ART ARCHITECTURE INTERIOR
August 2014 – Vol 10 No. 08
Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95
10TH YEAR - ANNIVERSARY SPECIALS
KumariWHERE THE LIVING ChhenGODDESS RESIDES
DESIGN THAT BLENDS
‘AESTHETICS’
WITH ‘PURPOSE’
LAKHE
ACE SCHOOL
A DANCE OF THE DEMON
A Heritage Building Converted into a Space for Kids
SERENE
RARA KATHMANDU VALLEY PAINTING THE JUCKER COLLECTION
ADB
OFFICE IN KATHMANDU
Simplicity defines Character
DISASTER RESILIENCE OF HOTEL INDUSTRY IN NEPAL SCULPTING WITH FORM
BFA EXHIBITION PROJECT 2014
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CONTENTS AUGUST 2014 VOL 10 NO.08 SPACESNEPAL.COM
Cover Story
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KUMARI CHHEN: WHERE THE LIVING GODDESS RESIDES The Kumari Chhen, the home of the living goddess Kumari, is an elaborate three-storey brick building adjoining the old royal palace of Hanuman Dhoka in Kathmandu’s Durbar Square. It is richly decorated with carved windows and reliefs of gods, both Hindu and Buddhist. Built by King Jaya Prakash Malla in the year 1757, the chhen has a unique significance in the fact that it is the temple where the god actually resides. And this might be the reason for why, unlike many temples in the same vicinity, it has its own distinct architecture.
34 Impact
Interior
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DISASTER RESILIENCE OF HOTEL INDUSTRY IN NEPAL In 1934, an earthquake of magnitude 8.4 hit Nepal shaking Kathmandu Valley with intensities of X and IX MMI. Over sixty percent of the buildings were raised to the ground resulting in more than 4000 deaths in the Valley alone. Research study shows that if a shaking that of 1934 earthquake was to occur again, Kathmandu Valley may witness a death toll of over 100,000 and a homeless population of more than 1.5 million. Are our hotels that resort thousands of tourists from across the world strong enough to sustain such seismic loads?
72 Perspective
Q&A WITH DR MADHAV MANGAL JOSHI Energies enter the house from the northeast direction and go to the southwest. Hence, to retain the energies in the house, it is advisable to put thick walls in the southwest. Heavy objects should not be placed in the northeast; they can obstruct the energies. Instead, concentrating heavy objects on the southwest can be helpful.
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KATHMANDU VALLEY PAINTINGS: THE JUCKER COLLECTION The author of Kathmandu Valley Paintings, Hugo Kriejger studied Asian art and archeology at the University of Amsterdam, where his main subjects were Tibetan and Nepalese Arts. The collection as it stands offers a fascinating tour of the painting tradition in the Kathmandu Valley - even taking in several extremely rare scrolls for which this author has yet to find comparable pieces in other collections.
SERENE RARA Rara, the biggest lake in Nepal, looks like an ocean of crystal water on the top of a hill yet surrounded by other green hills. The serene lake of himalayan fresh water lies at an altitude about 9,810 ft above the sea level covering an area of 10.8 square kilometer.
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Journey 44 COVER STORY: LAKHE- A Dance of the Demon
66 STORE: Furniture Land 76 PRODUCT
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84 OPEN SPACES
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Editorial
Finding Balance Our culture is our identity and the festivals our assets. If we were to find meaning, harmony and balance in our environment – it would stem from the cultural richness our place simmers with. The present calendar is slated with festivals and the season of festivity has started – beginning August. We have already observed Naagpanchami, Gathemangal, Raksha Bandan and Gai Jatra of this season. And we are at the advent of Indrajatra, one of the much looked forward to festivals in Nepal. Indra is the Lord of Rain and the King of Heaven, Jatra is procession. Indra Jatra is celebration of God Indra’s Day. Some believe Indra Jatra is the thanking day to lord Indra for the rain. According to others, the festival is celebrated in the honor of Bahirab, who is Shiva’s manifestation and is believed to destroy evil. However festivals remain the fervor that brings our people together, bonding them and connecting us to values, stories and merry making that began long time ago! With an objective of casting light on the importance of festivals - Indrajatra is the cover story for this issue. We present the architectural interpretation of the Kumari Chhen and the artistic outlook of the dance of Majipa Lakhe. This issue also commemorates the age-old tradition of painting in Kathmandu Valley with myths and legends. The excerpts from Kathmandu Valley Paintings by Hugo Kriejger offers a glimpse into the fascinating tour of the painting tradition in the Kathmandu Valley, with the book
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showcasing the collection of several extremely rare Paubhas. We also feature writings by Vastu Shiromani Dr Madhav Mangal Joshi, which are insightful and based on the ancient traditions mixed with the contemporary interpretations. The article on Design that Blends ‘Aesthetics’ with ‘Purpose’ provides an interesting viewpoint on residence interiors, whereas the Ace School provides the story behind an innovative conversion of a heritage building into a learning space. We also present the design of the ADB Office in Kathmandu in the feature Simplicity Defines Character. Corporate Offices as well as international offices are setting the trend to develop immaculately designed spaces that resonate creativity and calmness.
the BFA Exhibition Project 2014, which showcases 17 painters, sculptors and visual artists, that put together a wonderful group show after six months of intensive studio work. As usual on an ending note - I would like each of us to reflect on our pursuits to find balance and happiness in our lives. While we are blessed with the cultural richness and god gifted environmental beauty of the place – do we really get inspired enough that we learn to take care of our environment? If sometimes we make it a point to step aside, and take a deep look and observe what we are blessed with – will we learn to find the necessary balance in our lives, happiness would follow. Namaste!
As the monsoon ends, the days clear up for the season of the festivity and blue skys. In this issue, our regular column on inspiring journeys takes you to the fabulous Rara, one of the most enchanting touristic destinations in Nepal. We also take a glimpse into
Sarosh Pradhan / Editor in Chief
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Contributors
Volume 10 NO. 08 | August
ANIL NATH SHRESTHA is an engineer and also an alternative energy expert. He earned his bachelor’s degree in Civil Engineering from Tribhuvan University and his master’s degree in Natural Resource Management from Pokhara University. He worked for years in a number of alternative energy related offices including District Energy and Environment Unit under District Development Committee, Kathmandu and Rural Energy Development Program under District Energy and Environment Section, Mugu. Mr Shrestha is currently working as a Regional Coordinator at Alternative Energy Promotion Center, Khumaltar, Lalitpur.
CEO Editor-in-Chief Creative Manager Senior Correspondent Contributing Art Editor
ASHOK MAHARJAN, a graduate in Interior Design from IEC, is a promising and dedicated interior designer. Currently working as a designer in Multi-Steps Pvt. Ltd, he has established his own company STARS Design Factory. Heritage Carpet (Kalanki), Uniliver (Kamaladi), Airport Sekuwa (Airport), and UNESCO (Sanepa) are some of the notable companies he has designed for.
Photographer
Kalyan Bista has over 20 years of experience working with national and international organizations and has professional expertise in managing projects especially in forestry, energy, health and disaster risk management sector. Currently working as the Public Private Partnership Specialist, Mr Bista was in senior management level of National Society for Earthquake Technology-Nepal (NSET) from 2003 to 2011. Mr Bista has owned his Master’s in Business Administration from Nepal and EMBA as well as a Post Graduate Degree in Disaster Management education from India. ASHA DANGOL is a contemporary Nepali visual artist. He is the co-founder of Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University. He has been creating and exhibiting his artworks since 1992. He has 10 solo art exhibitions to his credit. He has taken part in numerous group shows in Nepal and has been exhibited in different foreign countries. He experimented with painting, mixed media, ceramics, installation, performance and video as well. PRAGATI MANANDHAR, an Architect graduate from Kathmandu Engineering College and is currently working at Sarosh Pradhan & Associates. A music enthusiast by nature, loves travelling and exploring the human dimensions of art, music and architecture.
Intl. Correspondent
Ashesh Rajbansh Sarosh Pradhan Deependra Bajracharya Pujan Joshi 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
Chief - Administration Marketing Officer Admin Officer Office Secretary/Subscription Accounts Legal Advisor
Anu Rajbansh Debbie Rana Dangol Ashma Rauniyar Pramila Shrestha Sunil Man Baniya Yogendra Bhattarai
Published by
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Advertising and Subscriptions Kathmandu IMPRESSIONS Publishing Pvt.Ltd. Ph: 5260901, 5260902 market@spacesnepal.com Birgunj Kishore Shrestha, Hotel Kailash, Adarsha Nagar. Ph: 522384, 529984. hotelkailash@wlink.com.np Itahari Naya Bazar, Dharan - 05 Biratnagar Ph: 025-5-21164/025-525118, Cell: 9842054110 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: Kumari Chhen Kathmandu Durbar Square © Ashesh Rajbansh
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UPDATES
IDC 2014 Top finalists were declared
I
nterior Design Competition (IDC 2014), one of the most awaited events to be conducted during FURNEX 2014, has declared it top 11 finalists. Interior design is the arrangement of living spaces to accomplish greater functionality that makes use of diverse aspects of other disciplines such as architecture, product design, environmental psychology, ergonomics and decoration. This is the first ever competition of this kind in Nepal. According to the organizers, Spaces Magazine and Nepal Furniture and Furnishing Association (NFFA), some of the major objectives of this IDC 2014 are to uplift the scenario of forgotten richness of interior design in Nepal and to help promising interior designers create career opportunities by giving the innovative designers an exposure in the market.
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A jury panel that consisted of an architect, an academician, an interior designer, an artist, and a home maker has selected top 11 finalists from around 50 participants. The originality concept, innovation with cultural inspiration and the presentation of that included the assuming floor plan, zoning and partition layout, furniture layout plan, floor finish plan, reflected ceiling plan, cross section and furniture details were considered while selecting the finalists. The finalists are: Sarala Maharjan, Rabina Thapa Magar, Bishnattam Shrestha, Anish Pyakurel, Rabana Miya, Sona Subba, Anita Shrestha, Bikram Khadka, Sadhana Lamichhane, Bijesh Maharjan and Bibek Maharjan. Their project models will be put on display during FURNEX Expo that is being organized at Bhrikuti Mandap from August 26 to 30 August 2014. The visitors in the FURNEX can vote for their best models; the Jury panel will have 75 percent voting stake while the remaining 25 percent remains open for public voting. The winners for the First, Second and Third positions including two special categories viz. Pashupati Paints Best Colour Combination Award and Yeti Carpet Best Presentation Award will be announced on the closing ceremony of FURNEX 2014 and they will be awarded with a trophy, certificate and a cash prizes.
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INTERIOR
DESIGN THAT BLENDS
‘AESTHETICS’ WITH
‘PURPOSE’ text ASHOK MAHARJAN
Every designer has their own way of conveying style. That style or element is like identity. Besides the straight lines as our basic design element, in our design we usually prefer wood texture laminates rather than plain laminates. In most of the designs that STARS Design Factory executes, you will find furniture in shape of ‘S’.
To go well with the demand of the client and the demand of the space, we created island like effect with water flowing around the outdoor sitting area. And for the fountain, since this area is beside bar, we kept an element called ‘Anti’ which is the Newari ethnic vessel for serving alcohol.
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INTERIOR
NEPAL HOUSE, BALUWATAR This project was a big challenge. As the name suggests, we wanted to have elements of Nepali culture merged with mordern design. Besides, this was a residential building with a small room to be used as resturant and we were not allowed to bring much change in the existing structure. Our priority goes to the need of clients, our client wanted to have
different auras in different parts of the resturant with the front bakery modern and rest with traditional designs. We designed a bar area display in a concept of traditional stairs which used to be of carving steps in a single log. We kept the furniture quite simple made of wood planks.
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INTERIOR
SILVER CITY APARTMENT KALIKASTHAN This is a private apartment. The owner wanted to keep it simple without too many colours. So we decided to go for a repetition of material. After going through a variety of laminates available in market, we decided on two colours to laminate the whole apartment. These two colours complimented each other keeping each other in balance. We preferred straight lines to curved. The owner, being a busy businessman, wanted his apartment to be a place where he can leave his entire work load outside the door. So we used mostly neutral colours and straight lines for a simple, relaxed look.
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This is a duplex apartment, designed according to the modern concept: The living room is separated from dining with a partition. Considering the family requirement, we focused on luxuriousness blended with aesthetics. We have used bright tints for a pleasant look. Also, due to the limited space we have located a bar under the stairs which creates an open area living room. Designed for a family of four; we have prioritised the room and a kitchen to go well with it.
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INTERIOR
ADB
OFFICE IN KATHMANDU
Simplicity defines Character text PRAGATI MANANDHAR
photo A. RAJBANSH
The ADB office interior holds a simple yet contemporary office feel, bringing together form and function, making the office aesthetically appealing and comfortable.
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INTERIOR
N
epal Resident Mission (NRM) of The Asian Development Bank (ADB), previously located in Shree Kunj, Kamaladi, has shifted to Uttar Dhokha of Narayanhiti Palace, inside the Metro Park Building in November 2013. ADB is a multilateral development bank owned by 67 members; 48 from the region and 19 from other parts of the world. ADB aims for an Asia and Pacific free from poverty. Since its founding in 1966, ADB has been driven by an inspiration
and dedication to improving people’s lives in Asia and the Pacific. It has been working as a key development partner with the Government of Nepal since it joined ADB as a founding member in 1966. And it has provided assistance in several sectors including agriculture and natural resources, transport and communication, energy, water and sanitation, urban development, education, finance, and governance. ADB has consistently promoted gender equality and social inclusion in development, and
is putting more efforts into building institutional capacity at all levels, including local governments. NRM was opened in 1989 and provides the primary operational link between ADB and the government, private-sector, and civilsociety stakeholders in its activities. ADB NRM office in Kathmandu occupies the third and the fourth floor of the Metro Park building. It was designed by SaroshPradhan& Associates following an open bid competition.
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INTERIOR
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INTERIOR
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INTERIOR
DESIGN AND INTERIORS The office interior has been designed to meet the global office standards of ADB. The design reflects an ambiance that resonates simplicity as its defining characteristic. The office has workplace for 70 employees covering two floors. In addition to around 24,770 square feet of office space, there is around 5,450 square feet for support functions that includes a cafeteria, open terrace, and a public information centre. Appropriate considerations are observed on its mechanical, electrical, and other services along with fire and life safety measures.
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INTERIOR
The basement of the Metro Park building provides enough space for more than a hundred cars and hundred motorcycles along with car wash facilities. Parking area for around 40 cars has been separated for the ADB office. In addition, separate staircase and an elevator links to the ADB office area which gives the office more privacy. The office space is organized in a grid pattern allowing open planning and free circulation space; maintaining the work environment that stimulates long office hours and concentrated work. Ample passage space of 6 feet has been maintained in the office space. The individual closed offices are in the
periphery of the building while the open cubicles are organized in the middle giving a feeling of openness. The office rooms are spacious and are bright with large windows ensuring sufficient natural lighting. The area of each office room is around 225 square feet and has a spacious feel. The meeting rooms are planned in the central core of the office space as meetings and interactions are a key function in the bank. Among the four meeting rooms - one is larger, which can accommodate around 25 persons and the other three are smaller meeting rooms that can accommodate around 12 persons at a time. All meetings
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INTERIOR
The office space is organized in a grid pattern allowing open planning and free circulation space; maintaining the work environment that stimulates long office hours and concentrated work.
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INTERIOR
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rooms are well furnished and equipped with Video Conference and presentation facilities. Sufficient lightings have been managed in the meeting rooms. By placing the meeting room in the central core, rest of the office spaces enjoy the natural light from the peripheral windows. The cafeteria is appropriately placed on the 4th floor; it is in the southern
terrace, thus enjoys the greenery of the Narayanhiti palace. It has large curtain windows thus having certain brightness and a strong connection with the surrounding area. Ample seating area with a spacious pantry, microwave, a fridge and a cooking range, used by the staffs for their meals. There is sufficient breathing space in the terrace area with covered walkways: a perfect place for small functions for the ADB staffs. All the modular furniture have been imported from the Philippines. Further, creamy white color and the wooden accents in the pillars, walls and the doors dots the office interior in order to maintain warm palette; giving a simple yet a sophisticated look to the office. The ADB office interior holds a simple yet contemporary office feel, bringing together form and function and making the office aesthetically appealing and comfortable. The Interiors astoundingly sets the tone for an impressive business environment. It reflects that an impressive office interior design not only makes one’s business more successful, but helps build client trust in a professional environment.
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INTERIOR
ACE SCHOOL A Heritage Building Converted into a Space for Kids text TEJITA VAIDYA AMATYA photo PRADEEP RATNA TULADHAR Ace Higher Secondary School has been the epitome of education and their recent venture for young learners is Ace School located at Gyaneswar Height, Kathmandu. Centrally located in the heart of the city, the school is housed in a heritage building with essence of its own. This school was a transformation of a historic building into an educational space. Yet this transformation respects the legacy of the structure. The design was perceived with the concept of preserving the identity of the building 28 / SPACESNEPAL.COM
and to create a child friendly educational ambience. The space planning was focused to the requirements of the different age group children using the school space. The entire design was conceived together by husband-wife duo Kundal&TejitaAmatya, of Conception Interior Pvt. Ltd. The design concept is simple and minimalist and playing with the existing historical elements in the building. Vaastu principles were also considered to receive optimum positive energy. Metal grilled gate coloured in ACE School corporate color greets at the entrance. The building is located on top of a sloped terrain, thus allowing a breath taking view of the valley on the eastern side. The building seems to be an isolated structure which has allowed it to maintain its integrity without being influenced by the adjoining metropolitan habitat. To compliment this fact, the large open play ground in front of the building again adds its value.
INTERIOR
The school is benefited much from this age old building. The thick walls and the building materials help to maintain favorable temperature within the building both in winters and summers, cutting off cost of any external heating or cooling system.
THE GROUND FLOOR The consideration has been given to the children of different age group ranging from 18 months to 12 to 14 years. Thus the ground floor is allotted for pre-school to avoid staircase areas. The reception and principal’s office is shared in the same floor to have easy access to visitors and parents. Wall, ceiling, doors and windows are maintained from existing one, whereas flooring has been replaced with vitrified tiles for easy maintenance. Furniture in the office area differs from that of the classrooms due to its purpose. Brand colors are used in the reception area to enhance the presence of the institute. The Principal’s desk which is large in size is complemented with semi open
cabinet to showcase schools achievements. Student’s works are displayed on the walls of visitor waiting space to share school’s beliefs with outsiders. Classroom is properly planned with reading area at carpet corner along with well distributed ergonomic furniture. Here also the elements like door, window, wall and ceiling are maintained from the existing one. Large windows keep the room well ventilated and naturally lit. Laminated parquet flooring gives the smooth feel. The table chairs and cabinets are specially designed for pre school children. Cabinets are specially designed to place learning materials and can be easily handled by little ones
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INTERIOR
themselves. Each kid is also given personal cubicle to store their work. Carpet corner is complemented with easily accessible bookshelf. Bookshelf is designed in such a way that the books can be properly seen and easily reached by children. Colorful loose cushions are piled at one corner to use during carpet hour. Laminated topped tables are easy to clean from all the crayons and scribbling. Pine wooden furniture is light and its mild natural color spreads a soothing aura. Walls of the classroom are filled up with soft boards where children can share their works and achievements. Colorful works hung on the walls bring life to the entire classroom setup. Thus to give a proper solid base to children’s activity, the elements like furniture, flooring, wall color are chosen in subdued shades. Adjacent to this preschool classroom is the toddlers room where again the planning is done with necessary details. Here also carpet corner is similar as in pre school children section. Only addition to this is the nap area where little ones are provided with space to sleep with mattress, pillows and blankets. Nap area is designed in a double deck structure with separate storage space for kids.
The wide passage is provided with shelf for shoes and hooks to hang their bags or jackets before entering the classrooms. Lockable staff cubicles are placed in the passage. All necessary amenities like toilets, drinking water are properly planned in this floor. As toddlers are to use this space, intricate details have been taken care of like separate toilets with special details with space for potty and assistant space. Even the wash basin height has been properly considered for independent usage for little ones. Toilets and wash areas are facilitated with proper hand wash system, individual towel hanging space. Proper drinking water points have also been allotted focusing on proper health issue. At every point height of each item are considered for easy access for little ones. Just outside the classroom is the play area for preschool children, where various toys like slide, swing, see-saw, etc, is placed. This is a separate play area for smaller age group, while bigger ones use the green grassed playground. “At Ace Preschool we have children with age difference of three years in one classroom. The furniture is designed according to size of the child and is comfortable for the children,” says Ms. Puja Singh, the Principal of the school.
THE FIRST FLOOR First floor houses classrooms for bigger age group, with similar facilities as in preschool classroom but with appropriate sizes considering the age group of children. These classrooms have additional facilities with computer tables and science lab equipment cabinets. Again these computer tables are designed with different age group in mind. These classrooms have preserved beautiful hand paintings on the ceiling; even the old wooden flooring is re-used maintaining its original essence. The colorful glass on windows filters natural light into the rooms bringing in a feel of pleasantness. The original curved ceilings add drama to the ambience. Refreshing colours have been used to unify old and new elements. Overall the classrooms create a space for children hungry for knowledge. The staff work space opens to a balcony, where teachers recharge and revive 30 / SPACESNEPAL.COM
themselves. Here basic furniture is placed for teachers to do any reading – writing work. The space is shared for a sick room as it would be a good idea to have teachers look over to needs of sick ones taking rest. Office cubicles are also planned for co-coordinators to look over the entire structure. Essentials like soft boards and white boards are placed on walls to make their work easy. The large passage on this floor is complemented with shoes shelves and hanging hooks before entering the classrooms. The existing stone floor is maintained and thus keeps the feel of the building intact. The walls of the passage and staircase area is planned to display activities of children, thus unifying in each and every corner into one sensation. On this floor also separate toilets, hand wash, drinking water areas are planned, prioritizing on sanitation.
INTERIOR
THE SECOND FLOOR The topmost floor has a common space near the staircase area, dedicated for art and craft work where bigger children can do activities outside their classroom. Adjoining to this space is a large hall dedicated for multipurpose activities like music, dance, yoga, etc. This hall is extra special as we have maintained most of the historic elements here. The beautiful carved ceiling, wooden floor and even the intricate hand paintings on the walls have been preserved to complement this space. We have added in extra metal grills in windows for safety of children and even while doing the necessary electrical works we have not disturbed these valuable elements. Equipment store room is next to this hall to assist in its function.
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INTERIOR
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INTERIOR
As we move to another part of the building there is yet another crucial element of the school, which is the cafeteria. The steel kitchen is well designed with proper planning of cooking, preparation, storage, and wash and food distribution area. Even gas station is properly managed away from access of children. Steel kitchen is must for heavy duty usage and cleanliness can be maintained easily. Here, function is prioritized along with design. The large well ventilated, well lit dining hall is decorated with various sized furniture standing on top of off-white tile flooring, as the dining hall is to be commonly used by a broader range of age group of children.
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IMPACT
DISASTER RESILIENCE OF HOTEL INDUSTRY IN NEPAL text KALYAN BISTA
Nepal is a country with diverse culture and rich natural resources. Its distinct culture and mesmerizing nature entice anyone who visits Nepal. People from different parts of the world come over here for recreational, leisure, business, entertainment or academic work purposes. Adventure and ecotourism like mountaineering, rafting, kayaking, canoeing, and trekking are central attractions in Nepal for visitors. Besides, the world heritage sites and other important religious pilgrimage sites throughout the country attract tourists from across the world.
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demonstrate the catastrophic impact of earthquakes on tourism. Lessons from recent earthquakes in neighboring countries warn us of huge potential economic losses due to earthquakes. A large brunt of the loss is taken by the public and the private sectors. There are cases that many big industries and companies including hotels are shut down forever after big disasters because of lack of proper disaster preparedness.
More than 300 hotels and resorts are established throughout the country to serve the tourists coming to Nepal. This industry provides all necessary facilities required by the tourists. Hotel Industry is a major stake of national economy and considered to have the highest local private sector investment in Nepal with the recorded investment of around Rs. 100 billion. Tourism Industry in Nepal contributes around 9 percent of GDP of national economy.
Following the occurrence of an earthquake disaster, hotel industry may be in difficult position as they may face with the challenges of declining numbers of visitors and huge financial losses. The most important issues to tourists are safety and security while travelling as they want to make sure that they are well protected from hazards. A better emergency response planning and preparedness to respond to emergencies is a must for hotel industry to be able to cope with such crisis. An organization’s ability to react to a crisis situation is directly related to its degree of preparedness for the crisis.
In spite of catering services tourists, it is imperative for hotel industry to prioritize the disaster risk preparedness. Nepal lies in one of the highest seismic hazard zones of the world. If we look at the occurrence of earthquakes in India, Indonesia, Iran, China, Chili, Haiti, Japan, New Zealand, Pakistan, Sri Lanka, Turkey and many other countries over the last decade, they clearly
Earthquake Disaster Preparedness of Hotel Industry One of the initial efforts of the private sector including the hotel sector is to ensure their own safety and the safe and continuous operation of their businesses. More systematic efforts are required to ensure safety of hotel industry from earthquakes so that they can continue
IMPACT
In 1934, an earthquake of magnitude 8.4 hit Nepal shaking Kathmandu Valley with intensities of X and IX MMI. Over sixty percent of the buildings were raised to the ground resulting in more than 4000 deaths in the Valley alone. Research study shows that if a shaking that of 1934 earthquake was to occur again, Kathmandu Valley may witness a death toll of over 100,000 and a homeless population of more than 1.5 million. Are our hotels that resort thousands of tourists from across the world strong enough to sustain such seismic loads?
their function as early as possible after the disaster. Development of disaster recovery and business continuity plans for Hotel Industry and periodic practice of such plans will greatly help to get prepared for earthquake hazards or any other disasters. And, it will help them to continue the hospitality business without much hampers. The hospitality business - hotels, resorts, restaurants as well as travel and tourism, is the largest industry in the world, operating nearly everywhere in the world and thus vulnerable to business disruptions caused by any kind of disastrous events such as earthquake, floods, landslides, power failure, IT system failure, terrorist attacks, etc. Hotels rank among the top soft targets of terrorist groups around the world. But in Nepal’s case, the hotel industry sector is more vulnerable to potential earthquakes: Nepal ranks 11th globally most vulnerable countries to earthquake and Kathmandu valley, in seismic vulnerability ranking, comes in the first place. The negative impact of a disaster on the image of hotels or any tourist destinations can sometimes be very serious and malignant. Following March 2011 earthquake and tsunami in Japan have given a different perspective for the disaster risk reduction experts to think of a new level of emergency management including the plans for disaster recovery and business continuity. Economic activities before and after the March 2011 Japan disaster
completely changed due to the physical destruction observed in many industrial sectors. It also made the hotel industry to realize the need of ‘champions’ and ‘best practices’ in hospitality business sector. Since people in the world are also products of nature, the physical effects of natural environment on our society are remarkable. Natural disasters significantly affect our societies. Therefore, we need to understand the subsequent impact of natural disasters on human behavior from both economical and social perspectives.
Partnership Approach Hotel Association Nepal (HAN) is the leading representative organization in the hospitality industry, representing more than 300 hotels, resorts and guesthouses of Nepal. HAN is the official voice of Nepal’s hoteliers that safeguard their lawful interests and promotes unity and cooperation among its members. HAN can contribute remarkable initiatives in raising awareness on disaster risk of the country and conduct preparedness initiatives for hotel industry in Nepal. Being a significant entity of the country, it can also help in Government’s overall disaster risk management initiatives to make disaster resilient communities in Nepal where private sector operate their business. It has gradually been realized that it is utmost necessary to raise awareness of the private sector that earthquake risk management is much more
than “charity”, and demonstrate the economic, social and corporate feasibility of Public Private Partnership (PPP) in earthquake disaster risk reduction, and persuade that it is a sound investment to be done. Disaster risk management should become a part of Corporate Social Responsibility (CSR) for the hotel industry. CSR focuses not only on maximization of profit for shareholders but also on responsibility towards hotel sector stakeholders. A partnership between HAN and National Society for Earthquake Technology-Nepal (NSET) has recently been made to enhance the earthquake disaster preparedness of the hotel industry in Nepal. HAN and NSET have joined hands together to work with each other to make Nepalese hotel industry disaster resilient. This would give positive message to tourists coming to Nepal about the safety of the hotels and protection of the guest as well as all necessary help during disasters. The partnership aims for a comprehensive Hotel Sector Earthquake Risk Management Program to raise awareness of all hotel sector stakeholders that closely relate with potential earthquake risk reduction activities to be led by the Hotel Industry in Nepal, and to enhance the level of commitments and potential energy and leadership of hotel industry to consider earthquake disaster risk management as one of the priority areas for mainstreaming into the tourism development process.
DEALER: T.T.C Tankeshwar Trade Concern P. Ltd, Kalanki CONTACT: Saroj Upadhyaya (9851152480); 4032870 Mr. Saroj Upadhyaya is a satisfied dealer for Jagadamba Cement. “Jagadamba Cement is a high quality cement, thus customers demand for Jagadamba cement and there is no complaint till now. Both PPC and OPC are highly on demand.”
AUGUST 2014 / 35
COVER STORY
Kumari Chhen text DRISHTI MANANDHAR
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photo A. RAJBANSH
WHERE THE LIVING GODDESS RESIDES
COVER STORY
The Kumari of Kathmandu, popularly known as the living goddess, has the legacy of more than 250 years. According to a newly explored chronicle of the Renovation of Swayambhu, the date of the sanctification of Kumari Chhen is confirmed as the eleventh day of the bright fortnight of Bhadra, 877 Nepal Samvat (13 October 1757). And this is supposed to be the occasion when the first Kumari was installed in it and the first Kumari Jatra took place. History is not clear about how many girls were deified as the goddess since or even from before the Chhen was constructed, but it has been the home incessantly not only for Kumari but for a rich tradition of Nepali jatras, arts and architecture.
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Nepalese people are one of the most religious individuals, considering how they worship every form and idols of gods and goddesses throughout the year. Moreover the tradition of worshipping a god in the form of a living person, Kumari is one of the most unique traditions in our culture. The Kumari is a young girl who is believed to be the incarnation of the goddess Taleju.
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The Kumari Chhen, the home of the living goddess Kumari, is an elaborate three-storey brick building adjoining the old royal palace of Hanuman Dhoka in Kathmandu’s Durbar Square. It is richly decorated with carved windows and reliefs of gods, both Hindu and Buddhist. Built by King Jaya Prakash Malla in the year 1757, the chhen has a unique significance in the fact that it
COVER STORY
is the temple where the god actually resides. And this might be the reason for why, unlike many temples in the same vicinity, it has its own distinct architecture. The temple is surrounded by a wide base covered with bricks and stones that now offers a resting space to the passerby and the devotees visiting
there. There are a total of about 22 profusely carved windows of different shapes and sizes on the front faรงade. At the centre of the faรงade over the main entrance is gold-plated Gajhya which is only used by the goddess. The second floor entertains a Sajhya from where the Living Goddess shares glimpses with her devotees. The building is almost symmetrical except for the leftmost
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section, which is absent on the right side. It has an enclosure for the chariot of the Kumari, which is used during IndraJatra. The ground floor of the Kumari Chhen has numerous exquisitely carved doors. The main entrance door lead by the stone steps is guarded by 2 white painted singhas on either side. The doors open up to a grand courtyard that is enclosed by 4 symmetrical wings with equally impressive windows. On the top of the north face, on the roof covered with terra cotta tiles, is the pinnacle, called gajur. The gajur is the pride of Kumari Chhen and depicts the trust and belief of all the devotees. This is one of the buildings, besides the palaces of that era that is architecturally
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COVER STORY
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significant in many aspects and not just in a religious aspect like the temples. The Kumari Chhen is built using the 3rd space concept as it uses space both inside and outside the building. This building is also an example of the magnificent architecture and the fine craftsmanship of the Malla dynasty. The Kumari and the Kumari Chhen have a special significance in the lives of the Nepalese people. It closely ties our devotion and faith to the most surreal form of religion and belief. It is undoubtedly an expression of how we were and who we are.
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LAKHE A DANCE OF THE DEMON text JEEBESH RAYAMAJHI
photo A. RAJBANSH
As Lakhe enters into the crowd chasing Jhyalincha, the crowd disperses out of fear and leaves space for Lakhe to perform its demonic movements- in doing so the dispersed crowd also seems to be performing. The interplay between and among the Lakhe, Jhyalincha and the crowd resembles microcosms of the world of demon, god and people. 44 / SPACESNEPAL.COM
COVER STORY
According to one of the most told myths, Lakhe came into the valley with the goddess Taleju. Sometimes in the eleventh century, during the reign of Gunakamdev, the valley was suffering from a severe famine after a long draught. The King, as suggested by the tantric of the time, deployed a troupe of tantrics to escort Taleju Bhawani in. She was accompanied by a carnivorous Lakhe, her bodyguard. Though they could not refute the arrival of the Lakhe with her, they could at least confine it within the outer periphery of Kathmandu. This tells how Lakhe was introduced in the valley. In course of time, a Lakhe falls in love with a young girl from Majipa in Kathmandu. He starts visiting the girl in human guise. But when he is captured, instead of punishing him, Thakali, the then head of the town, offers him life with his beloved if he promises to give up his carnivorous appetite and protect the children of Majipa. And his public appearance was allowed once a year during Indra Jatra. In the Jatra, we see him managing crowd.
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of Majipa Lakhe, one of the most intimidating masked dances in the valley.
Indra Jatra is the biggest religious street festival in Kathmandu. During the Jatra, not only the old durbar premises but the whole of adjoining city stands as the stage where different performances like the Jatra of Indra, Kumari and Bhairava along with dances and dramas including the Lakhe dance covers the whole stage. Amongst the most sought after events in the festival is the dance
In the jammed square, the Lakhe wearing a huge red wrathful mask makes demonic movements on the rhythm of traditional Newari beats of dhime (drum) and bhushya (cymbals). The enormous red mask with protruding fangs, serrated teeth, and a dark red wig is a work of customary, meticulous Newari art. It is accompanied by a matching red and golden bhoto and full-length skirt. The dancers also tie silk handkerchiefs around their writs to add color and vigor to the dance. With fast hand movements, these silk handkerchiefs appear as blurs and flashes of colour. This dance is not taught, but is inherited by the dancer from the spirit possessing the mask. The general belief is that the spirit of
ne of the most striking features of Kathmandu valley culture is its Lakhe. There are a number of legends of Lakhe and Lasi in this valley of myths, histories and arts. The most famous Lakhe in the valley is Majipa who appears every year during the Indra Jatra festival, the oldest festival of this kind in the valley. The Lakhe bears its name from an abutting settlement of Kathmandu Durbar Square named Majipa.
the Lakhe resides in the demonic mask. As the dancer puts the mask on, the spirit takes over the dancer’s body and dictates the movements. As a part of the Lakhe dance, a teaser called Jhyalincha (a guise of dragonfly) agitates Lakhe and is continuously chased by him. Jhyalincha, with its gestures and words, provokes Lakhe and plunges into the crowd. As Lakhe enters into the crowd chasing Jhyalincha, the crowd disperses out of fear and leaves space for Lakhe to perform its demonic movements- in doing so the dispersed crowd also seems to be performing. The interplay between and among the Lakhe, Jhyalincha and the crowd resembles microcosms of the world of demon, god and people.
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Skylight ad
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JOURNEY
SERENE
RARA text & photo ANIL NATH SHRESTHA
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JOURNEY
Rara, the biggest lake in Nepal, looks like an ocean of crystal water on the top of a hill yet surrounded by other green hills. The serene lake of himalayan fresh water lies at an altitude about 9,810 ft above the sea level covering an area of 10.8 square kilometer.
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JOURNEY
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JOURNEY
B
y the time I visited, there was no access of road to Mugu. Now the motor track has linked the District headquarter, but you can not rely on the hastily formed mountainous off road to Mugu. The only access for non natives is the air; still you have to count on weather and on limited number of flights. With a yearning to have confrontation with unexplored boondocks of Karnali, I packed my sack and reached Nepalganj- Nepalganj and Surkhet are only two airports you can fly to Mugu from. Seeing no hope to get chance to fly from Nepalganj I decided to try from Surkhet. But that did not bring fortune for me and I stayed in Surkhet for whole 16 days, counting on my luck to get any flight desperately. I had only just prepared to back home than I got the flight. It was really thrilling flight with life threatening experiences caused by bad weather and meandering fly in dark clouds. Finally the aircraft was safely landed at Talcha Airport that opens to the nature carved terrains of the region full of vegetations, deep gorges and rivers. Further you will love serene Rara, the terrain like human settlements and a unique mountain culture and life style. Your days flip quickly in appreciating the nature and awing wonders one after another. My months flicked away without letting me appreciate the beauty of the region in its fullest.
Rara, the biggest lake in Nepal, looks like an ocean of crystal water on the top of a hill yet surrounded by other green hills. The serene lake of himalayan fresh water lies at an altitude about 9,810 ft above the sea level covering an area of 10.8 square kilometer. It is probably the deepest lake in Nepal which has a maximum depth of 548 feet. Abutting area is covered by Rara National Park that features a number of rare species of mountain faunas and floras.
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JOURNEY
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JOURNEY
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I was surprised to see some slopes covered with clay topped houses flattened one over another. The top of one building works as the front yard for another building owned by a totally different family. On the top of this you may find all the buildings in a village connected to each other and one can easily go across the top of the houses to get into any house without getting down on the ground. Stairs carved in a single log of woods are used to get upstairs. The walls smeared in white or earthen colour marks the house. Inside, cozy rooms mostly with smoked and dark interiors gives you the feeling of warmth and comfort.
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JOURNEY
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The landscape varies in its shape and colour. In one direction you might see dark green woods but on the other you find ugly and barren fields, too. The landscape of the area, unlike any realistic painting, changes its colour time and again. You can’t see it green all the time; some times of the year you see white everywhere with stinging snow and sometimes snow bit black barren world around.
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JOURNEY
Though the land offers seemingly beautiful landscapes, salient culture and life, and awe feeling experiences to the visitors, the life for the local inhabitants is full of hardships, pains and challenges. They work hard for hand to mouth round the year but the cultivated land rewards pretty less and they need to be dependent on the southern plain and government sponsored ration. Landslides, flood, excessive rain and snowing up to 2 feet high cripple their life. With Nepal’s lowest human development index, the famine and epidemics are other challenges the people in this district face every so often.
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ART
SCULPTING WITH FORM BFA EXHIBITION PROJECT 2014 text PRAGYAN THAPA
This year’s BFA Exhibition Project 2014 saw 17 painters, sculptors and visual artists, who had put together a group show after six months of intensive studio work completing the art school’s four year long undergraduate program.
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ooling off the onslaught of Kathmandu’s August heat, I walked inside the premises of Nepal Art Council; masking the wonderment of a kid at a zoo with a make-believe layer of an art connoisseur. The gallery building – a bluish gray, bulky and box-like structure with an attic roof – is flanked at the edge of the now wide Babar Mahal main-road, and happens to be the most occupied art space in the valley. The occasion was Kathmandu University’s Art and Design’s annual “BFA Exhibition”. My art sniffing began with a distinctive rush-hour scene of a chaotic traffic point: micros, safa-tempos, bikers and regular commuters squeeze and trudge to find their way in a disorderly and dusty city.
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Artist Tsewang Lama has unfolded the complex moment using 21 separate canvases to build a larger picture. He has employed alert detailing and spattered color composition, capturing the usual traffic influx at the city’s abundant chokepoints. In a different piece, he has painted a defoliated tree and at its base, the empty tree laps discarded modern day gadgets – a gaudy symbolism of world going downhill, which is a unified theme in his series of paintings called “Lost”. Lama has channeled to disentangle the city dwellers’ collective consciousness that has somehow twisted itself into a mass of collective ignorance like the tangled telephone cables on a slender pole as depicted in his last painting.
ART
The show was an explosive mingling of forms and contemporary issues. Prabal Bikram Shah’s graffiti inspired work has portrayed former Police Chief of Kathmandu SSP Ramesh Kharel’s transfer controversy by headlining it on a mock-up newspaper’s front page. The masthead reads DISOBEYING and on a closer inspection the background has a stenciled image of Kharel, which is a planned homage to one of Shah’s graffiti art inspiration Shepard Fairey, whose street art design of “OBEY Giant”, featuring the wrestler Andre the Giant, has got a contextual Nepali treatment by defining a state of lawlessness. In truth, it was a hospitable site for the innovative and the unconventional. From scraps and junks Prajwal Bhattarai has resurrected a new rendering for the concept of beauty. He has re-engineered tossed away parts of bicycles to model musical instruments, a marble track and a charkha shaped design, which can be pedaled to project fluttering patterns of colors. The same intimacy was evidential
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ART
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ART
in Kiran Rai’s kinetic sculpture, a reimagination of the mythical bird-like creature “Garud”. Once the current is passed, the kinesis gradually brings the steel wings of the “Garud” to life and the flapping sound, close to a grumbling generator, awakens appraisals for the artist’s resourceful genius. Tapping similar vein but disposed to a social message were Ramesh Khadayat and his miniature horses. For his project he picked up his hometown Kailali to explore and identify with the Kamaiya community. The toy horses were of sacred importance to the community
and Khadayat told me that his army of terracotta horses was not a depiction of the community through the eyes’ of an outsider: He saw this simple form of art as their possible voice for recognition. With the predomination of art shaping up life, there in the display were some very personal reflections on the Hindu deity Bhairav in the section “Wishes” from Niroj Maharjan, covering his native Newari roots and his psychological renditions, such as a self-portrait blotted out with a Bhairav mask and alignments of molded faces of Bhairav with overlapping poetic verses about his philosophy to stay limitless and fearless.
I think it helped to see that there were not any barbed-wire perimeters restricting these young talents. As I talked to Prakash Ranjit, I was amazed by his productivity to cut into several art forms ranging from video performance to surrealist, layered oil paintings. His ideas celebrate the complexities within a person and toil against the dispirited societal fixation on stereotypical gender roles. At the same time, I met up with another radical artist: a digital artist from Germany named Matthias Plank. Plank has worked on a roleplay gamebook and the illustration posters that make up his “Alter” series and takes us through his
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ART
rigorous work process in designing and detailing the mystical creature characters and post-apocalyptic, alternative reality. When I asked Plank about his decision to take BFA at Kathmandu University, he had a conclusive answer: “You learn everything from the beginning. They don’t expect you to be a fully grown artist since the first day. They want you to show them that you have the prospect of becoming a great artist and then they do their best to make you that great artist.” And at once the students’ display of works was successful to present a strong testimony indicating that the young artists have come of age, ironingout their talents and ideas to speak clearly through visual imagery.
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STOREWATCH
FURNITURE LAND a landmark for the state of the art furniture
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STOREWATCH
FURNITURE LAND, established in 2001, with their first office in Teku and an outlet in Krishna Tower and by providing high quality imported furniture for a reasonable price they’ve taken the Nepali furniture market by storm and are now one of the most renowned names in this business. The head office is located in Blue Bird Shopping Complex, Tripureshwor and other showrooms in Maitighar and Maharajgunj. Furniture land provides affordable, comfortable and an array of products from Thailand, China, India, Vietnam, Malaysia and many other countries. Even with large variety of products they’ve maintained a large stock of this variety of products. Not only do they supply imported furniture but they also promote locally made furniture. From beds, sofas, vases, and coffee tables to outdoor tables, furniture land includes six main categories of products: bedroom, dining room, office furniture, garden furniture and decorative. To go with changing taste of Nepali people, Furniture Land has been able to supply the consumers with all the state-of-the-art products. They expect Nepali consumers to have an even higher demand of modern furniture in the future and are willingly able to supply that demand when it happens.
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FROM THE SHELF
KATHMANDU VALLEY PAINTING THE JUCKER COLLECTION Author: Hugo E. Kreijger Publisher: Serindia Publications Published Year: 1999 Hardcover: 128 pages (9.8 x 13.5 inches) Language: English
Hugo Kriejger studied Asian art and archeology at the University of Amsterdam, where his main subjects were Tibetan and Nepalese Arts. The collection as it stands offers a fascinating tour of the painting tradition in the Kathmandu Valley - even taking in several extremely rare scrolls for which this author has yet to find comparable pieces in other collections.
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or most lovers of Nepalese art, the Jucker collection will come as a revelation. The core of the collection was assembled during the 1960s in India, with a few well-judged additions in recent years filling in the remaining stylistic and iconographic lacunae. The collection as it stands gives, an excellent overall view of the painting tradition in the Kathmandu Valley from the thirteenth to the early twentieth century - including several extremely rare scrolls for which there are no comparable pieces in other private or public collections.
Almost all the scroll paintings were executed by artists from the Newari community. The Newar lived and still live in the Kathmandu Valley - which with its three cities of Kathmandu, Patan and Bhaktapur - has been the cultural heart of the eastern Himalayas throughout history. Nepal as we know it today did not exist earlier than 1769, when the Gorkhas conquered the area and set up the reigning Shah dynasty. In a sense, therefore, it is more appropriate to speak of Newari rather than Nepalese paintings.
One of the most interesting aspects of the Jucker collection is that one can clearly distinguish two different painting traditions in the history of the Kathmandu Valley. The first, and oldest, bears some influence from the northern India of the Pala dynasties (circa 750-1200). Active from at least the eleventh until around the sixteenth century, this early Kathmandu Valley tradition in turn came to influence the painting traditions that arose with the second diffusion of Buddhism in Tibet. The second tradition appeared in the late sixteenth century and seems to have been limited in its patronage to the Hindu and Buddhist communities of the valley. The paintings of this school are strongly figurative and quite often much more naively rendered. The colour schemes also show a marked evolution toward more bold and vivid pigments, resulting in stronger contrasting colours. Influences on this style came not only from India, but also from Tibet, and can especially be seen in the depiction of landscape, textiles and architecture. It was this second painting tradition which gave the Valley its own place among the various Asian painting traditions. This catalogue is the first to treat the Kathmandu Valley painting tradition. As such, its scrolls, book-covers and sketchbooks are an indispensable resource for all students of Nepalese art. (from the jacket) excerpts from INTRODUCTION The Licchavi period ended in 879 or 880. The new era, which lasted until the advent of the Malla dynasty in 1200, has been known as the Thakuri period. These three centuries, however, were an extremely important phase in the development of the religious arts, to which the many surviving palm leaf manuscripts and bronze and stone sculptures bear witness. In particular, the twelfth century, the last before the advent of the Mallas, is regarded as the classical period of the religious arts of the Kathmandu Valley, although no known paubhas of this time have survived to the present day. The earliest of the paintings in the Jucker Collection dates from approximately 1200, and more than half of the works under consideration date to either the early or late eras of the Malla period (Plates 1-21). It is a period marked by both centralised political control and complete factional collapse. It is also, perhaps paradoxically, a period in which the Valley’s painting tradition flourished.
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FROM THE SHELF
The first 180 years of the Malla period are not well documented by inscrip¬tion, and its history is speculative. It is due to the upheavals of this period that no known painting and al¬most no architecture dating from before the Malla period has survived to the present day. The fact that only two of the twenty-one Malla period paintings in this catalogue (Plates 1 and 2) actually date from these 180 years, accurately reflects the number of such early paintings extant in comparison to those pro¬duced later in the Malla period. The prosperity of Yaksha Malla’s reign (r. 1438-1482) is attested to by the abundant inscrip¬tions of the period. Many temples and shrines were founded, and civil works were undertaken. Both the Hindu and Buddhist faithful commissioned many sacred images and paintings (Plates 6 and 7). After Yaksha Malla’s death, the Valley was divided amongst his three sons, each of whose kingdoms were centred on one of the three cities of the Valley - Patan, Kathmandu and Bhaktapur. Their rivalry of the three cities was matched only by their artistic rivalry, and all three strove to build the most beautiful palaces, temples and shrines. It is especially the carved woodwork of these buildings that provides such a feast for the eye and can still be admired today in the old sections of the cities. The painting ateliers of
each city also entered into this three-way compe¬tition, and the Jucker collection contains many beautiful examples of their ef¬forts (Plates 8-31). Bhupatindramalla was a great builder, erecting several temples in Bhaktapur’s main square and completely renovating the ancient palace of the Malla kings. His portrait can still be seen in a mural in the palace, as well as in several paubhas, including one in this collec¬tion (Plate 18). Although their leaders and many of their fellow Newars were Hindu, it seems that most Newar paubha painters were Buddhist in faith. And as the Jucker collection helps to demonstrate, many
Buddhist scrolls (Plates 8-11,13-16,19 and 21) as well as bronzes were still made during these centuries. The weakened position of the Shahs brought a new party, the Rana family, into power, although the Shah fam¬ily remained as titular kings. Although the kingdom’s borders were technically closed, several of the Rana family travelled abroad, and returned to Nepal with new, mainly Western, ideas. Their most visible patronage of the arts, therefore, is western in character. Western influences can also begin to be seen in painting, and are particularly evident in two paintings in the Jucker collection (Plates 38 and 39).
This is not a book review; this is just an effort to conveying information to the readers on rare and valuable books on Nepali art and Architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).
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PERSPECTIVE
Q&A
with Dr Madhav Mangal Joshi
Energies enter the house from the northeast direction and go to the southwest. Hence, to retain the energies in the house, it is advisable to put thick walls in the southwest. Heavy objects should not be placed in the northeast; they can obstruct the energies. Instead, concentrating heavy objects on the southwest can be helpful. Dr Madhav Mangal Joshi, the Vastu Shiromani, is a Vastu and Feng-shui expert. The Chairperson of the Vastu Bivag at Nepal Jyotish Parisad, he is also the Founder Principal of Global Vastu Pratisthan. Also the Chairperson of Nepal Vastu Sangh, he is associated
with a number of associations home and abroad. In recognition of his high patronage to the cause of research and development of International Astrology and Vastu, Asian Astrologers Congress, India and KP Stellar Astrological Research Institute, Mauritius has conferred him
Swami Vivekananda Award and Hony Doctorate of Vastu Shastra. Spaces, with an objectives of catering authentic Vastu solutions to the queries of its dearly readers, has resumed this column. We are grateful to Dr Joshi for being kind in addressing the queries.
In which direction and how can waterreserve tank be placed in the house? Mallika Ghimire, Balkumari
in the south. A mirror placed here will multiply the sorrows.
bodies of water attract smaller bodies. Two thirds of our body is made of water. Water in the underground tank attracts the water in our body. If we enter the house tired and depressed, the water tank absorbs this positive energy, and this is what gets dissipated later through water. Hence, the location of an underground tank should be chosen wisely. It is best if the tank is not inside the house at all, but outside on the grounds. If that is not possible, the tank should be on the northeast corner, or north, or east or west.
The best place to have underground water tank is the northeast corner. Energies flow into the house from the northeast, and water tank placed in this corner can absorb all energies. Then the energies can be passed on to anyone who uses the water. As for overhead tank, it can be placed in the south or west, but most appropriately on the southwest. What is the right place and position to place a mirror in the house? Nandita Rana, Baluwatar Just as a candle in front of a mirror gives double the energy, a mirror multiplies the energies of whatever room it is placed in. But the best directions to place the mirror in are the north, northeast, and the east. Placed in these areas, a mirror magnifies the positive energies that flow into a house. It should never be placed 72 / SPACESNEPAL.COM
What are the main directions in Vastu to bring prosperity in the constructed house? Bijaya Tamrakar, Chhauni Vastu is the study of heavenly objects, and each direction is associated with the quality of a particular heavenly object and the motion of the earth. In a house, rooms should be assigned according to its quality, which can maximize the energies entering the house. It is often said that underground water tank shouldn’t be built at home. Is it true? Are there any remedies, if that is true? Samina Shrestha, Sundhara Underground water tank can be constructed, but it should not be at the entrance of the house. Water is like sponge, it absorbs energies. Large
What is the best direction for the elements like batteries and Inverters to be placed? Rohit Thapa, Nardevi Elements like inverters spread radiation. Hence, they should be kept in the south or southeast, where the governing element is fire. Until 11 AM, south and southeast get good vibes from the east. But after that, they get negative energy
PERSPECTIVE
kinds of energies, and elements resonate differently with different persons. So it is not easy to give general directions. Before starting the foundation of the house, what are the things to be considered as per Vastu? Ambika Maharjan, Balkumari The energy of the location should be studied before laying the foundations of the house. Some lands emanate positive energies, and some negative. But even if the land emanates negative energy, there are some remedies for that. Raising cows at the location for 1-2 months will rid the land of all negative energies. We respect cows as mothers and holy beings, and cow dung is a well known antibiotic, too. from the sun at its zenith. If fire elements are kept in this direction, then they are at no risk of disturbing the positive energies elsewhere in the house. If that is not possible, they can be kept in the northwest. What type of elements helps to ground energy of house? Khusi Bhandari, Jhonchhe Energies enter the house from the northeast direction and go to the southwest. Hence, to retain the energies in the house, it is advisable to put thick walls in the southwest. Heavy objects should not be placed in the northeast; they can obstruct the energies. Instead, concentrating heavy objects on the southwest can be helpful. Which is the best color for the master bedroom according to Vastu? Kamala Gurung, Mahalaxmisthan
What are the correct tools if water reservoir is not in the correct position? Supay Singh, Kuleshwor The water tank should be placed in such a position that you should not step on water when you are going in or out of house. But if the water reservoir is already installed in the wrong position, there are some remedies. Divide the top of the reservoir into nine equal parts of a 3X3 matrix. Place a crystal pyramid in the middle of each section. This will prevent the water from pulling your energy.
(Readers are requested to send their queries on Vastu, if any, at market@spacesnepal.com.)
The color of the room depends on where it is located, because every location has a planet associated with it, and each planet has an associated color. The best location for a master bedroom is the southwest, which is the most stable room in the house. Stable colors like cream, yellow, and lemon are associated with this position. Orange can be an alternate color. Which is the best place at home for the kitchen? Binita Ranjit, Satdobato Southeast is governed by fire element, and the kitchen’s most important element is fire. Hence, the best place for the kitchen is in the southeast. Food cooked in this room will be hygienic and full of the invigorating life force that flows in from the east. It is best if the person who is cooking faces the east. Which direction in a building is best to set up an office? Min Lama, Koteshwor The Vastu of an office is a cosmic study in itself, and is not different from the Vastu of a house. Still, the best direction to have an office, in short, is the southwest. It is the most stable direction where the positive energies gather, so having a work environment in this direction will bring prosperity. Is there any color and element according to Vastu that could be helpful for the success? Deepak Baral, Baneshwor The best color and element for success vary from person to person and the directions, too. People belonging to different AUGUST 2014 / 73
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ARTSPACE
LIFE OF
SUNDARPUR VILLAGE text ASHA DANGOL art RAJAN PANT
Dramatic color composition, contrasting and bright hues of red, yellow, blue, green and purple in the landscape creates more curiosity in the viewers. His surreal colors are unnatural and but in this painting these colors try to capture the daily life of Sundarpur Village. The movement of colors and irregular lines flow together with his landscape. Lines are very strong and he has shown Terai life in a move in every detail the tractors, rickshaws, house hold utensils, dresses and so on. The Artist Rajan Pant, a visual artist and a founder of Zero Century Fine Arts Foundation, is a promising contemporary Nepali young artist. He holds Master’s Degree from Tribhuwan University, Kirtipur. He has coordinated various art programs since 1995 which include art exchange tour for young art student in Varanasi, Kolkatta, Delhi, Sikkim and Darjeeling. He has traveled extensively to 62 districts of Nepal to get inspirations for his paintings.
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SP AC ES OP EN
I took this snap when I visited London’s one of the most protected and well maintained safari park named Whipsnade Safari Park, which covers over 600 acres of land. Cheetahs have been a longstanding success story at Whipsnade Safari Park, where a staggering 130 cubs have been born. In here, you will feel you are caged not the animals. I must say wildlife is protected at its best.
The Photographer:
Prabindra Lal Singh, has his master’s in English and Economics from Cambridge University, UK. Highly interested in creative genres including photography and writing, he is nurturing dreams in his field and dares to make them true. He believes hard work is the key to summit his mission.
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The School of Creative Communications is a unique blend of creativity and communication. We provide a platform for those who dream of nurturing one’s creativity through communications. We offer training programs on art, photography, creative writing and communication skills. We have been conducting SCC Explore Photography workshops since its establishment in 2009. We also organize SCC Blue Bag, a sharing program with scholar once a month. SCC is located at Kupondol, Lalitpur, Nepal. (Link road to Bagmati River)
www.scc.org.np facebook.com/scc.kathmandu
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