariot festival, it is pulled from Puchwo (commonly known as Pulchowk) to Ga: Baha (also called Ga: Bahal) by revellers. Her throne is placed on the porch outside Ratnakar Mahabihar by her caretakers. Her attendants(family member and caretakers) attend to her needs.
The next day it is pulled by revellers to Mangah (commonly known as Mangal Bazar). She indulges in the celebrations from her porch seated on her throne. Before the chariot pulling commences, she is open to devotees and bestows her blessings.
She makes an appearance during the final day of revelling at Kumari Pati (A rest house made for the Kumari). This area of Lalitpur got its name from this rest house. As the chariot makes its way to its final stop at Jawalakhel (originally Jah Whalu Khel: An open field where rice is offered to Matsyendranath in a throwing gesture by devotees), she views the merrymaking from her seat.
The last day of the festival is Bhoto Jatra. On this day, a ceremonial bhoto (Jacket) is shown to the public by an official.
Click Here: To Read Our Article On The Legend Of The Bhoto
The living goddess rests in a pati at Jawalakhel. She views the chief of the Guthi Sansthan display the bhoto. To make sure everyone gets a look, he shows it from four directions. Once the ceremony is over, her caretaker carries her home.
The next sighting is during Dashain (Moh: ni in Newari language).
The living goddess is viewed as the manifestation of Tulaju Devi (Taleju) by her following. She (Tulaju Devi) was the tutelary deity of the Malla kings who ruled medieval Nepal.
Dashain is the victory of good over evil.
This festival revolves around goddess Durga and her killing Mahisasur (A demon). Tulaju Devi is an avatar of goddess Durga. Thus the living goddess is taken to the Tulaju temple during mid-night of Navami by her caretakers.
She partakes in an essential cultural ritual that makes way for Dashami ( The tenth day, also known as victory day).
The final sighting is during the handover of the helm. Our beloved Dyah Meiju (Noble Goddess) bids farewell and is carried home by her family. The new Dyah Meiju can be sighted during this day as well but at different hours.
In the next article we shall look into sighting the Kumari of Kathmandu.
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Sighting The Living Goddesses of Kathmandu Valley
Sighting the living goddess in Kathmandu valley is equal to spotting a tiger in Chitwan National Park. Being able to witness her beauty and seek her blessing is an honour that many desire. Well, I may not be able to let you know about the tiger, but I can, however, impart my knowledge of sighting the living goddesses of this valley.
The living divinities of this beautiful valley hold the highest rank in the unique pantheon of the Newars (native inhabitants). She is a living avatar of Goddess Tulaju (commonly known as Taleju Bhawani) and the primordial deity, Kaumari (commonly known as Kumari).
Click Here: To Read Our Article On The History of The Living Goddess In Nepal.
In brief, the Kathmandu valley has three principle dwellings: Kathmandu, Lalitpur and Bhaktapur. The worship of a living manifestation began during the Lichhavi Era but got its high rank during the late Malla period. They were known as Royal Kumari up until the dissolution of the monarchy in the 21st century.
The selection, indoctrination, and retirement process of these living deities are different in the three cities. But the honour and respect bestowed upon her are the same.
After Nepal went global with the open-door policy, the world got introduced to this ornate concept of a living deity. They were in awe of her beauty and honour, mesmerized by the symbolism and humbled by her divinity. But the management was subjected to global criticism. Child and human rights activists labelled this practice as child abuse. Some went further to call it child labour. This critique was due to the massive restrictions and high secrecy of the living goddess culture. It helped bring much-needed reform to the practice as allowing them to receive education, the establishment of pension funds and others to ensure her well-being.
The life of a living goddess in Bhaktapur is distinct from her sister cities. She is referred to as Ekanta Kumari, Ekanta meaning alone. But in reality, its the contrary; she is never alone. The practice in this city is unique due to the lack of strict restrictions for the living manifestation. Hailing from the houses of Shakya and Bajracharya, her selection process is an exhausting task for previously the high temple (Taleju) of Bhaktapur.
When Nepal became a republic, the Guthi Sansthan, a state-level entity established to manage the endowed land (Guthi) and its managing organizations (Temple Guthi’s, Communal Guthi’s and Festival Guthi’s) was given the responsibility of selection.
A radiant smile, large forehead, no cuts and scars on her body, pleasant face are some of the qualifications required for the living manifestation. She is selected at a tender age, her responsibility is complete when she turns ten, or her Ihi ( A ceremonial marriage of a Newari girl to Suvarna Kumar, a manifestation of Lord Vishnu) is fixed. She then bids farewell to her caretakers at Kumari Chhen (Kumari House) and gives way to a new girl to take her throne.
Sighting her is not a difficult task. She wakes up, packs her bag, and heads to school like every other young girl. She plays with her friends, mingles in the beautiful squares of Bhaktapur and lives an ordinary but divine life.
The principle of this practice is that she is a goddess. How can you restrict a goddess?
But she has to refrain from chicken meat and eggs, a common practice in Shakya and Bajracharya households. She is not to go outside the valley without the permission of Guthi Sansthan. Apart from these and a few other rules, she is an ordinary divinity.
She clads in red, adorns jewels and awakens her third eye when rituals are to be commenced. During Dashain (Moh: ni), she presents blessings to devotees who knock on her ornate gates. For the rest of the year, she is indistinguishable from a normal girl. The occasional whispers and elders bowing to her is a telltale sign, however.
In the next article we shall look into sighting the Kumari of Lalitpur.