November 2014 – Vol 10 No. 11
ART ARCHITECTURE INTERIOR
DOCUMENTING ARCHITECTURE
PATAN HOUSE
for a Nepali taste of living CONSONANCE OF
TIME AND ART
TREK TO
Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95
Annapurna
HYATT REGENCY
Presidential Suite
10th YEAR - ANNIVERSARY SPECIALS
THE INDRESHVARA TEMPLE OF PANAUTI
CONTENTS
28 Interior 18 Architecture
PATAN HOUSE FOR A NEPALI TASTE OF LIVING ..........................................
HYATT REGENCY - PRESIDENTIAL SUITE Hyatt’s Presidential Suite is a hotel within. And, if we draw the analogy a little further, it is a city within with an amalgam of many different things of the old and the new, the traditional and the contemporary. It is a space designed to be part of an experience of a city - of a city that is characterized by its numerous contrasts.
NOVEMBER 2014 VOL 10 NO.11 SPACESNEPAL.COM
40 Cover
DOCUMENTING ARCHITECTURE THE INDRESHVARA TEMPLE OF PANAUTI The Vidyadharas in the spandrels of the door frames and the pairs of Vidyadhara / Vidyadhari on the extended lintels display a sense of grace and formality that is exemplary for the 11th to 13th century carving. The bird-men (kinnara), lions, peacocks and sea-monsters (makara) of the jambs, the Kirtimukha of the secondary lintel – all of these iconographical elements speak an archaic language that makes this portal a unique fragment, that deserves a detailed study.
24 Impact 46 Art
CONSONANCE OF TIME AND ART Painters of South Asia resisted the Western formalism but continued to use their forms. Out of this conflict did the painters in South Asia produce very strong paintings. Nepali painters of the modernist school, not too many in numbers, did go through the same process of resistance and adaptation of the Western forms.
FOR AVOIDING HAZARDS Asbestos, found mostly in old refrigerators and air-conditioners as an insulating agent, can cause mesothelioma, a form of cancer. Old refrigerators should never be broken apart without proper breathing equipment to filter out the asbestos particles. Breathing in even a small amount of asbestos for just a few seconds can cause cancer.
50 Off the Shelf
TIBETAN FURNITURE The most numerous types of Tibetan furniture are the generalpurpose items such as chests, cabinets, and low tables. Other types of furniture such as the prayer wheels, offering cabinets, and reading desks were produced in smaller numbers because they had more restricted functions associated with worship. It is sometimes wrongly assumed that these special types of furniture were used exclusively in monasteries. Many of the smaller offering cabinets and prayer wheels in fact come from the homes of wealthy families who maintained shrines within their houses, sometimes in a special room or more often in a corner of the main living room.
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55 Journey
TREK TO ANNAPURNA The best part of the trail to Annapurna starts after Deurali. You go along the river through the valley which is flanked by snow covered mountains on one side and towering cliffs on the other. The valley is undoubtedly very beautiful. Its beauty captivates anyone and makes one stop to appreciate.
62 ARTSPACE: IN SEARCH OF PEACE 66 PERSONALITY 68 PRODUCTS
64 STORE WATCH: COLOR BAZAR 72 OPEN SPACES
NOVEMBER 2014 / 9
Editorial Let there be Light & Color ! As we gear towards winters the sky changes colors with beautiful sunrises and sunsets to enjoy. More so, if you have majestic a peak in front of you – the chilling effect of its transformation is even more profound. What would the world be like - in the absence of color? One quick answer might be 'like a black and white movie'. Though not black, white is also a color and a black and white movie displays shades of grey. Darkness is thus devoid of color. That is how experts have defined color as a product of the harmonious mixture of light and shadow thus where there is no light there will be no color. Color is a visual attribute that results from the play of light, emitted further with reflection or refraction. Be it in nature or in human construct, it is an important element. In this issue, with an objective of presenting different perspectives and features on this theme, we highlight the visual attributes of Spaces with COLOR. We can assert that artists and painters are creative group of people that understands and plays with colors. Thus ArtistsCelebrating Colors is the cover story for this issue.
The story of vastu interpretation on color Vastu vs. Architecture Selection of Color is written to explore the perspectives on Vedik and Yogic perception of color. Similarly Planning a Color Scheme is an article that features guidelines for planning color scheme for interior designing. Light is also an important element for the interiors as well as exterior design, thus the article Accentuating Interior will also provide guidelines on the perceiving and selecting lights. Reviews of Asha Dangol’s 20 Year Retrospective and Kala Sangam: The Exchange of Ideas adds hues through analytical presentation of the efforts of artists to see the world from their creative viewpoint. Similarly, articles on the Kakori Restaurant and Summit River Lodge presents excellent examples where the interiors has evolved with appropriate selection of material and colors that have cultural inspiration radiating beauty. May your life be filled with optimism and a hue of colors ! Namaste !
In theory, black is not a color but just the absence of it. Our prominent Artist Kiran Manandhar is in love with black as Black is his Favorite Color. Sarosh Pradhan / Editor in Chief
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NOVEMBER 2014 / 11
CONTRIBUTORS
Prof Dr Abhi Subedi received his higher education in Nepal and Britain. He is an essayist, critic, playwright and poet. He has over two- dozen books on different subjects to his credit. Among his over 10 plays, several of which have been performed by strong theatre groups in Nepal and abroad. Professor Subedi has taught for 40 years at the Central Department of English. He is involved in a number of interdisciplinary study groups and a prolific writer on the subjects of art, culture and theatre. His over a hundred essays and seminar papers are published in Nepal and outside.
Dr Niels Gutschow was born in 1941 in Hamburg, Germany. He is an honorary professor at the University of Heidelberg, South Asia Institute. Graduated in architecture from Darmstadt University, he wrote his PhD-thesis on the Japanese Castle Town in 1973. From 1978 to 1980 he was head of the MĂźnster Authority of Monument Protection and from 1980 to 2000 a member of the German National Committee for Conservation. Now a prolific writer of history of urban planning in Germany and Europe and into urban space and rituals in India and Nepal, his book ARCHITECTURE OF THE NEWARS: A HISTORY OF BUILDING TYPOLOGIES AND DETAILS IN NEPAL (3 VOLUMES) is the most valuable contribution for the documentation and preservation of Nepali architecture. Currently he lives in Abtsteinach, Germany and Bhaktapur, Nepal. Sunil Dev Pant is Director of Environmental/Occupational Health and Research/Development at Nepal Building Aspirations (NBA), Kathmandu, Nepal. Mr. Pant has earned a Master's Degree in Environmental Engineering from Montana Tech (University of Montana), Butte, USA.
Rachana Chettri is a newspaper columnist. The area of her interest is Art and Aesthetics, and as an extension, she has been delving into life and culture. A student, a writer and a wisher-liar, her writing on the subjects has been another means by which she explores the world around.
Sanish Shrestha loves to travel, specially going on treks to new places absorbing nature and understanding the day-day lives of local people . Reading and music are other areas he gets interested and indulged. He is doing B.E in computer engineering(2nd year) at NEC.
Volume 10 NO. 11 | November
CEO Editor-in-Chief Creative Manager Feature Editor Contributing Art Editor Junior Editor Contributing Editor Photographers Intl. Correspondent Interns Chief - Administration Marketing Officer Admin Officer Office Secretary Accounts Legal Advisor
Ashesh Rajbansh Sarosh Pradhan Deependra Bajracharya Jeebesh Rayamajhi Madan Chitrakar Kasthamandap Art Studio Sristi Pradhan President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Pradip Ratna Tuladhar Hemant Kumar Shrestha Bansri Panday Binam Bajracharya Mohein Ranjitkar Anu Rajbansh Debbie Rana Dangol Ashma Rauniyar Pramila Shrestha Sunil Man Baniya Yogendra Bhattarai
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Regd. No 30657/061-62 CDO No. 41 SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.
COVER PHOTO: ................ Š Ashesh Rajbansh 12 / SPACESNEPAL.COM
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NOVEMBER 2014 / 13
REVIEWS
A PHOTOGRAPHIC PILGRIMAGE PRAGYAN THAPA, KATHMANDU - Attending the photography exhibition Restoration of Mural Arts of Mustang: A Journey through Body, Soul & Heart at Siddhartha Art Gallery, I was introduced to the prominence of Italian photographer and art conservator Luigi Fieni. Since 1999, Fieni has been working with the American Himalayan Foundation to restore and conserve the Tibetan art and the cultural heritage in the region of Mustang. Fieni’s solo exhibition not only documented the hard work his team has put into preserving the traditional art of a place having a secluded existence, but also called attention to the devotion of the man behind the lens, his means to paint a world that has become his own sanctuary.
The exhibition, ascending all through the three floors of the gallery, arranged a journey in positioning the soul (people and lifestyle), the body (the landscapes) and the heart (the rich Tibetan culture) of Mustang.
The local life carried in the series take you to the periphery of Mustang’s emotionalism, tracing the people’s religious commitments and gestures of glowing bliss. A priest, hunched forward, leads a ritual by reading from the prayer book in front of him. Fieni uses delicate lighting techniques; he illuminates the priest in his customary procedure and the light casting upon the subject appears to be a spectral ray of divine gleam. The same meditative calm was a visible trait in his other photographs that sketched the natives in the rural reality of the Tibetan life. His clicks captured school boys stealing shy glances towards the camera, a woman making cheese with recognized authority, monks residing in brotherly intimacy, snakelike veins running over old hands that clasp a string of beads and the erstwhile art of loom serviced from a Mustangi woman’s spin. In his statement Fieni related these spirited attachments to infer life as “the totality of countless intimacies”.
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When I arrived on the second floor, at the glittery HDR images of the rustic landscapes of Mustang, a psychedelic flair of textures left even the absentminded observer with lingering contemplation. The photos stood like well planned out paintings, fabulously brought to life with vivid interplay of colors, the earthly tones coming to life with magical detailing. The selection named “Tears of Stone” showcased rocky landforms, imposing the wrinkly and compact ridgelines of the hills. On his website, Fieni dedicates a poetic interpretation for the selection, embracing the terrains as they achieve “calmness in anguish, completeness in desolation”. His other batch of selection “Soul Steps” contained dusty desert trails shot with a strikingly golden color composition which he dubs as an unending path, each step getting the pilgrims closer to their soulful awakening. The top floor was dedicated to photographs that specifically laid down the restoration process. Much of the
REVIEWS
work happen like a ceremony, local restorers shuffle in the collections, step by step they are shown grinding minerals for painting, sketching the preparatory drawings, piercing the sketch on the wall and finally overlaying fresh decoration on the blackened and grimy walls of the temples, thus refurbishing the ancient and retrieving the timeless. At the side, accompanying texts gave a run through about the project’s history – since 1997 the American Himalayan Foundation has been involved in “reviving the endangered culture and conserving and restoring the masterpieces present in the temples of Jampa and Thupchen”
– the difficult ordeal to resurrect from the abandoned states in which the temples exist and the disfiguring of wall paintings over the years, and the worthy footmark in engaging and training the locals in this important art of conservation.
The very exuberance of Fieni’s exhibition had set up the photographer’s internal pilgrimage, vocalizing the unattainable bodily and spiritual balance, merging the lines between preserving the art and being preserved during the passage of time.
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REVIEWS
NEW HISENSE SPLIT AC TD SERIES INTRODUCED Catering to the modern needs of consumers Navin Distributors, an authorized distributor of Hisense in Nepal, has introduced new model of Hisense split AC TD series for air conditioning. The new generation split AC TD series contains enhanced features such as long distance air flow, precise temperature control and low noise besides other common features. The series is said to have been designed for quiet, reliable and efficient operation. Hisense split AC TD series has potential applications in residential, commercial and institutional buildings. They have two main components: outdoor compressor/condenser and an indoor air-handling unit that makes air-conditioning flexible. As claimed in the press release, consumers with the new series of split system air-conditioners can efficiently and economically make their space warm or cool.
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Precise temperature control has been designed to help maintain the device at a constant temperature on the basis of feedback from the temperature sensor. This is said to ensure precise control of temperature, humidity and indoor air conditions thus ensuring optimum environment. 'Low noise' is one of the most important features of this series. With low noise feature, the customers will no more have to compromise with irritating noise. Similarly the long distance air flow feature makes the series ideal for a mobile and flexible lifestyle. Nabin Distributors has its showroom at A.T. Complex, Newplaza, Putalisadak.
NATURE AND ETERNITY II
Costumes and Canvas ROSHAN KUMAR BASNET, PATAN - Park Gallery, now at Pulchowk, has a long journey of hosting art exhibitions and curetting and promoting Nepali arts. Recently it hosted Nature and Eternity II, an exhibition of Pramila Bajracharya's paintings. There were 28 artworks, both old and new and more of cultural to natural landscapes covering two storied exhibition area of the gallery. A co-founder of Kasthamandap Art Studio, Ms Bajracharya has owned master's degree in fine arts from Tribhuvan University and has participated in a number of exhibitions in various countries and has travelled extensively. It's almost customary for the South Asian painters to blend the forms of culture and beauty, and in her part, her paintings are inspired more by the typical costumes, particularly of Jyapu women at first and then of Bengali women as well. In one of the paintings the landscape in white with blue sky is covered with the three figures of dancing women all attired in haku patasi, a traditional Newar costumes. At the backdrop of same rhythm and melody of music and
costume, the different colors of blouse - brown, red and green – represents diversity within unity giving artist the freedom of choice at the same time. The vibrant red and black with brown and green overshadows the landscape, but the artist has intelligently given white shawls to two women figures and has maintained the balance. The composite frame is made of four different canvases of varying sizes. What the eyes can see within the frame is not only the thing that the painting contains: beyond the frame we can see music and the colors of festive mood. Similarly, she has portrayed four buoyant women dancing in their Bengali costumes in one and the two women dancing along with colorful masks at the backdrop in another painting. These paintings provide a glimpse about the people, culture and traditions of Bengal. In the Landscapes, we can see the alleys and streets of the Kathmandu valley been accentuated. These paintings stand rejuvenated to be once again stirred with her colors and restored for eternity. However, these are primarily done in abstract and semi-abstract appearance so couldn’t be discerned as easily as other paintings. NOVEMBER 2014 / 17
ARCHITECTURE
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ARCHITECTURE
PATAN HOUSE
for a Nepali taste of living text
Binam Bajracharya
photo
Binam Bajracharya and Mohein Ranjitkar
It is located at an adjoining settlement of Patan Durbar Square. Surrounded by a hefty amount of old style Nepali homes, this accommodation house is embellished in ancient Nepali style and shares many architectural elements with the historic heritage sites of Patan. Conceptualized and run by Mangal Man Maharjan, this accommodation provides its guests with the best hospitality multiplied with homely environment and ancient Nepali taste of living.
T
his is an old building meant for an extended family now converted into accommodation house with modern amenities. You will hardly believe that it has been here for roughly 60-70 years. The 5 years of renovating and re-inventing of the place has really made it an uncommon sight in the middle of all the old houses but yet has the feeling
of belonging in the area. The blend of old and new of the exterior compliments the interior rather admirably. As you enter its small restaurant called 'Oh My Kitchen', you will notice a hundreds of music CDs, cassettes and few vinyls all over the wall. This
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ARCHITECTURE
collection of CDs and cassettes, leads you beyond the story of its conception. Mr. Maharjan used to own one of the largest music CD stores in Thamel before everything was available online and now owns, probably, one of the largest CD collections in the area. For all those years, he’d seen a lot of tourist attracted mostly towards Thamel and then he had a thought, “why just Thamel? Why not other places as well?” The main reason that Thamel was so famous was because of all the Hotels and other living spaces there. Then an idea clicked his mind: he decided to build a residence for tourist in somewhat an uncommon place. The whole theme of the place runs around the fusion of both worlds and a hint of Patan Durbar Museum. Going up the stairs feels like you’re roaming in your own home and it really has that typical Nepali home essence to it. Each floor has a room with its own attach bathroom. Wooden floor and ceilings, hand woven Nepali chairs, paper lamps on the ceiling and the classic designed semi-barred wooden windows adds to the Nepali essence of the room whereas the typical
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apartment design and placement gives the rooms an urban feel to it. The guests are mostly foreigners, staying in Nepal for a couple of months or even a year. It’s a different world inside. It features a balcony from where you can witness a 360 degree view of Patan which is just mesmerizing. Up in the roof you’re just surrounded by clumps of houses and you can see from the vegetable market nearby to the temples in Patan Durbar Square.
ARCHITECTURE
NOVEMBER 2014 / 21
ARCHITECTURE
Being in the heart of Patan, it was already a rare but exciting place for tourists to live in but it isn’t your common hotel or a bed and breakfast place. It took the old typical Newari joint family housing style and blended it with the urban apartment style and so, it resulted into a family of strangers living under one roof. This was what Mr. Maharjan has hoped for his guests to have the feeling 22 / SPACESNEPAL.COM
ARCHITECTURE
that it’s their home too. With the usual dinners and lunch together with all the guests and owners there’s also an occasional musical performance with Kutumba in their backyard. It’s an opportunity to both the guests and the hosts to exchange cultural experiences, way of living and wisdom which really brings out the intimate feel to the whole experience. This place is definitely one of a kind in the area and really sets off a good example of proper utilization of living spaces. Transformation of a 60-70 year old structure into something new and different has provided a different ambience to its surrounding. The old usually doesn’t go well with the new, but this place has found a way to brew these opposite complementing each other. NOVEMBER 2014 / 23
IMPACT
FOR AVOIDING
HAZARDS text
Sunil Dev Pant
Where ornamentation is insisted upon, it must be reinforced with steel, which should be properly embedded or tied to the main structure of the building. The building as a whole or its various blocks should be kept symmetrical about both the axes. Asymmetry leads to torsion during earthquakes causing the building to collapse. Symmetric simplicity is the best approach.
H
azards are everywhere, particularly in cities across Nepal where rapid urbanization has led to situations where injuries and deaths seem imminent. Hazards such as fire, explosions, microbial contamination and electrical faults can be minimized by practicing preventative measures. Natural calamities, such as earthquakes, cannot be avoided but steps can be taken in order to limit damage and casualties caused by nature's fury. Earthquakes In our part of the world, almost all earthquakes occur due to a geological process known as 'plate tectonics', which is the movement of the earth's outermost layer – the crust. Because of plate tectonics, the Indian subcontinent is sinking beneath the Tibetan plateau. This process started about 40 million years ago and is still going on. The direct result is the formation of the Himalayan range getting ever higher as plate tectonics forces the mountains. The range currently extends some 2400 kilometers. The Indian plate is currently moving at the rate of 67 mm per year, on average.
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Nepal is highly seismic and for centuries our traditional mortar-free construction proved to be apparently more earthquake-resistant than using mortar. The stones of the dry-stone walls built by the ancient Nepalese could move slightly and resettle without the walls collapsing; a passive structural control technique employing both the principle of energy dissipation and that of suppressing resonant amplifications. But urbanization has made these traditional technologies obsolete. Consequently, most houses and buildings have no protection against earthquakes. Poorly designed roadway systems in cities further complicate matters by creating bottlenecks and traps that prevent escape, thus killing even more people. Earthquake-prone countries have been building earthquake-resistant residences. They have improved the technology enough to allow even skyscrapers to withstand large earthquakes. In highhazard areas, engineers and architects avoid irregular or asymmetrical designs. These include L or T shaped buildings. These designs are more susceptible to torsion, or twisting about their
longitudinal axes. Instead, engineers prefer to keep buildings symmetrical so that forces are distributed equally throughout the structure. They also limit ornamentation, such as cornices, vertical or horizontal projections or fascia stones because earthquakes can easily dislodge these architectural elements. Where ornamentation is insisted upon, it must be reinforced with steel, which should be properly embedded or tied to the main structure of the building. The building as a whole or its various blocks should be kept symmetrical about both the axes. Asymmetry leads to torsion during earthquakes causing the building to collapse. Symmetric simplicity is the best approach. Electrical hazard When a contact is made with electrically energized equipment or electrical wires, there is a potential for the person to receive a shock, an arc flash (electrical explosion) burn, thermal burn or blast injury. These can cause instant deaths. Electrical sparks that lead to potential fires can be caused by frayed or worn electrical cords, appliance plugs “piggy backed� on a single switch, electrical
IMPACT
appliances such as radios, hairdryers, shavers, portable lamps, or radiators used near showers and baths, extension cords being used instead of permanent indoor/ outdoor wiring. Many home-owners do not replace broken or damaged light switches and power sockets in their houses and instead choose to do a quick-fix solution to a problem that can result in accidental injury or death due to electrocution. A large number of fires that occur in Kathmandu are caused by electrical sparks due to wiring faults. Several techniques have been developed that reduce the risk of electrocution and sparks. “Grounding� is an electrical system that intentionally creates a low-resistance path that connects to the earth. This prevents the buildup of voltages that could cause an electrical accident. Grounding is normally a secondary protective measure. It does not guarantee that one won't get an electrical shock. It will, however, substantially reduce the risk. Circuit protection devices such as fuses, circuit breakers, ground-fault circuit interrupters, and arc-fault circuit interrupters limit or stop the flow of current automatically in the event of a ground fault, overload, or short circuit in the wiring system. When too much current flows through them, fuses melt and circuit breakers trip the circuit open. This protects equipment and preventing wires and other components from overheating. Ground-fault circuit interrupters, or GFCIs, are used in wet locations, construction sites, and other high-risk areas. These devices interrupt the flow of electricity within a less than 1/40 of a second to prevent electrocution. GFCIs compare the amount of current going into electric equipment with the amount of current returning from it along the circuit conductors. If the difference exceeds 5 milliamperes, the device automatically shuts off the electric power. Toxic Gases Toxic gases such as sulphur dioxide, oxides of nitrogen, carbon monoxide, chlorine and ammonia present inside a building or a house pose a health hazard
to residents and workers. In high amounts and/or prolonged exposure, these gases can cause severe health problems including death. This can be minimized by ensuring proper ventilation that lets fresh air in. Use of exhaust fans that vent to the outside should be installed in bathrooms and above stoves to remove moisture and pollutants produced indoors. The choice of low-emission paints, cleaning agents, varnishes, glues, wood furniture, and building products will significantly reduce the likelihood of illness due to chemical exposure. Smoke alarms and carbon monoxide detectors should be installed inside tall buildings and multi-story apartments. Biological Hazards Other health hazards include diseasecausing microbes such as bacteria, fungi and mould. Consumption of contaminated food and water and inadequate provision for food safety can cause diseases; some of them even incurable. Most microbial contaminations can be minimized by employing simple practices such as washing hands and food before preparation, proper cleaning of kitchen utensils and use of anti-microbial agents in extremely dirty places such as toilets. Boiled or filtered water should be used wherever food preparation is involved. General upkeep of the house or building in regular intervals should be carried out in order to keep insects and rodents away. Insects and rodents carry many disease-causing parasites and should be avoided at all costs. Mice or rats are not only a nuisance that destroy everything from food stocks to electric wires, but they also carry dangerous diseases such as Rat-bite Syndrome, Lymphocytic Choriomeningitis and the plague. Keeping cats as pets is a good way to ensure that there are no mice in the neighborhood, not just one particular house. Other Hazards Explosion of Liquefied Petroleum Gas (LPG) cylinders occur frequently in Nepal causing major fires and physical damage. Several recent fires in Kathmandu have been linked to LPG cylinder explosions. Although risks cannot be avoided entirely, they certainly can be minimized.
A small leakage in the tubing that runs from the LPG regulator to the stove can catch fire resulting in instant explosion. Users must check the tubing to ensure that mice haven't bitten into it or it hasn't been crimped and broken open. Similarly, ensuring that the regulator is properly functioning and replacing it according to the manufacturer's recommendations can prevent many accidental explosions. Dropping the pressurized tank or even accidental tilting may cause explosions. Extreme care should be taken while replacing or moving tanks. Asbestos, found mostly in old refrigerators and air-conditioners as an insulating agent, can cause mesothelioma, a form of cancer. Old refrigerators should never be broken apart without proper breathing equipment to filter out the asbestos particles. Breathing in even a small amount of asbestos for just a few seconds can cause cancer. Lead, present in paints and water pipes/ solder joints, is considered a likely carcinogen and can cause nervous system damage, stunted growth, kidney damage, and delayed development. It is especially dangerous to children because it tastes sweet, therefore encouraging children to put lead chips in their mouths. Stripping or sanding off of this kind of paint creates harmful lead particles to freely float in the air, which when breathed in can be extremely dangerous. Choice of lead-free paint is the best practice in order to avoid this potentially lethal situation. Petrol that arrives in Nepal via India contains a substance known as tetraethyl lead or TEL, a compound of lead in liquid form added to petrol for higher performance. Lead compounds in exhaust gases escape into the atmosphere causing pollution. Most developed nations have completely banned leaded fuel and have been using unleaded petrol for years. These are only a handful of hazards that are present in our everyday world. There are many more out there that can cause physical loss/damage, injure us, make us sick or even kill us. Thankfully, we understand most of these hazards and have solutions to these problems.
"Jaya Ma Chandeshwori Hardware has been taking dealership of Jagadamba Cement for last six years. As per Mr. Ram Niwas, Director says that the sales of Jagadamba cement is high in Kavre district. Also he added further that Jagadamba Cement has always maintained it's quality." Address: Jaya Ma chandeshwori, Araniko Rajmarg, Banepa - 11 Ph: 011-661488, 011-661844
NOVEMBER 2014 / 25
INTERIOR
HYATT REGENCY
Presidential Suite A city within and a city characterized by its numerous contrasts
RACHANA CHETTRI photo A RAJBANSH text
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INTERIOR
For natural light plays a crucial role in establishing the character of the suite, the ubiquity of French windows here is perhaps a clue to the attention with which sunlight has been taken into account in the design of the area. Not to forget, the importance has been given to the view of Bouddhanath as well as the Hyatt Regency vicinity.
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INTERIOR
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INTERIOR
W
arm and glowing yellow shaft of light bathes the corridor as the afternoon sun enters through the adjacent French windows. Outside, the tiled roofs and brass steeples of the hotel complex: a modern, cosmopolitan adaptation of Kathmandu’s version of the traditional Nepali style foregrounds the bustling hodgepodge of buildings of the area. The corridor, on the seventh floor of the Hyatt Regency Hotel in Kathmandu, leads up to its Presidential Suite: a spacious 200 square metres of living space that like the hotel itself nods to the aesthetics of traditional Nepali art while maintaining the harmony and simplicity of contemporary design. With
the view of the Bouddhanath Stupa at its focal point the suite pretty much opens up to a panorama of the city’s northeastern outskirts; the beautiful, majestic Bouddhanath emerges from the nest of buildings as if it really were the crowned head of the Buddha meditating upon his majestic throne.
wood that glows with the sort of patina that can only ever come of extended use is a little piece of history in itself. In a way, it is a manifestation of the cultural significance and beauty of the tenets of Buddhism, some of the very beliefs that lend Bouddhanath its mesmerising vitality.
The suite interiors, particularly that of the sitting area, pay homage to the spirit and energy of the magnificent Stupa. There is a colossal antique Tibetan cabinet here. Functionally, it creates a literal divide between the living space and the dining area, but its aesthetical and historical value both seem to exceed its functionality. The ornately painted cabinet of old, dark
Then there is the hand-knotted Tibetan rug that is the centrepiece of the living space. A snow lion -the regal, mythical creature that represents the eight Bodhisattvas when depicted on Buddha’s throne - roars and bellows in a bamboo forest carpet. The furniture on top of it is non-pretentious, non-ostentatious. A large couch is complemented by comfortable sofa NOVEMBER 2014 / 31
INTERIOR
chairs and there is a splendid silver-gold coffee table to offset the neutral greys and beiges of the upholstery. A television set placed atop the beautifully varnished chest of draws right opposite might be a ready source of a distraction once a guest has settled in, but there are actually plenty of other things that are bound to catch their fancy before it does. In the study, there are old pipes: silver accented musical instruments whose craftsmanship is beguiling, and the bedroom cabinet is filled with old idols, vessels and other trinkets that are more than just passively lying pieces of decoration. 32 / SPACESNEPAL.COM
The master bath in particular seems to have been designed almost as an excuse for a little self indulgence and a whole lot of pampering. With a private sauna and a spa tub that looks straight out to the suite balcony and onto the majestic view of the Bouddhanath Stupa, the Presidential Bathroom is quite the cherry on top. The dark green of the marble and the pristine white of the porcelain combine with the sheen and reflection of the glass panels to create a soothing play of texture and light to give the space its own, unique personality. The semiearth tone that dominates the rest
of the suite - from the yellow-brown chequered curtains to the light-brown wood parquet, and the neutral-coloured Tibetan rugs to the rose-pink marble - gives way to a cohesive co-operation of contrasts here. The effect is an altogether delightful influence which works calmingly on the senses, although it does detract from the play of natural light that is so dominant in the rest of the suite. For natural light plays a crucial role in establishing the character of the suite, the ubiquity of French windows here there are two in the bedroom and three in the living space - is perhaps a clue
INTERIOR
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INTERIOR
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INTERIOR
to the attention with which sunlight has been taken into account in the design of the area. Not to forget, the importance has been given to the view of Bouddhanath as well as the Hyatt Regency vicinity. It is in fact wonderful how the bedroom opens up to the roomy brick-tiled balcony separated from the luxurious bath only by a pane of glass that connects to the living space and affords a wonderful view of Bouddha as well as the Hyatt pool and gardens. Hyatt’s Presidential Suite is a hotel within. And, if we draw the analogy a little further, it is a city within with an amalgam of many different things of the old and the new, the traditional and the contemporary. It is a space designed to be part of an experience of a city - of a city that is characterized by its numerous contrasts.
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COVER STORY
DOCUMENTING ARCHITECTURE
THE INDRESHVARA TEMPLE OF PANAUTI text
Niels Gutshow
photo
A Rajbansh
Detail of the tiny Kirtimukha in the apex of the tympanum above the niche-like shrine that is incorporated into the stepped lintel, supported by the colonnettes (toranthan) that frame the central door opening of the portal. Largely following the formula of the first example, Kirtimukha seems to be beaked, thus displaying an affinity to the sun-bird, Garuda. With reference to Garuda’s enmity with the serpents, it is widely believed that Kirtimukha devours the two snake bodies, which he firmly grasps with his human hands, the arms of which are covered by wings to remind us of his cloud borne origin.
Similarly, the Vidyadharas in the spandrels of the door frames and the pairs of Vidyadhara / Vidyadhari on the extended lintels display a sense of grace and formality that is exemplary for the 11th to 13th century carving. The bird-men (kinnara), lions, peacocks and sea-monsters (makara) of the jambs, the Kirtimukha of the secondary lintel – all of these iconographical elements speak an archaic language that makes this portal a unique fragment, that deserves a detailed study. 40 / SPACESNEPAL.COM
COVER STORY
Surya (left) and Candra (right) occupying the central position within the quarter-round panels of the wall brackets on both sides of the portal. They are supported by lotus thrones, the deities feature in the company of an ascetic and three female deities, dancing and playing music.
The State of Documentation of Architecture: An Overview Documentation of the unique architectural heritage of the Newars of the Kathmandu Valley by measured drawings began only in 1971 when Wolfgang Korn documented the Pujari Math in Bhaktapur and the Chusyabaha and Kasthamandapa in Kathmandu. I documented first a 19th century Shivalaya at Chupin Ghat in Bhaktapur in October 1971. The architects of the Bhaktapur Development Project (1974-86) documented c. 150 buildings, with Surendra Joshi, A. K. Thaku and Krishna Ram Chitrakar virtually developing into experts. After having concentrated on studies of Ritual and Urban Space I turned to architectural surveys of Gorkha (1981), Nuwakot (1983) and the Chaityas of the Kathmandu Valley (1986-96), with Surendra and Gyanendra Joshi as well as Saumundra Devpradhan covering a wide range of building and entire building complexes such as the Pashupatinath. Bijay Basukala joined in 1986 and a little later his brother Anil and his cousin Asha Ram Twayna. In 1990 the Kathmandu Valley Trust joined this effort with Sushil Rajbhandari by the documentation of palaces of Bhimsen Thapa such as the Chauni Palace (now the National Museum), a number of Rana palaces and more than 28 projects. A French team had joined in 1976 for a survey of Panauti’s buildings. A little later, Reinhard Herdick began his studies in Kirtipur, where Mehrdad and Natalie Shokoohy joined in the 1980s. This short overview is by no means complete. It is meant to recall that quite a lot of work has been done but that we are quite far from what in the context of conservation is called an inventory. Carl Pruscha edited a “Protective Inventory” in 1975, but that was more a kind of catalogue,
documenting a building with a site plan and a photograph. We are in fact very far from a complete inventory of Newar architecture. Recently, students from the Department of Architecture and Urban Planning of the Pulchowk Campus have made a laudable effort in recent years in the field of documentation. But this could be expanded if the production of a measured drawing becomes part of the curriculum: as is the case with many schools of architecture around the world. To measure is a good reason to be at a site longer than the click of a camera. To spend a couple of days at a site and in a building come near to a design
Panel of the secondary lintel above the southern door, 12 cm high. Kirtimukha is presented in the Gupta-period style that was copied and transformed in Nepal’s Licchavi period. The mouth spouts out beads and leaves which form a kind of halo around the face, while general lotus foliage frames the oval element. Both, beads or drops and lotus leaves indicate the offering of water.
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COVER STORY
Detail of the left end of the secondary lintel. What looks like a console is in fact stripped of its structural function to be turned into a symbolic element that faintly mirrors its original function in Kushana architecture. The rolls that define the beginning and end of the outline of the console are characteristic of Kushana architecture. Traces can be seen at the friezes of Gandharan art from the 1st century CE.
process in reverse: The precondition for unraveling the structure and meaning of a building is to establish a relation to it or even love. To measure is also a good reason to return to the good old pencil to record the situation as it is. The straight line on the screen of the laptop does not exist in reality and – it is boring. What few people know in Kathmandu: Bhai Kaji Tiwari, the chief of Kathmandu Valley Town Development Implementation Committee, known as the “ruthless road widener”, surveyed the 55-Window-Palace in Bhaktapur in 1996 as the basis for a restoration proposal, submitted as a PhD dissertation at the Kaiserslautern Universiuty (Germany) and under the guidance of Surya Bhakta Sangacche, who was acting as Town Controller for Patan and Bhaktapur, the Chandeshvari temple was faithfully documented in its state of deformation before its dismantling in 2003. The Project: Documenting Portals of Two-Tiered Temples From the beginning, my effort was supported by the German Research Foundation and only in 2009 joined by the Gerda Henkel Foundation (Düsseldorf, Germany), a private, non-profit organization to promote research in the fields of history, archaeology and history of 42 / SPACESNEPAL.COM
art. The latest of these projects, supported by the Gerda Henkel Foundation is dedicated to the documentation of portals with triple openings. Twelve temples with such portals exist. The oldest being the early 14th century Indreshvara temple in Panauti, the youngest being the Tripureshvara temple in Kathmandu, built within an amazing short period, from October 1817 to December 1818. These portals are to be seen as the crowning elements in Newar architecture. They appear on the most Newar type of buildings: Originally two-tiered temples with an inner ambulatory. Seven of these (Indreshvara, Panauti; Yaksheshvara and Krishna, Bhaktapur; Pashupatinath; Changu Narayana; Char Narayana, Patan; Char Narayana (Jagannatha), Kathmandu) survive in a variety of stages of renewal and replacement, but the overall design . A third roof was later added to the Indreshvara temple, while the Taleju (Kathmandu), Gokarneshvara, Matsyendranatha (Patan) and Tripureshvara temples were triple tiered from the beginning and the Kumbheshvara temple in the end even five-tiered. The Indreshvara Temple at Panauti The temple stands at the southeastern end of the small town, near an important tirtha, the sacred place of the confluence of the Rosi and Punyamati rivers. An
imaginary river, the Lilamati is supposed to join at this place to create a true triple confluence, a triveni. Legends construct a relationship of Indra with Panauti, saying it was here that he seduced Ahalya, wife of the sage Gautama. Ahalya was banished into a stone, which can be seen at the northeastern corner of the temple’s platform. A number of architectural fragments in stone testify to an early settlement of the Licchavi period (4th to 9th century). According to the Gopalarajavamshavali, a late 14th century chronicle, a princess from Banepa, named Viramadevi, established an “Indrakuta”, that is the
COVER STORY
temple dedicated to Indra in April 1294 CE. Radiocarbon dating of a tiny sample from the western portal’s lower frame, arrived at a range of 1150-1212 – a period that certainly reaffirms the date of the consecration of the temple in 1294. Thus it might well be, that the portal was carved a few decades earlier. These dates do not necessarily tell us that the present temple is identical with the one of the 13th century. No doubt, the western portal is part of the original scheme and thus represents an important evidence of the two-tiered type of temple, which probably attained
their shape in the early Licchavi period. We must assume that the Pashupati and Changu Narayana temples, which were replaced at the end of the 17th and early 18th centuries. Even of the second oldest temple of this type, the Yaksheshvara temple in Bhaktapur, only the southern portal dates to the 14th century. More coherent are the Krishna temple of Bhaktapur and the two Char Narayana temples of Patan and Kathmandu as the portals on all four sides date to the second half of the 16th century. Wood carving at these three temples reached an unrivalled mastership. In terms of depth of carving and the variety of narrative elements the
Detail of the western portal, northern door with trefoil opening, quarterround panel (featuring Surya), wall bracket with river goddess and pointed block above the threshold, featuring Indra (wielding a vajra in his upper right hand?), flanked by dwarfs with wild hairstyle, in the upper corner cloud borne celestial spirits, left a kinnara with human body and the head of a horse, right a gandharva.
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The spandrels of the trefoil arches are occupied by vidyadharas, flexed legs indicate their flying motion, and garlands are grasped with both hands. They are depicted within a beaded and leafed frame, surrounded by lotus foliage.
waters. The presentation of stalks, leaves and buds is of an archaic kind that in never found again in later centuries. Likewise, the river goddesses of the wall brackets display an elegance that place them beside the Salabanjika struts of Ukubaha and the Sattal of Tyaga in Patan, which were documented and radiocarbon dated by Mary Slusser in 2010. Similarly, the Vidyadharas in the spandrels of the door frames and the pairs of Vidyadhara / Vidyadhari on the extended lintels display a sense of grace and formality that is exemplary for the 11th to 13th century carving. The bird-men (kinnara), lions, peacocks and sea-monsters (makara) of the jambs, the Kirtimukha of the secondary lintel – all of these iconographical elements speak an archaic language that makes this portal a unique fragment, that deserves a detailed study. The Documentation Project in Progress The plan and section drawing of the Indreshvara temple had been completed by Bijay Basukala in 2006, with the help of Mohan Shrestha, who documented the second and third roofs in 1993, thereby revealing the pinnacle of the former twotiered scheme. It survived with the walls of the third tier.
Pairs of vidyadhara, in the company of his considerably smaller female companion (vidyadhari) cover the inner ends of the lintel, presented in a flying motion amidst coils of cloud foliage.
portals stand out. Quite a different climax is reached two-hundred years later. At that time, decorative details at the Pujari Math in Bhaktapur and the Kumari House in Kathmandu cover almost every square inch of wood surface. To return to the Indreshvara temple: The wall brackets and lintels of portals on the northern, eastern and southern side have been incorporated into the building without carved details. Surprisingly, the tympana above the central doorway of the portals are fully carved, and also the blind windows of the upper levels and the struts. An amazing fact which suggests a variety of explanation: the builder had to meet a deadline; carpenters were not available; the resources were limited. None of these reasons are convincing. We are simply lost alone with a mysterious story. It is not very different with the portals of the Yaksheshvara temple, although there enough details are carved to identify 44 / SPACESNEPAL.COM
stages of development and possibly reconstructions, which cover a period of four-hundred years. The western portal of the Indreshvara temple has a slightly weathered and even withered surface. It is a bit grainy – a rare surface quality which is not easily explained. Driving rain is rare in Nepal; the wide overhang of the roof ensures enough protection. It is probably the sun and wind that caused that unique surface and probably the variety of ‘tiger wood’ (Newari: dhunsi) available in the valley of Panauti. To begin with the quarter-round panel, the carving is not very deep; two pieces of wood are joined to provide a panel of suitable size. The composition is archaic, with the planet deities occupying the center and the accompanying figures framing them. All of them are seated on thrones of lotus flowers which originate from the same source, the primeval
The 724 cm long western portal will be minutely documented at the scale 1:5. The 150 cm long drawing will reveal ever detail in pencil of transparent paper. The production of such a drawing is a long process that makes repeated site visits mandatory. Photographs are only helping. The primary knowledge originates by a very personal encounter over a period of about seven months. Bijay is not a technician or a draftsman. He is an artist who fully understands each and every detail. His long practice even enables him to design, with full awareness of the requirements of proportion. He has not learnt this at any school. It is his visual experience that enables him to design. The photographs of Ashesh Rajbansh are meant to illustrate the planned drawing. As the drawing itself is a flat object; the photographs are essential to demonstrate the depth and sculptural quality of each and every detail. The grainy surface of the carvings is virtually “felt”. The photographs presented here represent a first introduction.
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ART
CONSONANCE OF
TIME AND ART
text
Dr Abhi Subedi
Painters of South Asia resisted the Western formalism but continued to use their forms. Out of this conflict did the painters in South Asia produce very strong paintings. Nepali painters of the modernist school, not too many in numbers, did go through the same process of resistance and adaptation of the Western forms. 46 / SPACESNEPAL.COM
ART
V
isiting the studio of eminent painter Kiran Manandhar after a spell of nearly half-a-decade at the back of his house perched on a hillside below Chauni was like visiting my own past full of associations with this artist. Naturally, I had a great curiosity to see his newly executed paintings in terms of style, choice of motifs and importantly, his dialogic relationship with the changing times. A huge painting that he had just completed dominated the view in the studio. However, other striking new paintings strewn round that room formed a familiar and pleasant texture of the artist’s working space, which brought floods of memories. I look at Kiran Manandhar’s paintings from a temporal perspective to see how they speak to me more eloquently about the artist’s delineation of his subjects across the painterly time - years of his artistic dedication. The artist was working as if in a solitary corner of the town with light flooding from the roof and birds’ diverse repertoire mixing in the artist’s palette. Kiran Manandhar’s recently performed paintings combine light, sound and figurality. I could feel a sense of time working effectively in these paintings. Since I have observed and studied Kiran’s paintings over a period of nearly two decades and followed their movements as it were, I believe, I can trace the invisible lines of time in each of his work. In the early years Kiran Manandhar’s mandalic motif attracted me with
his delineation of the circular, triangular and square shapes. He looked philosophically guided then. His paintings of that period subtly represent both the iconicity and philosophy of mandalic art. I have written about those paintings in his glossy catalogues and papers. Various other phases came in his art including his experiments with the Chinese and Japanese paintings. But through all these changes Kiran Manandhar maintained a certain deeply meditated and exercised formalism in his paintings. Just to mention a few features of his central style - he uses anthropomorphic forms nearly in each of his paintings. Figures, especially
of women with a certain degree of mytho-poetic meaning, appear in them. He creates ripples of sounds in some paintings featuring flute imagery, reminiscent of the Krishna musical myth. But it is not quite as transparent as it may sound in these lines. Looking back at the span of time that Kiran Manandhar’s paintings cover, I interestingly encounter the same issues of art criticism discussed here and in South Asia as we see in the general discourse of art criticism in the West. It may be appropriate to say that Nepali modern paintings too when they emerged carried with them a degree of vitality of an alien order
in the eyes of the Nepali audience who were even shocked by some of the first modern paintings, as stories go. Painters insisted that they had created a formalism that would challenge the limited audience to come forward and interpret the work. Reading the history of the reception of modern painting in South Asia, we see the influence of a kind of Kantian ‘disinterest’, a challenge to purge all preformed ideas and prejudices, as the leading Western art criticism of the earlier modernism demanded for art theory and epistemology. But the Indian artists mainly, and Nepali artists who received education in Indian art colleges, did not expect their audience to purge their minds of related ideas in a manner of the impersonal Western aesthetics which had become a standard of looking at modern art everywhere in art theory. Modern Nepali painters allowed beauty, and cultural significance and free aesthetic responses to become part of the audience’s response. Kiran Manandhar’s paintings struck me from the beginning, as they did not expect the audience to approach without any preformed cultural and aesthetic thoughts. Painters of South Asia resisted the Western formalism but continued to use their forms. Out of this conflict did the painters in South Asia produce very strong paintings. Nepali painters of the modernist school, not too many in numbers, did go through the same process of resistance and adaptation of the Western forms. Space does not allow me to discuss that in detail here.
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ART
The painter in question Kiran Manandhar shows great degree of poetic calmness and humanistic thrust through the production of the value of colour delineation and overt use of figurality. I take here a painting which is executed quite recently. It shows profuse use of white with strokes of primary colours especially blue and red, with small black vertical forms harmonizing that. Human figures emerge out of the mass. In the more recent ones, human figures, especially of women, draw the central attention with yellow, blue and grey dominating the mood, which is one of celebration and calmness. These paintings show a new
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form: a dispersal of blotches permeating across the canvas showing studied rupture in the value system of colours. In one painting executed a couple of years ago, the artist has created a geoanthropomorphic harmony of human figures presenting the lines of heads merging with the mountain humps and summits. That is a bold and risky experiment, I would think. But the result is pleasant. But in yet another painting executed a year earlier the pleasant warm ambience of a human figure is fore-grounded, with a vertical silhouetted human figure at the back occupying a quarter of the field of action. The silhouette only adds to
the intensity of moods and represents avatars of selves. In the jostling of figures in almost every painting we can see a linear structure, movements of invisible lines and colours to suit the mood of the human forms. In some other paintings awe-struck human expressions dominate the canvas. The paintings are modelled round the human forms. In another recent painting, two figures one with bleary meditative eyes and another female form with one eye opening in ecstasy with gestures of touch of one’s own body create a meditative ambience. Value of dominant red and yellow colours enhances that mood. Similar human figures dominate
in other canvases where there are no smooth lines of strokes, but congesting blotches, which means the painter presents human forms in different contexts and conditions varying from calm to listlessness. In another recent canvas, which I find very expressive and charming, three female figures’ vertical bodies with intertwined hands touching in unison, emerge out of the canvas, once again forming linearity with the mountain. Human figures lean on each other forming solidarity. The ethos is one of eco-human consonance. That is what we can see in them. Kiran Manandhar’s paintings, in
ART
most of the major ones, some of which were remarkably huge like the one he executed on stage where we were staging my play “Kathmandu Odyssey” in 1996, and several others in other times, fills out the field of action to the very edge. But in the recent series of vertical paintings, mountains occupy that field. It may appear somewhat out of place with the modernist techniques, but the painter, as I said earlier, goes beyond the Western aesthetic perception and follows the styles of the South Asian modern painters, where forms of culture and beauty are incorporated in the work.
I consider such paintings as forms of visible cultural poetry that do not freeze in their formalist structures. Significantly, several major of his recent paintings are given dripping, watery and translucent character as if they reflect the shadow of back image on the screen. One further note should be made about these paintings here. The artist has freely created devotional moods in some canvases. The figure of Mahamanjushree and other figures created to mark the deification of the female power, present the best examples. Copper and
ruddy colours used in some modern paintings offer new meanings of colour symbolism in cultural ambience. In effect, this new technique used carefully by the painter, opens up a unique concept of time. Juxtaposition of modern techniques and grammars with culture is not entirely a new experiment; some brilliant South Asian painters have used such techniques. But one difference in Kiran Manandhar’s paintings is that these paintings show a shift in his perception of value as a painter. I would not say, this element was absent in his paintings; indeed, as I said at the beginning, it was
there either through the use of mandalic forms or the use of figurality featuring Krishna and Radha. But I believe that his recently performed paintings represent a grand consonance of time, techniques, moods, beliefs, spiritual longings and his very craft. In short, I find nearly every major stylo-painterly technique he has been using in his art do not drift away from a calm and balanced vision of life. I find one other element in these paintings. They show unique consummation of Kiran Manandhar’s art odyssey and his shift towards a calm, meditative, poetic and life-oriented art.
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OFF THE SHELF
TIBETAN FURNITURE AUTHOR PUBLISHED YEAR HARDCOVER
Chris Buckley 2005 240 pages
PUBLISHER
Thames & Hudson
LANGUAGE
English
INTRODUCTION
Over the past decade a great quantity of beautiful and surprising antique furniture has come out of Tibet, much of it finding its way through Nepal and China and eventually into private collections in Asia and in the West. This trade has brought to light a tradition which was previously almost unknown outside of its own native land. On encountering this furniture, initially in the antique trade in Hong Kong and later in the company of one of Beijing's leading enthusiasts and collectors of Chinese and Tibetan furniture, Li Jian Guang, was captivated both by the intricacy and variety of the designs and by the richness of the colors. Many of the pieces of furniture I saw were also very old, with a significant number apparently dating to the seventeenth century or even earlier. The great age of some of these objects is particularly exciting since in most other cultures it is rare to find furniture that is more than a couple of hundred years old. 50 / SPACESNEPAL.COM
Identifying Appreciating Collecting
Thus a region that was remote and not noted for its wealth seemed to have been the source of a dazzling tradition of furniture-making and decoration. The examples I saw encouraged me to return to Tibet to look for furniture in its original locations and to find out what it was used for, and to try to discover why such a rich tradition appeared in this apparently inhospitable region. At the same time I collaborated with Li Jian Guang and other collectors to find and photograph some of the better examples in private collections and to place them in their Tibetan context. This book is the result of that effort. This is a unique time in the history of Tibetan furniture. Several factors have come together to make this book possible that will probably not occur again. Tibetans value their painted furniture highly, but they do not have a strong reverence for age and for antiques for their own sake, and the cash offered by furniture dealers provides a strong incentive to sell. As a result Tibetans are often willing to part with older furniture items at the same time as refurbishing their homes and temples with the newly made items that they prefer. There is a healthy and growing business within Tibet making and painting new furniture, including some items of very
OFF THE SHELF
high quality. Workshops in Lhasa and else-where are producing new carved and painted woodwork, some of which is of a very high quality, both for religious and for household use. Older pieces that are still in their original locations are becoming increasingly scarce, however; a great many have already been scattered to homes and collections in the West. This provided another motivation to record this tradition while some older items are still with their Tibetan owners. Traditionally, the romantic view of Tibet has been that of a land which stands apart, cut off from the out-side world. The artistic and cultural output of Tibet, including its furniture, tells a different story. Tibetans are a people with a unique identity who have nevertheless been open to ideas and styles from many different parts of Asia, especially India, Central Asia, and China. The people who created and used the furniture in this book were cosmopolitan in their tastes and familiar with the sophisticated artistic products of neighboring countries. Some Tibetans achieved positions in which they commanded considerable wealth and power, either through trade or business or through their positions in the great monastic institutions. Their choices of furniture reflected their tastes and their outlooks on life.
CHESTS Together with low tables, chests appear to be one of the most enduring of all Tibetan furniture types, a view supported by the range of designs they show and the apparent evolution of these designs over time. The general term for chests and boxes is gam, and both chests and cabinets are sometimes referred to by the general term chagam. Many cultures use some
kind of wooden chest for storage, but the Tibetans developed a version uniquely their own. As chests were considered receptacles for precious items, it was believed that their finish and appearance should reflect the importance of their contents. Tibetan furniture makers created pieces that are marvels of intricate and lavish decoration. Generally, the layouts of the painted designs on chests followed standardized formats, but within these
The most numerous types of Tibetan furniture are the generalpurpose items such as chests, cabinets, and low tables. Other types of furniture such as the prayer wheels, offering cabinets, and reading desks were proÂŹduced in smaller numbers because they had more restricted functions associated with worship. It is someÂŹtimes wrongly assumed that these special types of furniÂŹture were used exclusively in monasteries. Many of the smaller offering cabinets and prayer wheels in fact come from the homes of wealthy families who maintained shrines within their houses, sometimes in a special room or more often in a corner of the main living room.
The echoes of contacts with peoples all over Asia can be traced in the designs found on Tibetan furniture, recording a complex history of cultural and trading exchange. In recent centuries the dominant artistic force has been China and the influence of Chinese decorative arts is a constant theme running through painted Tibetan decoration from the sixteenth century onward. Despite this influence Tibetan artisans rarely copied designs precisely, rather they adapted and modified the motifs and the decorative styles they saw to suit their own ends, so that Tibetan furniture cannot be mistaken for or confused with work from other cultures. It also includes a greater variety of designs and motifs than in many other Asian traditions, perhaps because of the varied influences and long history. NOVEMBER 2014 / 51
OFF THE SHELF
traditional forms individual craftspeople found great scope for artistic expression. HOW CHESTS ARE USED Chests are still found today in many different settings including homes and monasteries, though the main users of the largest chests seem to have been the monasteries. In some places they can still be seen in situ, used for storing garments, butter lamps, and other implements, or for storing domestic items in living quarters. A special long, low type of chest is sometimes used for storing rolled-up thangka. A typical large assembly hall in a monastic complex might have had twenty or more storage chests; old chests can sometimes still be seen in monasteries which have been using them continuously for two hundred years or more. Some were placed along the sides of the temple or along the walls at the back; others were placed on either side of the central aisle, near the front of the temple and the central altar. Senior lamas, who sit near the front of the temple during religious ceremonies, often sat with their backs to large decorated chests. A number of Tibetan homes have antique chests and I have occasionally seen fine examples in well-to-do homes in Lhasa and the surrounding area. Some 52 / SPACESNEPAL.COM
of these elaborately decorated chests seem to have originated from nearby monasteries. Many ordinary homes also have small or midsize storage chests, although the types most often seen in homes are simply decorated chests covered with yak hide. Some have metal fittings at the corners, while others are entirely underrated. Many such leathercovered chests, dating from the late nineteenth century or the first half of the twentieth century, can still be seen in homes in central Tibet. The manufacture of large and opulent wooden chests seems to have declined during the nineteenth century, and chests of this type which are identifiably from the nineteenth century or early twentieth century are correspondingly somewhat scarcer than such chests dating from the eighteenth century. The reason for this decline seems to have been that chests were eclipsed during this period by more sophisticated and fashionable cabinets. When a
large and showy set of furniture was required (perhaps as a gift) up until the eighteenth century a pair of large painted chests was an obvious choice. After that time sets of sumptuously painted cabinets seem to have usurped that position. Chest production never entirely ceased, however, and a fair number of plain and functional chests continued to be made throughout the nineteenth and twentieth centuries. For monasteries in particular they were the most convenient way of storing large quantities of items such as butter lamps, often numbering hundreds or even thousands in the bigger institutions. Today monasteries continue to use chests and to install new ones during restorations, though in recent times these have tended to be large metal chests with padlocks rather than painted wooden ones. Chests are still made for domestic use as well, although plain leather-covered chests or painted metal chests are favored.
This is not a book review; this is just an effort to conveying information to the readers on rare and valuable books on art and Architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).
JOURNEY
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JOURNEY
TREK TO
Annapurna
We have heard a lot, now we have to make it!
text and photo
SANISH SHRESTHA
Annapurna is a range of mountains that consists of Annapurna I (8091 m) and other thirteen peaks over 7000 m. Long-drawn-out to over 55 km, the area is protected within the 7,629 square meter Annapurna Conservation Area, the largest conservation area in Nepal. It is home to several world-class treks. There are three major trekking routes: the Annapurna Circuit which circles the Annapurna Himal and also includes the Jomsom route; the Jomson Trek to Jomsom and Muktinath; and the Annapurna Sanctuary route to Annapurna base camp. NOVEMBER 2014 / 55
JOURNEY
I
decided to make the trip to Annapurna Base Camp (ABC); some 24 years after my father visited the place. I had heard many exciting things from him and others over the course of time but I could make it realize only a couple of weeks before. We were four. The journey from Kathmandu to Pokhara was mundane and didn’t bring anything special with it. The weather in Pokhara was horrible; it’d been raining for 2 days and our chances of making this trip was very low. But, fortunately the weather cleared out the very next day and we hurriedly proceeded to book the bus to Phedi. Our plan was to make the trip via Dhampus. We were all tired on the very first day of our trekking, to make our way to Dhampus. We had a lovely rest there. The next stop was Pothana and after a quick break we headed towards Tolkha, our last destination for the day. Back at Pothana, we were advised to take the jeep route, to avoid dizzying trekking route. We did the same but the trail was still horrifying. The heavy rain just a few days before had caused many land slides and at time we had to walk on the narrow edges of the trail. After 1 and half hour of walking along such horrible trail we finally caught site of a human settlement perched on top of the hill and the view was spectacular: cradled in clouds, we were tempted to stay but we had the target to reach to Tolkha. One of the problems we had was lack of trustworthy information regarding the time that takes from one place to another: people on the way were giving varied and unbelievable estimation and we had a problem to trust on any. We moved on anyway. The trail by then was downhill and it was beautiful to look around: we caught our first glimpse of Annapurna and were mesmerized by the view. It was already 6:30 and Tolkha was nowhere in sight. After some walk we caught a sight of a settlement. It was not Tolkha as we had assumed but
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Bherikharka. We changed the plan and we had shelter there. The people of the hotel we stayed in were very friendly and kind. By 8:30 we were fast asleep. Next morning we consumed the beautiful sceneries around that we were deprived of the previous night. We resumed the trek along the jeep trail. We got to Landruk by noon. We had lunch there, a very windy lunch. Our target for the day was to make to Chhomrong. The trail after Landruk was mostly muddy and affected by landslides but it was great: it crisscrossed farms and jungles and we had a journey along a river to our left. On the way we were surprised to see a unique waterfall: it was quite unexpected and was hidden. Then, there were many other waterfalls 58 / SPACESNEPAL.COM
on the way accompanied by terrains, hills, villages and farms.
relief and the trail to Bamboo was much easier.
We had to go across a very long suspended bridge: rocking and scary. The road to new bridge was very difficult: we had to climb a steep stairway. The trail past the bridge went through farms and hillsides and was very pleasing. After walking down and getting across another river we again had to climb up the hill to Jhinu. It was another spectacular place, perched atop a hill. The view from Jhinudanda was mesmerizing. We stayed that day in a resort there.
Bamboo (2335 m) is situated on the bottom of a hill and it was already 7 p.m. by the time we reached there. We were very tired but the rooms in the hotel were all occupied. Although there were no rooms left they provided us the dining hall to sleep in. Bamboo is one of the best places to stay night in.
The next day was the most difficult part of our trip. We had to make long way with ups and downs through Chhomrong and Sinuwa. Up in Sinuwa, it was a sheer
After the sweet stay in Bamboo, it is easier to reach Dovan. The way ahead to Deurali (3100 m) was difficult but the foggy slopes, waterfalls, streams and enormous rocks makes one engaged and purges the difficulty. We stayed that night at Deurali. If you have sky phone, you can make a call home from there.
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We made our trip to ABC. The whole trip to and back was a thrill. Staying at ABC is a good idea but we decided to stay at MBC for the night and we made our trip back via Syauli bazar. The best part of the trail starts after Deurali. You go along the river through the valley which is flanked by snow covered mountains on one side and towering cliffs on the other. The valley is undoubtedly very beautiful. Its beauty captivates anyone and makes one stop to appreciate. The rest of the trail is also mesmerizing. Though MBC itself does not look grand, the road after that is again captivating. Nestled right below MBC is a beautiful valley and the view of the valley is another sight to die for. We were very lucky to have an enormous amount of powdery snow. The snow and the way it transformed the surrounding justified every penny we spent for the trip. The trail to ABC at that time was covered with snow, not very deep but enough to make you slip. You can see the majestic Machapuchhre to your right and another mountain shinning with snow to the left. And right ahead is majestic Annapurna, towering over the entire valley.
ART SPACE
IN SEARCH OF PEACE
text
Asha Dangol
art
Bhairaj Maharjan
THE ARTIST
Since 2009 Bhairaj has been embellishing his canvases from the ancient Nepali stone images. He reintegrates the images related to the spiritual journey of Lord Buddha and his meditative moods. Also he transforms Nepali poems into his painting. His mixed colors and the textures at the background provide immediate aesthetic sense to the viewer and create an aura of serenity and peace.
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Bhairaj Maharjan is a founder member of Kasthamandap Art Studio and E-Arts Nepal. A graduate in Fine Arts from Lalit Kala Campus, He has had 5 solo painting exhibitions to his credit. Besides, he has participated in various national and international group shows and art workshops since 1990. He has owned a number of awards, some of the notable amongst them are: National Art Exhibition 2004; Best Award in Greeting card competition 1994; Best Field Work in 2D Animation 2005; Gold Medal from Arniko Yuwa Sewa Kosh 2009; and Camel Art Foundation Award 2009.
STORE WATCH
COLOR
BAZAR Hanumansthan, Anamnagar
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STORE WATCH
P
ashupati Paints, the first paints manufacturing company in Nepal, has opened Color Bazar, a color concept store, at Hanumansthan, Anamnagar, Kathmandu. It is said to be an interactive showroom that helps the customers with color ideas, product solutions and ad painting tips, all under one room. Established in 2039 B.S, Pashupati Paints has emerged as a benchmark for the Paint industry in Nepal and is the first unit to get N.S. (Nepal Standard) mark in Nepal. It has been producing eco friendly paints in different kinds and price range. In its Exterior Emulsion Group, there are EX-COAT PLUS Premium, EX-COAT and NEPOLIN Exterior. Similarly
in Interior Emulsion Group there are LUXURIA ECO-SAFE, LUXURIA PREMIUM, ONEWAY Acrylic and NEPOLIN Interior. Besides, there are a number of ranges of Enamel and Premieres available. It had launched the Retail Tinting System along with its own database system in 2004 under the name of Color Bazar. But this store at Anamnagar was launched in September amidst a formal gathering of architects and designers. Customers here can customize colors of different hues and textures. The color samples, computer database and visual renderings backed by experts' counseling here enable the customers to conceive the colors beyond their imagination. NOVEMBER 2014 / 65
PERSONALITY
COMFORT HAS A NEW DESTINATION Featherlite group, the leading furniture manufacturer in India founded in 1965, started its venture from home furniture during its commencement and later initiated in manufacturing aluminum folding furniture in India. Presently, Featherlite is one of the leading furniture manufacturing and marketing organizations in India, providing complete office furniture solutions for all sectors of market through its strong base of franchise offices present across 48 locations in India. Its core expertise lays in manufacturing and marketing exceptionally innovative and cost effective office furniture such as modular work stations, chairs, partitions, desks conference tables, educational, laboratory, retail furniture and fixtures. Featherlite is further acknowledged for establishing implementation of mega and multiple location projects without compromising on requirements of the customers. Manufacturing more than 30,000 chairs in 8,000 workstations per month, the organization has over 5000 esteemed customers pan including corporate giants like Cognizant, Mercedes Benz, Hindustan Unilever, Oracle, Intel, Star TV, Microsoft, Motorola, Citibank, Caterpillar, IBM, MTS and many more. Recently Parth International has forayed Featherlite group into Nepal by launching a wide range of office furniture. Spaces had a chance to have a brief talk to Mr. Manohar Gopal, the Chairman of Featherlite, when he was in Nepal.
Could you brief us a little about Featherlite Company? Featherlite is one of India’s largest manufacturing companies founded in 1965. The company’s long time experience to the furniture business helped it to redefine the art of furniture making through new innovations and artistic styles. I would say, by blending aesthetics with ergonomics and combining technology with style and comfort, Featherlite has been instrumental in changing the outlook of conventional work places and living spaces. Its services include manufacturing, marketing and after-sales support of top quality seating systems and furniture with utmost precision. At present, the company has 1,75,000 sq. ft. of manufacturing facility equipped with latest CNC and other state of the art machines. Featherlite also has its own R&D department, engineering cell for raw material evaluation and testing new design. The cell works on new products and innovations on a regular basis. What vision and the mission the Featherlite is guided with? It is dedicated to establishing a long lasting customer relationship built on strength and integrity. Its company culture is based on core values like making a meaningful contribution to our customers, cultivating community values, creating economic value for employees and responding to change 66 / SPACESNEPAL.COM
through design and innovation with respect to the environment. These values define what we mean by the 'Featherlite way.' In Nepal’s context, what will be the Featherlite’s contribution to the market? We are here in Nepal, as it is a new market and our first wing outside India. I believe people don’t have enough choices regarding office furniture. We are trying to educate people regarding the health concern: Sitting posture is an important aspect as sitting in offices for a long period on shoddily chairs can have a bad effect on your back. An ergonomic chair diminishes such health hazards and its comfort level leads in faster and more successful results. Our design capabilities include large in-house design studio, integrated design solutions, solutions in the areas of seating and furniture systems, ergonomic design that combine technology and aesthetics to go well in different working environments. As we have years of experience of having worked with large companies and their architectural and project management firms, we have been successful to understand, plan, design, develop and build great workplaces supporting their people and their business goals. Hence we are hopeful that through Parth International we will be able to contribute the same to the Nepali market. How do Featherlite Products stand out in the market? Ours is one of the organization to acquire quality certification ISO 9001: 2008, Quality Management System / ISO 14001: 2004, Environment Management System / ISO 18001: 2007, and Occupational Health and Safety Standards / BIFMA. Our product’s design and construction enables limitless extendibility of work space allowing scalability and multiplicity of the workspace. It neutralizes the rigid hierarchies and promotes collaboration at the workspace. Some products like chairs are designed differently for men and women as their body structure is different and hence even the sitting position is different. We believe that we will deliver extraordinary values to our customers, and if we make a meaningful contribution to their business and their lives, we will grow and thrive. We at Featherlite are spirited, friendly and professional in business, making us the easiest company to do business with.
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PRODUCTS
Item: Dressing Table Description: Three sliding drawer and cushioned stool Price: Rs.18,000.00 Made from: Sisham wood Type: Home production
Item: Sofa Set and Designed Tea table Price: Rs.130,000.00 and Rs.18,000.00 respectively Type: Home production
Item: Dining Table Description: Six Sitter, Laminated top dining table Size: 3’-0”X5’0” (Table) Made from: Sisham wood (special quality) Finishing: Dark Walnut
Item: Two Sitter Sofa Description: Modern Design, Loose cushions Made from: Sisham wood (special quality) Finishing: Dark Walnut
FURNI CRAFT 14/85, Sat dobato, Tutepani-3, Chapagown Road, Lalitpur. Ph: 5525280
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KARUNA INTERIOR Gairidhara, Kathmandu. Ph: 4434581; 4434181
PRODUCTS
Item: Dining Table Description: Six Sitter, Glass top dining table Price: Rs.1,35,000.00 Made from: Sisham wood Type: Home production
Item: “L” shape sofa Description: Five sitter set Made from high quality wood and fabrics
Item: “L” shape Office Table and Revolving Chair Description: Working desk and computer table Price: Rs.65,000.00 (Office table) and Rs.15,000.00 (Chair) respectively Made from: Sisham wood Type: Home production
Item: Double Bed with bed side table Description: Two drawer & storage space Size: 5’-0”X6’6”X14” seat height Made from: Special Sisham wood and branded board and teak veneer Finishing: Dark Walnut Item: Cupboard Size: 6’0”X6’6”X140”Depth Made from: Special Sisham wood and branded board and teak veneer Finishing: Dark Walnut NOVEMBER 2014 / 69
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PRODUCTS
Item: Carved Decorative Window Wood: Sisham Price: Rs.
SAI INTERIORS Talchikhel, Lalitpur, 748/14, Ph: 5532630 Item: Doll toothpick holder Wood: Pine Wood (Painted) Price: Rs.250-Rs.300
Item: Kitchen Napkin Holder Wood: Pine Wood (Salla) Price: Rs. 400.00
Item: Serving Tray Wood: Sisham Price: Rs. 475.00
Item: Carved Low Height Centre Table (Laliguras Pattern) Wood: Sisham Price: Rs.
Item: Thekki Coffee Table with Glass Top Wood: Sisham Price: Rs. 25,000.00 Item: Corner Standing Lamp (Traditional Tundal design) Wood: Sisham Price: Rs. 12,000.00
Item: Carved Coffee Table (Traditional Jaali design) Wood: Shisam Price: Rs. 8,500.00
Item: Carved Corner Table Wood: Sisham Price: Rs. 12,000.00
Item: Wine Glass Wood: Jungli Shisam Price: Rs. 475.00
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SP AC ES OP EN
This was taken from Kalinchowk height (3,800 m). The view from Kalinchowk is magnificent and the range of mountains is breathtaking. The hills and the clouds over the vales give an ecstatic feel. Sun rise in the early morning is something you should not miss here. The Photographer Bimal Shakya is from Nagbahal, Lalitpur. He is currently working in Mercantile Office Systems. He loves photography and likes to capture the beauty of nature and people. An SCC alumnus, he does freelancing photography.
The School of Creative Communications is a unique blend of creativity and communications. It provides a platform for those who dream of nurturing one’s creativity through communications. It offers training programs on art, photography, writing and communication skills; regularly organizes SCC Blue Bag, a sharing platform for scholars; and it has been conducting SCC Explore Photography workshops since its establishment in 2009. SCC is located at Kupondol, Lalitpur, Nepal (on the way to Bagmati River).
www.scc.org.np facebook.com/scc.kathmandu
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CONNECTS
63 Aditya Hardware Enterprises Bluestar Complex, Room # 522, Thapathali Ph: 9851007818 sanjay_kyal@yahoo.com
13 Featherlite Office Systems Pvt. Ltd. Kamladi Complex,Ground Floor Ph: 977-1-6200209 sudeep@featherlitenepal.org
74 Nagrik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100 / 4261808 circulation@nagariknews.com
53/61 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 info@atc.com.np
73 Foto Hollywood Civil Bank Building, Kamladi Ph: 977-1-4169060 www.fotohollywood.com.np
11 Balterio - Navin Distributors Pvt. Ltd. 1st Floor, A.T. Complex, New Plaza, Kathmandu Ph: 977-1-4430785 balterio@navindistributors.com www.balterio.com
07 Furniture Land Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 sales@furnitureland.com.np www.furnitureland.com.np
53 Newakar Enterprises Pvt. Ltd. Swet Binayak Marg Buddhanagar, Kathmandu Ph: 977-1-4780569 newakar.enterprises@gmail.com
04 Beko – Orbit International P. Ltd. Putalisadak, Kathmandu Ph: 977-1- 4422190 www.beko.com.np 78 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com 26 Bestbuy Nepal Pvt. Ltd. Kupondole, L.P. Ph: 977-1-5523289 / 5545481 info@bestbuynepal.com www.bestbuynepal.com 16 Bricks Café Kupondole, Lalitpur Ph: 977-1-5521756 info@brickscafee.com.np www.brickscafe.com.np 38 Buddha Air Jawalakhel, Lalitpur Ph: 977-1-5542494 www.buddhaair.com 26 Capital Grill Naxal, Bhatbhateni, Kathmandu Ph: 977-1-4428426 grillcapital@gmail.com 38 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaalo Ghar (Behind Central Zoo) Jawalakhel, Lalitpur Ph: 977-1-5000171 info@unn.com.np www.unn.com.np 39 Exterior Interior Hattisar & Bhatbhteni Supermarket, 2nd Floor Tangal, Kathmandu Ph: 4435419 / 4436876 extint@wlink.com.np
16 Halesi Décor Pvt. Ltd. Chabahil, Kathmandu Ph: 977-1-4464888 / 9851050798 09 Index Furniture Metro Park Building, 1st Floor, Lazimpat Ph: 4415181 info@indexfurniture.com.np www.indexfurniture.com.np 03 India Design Event aica@reifyappl.com www.aica.in 24-25 Jagdamba Cement Neupane Tower, 6th Floor Tinkune, Kathmandu Ph: 977-1-4111500 jcement@wlink.com.np 02 JK White Cement 14 Kuleshwor, Naya Basti, Kathmandu Ph: 977-9851050650 prashant.chaturvedi@jkcement.com www.jkcement.com 63 Kapilvastu Glassfiber Industries Milanchowk, Butwal, Nepal Ph: 071-549406 info@kapilvastuglassfiber.com www.kapilvastuglassfiber.com 17 Mainali Business Concern Pvt. Ltd. Panipokhari, Kathmandu Ph: 977-1-4002620 mainalibusiness@gmail.com 49 MD Furniture Maharajgunj (Opp. U.S. Embassy) Ph: 977-1-4721484 mdfurniture@snet.com.np www.mdfurniturenepal.com 77 Marvel Technoplast Pvt. Ltd. Heritage Plaza - II, 2nd Floor, Kamladi Ph: 977-1-4169122 info@marvel.com.np www.marvel.com.np
27 Pashupati Paints Pvt. Ltd. Maitighar, Kathmandu Ph: 977-1-4258209 pashupati@paints.wlink.com.np 61 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np 76 Starnet Enterprises Pvt. Ltd. Shankhamul, Pragatimarga, Kathmandu Ph: 977-1-4781945 info@starnetenterprises.com www.starnetenterprises.com 06 Subisu Cablenet Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4429616 info@subisu.net.np www.subisu.net.np 67 Technical Associates Services Pvt. Ltd. Thapathali, Kathmandu Ph: 977-1-4219999 ta@ta.com.np www.tas.com.np 05 Universal Electrocom Tripureshwor, Kathmandu Ph: 977-1-4251622 / 4251623 uec@wlink.com.np 70 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 sales@wlink.com.np www.worldlink.com.np 54 Yeti Airlines Tilganga, Kathmandu Ph: 977-1- 4464878 reservations@yetiairlines.com www.yetiairlines.com 45 Yeti Polychem Pvt. Ltd. Dillibazar, Kathmandu Ph: 977-1- 4421501 / 9851004448
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