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.
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Nepal Through A Lens: A Pictorial Adventure - Part III
In the final edition of "Nepal through a lens", we shall explore the aspects of cultural and portrait photography. These contemporary genres are widely popular for storytelling, artistic framing and compositions. Nepal offers a rich multifariousness in these two fields. An expert with a lens with a knack for discovery and exploration shall have a field day in Nepal.
Portrait Photography
During my adventures of collecting publications about Nepal, I stumbled upon a book by Dr Harka Gurung and Jane Salter. It featured a collection of drawings and paintings by Salter of the various groups mentioned in the book.
Published in 1999AD, Nepal was different then to what it is now. An endeavour in this genre in the 21st century would be an exhibition to behold. With over 103 ethnic groups and 93 spoken languages, the task would be monumental, but the fruit: legendary.
Historically, migration to the region of Nepal can be classified as follows:
1. Religious Pilgrimage
2. Trade link between Old India & Old China
3. Escaping war
4. Resource gathering
Boddhisatva Manjushri came to this region on a pilgrimage, alike many other sages and Boddhisattvas. The development of Kathmandu Valley, Palpa, Mustang is due to trade and commerce that featured migration to and from these areas.
The strong influence of Maithali culture in Bhaktapur is due to migrants from Simraungadh. Their kingship was the lineage of the Karnataka Dynasty. They fled to Bhaktapur to escape the Mugal conquest, which decimated their city and region.
Why is this important?
It is to show the influence of migration on the historical development of Nepal. Migration helps create diversity, which is seen profoundly in Nepal. Genetic traces of Dravidian, Khas Aryans, Burmese, Mongoloids and others in such a small footprint is quite remarkable. A journey through the lush escapade of Nepal, discovering beautiful faces, is a glorious venture.
Cultural Photography
The amalgam of geography, ethnicity, climatic conditions, religions, and migration creates paramount cultural richness.
When one looks up Nepal on the internet, cultural discovery is a thing that pops up all the time. We have found ways to portray our beliefs, values and deities in unique presentations. These, at times, look bizarre for a stranger. Throughout all our transitions from pastoral to agricultural, feudal to industrial: we have found ways to preserve our heritage, culture and traditions.
Some old practices have sadly gone extinct but are remnant in photographs taken by travellers who experience them. In no other country would one stumble upon living gods and goddesses, old-world chimes and tunes, masked dances, and practices as widely as in Nepal.
This domain has been my field of practice for over a decade. The process of learning and discovery has been no short of a beautiful experience. Experiencing these cultural practises, festivals and instilling them in a frame has been an honour worth lifetimes.
The cultural celebrations in Nepal can generally be classified into three divisions:
1. Communal Celebrations
These type of celebrations are native to a community. Examples of such can be pa: yah celebrated by Khadgi (Newar Butchers), Punchali Bhujya ( Offering of great grains at Purnachadi of Lalitpur), Majipa Lakhey ( A dance and practise of Majipa Tol in Kathmandu), Asta Matrika Dance of Patan, Nyata Maru Ajima Dance of Nardevi, Chandeswori Jatra of Banepa and various others.
2. Regional Celebrations
Regional celebrations are within geographical lines or state boundaries. Sindoor Jatra of Thimi, Biskah Jatra of Bhaktapur, Rato Matsyendranath of Lalitpur, Indra Jatra of Kathmandu, Bag Bhairab Jatra of Kirtipur, Tiji Festival of Mustang, Yarthung horse festival of Western Nepal are some examples.
These celebrations are marked in a particular area, and their importance and understanding are unknown in others. Migration of individuals of these regions to other parts takes aspects of the celebrations with them. For example, Chhat is celebrated by the people of the Terai region. But due to migration, it is now also practised in Kathmandu valley.
3. National Celebrations
These celebrations hold no regional/ state boundaries and are practiced on a national level by Nepalese. Festivals such as Dashain and Tihar are the best example of such observations. They are marked by a national holiday for all citizens.
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Nepal Through A Lens: A Pictorial Adventure - Part II
To photograph is to instill in a frame the beauty and magnitude of elements. The picture helps tell a story of a thousand words and relive the glory of challenges and hardship. Nepal’s calling in this dimension is immense, and the fruit of dedication is the sweetest.
Landscape Photography
Nepal’s greatest treasure is its diverse geography, which developed variations in climatic condition and multiple regions within a small footprint. From the Himalayan outback in the north to the medley of hills in the centre and seemingly endless flatland of terai, Nepal’s topography is a boon that keeps on giving.
Some of the greatest landscape destination of Nepal are as follows:
1. Everest Region
2. Manaslu Region
3. Upper Mustang
4. Lower and upper Dolpa
5. Far-western Region (Khaptad, Api Himal)
6. Eastern Nepal (Illam, Kanchanjunga)
These are just a few examples which boast beautiful topography and natural beauty. Accessing these areas is difficult, some require carrying tents and provisions but this remoteness has helped preserve the regions setting and yonder.
Architectural Photography
Diving into the realm of architecture, Nepal offers remanences of a bygone era portrayed in its facades. Some of the architectural styles spread around Nepal are as follows:
1. Nomadic tents and stone masonry in the upper himalayan region
2. Newar masonry in central and lower Nepal (Kathmandu Valley, Palpa, Bandipur, Dolakha)
3. Baroque architecture (Popular during the Rana Era of Nepal)
4. Temple architecture
a) Shikhara (Pinnacle)
b) Pagoda (Tier)
c) Stupa (Dome)
5. Mathali mud houses
6. Tharu style
7. Golghar (Pavilion style)
These dwellings and temples snapped with a fluid background is a picture worth framing. The nomadic lifestyle in the upper-Himalayas of the chauri (yak) herders is a sight to behold. A stroll in the stone-clad architecture of the Himalayas takes you to a place beyond time.
Newar masonry is distinct and was spread all over Nepal by Newar merchants during their trade endeavours. Its use of red brick, carved wood and clay tiles creates a great view at all hours. Baroque architecture was introduced in Nepal by the Rana clan, who ruled Nepal for two centuries. Palaces featuring elegant white masonry made in multiple parts of Nepal became a hallmark of the Rana clan.
In terms of temple architecture, three designs (shikhara, pagoda and stupa) have a stronghold in all parts of Nepal. Shikhara was a popular style of temple making in most parts of Old India. Its siblings Verma and Dravidian style, however, hasn’t been used much in Nepal. Pagoda style migrated downwards from the north and has a strong influence in multiple cultures. It was used widely in Newar temple making with additions of wooden struts (tudal) and thorana.
The stupa style has multiple variations, which are found all over Nepal. It is a marquee of Vajrayana Buddhist culture, and it has great significance. It developed in ancient Nepal and spread globally with Buddhist culture. The most iconic examples of this building technique are Swayambhu, Khasti Maha Chaitya (Bouddhanath) and Swetachaitya (White Dagoba pioneered by Ariniko).
Food Photography
Food? Yes, food!
A beautiful platter at the end of the day is a mixture of natural and cultural diversity. Nature provides the freshest ingredients, some endemic (native) to one region, whereas culture develops cuisine.
Just as Nepal has various trekking regions, geographical divisions and cultural distinctions, we also have regional cuisine that deserves the spotlight.
When I was younger, three square meals a day was a luxury. I was born during the transitional phase ( feudalism to capitalism) and grew up during the civil war. With the advent of modernization, I like my age group craved from western delights such as pizza, burger, spaghetti and shunned regional cuisine.
I was lucky to have had great tenants who were from various parts of Nepal. They came to Kathmandu for a better life, and with them came their cuisine. Today, it feels like an honour to have experienced such variety at a young age.
Trans-Himalayan to Newari, Thakali, Limbu and Tharu, these are just the tip of the iceberg when it comes to our assortment in the genre of food. Tasting them in their native region and instilling them in a frame is an adventure beyond reckoning.
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Nepal Through A Lens: A Pictorial Adventure - Part I
Nestled in the high Himalayas is the picturesque nation, Nepal. A country like no other with great diversity in ethnicity, climate, wildlife and flora. A photographic journey through these lands is a breath-taking experience. Something that has never been done in a paramount scale.
Over time, photography has developed as a sub-genre in travel. It has grown from just instilling the moment onto film or paper and evolved into a multi-faceted experience. People today travel to photograph and through this process indulge in the beauty and elements of the destinations.
I remember stumbling upon images of Nepal taken before we instituted an open door policy(1950AD). These travellers, some inconspicuously took great photographs to preserve the tranquil beauty of Nepal in film. Revisiting them in the 21st century, much has changed. Taking a time composite shows the gravity of how Nepal has deeply absorbed the facets of modernization. In this urban chaos, still lies the old world preserved in a unique amalgam.
Nepal has much to offer in photography which can lure many to this beautiful country. Photography has also grown in both technological and cultural aspects: it has also evolved into a glorious art form.
If one reviews most of my articles, I never fail to mention how Nepal has good diversity. It offers something for every genre of travellers and all age groups. When it comes to pictorial adventures as well, we have a diverse range for all photographers.
Exploring Nepal, little by little, it always dawns on me how beautiful it truly is. I haven’t travelled much of this nation: but in my adventures, I find peculiarities, beauty and tranquillity. The never-ending savanna of the terai, the layered hills and jagged north is an adventure beyond imagination for a curious mind. The terraces of the eastern region, urban chaos of central and the untainted beauty of the far-west is far too alluring as well.
Venturing these lands with the intent of photography is an experience like no other; chasing the Bengal Tiger in the savanna to stumbling upon the Red Panda in the eastern hills, watching a flock of blue sheep attempt an impossible climb and daring the arctic to photograph the snow leopard.
The cultural discovery is also paramount, landscapes straight out of heaven and architecture of a bygone era. All of this and much more awaits a photographer in Nepal. We explore below in segments the dimensions of possibilities.
Wildlife Photography
Nepal’s geographical vastness needs no introduction. It has over time helped develop the biological diversity of Nepal. The variance in climatic conditions beginning from tropical in the south to reaching arctic in the north has made Nepal, “ Truly Natural”.
Nepal’s biodiversity is comprised into two main regions:
1. Mountainous ecoregion
2. Savanna and Grasslands ecoregion
Nepal is proudly called home by 208 mammal species and different reptiles, some of which are native. As of data collected in 2012 AD, we have more than 900 species of birds with the spiny babbler which is endemic (native) to Nepal. Underwater, we have a great diversity of catfishes spread out all over the country and also the Nepalese snowtrout.
Amongst this diverse selection the elusive snow leopard (Found North), Bengal Tiger (Found South), Red Panda (North Eastern), Blue Sheep (North West), One-horned Rhinoceros (South) are the creatures that have ringed many bells and marked ample expeditions to Nepal. Avifauna photography has also been a call to the wild for many adventures.
These faunas are protected under, National Parks and Wildlife Conservation Act 2029 BS. The 4 “classes” of protection are as follows:
1. National Parks (9)
2. Wildlife Reserves (3)
3. Conservation Areas (3)
4. Hunting Reserve (1)
Along with which we proudly hosts multiples Ramsar sites (Wetlands). The enlistment of Sagarmatha National Park and Chitwan National Park as world heritage was a notable achievement.
Flora Photography
As per the documented data of the 1970s and early 1980s, Nepal is home to 5067 species of flora. Amongst which 5041 were angiosperms and the remaining 26 species were gymnosperms. The ICOMOS checklist (as of 2006) presents 2,532 species of vascular plants under 1034 genera and 199 families in the protected sites.
Out of these species, 400 vascular plants are endemic (native) to Nepal. We have two endemic orchids Pleione coronaria, Oreocrchis porphyranthes and the most popular endemic plant is the rhododendron (arboreum).
A pictorial adventure through the lush foothills and the mountainous eco-system discovering Nepal’s flora, wouldn’t just be an experience but will also contribute to Nepal and the world. It is a segment unexplored in Nepal and lack interest in multiple dimensions (Research, Documentation and Photography) as left a gap in understanding flora and its potential.
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A Call To Nepalese: Travel Nepal This Decade
A Crisis is an opportunity for the brave. It is a chance to redefine dynamics, rhetoric and make history. We all faced a terrible crisis. Its impacts still loom like a sword hanging from a thread. In these troubled time, especially for the tourism industry, let us all travel Nepal this decade and breath back life to it.
In tourism statistics, we have always aimed to increase the inflow of tourists from foreign nations. But, what gets lost in the struggle to grow that number is the potential of domestic/ internal tourism. The pandemic has taught us a valuable lesson: globalization isn’t always the road to success. It is high time the tourism industry focuses on creating internal mechanisms, and revitalize Nepalese tourism.
When Visit Nepal Year 2020 was announced, it featured an ambitious goal of bringing in 2 million travelers to Nepal. The pandemic derailed the campaign. It stunned the industry, which for years was a great contributor to GDP and foreign currency reserves. A year went by in the blink of an eye, and much was lost during this storm.
The interconnected tourism industry felt the economic shock waves of the pandemic. It spread like an uncontrollable wildfire, bringing down shutters and closing gates. Businesses did their best to cope with the ricochet effect and survive together.
A peculiarity occurred once the lock down ended. People were restless, battered by a year-long violent storm that physically and mentally drained them. Thus, they began to travel!
They collected the little they had and exercised precautions to escape the brute reality. They indulged in the scenic Himalayan outbacks, the medley of hills and Terai’s vastness. They took in a fresh breath of air; for some, it felt like Moksha.
When it comes to traveling, what is the most important thing? Most always say money, but it is time. The combination of free time and disposable income creates a delightful mixture of travel. For what is the point of money if you don’t have time?
It was something that even the state agencies noticed, and announced a beta plan to provision a month-long travel leave. It also got lost in the storm.
Nepal has a multitude of destinations which are great for all ages. The public and private industry can endeavor into making regions more accessible as well, but without disrupting the natural essence. Sites can be promoted for domestic tourists by the local level utilizing catalysts such as religious, cultural, historical, urban and lifestyle tourism.
Wouldn’t you like to experience what was once Baise and Chaubise Rajya (Kingdoms before the unification of Nepal)? Traverse the trails of Bodhistava Majushree around Kathmandu Valley?
Indulge yourself watching the sunrise from Shree Antu with a sip of warm tea? Be awed by the pure spectacle from Mardi Viewpoint? Experience neo-classical luxury in Kathmandu?
The possibilities are endless, and with a good understanding of the audience; the sky is the limit.
One cannot understand the magnitude of depth Nepal offers without traveling. At times it seems like the concept of travel is reserved only for foreigners and expats in Nepal. This call is for those seekers who wish to unburden themselves from their routine life and harsh realities. Experience Nepal and rejoice in this natural treasure. Instead of celebrating occasions at exotic international destinations, do it in Nepal.
Experience indulgence
Luxury does not always mean Santorini, Bali or the Bahamas. It can be experiencing Kathmandu’s facets and indulging in a luxurious stay. Shanker hotel offers the best in class, wrapped in the beautiful baroque architecture. The neo-classical build infused with elements of fine wooden craft and masonry enables you to experience luxury at the finest.
When asked, “What defines a luxurious trip for you?”. I picture a beautiful rendezvous at Shey Poksundo Lake, via a beautiful helicopter flight. Indulge in the serenity, and head back to Kathmandu and detoxify stress at the spa and indulge in the finest cuisine.
Experience awakening
The segment of spiritual tourism is slowly but steadily gaining pace. Individuals from all walks of life, wish to understand and experience spiritual healing, practices such as yoga, music therapy, and meditation are slowly garnering the interest of all age groups. These can act as a great driver to promote domestic movement. Once can experience traditional Newar spiritual healing in Kathmandu. The mystic art of Shamanism in the Himalayas and unearth mystic secrets with stoic sages.
These are quite frankly just a few means to boost internal movement. The possibilities are endless, and it shall take a collective effort from all sectors to rekindle the industry. Thus, let us all make an effort to travel Nepal this decade.
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The Magic of Nepal - Part II
Nepal is the ideal destination for every genre of travelers from all over the world. From the magnificent highlands in the North to the diverse hills and lowlands in the South, historical heritage to rich cultures and ethnic diversity, Nepal has several different environments to explore for every traveler from every corner of the globe.
Exploring this small but humble nation, the gravity of this macrocosm hits all your senses; from the magnificent highlands to the diverse hills and lowland. Nepal has something to offer for every genre of travellers. We explore further the magic of Nepal and what makes it truly a lifetime experience.
Natures Grandeur
The most inviting element of Nepal is its glorious natural diversity. As one climbs up from the lowland s/he gets to experience the environments of the world. It is rare to find a nation which begins close to sea level and reaches for the stars. Over the years some sites have become Nepal’s marquee such as Mt. Everest and Sagarmatha National Park; Chitwan National Park; Shey Phoksundo National Park; Koshi Tappu Wildlife Reserve; The Annapurna Circuit and Kanchenjunga Conservation Area. These are just a highlight of what Nepal has to offer in terms of nature tourism.
Over the years, national and international interests have enabled Nepal to become successful in environmental conservation. It has allowed populations of endangered species to climb up, forests to rekindle and wetlands to expand.
This grandeur makes Nepal enticing for all the right reasons; from bird watching and sightseeing, trekking and ultra running; landscape photography to adventure sports. Nepal still has not been able to tap its full potential in this regard, but its evident possibilities are endless.
The majority of tourists that flock to Nepal every year are mostly trekkers and backpackers. They indulge in the charming mountains and enchanting hills, breathing in clean mountain air and experience awe at every step. Coupled with great hospitality, they leave with not just glorious tales; a calmer mind and gallery full of pictures but also with an unforgettable experience.
Culinary Delights
Time and again debates on Nepal’s potential to become a culinary destination are raised. The ethnic diversity of this nation is indigenous and migratory. Over the years, it has created a diverse culture and also a delightful spread of cuisines.
From the influence of the Trans-Himalaya, multifariousness of Newari cuisine to the delicious flavours of Tharu in the south, Nepal's potential to become a culinary destination is endless. The flavours of Thak Khola (Thakali) has become a much-loved symbol of Nepal's taste. These are quite frankly just a few cuisines which have garnered spotlight, many lie in the shadows. A detailed study spanning the entirety of Nepal led by culinary masters would help bring them to light.
A dish is not just a combination of ingredients but also a symbol of one’s culture. Each region has its native ingredients, methods and utensils; this helps create the unique symphony of flavours. If not recorded in time, they shall fade away like everything else and just be tales.
An Appreciation of Hospitality
The hospitality industry experienced a boom after 1950 AD; especially in the Kathmandu valley, which had a strong foundation. A general typology to understand Nepal is to divide it into Ancient, Medieval and Modern. Ancient and Medieval Nepal did not span more than this valley. Thus it was called the valley kingdom of Nepal. Much of its development occurred during the Lichhavi Era and second Malla Dynasty. The Gurkha conquest led by King Prithvi Narayan Shah created Nepal’s new fold. Modern Nepal expanded even after his death with campaigns led by his successors.
The strong foundation of Kathmandu was its background in mercantilism. It played a valuable role in trade and exchange in the Indian sub-continent. It over the years made Kathmandu valley a melting pot of cultures. We developed an appreciation of hospitality, as traders flocked this vale and at times had to call it home for a long duration.
This appreciation is not native to this valley, but something wired in Nepalese. I have heard many travellers say, “ This love and hospitality feels surreal. I wish I could stay here forever.”
The Always Smiling People
The takeaway of most travellers to Nepal is this beautiful phrase, “ The always smiling people.” No matter the hardship, we never fail to welcome guests with a beautiful smile and cater them with the utmost hospitality.
Exploring Nepal even I have experienced this humble smile that makes me feel at home. A universal symbol showing one's happiness and delight exemplified in the diverse faces of Nepal. So many ethnicities but one commonality, a beautiful smile. The emotions, at times, feel unexplainable, but some things are best unexplained.
I am also a Nepali, and it is my pride to welcome you to this beautiful nation. I might not speak your language, the idioms and phrases, but I know a smile makes you feel right at home. When you smile back, it is a hint that what I have done is right, and I, along with all the Nepalese, will do everything to make sure that smile stays on your beautiful face.
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The Magic of Nepal - Part I
The nation of Nepal does not have a giant footprint on the world stage. It is small, quaint yet magical. When asked about Nepal Mt Everest, Lumbini and the Gurkha heritage take the spotlight, but in its shadow lies an amalgam of exotic culture, remnants of the old world and unparalleled beauty.
The nation of Nepal does not have a giant footprint on the world stage. It is small, quaint yet magical. When asked about Nepal Mt Everest, Lumbini and the Gurkha heritage take the spotlight, but in its shadow lies an amalgam of exotic culture, remnants of the old world and unparallel beauty. It creates a magnificent experience no matter the intent, as one is bound to encounter this magic that makes Nepal, a lifetime experience.
Old World Elegance
Nepal, as a nation shares the pages of history from primordial times. But in the global stage, its recognition only came after 1950 AD. The implementation of an open-door policy allowed explorers, documenters and adventurers to experience the magic of this beautiful country. It is through their work, documents, and stories Nepal charmed the world.
Walking the streets of Basantapur Durbar Square, one can witness a peculiar amalgam; it is hard to describe seeing the European façade of Gadhi Baithak find a place amongst traditional Newari masonry. This peculiarity creates a spell, enticing all to imagine a bygone era.
Shanker Hotel itself is an example of old-world elegance. A neo-classical palace commissioned during in the 19th century with the utmost luxury and magnificence.
With the turn of the century and end of the Rana rule in Nepal. It was then converted into a luxury hotel. Its baroque facade shines bright even today in the 21st century with ancient carvings displayed in grandiloquence. It is rare to experience such grandeur, coupled with the utmost hospitality in Nepal.
A Cultural Amalgam
Every itinerary to Nepal features experiencing its capital, Kathmandu. Making way through the busy streets, bustling markets and heritage sites. The amalgam of Hinduism and Buddhism is clear as night and day.
The discovery and founding stones of this valley are of the Buddhist faith. The township of Manjupatana, created by Boddhisatva Manjushri was the first of many in this valley. Today, it is home to numerous cities such as Kathmandu, Lalitpur, Bhaktapur and ancient villages such as Tokha, Bode, Khokana and Thecho.
It is rare to find such a cross-cultural diversity in the modern world, with two distinct faiths such as Buddhism and Hinduism calling one valley home. The unique discipline of Vajrayana Buddhism flourished in this valley even though the origins of it lie in Tibet. It has grown even further with multiple sects of Buddhism such as Mahayana, Theravada, and Vajrayana intersect each other in such a small space.
This cultural amalgam gave birth to the unique pantheon of deities worshipped by the native inhabitants of this valley. When one dives into the Newar pantheon, divinities of both faith have equal importance and respect. Some even come to life, few are living gods and goddesses.
Describing what creates this cohesion is difficult, unearthing the mysteries of it a monumental challenge. It is best to enjoy it than to dissect it.
The Last Light of Magic
Many have crossed oceans and walked treacherous trails to find, understand, learn and heal themselves through the magic of the eastern world. I have crossed paths with many who left westerly pleasures and made temples and monasteries home. I’ve heard many say, Nepal is one of the last places in the world where magic still exists.
From shaman’s to mystic sages and jogini’s (female practitioners of the dark arts); ancient healing practises and tantra rituals. Drawing a scientific conclusion at times is difficult due to the secrecy and mysticism.
On the road to Patan Durbar Square near Nya: Tole (Na Tole), lives a family of Bajracharyas. They for generations have been the doctors for the people of Patan. But they have no medical degree. During my commute, I saw a group of tourists in awe. The Bajracharyas have installed clear glass doors and windows. All can see their practice.
The mystic doctor was patting a woman with a traditional broom. He whispered secret chants during the process. Once the healing process was over the woman bowed and departed. A gentleman came and sat down in her place, behind him was a cue of five more individuals.
I have sat in that very spot as a young child. Confused and scared, I remember holding my mother's hand as he patted me with a traditional broom. To calm my senses, I closed my eyes. The gentle taps were quite soothing. As he manoeuvred the broom in a sweeping motion from my head to shoulder and feet, it seemed like he was cleaning what my mother told him was my problem.
A morsel of rice was then wrapped in a piece of old newspaper to be placed under my pillow. Another was to be sprinkled in the cardinal directions of my room. Did it work or not, I shall never know. But, it was good enough to give hope and strength to my mother.
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Bapacha: The Living Hero of Patan - Part II
According to the tale, a Kirati King(King Patuko) who once ruled Lalitpur went far to set up a perimeter around the Bahal and caused obstacles to the devotees and travelers. Then a priest afraid of the Kirati ruler decided to send his son to perform the daily rituals. He thought the Kirati soldiers would just let him go thinking he was a child.
The next day before dawn, the boy left for Kwatha. As expected, the Kirati soldiers ignored him, thinking he is just a small boy. He opened the main gate and performed his duties. Lastly, he prepared breakfast for Sakyamuni Buddha and placed it in front of him.
The boy was curious to why Shakyamuni Buddha did not take his meal. Thus, he waited patiently.
He then made a modest request, “ My dear Buddha, please! Please wash your hands and face. Your breakfast is ready and getting cold. My parents are occupied with their household chores, thus have sent me to attend to you.”
There was no response from Shakyamuni Buddha. The boy having the purest heart kept on repeating his humble request. He did not know that he is talking to an idol made of bronze.
The boy continued requesting Shakyamuni Buddha, but his cries were unanswered. He then stated, “ Oh my dear Buddha, if you do not accept my request, then I will have to stay here, and I will go hungry.”
The idol then slowly moved, took the holy water fetched by the boy and washed its hands and face. It then took the breakfast the boy had prepared. A gentle smile came on the boys face, as he watched his beloved Lord accept the meal he prepared.
At home, his parents anxiously waited for his arrival. They heard the door creak; it was their son. They hugged him dearly and asked, “ What took you so long?”
To which the boy answered, “ I performed all tasks that you told me, father. At the end of which, I served Shakyamuni Buddha his breakfast. But he did not take his meal, I requested him many times, but my cries were unanswered. I then told him that if he does not take his meal, that I would have to wait here and I would go hungry. It was only then, Shakyamuni Buddha cleansed himself and ate his meal.”
The boy's parents were rendered speechless. Thus they decided to follow their son and see it for their own eyes.
The next day, they looked from a distance as their son perform his tasks. He brought holy water and breakfast, which he placed in front of the idol which slowly cleansed itself and ate.
The boy's parents were in joy as they witnessed an extraordinary event.
Once they reached home, the priest said to his wife, “ My dear, how long will we do this? Send our son, amidst such danger. It will not be long before the soldiers become suspicious of him.
To which his wife answered, “I agree, but what can we do?”
The priest called his son and requested, “ My dear boy, tomorrow once you finish performing the daily tasks, I want you to put forth a humble appeal to Shakyamuni Buddha. Please let him of the Kirati ruler and his followers actions which has removed all security from our lives.”
The boy, gentle and obedient; did as his father requested.
To his appeal, Shakyamuni Buddha responded, “ When you come tomorrow, bring a cup of cows milk.” He returned home and told his parents of the Buddha’s response. The next day, he performed his tasks and then placed the cow's milk before Shakyamuni Buddha.
“ Do you know of the bauga (a pit made to dispose objects used in religious activities), near the fort of the Kirati ruler?” asked Shakyamuni.
“Yes, my dear Buddha.”
“Pour this cup of cows milk into the bauga while you head home.”
The boy did as instructed and poured the cup of milk into the bauga. A mild buzzing was heard, which got louder and louder.
To his surprise, thousands of hornets flew out of the pit. They created a great noise and began stinging followers of the Kirati ruler. The hornets swarmed the fort next, and created mayhem.
The Kirati ruler and his family became terrified and ran away.
Many died that day, and only eight hundred escaped from the northern gate of the city. This locality is as Chyasa, meaning eight hundred in Nepal Bhasa.
At last, peace returned to the city of Lalitpur.
Centuries have passed since and even till this day, the Bapacha: a young, smart, gentle boy is the head priest of the Kwa Bahal. The monastic community has successfully preserved the old practices and ritual conducts, and shall never forget the extraordinary feat of the Bapacha.
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Bapacha: The Living Hero of Patan - Part I
Lalitpur, a city of diverse culture, art and tradition is home to many wonders and mysteries. In it lies a sacred space which has stood the test of time and outlasted various dynasties that once battled to rule this glorious city. This sacred space is no other then Kwa Bahal, which today is also known as the Golden Temple of Lalitpur.
Lalitpur, a city of diverse culture, art and tradition is home to many wonders and mysteries. It was known as Patan in a bygone era, this name is still associated with the core settlement of the city. In it lies a sacred space which has stood the test of time and outlasted various dynasties that once battled to rule this glorious city.
This sacred space is no other then Kwa Bahal, which today is also known as the Golden Temple of Lalitpur. The main complex houses the idol of Shakyamuni Buddha, locally known as Kwapajju which was rescued from the ruins of Pingala Bahal by a descendent of the monasteries priest. (An ancient monastery established by Pingala Devi that once stood in the Pasupati area).
Kwa bahal was commissioned, by King Bhasker Dev Verma a Thakuri king who hailed from Noakot (Nuwakot) mountains and appointed after Jaya-Kama- Deva who did not have any children.
“This Raja had no issue, so after his death the Thakuris of the Noakot mountain came and elected a Raja from among themselves.” Wright, 1990: 157
The location where he established the bahal was once known as Kwatha, meaning a fort. This site is known to have been the domain of a Kirati ruler, who had commissioned a Buddhist shrine. The ruins of which was converted, into the abode of Kwapajju.
Every month a deopala (caretaker) is appointed at Kwa Bahal who bears the responsibility of overseeing all rites and rituals. His first act is to nominate a Bapacha, a young boy aged 10-12 years; smart and gentle who shall attend to all the need of Kwapajju (Shakyamuni Buddha).
Traditionally he (Bapacha) is nominated from within the members of the deopalas family. If a suitable candidate is not found, he is picked from the households who are members of the monastic community.
Once a candidate is ordained, his initiation process begins.
His head is shaved as an act of purification and he puts on a uniform, which features a long-dress, cotton belt and no shoes. His diet consists of only vegetarian food. For the month, he isolates himself to only his religious duties. He is bared, from contacting his friends and even his family. These restrictions may seem like taboos but are steps to ensure his full devotion, and focus.
He is guided by Neekulimha, who for generations has been the custodian of many Bapachas. She ensures his well-being, cooks him specific food and makes sure he follows all the codes and conducts.
His day beings at the crack of dawn offering a special prayer to the idol. He rings a bronze bell, waves the yak-tail and sprinkles holy water on to the devotees. He beats a dharma-gandi ( a wooden instrument), which reminds the local people of their religious (dharma) duties. During his working hours, the passage to the main temple is blocked by a metal chain so that devotees may not distract or get too close to him. He is assisted by an older boy inside the Kutgar (The space where the idol is placed) to perform rituals.
One of his prime duties is making a scheduled walk around the locality of the Golden Temple monastery. He takes a specific route once in the morning and later in the evening. During his commute, he rings a bronze bell which he holds in his left hand. The other holds two keys of the bahal gates. He walks barefoot, and in complete silence, every day. He is escorted by a gentleman who warns others to make way for the Bapacha.
You may be curious about why a young boy is assigned such an important and challenging role?
The tale of the origin of Bapacha passed down from oral traditions goes as follows.
In antediluvian times it is said Lalitpur, was ruled by a Kirati King named Patuko. He established his capital at a hillock near the monastery, where his ancestors once once built a fort. This place is still known as Patuko, which lies opposite of the cross-roads of the path to Mahapal.
He (King Patuko) and his followers troubled the locals greatly. He even went far as to set up a perimeter around the bahal and caused many obstacles to the devotees and travellers. The religious duties were conducted by a priest, who was extremely frightened by the Kirati ruler. One day, he decided that it was too dangerous for him to head to the monastery, thus, decided to send his son instead.
The boy was young and innocent. Thus his father thought the Kirati soldiers would just let him go thinking he was a child. Being obedient, he listened to his father carefully, as he taught him the way to perform the daily rituals.
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Thecho and The Navadurga - Part II
The Navadurga masked dance is performed twice a year: during Dashain and Yomari Punhi. The idols of Bhramayeni, Balkumari, Bhairava, and Navadurga are carried around the town in chariots. A group of men who observe religious rites adorn the masks of the Navadurga Gaan and present the iconic traditional dance at the Dabhu (open-air stage) at the Lacchi (communal square) within the city.
This group bears similarities with other indigenous masked dances such as Sikali Naach (Khokhana), Ajima Naach (Kathmandu), Sapta Matrika Naach/ Gatu Pyakhan ( Kirtipur) and Asta Matrika Naach (Lalitpur).
These dances feature the manifestations of Shakti/ Parvati: Bhramayeni, Maheswori (Rudrayani), Vaishnavi, Kumari, Indrayani, Varahi, Chamunda and Maha-Laxmi. They are accompanied by Bhairava, Shima (Male Lion), Dhuma (Female Lion), Lord Ganesh and Lord Kumar.
The Navadurga Naach (dance) also features the same set of deities but Bhairava, Varahi and Chamunda play a central role. Given how these three are great warrior avatars with Bhairava being the wrathful manifestation of Lord Shiva; Varahi being the boar avatar of Lord Vishnu and Chamunda the fearsome aspect of Parvati. It projects a warrior aura that helps strengthen the thought of it being instituted to protect the country.
The masked dance is performed twice in a year: during Dashain and Yomari Punhi.
In the town of Thecho, amongst all the Newar festivities, Yomari Punhi holds the highest rank. During which, the idols of Bhramayeni, Balkumari, Bhairava and Navadurga are carried around the town in chariots. The procession circumvents all nine toles (communities) of the city. After which, a group of men who observe religious rites adorn the masks of the Navadurga Gaan and present the iconic traditional dance at the dabhu (open-air stage) at the lacchi (communal square) within the city.
The ensemble features a total of eleven dancers who adorn the masks of Bhairava, Shima, Dhumba, Lord Ganesh, Varahi, Chamunda, Bhramayeni, Maheswori, Vaishnavi, Kumari and Indrayani. The tunes are provided by a team of four, where one carries a large drum called dhime but has an odd shape. The other three play a small thin cymbal known as taa. A member of the guthi (an ancient communal organisation created by either the state or community members to perform religious rites, conduct festivals; maintain, preserve temples and other religious activities) carries the idol of Navadurga.
In 2018 AD, after 24 years they entered the square on the eve of the Bijaya Dashami. Previously to which, they visited during the full moon of Kojagrat ( Kojagrat Punhi). In the year 2019 AD, after forty years they presented their intricate routine at the dabhu (open-air stage) of Patuko in Patan Durbar Square.
The strings of this ensemble are tied with the goddess Mani-Talava. Who for the past twenty-four years stayed dormant atop a pagoda temple inside the cortex of Mul Chowk. The dormancy was not caused by any ill-fortune, or misalignment of the stars. Rather the inability to perform the rituals to invoke her and conduct the festivities.
In 2018 AD, after a combined effort she was invoked.
On the day of Navami, Khadgas (Swords carried by goddesses) along with a severed buffalo head are brought from the temple of Maha-Laxmi and Khokana respectively. Later in the evening, the troupe of Navadurga arrive at Lagan Khel.
Under the shadow of the Ma Shimah (Mother Tree), the righteous men prepare themselves. After conducting special rites, the group make way for Patan Durbar Square.
The goddess meets the Navadurga Gaan at the junction of Mangah (Mangal Bazar). Bhairava, Varahi and Camunda offer large garlands respectively and in their intricate manner follow Mani-Talava into the cortex of Mul Chowk.
At midnight, the group heads toward Patuko where opposite to the Agam Chhen (temple of the tutelary deity) they perform for almost 1-3 hours. Once the dance and ceremonies are over, they head towards the palace to rest and make arrangement to head home.
They return to the royal cortex on Chaturdashi, where they perform till mid-night and on the day of Kojagrat Purnima present their routine during the day as well. Crowds gather in masses to witness, a fully grown buffalo be roped and tackled down by the guthiyars (members of the guthi). The deities then consume blood directly from its vein and then perform another routine. They then indulge in a special feast known as bhuwae, and after dusk head towards Thecho.
Concluding this article, it is evident that Nepal Mandala (Kathmandu Valley) took on the facet of interpreting deities through masked dances. It doesn’t just have symbolic meaning but also a purpose. Globally it is a common practice found in indigenous communities, where each interprets their deities or faces to project fear, strength and unity.
This ancient tradition is on the verge of extinction. It finds hard to co-exist in a modern time, where its purpose is questioned, and methods called bizarre and gory.
A proper methodological study is in urgency to document and archive its history, rites, routine and the intricacies of the dance. Efforts from various channels e required to preserve this unique tradition and its roots.
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Thecho and The Navadurga - Part I
Durgas are the various demonic manifestation of Parvati, the Shakti of Shiva, and Navadurga means nine Durgas, Mahakali, Kumari, Barahi, Brahmayani, Mahesvari, Viasnavi, Indrani, Mahalaksmi, and Tripurasundari. Navadurga dance, a legendary traditional mask dance of Navadurga Bhawani of Thecho is performed every year during Vijaya Dashami and the days following the "Yomari Punhi" festival.
South of Lalitpur lies Thecho, an ancient village once known as Dyecha during the Lichhavi era when the settlement was in the low lands near Nakhu River.
When a landslide struck, the entire town was moved, to higher ground. The upper lands were known, as chhen choy ( chhen refers to home and choy: up) which later was altered into Thecho.
During the 16th century, the village was upgraded into a township by a Malla king of Lalitpur and renamed Dharmatharipur. Comparing regional history (the establishment of Jitapur {Khokhana} in the 15th century by Amara Malla of Kantipur), the founder of Dharmatharipur must have also commissioned the temple of Bramhayeni (Shakti of Lord Bramha).
The village of Thecho historically lies adjacent to an old trade road to India. Following the road south leads to Sankhu, an ancient Lichhavi era city with pieces of evidence that suggests older origin. An inscription that dates back to 538 AD inscribed by King Vamanadeva states how Sankhu was built as a trade route from Kathmandu to Kuti, Sigate and Lhasa in Tibet.
North of Thecho lies another Lichhavi era village, known as Sanaguthi (Sunakoti). The evidence of Sankhu is fortified by an inscription here. It also dates to the 5th century and mentions about Managriha and Kailashkut Bhawan. These infrastructures are ancient institutions developed as resting houses and some even as isolation areas for traders, religious travellers, priests and monks.
The above mentioned geographical details shall help one understand the institution and practise of the Navadurga Gaan (Group) better.
This ensemble is one of many troupes of mask dancers, that lie at various corners of the Nepal Mandala (Kathmandu Valley). But, is one of two that shares the name of Navadurga Gaan, the other is in Bhadgaon (Bhaktapur).
During my avid adventures following the mask dancers of Thecho as they made their way to Mangal Bazar in Patan Durbar Square, I made the acquaintance of Mr Prashant Mali, a journalist by profession and member of the organising committee. It was through him I got to learn that this troupe is connected to Manamaveshwori, the tutelary deity (family deity) of Lichhavi King Mana-Deva. (According to the vamshavali, King Mana-Deva isof the second Rajput dynasty {Lichhavi}).
Manamaveshwori is originally called Mani-Talava (Mani refers to Mani Jogini of Sankhu and Talava: Deity upstairs).
“Mani Jogini’s shrine is at Sankhu, Bajra Jogini’s at Sankhu and at Phurphing, Bidyadhari Jogini’s below Swayambhu, and Hingu Jogini’s south of Thapathali and also west of Patan” Wright, 1990 “History of the Kingdom of Nepal” Asian Educational Services: 90
She was instituted in Lalitpur by King Bir (Vir) Deva of the first Rajput dynasty (Lichhavi) who was also the founder of Lalitpur. He also commissioned Mangah, the name he gave to the centre of his city. Today it is known as Mangal Bazar.
“... he built a chaitya and a dhara [water fountain], and erected a Sivaling, a Ganesha, a Mahakala, and a Mandapa, and built a Durbar for the Raja, all of which he consecrated. Being a devotee of Mani Jogini, he named all these after the goddess as follows: Mani Talava [i.e Taleju in the royal palace], Mani-chaitya, Mani-dhara, Mani-linga, Mani-Ganesha, Mani-Kumara, Mani-Mahakala, Mani-Mandapa, and Mani-gal-bhatta.” (Wright 1972:133)
When the troupe reaches near Mangah, Mani-Talava is carried by priests to the junction. Bhariava ( Tantric manifestation of Lord Shiva), Chamunda ( Fearsome avatar of Parvati) and Varahi (Boar Avatar of Lord Vishnu) of the troupe present large garlands and offer salutations. The ensemble then follows Mani-Talava into the palace. It is here, they dance till mid-night and perform sacred rites the next day.
Now, connecting all pieces of evidence, it is safe to say this traditional dance has Lichhavi origins.
In chronology, it is also stated that King Gunakamadeva, the founder of Kathmandu, revived the worship of the Navadurgas.
“.…. he also revived the worship of two sets of Nava-durgas, the one inside, the other outside, of the country.” Wright, 1990: 154
He was a descendent of King Bir (Vir) Deva, and the tradition may have died out to later berevived after hundreds of years. But there are no proper writings that state the locale of the practice and its details.
In Nepal Mandala, traditional masked dances are an indigenous form of bringing deities to life and instilling fear. These divinities are mostly Asta Matrikas or Nava-Durgas (both have similar characteristics with only a few variations) which are placed in the outskirts of the township. In some areas, these temples are also accompanied by military barracks. An example of which in modern times is the temple of Lomari Devi ( Bhadrakali) and the Bhadrakali Barrack.
Given how Thecho lies in the old road to India, the indigenous practice could have been a way to ward off evil both in human and supernatural form.