SPACES Nepal SEPT 2014

September 2014 – Vol 10 No. 09

ART ARCHITECTURE INTERIOR

LADAKH A JOURNEY INTO MOONSCAPES

THE WHITE DAGOBA

MURAL ART HAS ANCIENT ROOTS IN NEPAL

Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95

INTERIOR DESIGNING:

A CHARISMATIC

CAREER NEWLY CONSECRATED

LICHHAVI CHAITYA

ALL THE WAY FROM NEPAL TO SWITZERLAND

KOPAN MONASTERY

10th YEAR - ANNIVERSARY SPECIALS

ARANIKO and

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SEPTEMBER 2014 / 3

CONTENTS SEPTEMBER 2014 VOL 10 NO.09 SPACESNEPAL.COM

24 Architecture KOPAN MONASTERY: ARCHITECTURE CREATES MAGIC WITH SPACE Architecture creates magic with space.

A perfect sense of harmony of space and architecture transforms the place to the extent that it seems not of this world but of the divine spheres. This is what the magic created in Kopan monastery with space, architecture, and intricate design and decoration mingling with faith, mantras, thankas, symbols, lights and music.

32 Interior INTERIOR DESIGNING: A CHARISMATIC CAREER Interior designing means designing a space, which cleverly fulfils the requirement and solves the problem of the user but also keeping it comfortable to all 5 senses. Designer looks after thermal and acoustic comfort of the space. She or he works on lighting design as well, which can create magic in the space without hindering visibility.

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Into the History

40 Journey

LADAKH: A JOURNEY INTO MOONSCAPES It was the craziest wind I have ever confronted with. Wind eroded landscapes of Ladakh gives a resemblance of Mustang region and you feel as if you are travelling in the Trans Himalayan regions of Nepal.

The culture, too, you don't find different if you are familiar with the people of Tibetan descent. Moreover the Indus River, being quite familiar with the name, reconnects you with one of the oldest civilizations.

52 Reviving the History LICHHAVI CHAITYA ALL THE WAY FROM NEPAL TO SWITZERLAND Araniko in the 13th century contributed a lot in institutionalizing Nepali art and Architecture in Asia and in China, in particular. Since the time even before Araniko, Nepali artists have been the most authentic and skilled experts of Buddhist art and have been sought for from across the world.

Even these days, the world demands Nepali artisans for creating or consecrating Buddhist arts and statues. The newly consecrated Lichhavi Chaitya in Switzerland is another example of the reviving the tradition of Araniko.

ARANIKO AND THE WHITE DAGOBA "His legendary life and career … had a lasting artistic and spiritual influence on Asia and on China in particular.

The magnitude of his accomplishments rivals those of Brunelleschi, Michelangelo, and Leonardo in the West", Anning Jing, a professor in the Department of Art, Michigan State University, writes, "Anige's biography is more than a story of a Nepali artist's gallant adventure and phenomenal success in foreign lands. It is also a story of how Himalayan Buddhist art became an international style."

MURAL ART HAS ANCIENT ROOTS IN NEPAL Many of Buddhist Vihars and Bahis were built during the time span between 12th century and 17th century AD. Mural art by then had had been well established as an important part of entire painting tradition…. Naturally, as the number of Buddhist Vihars begun to grow in the Valley during this Art period, the earliest wall painting or the archetypal ‘Murals’ also began to appear in Nepal. Hence in all the possibilities therefore, those early monks cum painters and their religious art in the walls then could be described as the origins or the genesis of mural art in Nepal.

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49 FROM THE SHELF: THE SIKHARAS 57 PERSPECTIVE: VASTU VS ARCHITECTURE 64 STORE WATCH 66 PRODUCT 72 OPEN SPACES 8 / SPACESNEPAL.COM

SEPTEMBER 2014 / 9

Editorial We are at the advent of Dashain, one of the most auspicious festivals in Nepal.

The festivals here in Nepal consistantly lighten up our lives within our culture providing us bonding time between family and friends. It is also a time to recharge our spirits – when the monsoon clears up to wonderful blue skys !

Our cover story this issue is a picturesque feature by Ashesh on Ladakh: A Journey into Moonscapes that captures the spirit of the place. The wind eroded landscapes of Ladakh gives a strong resemblance of Nepal’s Mustang region giving it a feel of the Trans Himalayan regions of Nepal.

In the issue - we have tried to delve into fragments of history, with a highlight on traditional arts and architecture. The article Araniko and the White Dagoba retraces the history of the contribution of Araniko in institutionalizing Nepali art and architecture in China.

Newly Consecrated Lichhavi Chaitya feature is a present day example of Nepali craftsmanship’s influence across the borders. The feature on Mural Arts Ancient Roots in Nepal traces the history of the development of murals or wall art in Nepal. Similarly, the architectural perspective on Kopan Monastery puts light on the age-old tradition of monastery architecture.

Our regular column on interior appraises the scope of interior designing of Nepal with a highlight of the first Interior Design IDC Competition jointly organized by SPACES and NFFA - Nepal Furniture and Furnishing Association. The design competition witnessed an interesting array of participants from the various Design Schools here. The results were declared with the closing of FURNEX 2014 exhibition – and we congratulate all the participants and the winners.

Get Ready- Get Safe is a column under the theme Impact category written to generate an awareness for imminent disasters such as earthquakes. Architecture vs. Vastu feature provides traditional insights and principles that need to be considered while selecting a land and constructing a house.

Having just returned from an amazing trip to the JomsomMustang as well as Manang region, it is indeed with deep appreciation I have to echo and urge all our readers to make an effort and try and get close to discover these natural wonders of our country. People from far and wide are seen trekking and appreciating these places – and it is high time our Nepalese citizens are also urged to discover these gold mines that exists in our country.

We share our greetings and do hope you enjoy this issue in the midst of the festivities.

Happy Dashain - Namaste !

Sarosh Pradhan / Editor in Chief

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SEPTEMBER 2014 / 11

Contributors

Volume 10 NO. 09 | September

DR MADHAV MANGAL JOSHI, the Vastu Shiromani, is a Vastu, Feng-shui and Dowsing 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.

MADAN CHITRAKAR is a well known senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions his writings on Nepali Art have been published in prestigious Art publications abroad – notably Japan, India and Bangladesh. Two well acclaimed Art books Tej Bahadur Chitrakar: Icon of a Transition (2004) and Nepali Art: Issues Miscellany (2012) remain to his credit: and a new serious book on Art is under publication. A well established artist, his journey in writing has had begun in 1976. Presently, he is associated with Tribhuvan University, Central Department of Fine Arts and Kathmandu University, Centre for Art & Design as a member of the respective Subject Committees. He can be accessed at madanc@ntc.net.np.

SUKRASAGAR is an archaeologist and a specialist in Nepali culture and history. He, coauthoring with Mehrdad Shokoohy and Natalie H Shokoohy, has recently published Street Shrines of Kirtipur: As long as the Sun and Moon Endure (2014). The book focuses on the shrines’ chronology from the earliest specimens to the end of the twentieth century, the reasons for their erection, their typology and their iconography with the aim of providing a broad understanding of such features in a wider perspective for all Newar settlements.

Another important he has coauthored is Jarunhiti (2013).

SALONI SHRESTHA is an Architect. A graduate from Kathmandu Engineering College, she is currently working at National Society of Earthquake Technology. Besides Heritage Preservation, Rehabilitations and Regenerations, her interests lie in Human Rights agenda and she believes in active participation in such efforts. In her leisure time she loves to travel, read and pen down her experiences over strong black coffee. Also, she works as a freelance writer for various magazines.

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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 Aayush Chitrakar Mohein Ranjitkar Anu Rajbansh Debbie Rana Dangol Ashma Rauniyar Pramila Shrestha Sawan Balami Sunil Man Baniya Yogendra Bhattarai

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COVER PHOTO: Lamayuru Monastery Ladakh, India © Ashesh Rajbansh

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SEPTEMBER 2014 / 13

REVIEWS

Fragments of Mustang Revisited her painting and it gives an impression of a monument bounded by a high altitude floral garden.

M

anang Youth Society (MYS) exhibited 70 arts, including 50 paintings and 20 photographs, for 4 days starting from 18 August 2014 at Nepal Art Council Gallery, Babarmahal, Kathmandu. The paintings were executed during an 8 day residency (24 to 31 May) at Lo-Manthang of Mustang.

Inaugurated by the Minister of Culture and Tourism Mr. Bhim Acharya on 18 August, the exhibition was a part of a larger initiative initiated by Manang Youth Society to promote Mustang through art. “It is a part of an ongoing project to promote various regions of Nepal through the medium of Art”, says Tripple Gurung, the President of MYS. MYS had hosted 5 celebrated female artists and a photographer who spent their 5 days in embodying the mesmerizing landscapes and life of Mustang in the mosaic of shapes and shades. The participating artists were Bidhata KC, Erina Tamrakar, Sunita Rana, Bipana Maharjan, Puja Maharjan and a photographer Sajana Shrestha. The five artists created altogether 50 paintings and the photographer captured the life and landscapes, besides the artists and their process.

Sunita has worked on the landscapes to make them more beautiful.

She has created beautiful landscapes by merging the scenes of high altitude desert with the imagination of an artist.

Though it mesmerizes at once, one find no variations in terms of color and vegetation while observing the landscapes of Mustang. But, Sunita has surpassed nature by creating flora and giving it a varied color. The wind eroded bare terrain of Mustang is converted into something beautiful in

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Puja has portrayed the high Himalayan life of Mustang.

The women attired in traditional Tibetan costume gives a lively texture to the color of the land. Mostly the women in the region wear long-sleeved floor-length dresses; almost all in black except the aprons which are normally with multicolor stripes. Her depiction of the life there seems to be realistic that exercises a very minimal freedom to an artist’s imagination. Bipana stands more out to blend photographic reality with her subjectivity.

She has depicted the chortens of the region in her paintings but she has used varied colors and unusual backgrounds. The chorten is easily standing out in the unusually dark background. And the glimpse of woods in the foreground also stands as an oasis giving life to the morbid picture in ones mind.

The color of the mountain dessert seems to have appealed all participating artists to accept as it is first and to create alternatives with the sensibility of ones mind’s eye, then. Erina has dissected the earth and has plunged in to dig the colorful gems out. Her paintings are the embodiments of the beauty hidden underneath the earth that one can see with her mind’s eye.

Similarly, Bidhata indulged herself in embodying the interplay of the architecture with the surrounding environment. In trying to capture the unexplored beauty of Lomanthang, she gravitated towards the beautiful white-washed, walled hermitage that used pigments unique to upper Mustang. It looks as if these walledhouses capture the spiritual essence of the surrounding.

‘I felt like there is an imitable relationship between nature and the human world. To capture the complementing beauty of the houses with the nature, my focal point became the texture of the walls,” says Bidhata.

SEPTEMBER 2014 / 15

A POWER PERFORMANCE

REVIEWS

A

houseful of audience were amused by veteran Bollywood actor Anupam Kher’s solo play Kuchh Bhi Ho Sakta Hai on August 22, at the Army Officers’ Club, Sundhara.

The performance of Saaransh actor, also known for movies like Dilwale Dulhaniya Le Jayenga, Hum Aaapke Hai Kaun along with critically acclaimed movie like Maine Gandhi Ko Nahi Mara was sterling – thanks to the well-scripted play with a good direction and of course a power performance.

This versatile and talented actor of Hindi cinema made the two-and-half hour long play worth watching and proved such a long monologue is indeed fun to watch if delivered in Kher’s way.

Directed by Feroze Abbas Khan, this is an autobiographical play, thus chronicles Kher’s journey as a human being and as an actor.

The actor enacts his own story on stage, capturing his life from Shimla to Bombay.

As Kher narrated and dramatized some important events of his life, the audience got glimpses of fun to romantic to struggling to sad and successful moments of his life.

From his first kiss as a teenager to rejection in love as a youth to struggle of getting the first break in Bollywood to handling of fame and success to again being a failure, the play captured some major important events of Kher’s life. There were ordinary moments in his life like that of any other common man.

And there were some incidents that seemed dramatic – like Kher cursing Mahesh Bhatt for not letting him do Saaransh, the melodramatic encounter with father of the girl he loved.

While portraying these life incidents, the actor interacted freely with the audience thus making the audience relate to his story.

Along with simply narrating the events just the way they happened to making

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commentaries of certain incidents which were often humorous, the play was presented in diverse way. And there was imitation of some moments – his performance in his first play of his life Prithvi Raj Chauhan and doing a rape scene for a movie with Jaya Prada.

The gloom and pain was felt when he told his stories of failure – when he was rejected for Nehru’s role in Gandhi film, when he was in debt and when his face got paralyzed.

Whether he told his story of success or failure, pain or happiness, loss or gain, Kher did equal justice to all the parts.

Neither he was not only basking in his success nor was carried away while highlighting his failure. Of course, he is the man who “celebrates failure”, but as an actor, he had delivered his parts with a sense of objectivity making the production worth watching. And again he was retelling his life stories – there were both good and bad moments, some were of failures and embarrassment, but Kher boldly revealed everything.

Nonetheless, the beautiful light design with right music, minimal props of chair, tables, a door and a raised platform along with display visuals and photographs from his movies were few things that accompanied Kher for two-and-a-half-hours in this oneman performance. Not to forget were the applauses of the audience that resounded the full house auditorium throughout the performance.

The creative monologue about Kher’s life and time is worth a watch.

It was a charity show orgaisned to raise funds for Koseli foundation, a centre for children of slums and streets.

SEPTEMBER 2014 / 17

REVIEWS

FURNEX NEPAL

Getting Better Every Year The third edition of FURNEX Nepal, which was opened on 26 August 2014 at the Bhrikutimandap Exhibition Hall, concluded successfully leaving a note of invitation to see in 2015 again.

Inaugurated by Honorable Minister of Finance Dr. Ram Sharan Mahat, the five day long exhibition facilitated an exposure for local furniture and furnishing manufacturers. During the program Dr Mahat officially released ‘Souvenir,’ a yearly supplement on the expo published jointly by FURNEX Nepal and Spaces Magazine. Dr Mahat emphasized on the importance of events like FURNEX in promoting local manufacturers and ensured that the government is always ready to play a supportive role in encouraging Nepali products. Other delegates present in the opening ceremony were Mr. Rajesh Kaji Shrestha, President of Nepal Chamber of Commerce and Dinesh Shrestha, Vice-President of FNSCI. FURNEX Nepal is an annual exhibition of furniture and furnishing products and it is organized by Nepal Furniture and Furnishing Association (NFFA).

Established in 2056 B.S, NFFA is an umbrella organization of furniture and furnishing manufacturers, product importers, distributors, dealers and professionals. FURNEX brings together all the firms competing in the furniture and furnishing market, whether imported or local, under one roof and helps bring a sense of healthy competition between firms.

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Over 100,000 visitors are estimated to have visited the exhibition this year. Sushila Gauchan, one of the visitors, said, “I have visited FURNEX every year and it’s better every year.

The decorations and the number of stalls have really increased this year.” According to the coordinator of the expo Mr Dinesh Agrawal, the previous two exhibitions had been a training period for them. There were 63 stalls in this edition of FURNEX and all of them were successful to pull a number of visitors and brief about their products. The spokeperson of the exhibition, Mr. Kavindra Joshi, informed that witnessing the advanced booking for stalls and the enthusiasm of possible exhibitors, both national and international, was an encouraging accumulation of the expo’s achievement in its third year.

Dedicated to promote national products that have high potential to compete with foreign and imported brands, the expo is a revelation for manufacturers to get noticed and understand their market competition.

It provides furniture manufacturers a fabulous exposure to the market.

“Forty years ago, this scale of exposure was unimaginable,” says Mr. Krishna Lal Pradhan, President of Nepal Furniture and Furnishing Association. He left behind 15 years of his government service to shift and dedicate his life to the furniture sector. “Back then, I only had a bicycle that took me around places

to promote sales of my product. But times have changed and FURNEX is a fusion of more organized and more approachable way of improving trade and commerce.”

The first ever Interior Design Competition (IDC 2014) was a major attraction during the exhibition.

From the first day till the last, the Pashupati Paints stall, which had the contestant’s work put up for show, was never empty. The Yeti Carpet Lucky Draw, FURNEX Lucky Draw and the chair race and musical chair conducted by Featherlite were other added attractions of the FURNEX 2014, besides the display of state of the arts products and wonderful discount offers.

The 5 day long exhibition concluded on 30 August 2014, but the closing and prize distribution evening was held a couple of days after at Radisson Hotel, Lazimpat. Certificates of participation and tokens of love were conferred to the exhibitors, supporters and sponsors. Similarly winners of the IDC 2014 and the winners amongst exhibitors also conferred with prizes and certificates. The Best Stall Award this year went to Imperial and King Koil. The Most Crowded Stall Award went to R.N. Foam Industries and the award of Innovative Domestic Product Display went to Craftsman.

FURNEX Nepal has been honoring the senior personalities of furniture and furnishing field every year. This time Laxmi Prasad Shrestha was honored for his continuous service for more than 6 decades in furniture and Shyam Sundar Agrawal was honored for serving for more than 4 decades in furnishing field.

REVIEWS

Ashley Products at FURNITURE LAND Ashley Furniture Industries, Inc., established in 1945, is the largest manufacturer of furniture in the world. Their first manufacturing faculty was built in 1970 in Arcadia with only 35 employees. They have customers in more than 123 countries across the globe. Now Ashley Furniture is available in Nepal - thanks to Furniture Land.

One of the most recognized furniture brands in America and the number one selling brand of home furniture in North America, Ashley Furniture manufactures and distributes home furniture products throughout the world. "All the products pass the standard quality check and are directly imported from Ashley Industries from USA." says Mr. Saurav Joshi, Marketing Manager of Furniture Land, "We got the best of imported furniture in Nepal to better suit individual needs.�

As of now they have introduced Ashley’s Bedroom set, Sofa, Recliners, Coffee Table, Dining Table set, Lamps and Rugs.

SEPTEMBER 2014 / 19

REVIEWS

IDC 2014 T

he first ever Interior Design Competition came to an end with the closing of FURNEX 2014.

The Idea which was originally conceptualized by Spaces and Nepal Furniture and Furnishing Association (NFFA), and later supported by Pashupati Paints and Yeti Carpet, gave a fresh new element to the FURNEX 2014 and undoubtedly made it the highlight of the exhibition.

It started with 50 students from 8 different colleges. Amongst them, 15 of the designs were chosen.

The requirement of this IDC was a residential design with cultural inspiration while, also including, the concept of internal space utilization.

Our judges were to rate them in categories such as architecture, ergonomics, functionality, decoration and furniture design. The contestants were supposed to show this with the help of a 2D design and a 3D computer rendering. The competition was though and in the place of 10 finalists 11 were to be chosen since there was a draw.

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In Creating Interior Designers an Exposure

The final round of the IDC 2014 took place in FURNEX 2014 where the remaining contestants were required to put up a small model of their designs for public vote. The judge panel had 75 percent of the vote and the remaining 25 percent were open to public votes.

From the first day till the last, the Pashupati Paints stall, which had the contestant’s work put up for show, was never empty. The votes flowed in faster than anticipated, and each voter had a different view of their own. Voters ranged from professional interior designers to students and from business persons to window shoppers.

This fresh new idea was really enjoyable to a lot of people and had a lot to say about it. The visitors opined that this sort of competitions really inspires students to go towards interior design since such events attests that there is a scope for this profession in our country. It's also a platform for the interior design students to show their talent to the public and also to show to the public that interior designing required a lot of creativity and hard work.

This competition also provided, not only for the top 15 but all the 50 contestants,

a chance to learn from their mistakes and from each other.

Coincidently, all of the winners are from IEC School of Art & Fashion. The first position went to Mr. Anish Pyakurel, second to Ms. Sona Subba, and the third to Mr. Bikram Khadka. Mr. Khadka also won Pashupati Paints Best Color Combination. The Yeti Carpets Best Presentation award went to Ms. Rabina Thapa Magar. All the winners were awarded with the certificates, token and cash prizes.

Meeting with the winners, they had a lot to say about the competition and about the scope of the interior designing in Nepal. “We all thought it would be a common kind of competition but got more attention than we expected to get,” says Ms. Rabina Thapa Magar.

Everyone seemed amazed to see the large number of voters during the FURNEX and didn’t expect there to be such a huge crowd. “This is a totally new idea that shows what interior designing really is,” says Anish Pyakurel.

Ms. Thapa Magar adds, “A lot of people don’t know that there are interior

REVIEWS

designers here and this really helps build a platform for interior designers all over Nepal.” “People don’t know what interior designers do,” says Mr. Khadka, “It's not just about decorating room, there’s a certain layout and principles to follow”. Ms. Sona Subba also says, “People have a major misconception here in Nepal where they think that hiring an architect solves all the problems and there will be no reason to ask for interior designer's help. Events like this really help people understand the difference.” All of the contestants also felt strongly that they should’ve gotten a chance to explain their models to the visitors in the FURNEX 2014; may not be verbally explain about the models but at least allowed to keep their 2D design plans. “I felt like a lot of people voted without understanding” says Ms. Subba. Ms. Thapa Magar adds, “I don’t think that people actually understood our design and voted according to how fancy it looked.”

to pull a lot of visitors and to let them know about the scope of interior design in Nepal. "Previously interior designers used to be hired from India, and though there were a number of skilled interior designers in Nepal, the clients were not informed about the fact," says Mr. Sailendra Kumar Sitaula, the Country Manager – Sales and Marketing of Pashupati Paints "We are happy that we could be the part of IDC to let people identify skilled interior designers in Nepal." While talking about what kind of help they can provide to the promising interior designers, Mr Sitaula says, "We will happily extend hands to create an exposure to the designers in the market and we promise to continue our support to the future editions of IDC." Pashupati paints had additionally sponsored IDC's Pashupati Paints Best Color Combination Prize, worth of Rs. 50000 cash and Yeti Carpet had also additionally sponsored Yeti Carpet Best Presentation Prize, worth of Rs. 51000 cash.

Asking about their opinion, Mr Anil Kedia, The Chief Managing Director says that it was worth sponsoring IDC 2014 for it provided a platform to Interior Designers to showcase their talents.

Pashupati Paints as the title sponsor and Yeti Carpets as a main supporter had joined hands with Spaces and FURNEX to make IDC a success. IDC was a major success of FURNEX 2014

SEPTEMBER 2014 / 21

INTO THE HISTORY

ARANIKO and

THE WHITE DAGOBA text JEEBESH RAYAMAJHI

H

istory books in Nepal and China generously mention that the fifth patriarch of the Sakya sect of Tibetan Buddhism, 'Phags-pa (1235-I280), spiritual adviser to the emperor Khubilai Khan, requested the then king of Nepal to send 100 artist to build a monumental golden stupa in Tibet. Araniko, leading a troupe of artists, reached Tibet in 1260 and contributed a lot to make the already rich Nepali culture of art and architecture flourish in Tibet. Later, considering his extra ordinary skills, he was made the highest artisan-official at the court of the Mangol emperor Khubilai Khan.

His works at court are summarized in his epitaph in China: the construction of three stupas, nine great Buddhist temples, two Confucian shrines, one Daoist temple, and countless images and objects made for the emperor, and individual. The exemplary work he did in larger scale and extant till today is White Dagoba, also called Miaoying Temple, situated on the north side of Fuchengmennei Street in Xicheng District of Beijing, China.

ARANIKO The history will never forget the contribution of Satyamohan Joshi to introduce Araniko at large in Nepal through his book Araniko (2044 B.S) based on an extensive research.

According to the genealogical chart Joshi presents, Araniko was born in 1244. The genealogy clearly shows that his grandparents were Mitiar and Sungti Lachhime and the parents being

Statue of Araniko at Araniko Gallery, Nepal Bhasa Academy, Kirtipur

Lakhana and Sumakhachi. He is said to have 10 wives. Chayatha Lachhime, amongst them, was from Nepal.

There is no debate for he was born in Nepal but the history is not clear about where actually his home was in Nepal.

Considering the views of Baburam Acharya and the proofs Joshi puts forward, he seems to have been born in Patan.

Geneological Chart of Araniko displayed in Araniko Gallery in Nepal Bhasa Academy, Kirtipur

In invitation of 'Phags-pa (1235-I280), the fifth patriarch of the Sakya sect of Tibetan Buddhism, Araniko, in company of a number of his native artisans, is said to have reached Tibet in 1260 to build a monumental golden stupa there.

Phags-pa was impressed with Araniko at their first meeting and appointed him the supervisor for the construction of the stupa. The relic stupa was built in memory of the fourth patriarch of the Sakya sect. It was consecrated in the main hall of the Sakya monastery. The stupa no longer exists, though part of the Sakya monastery, dating back to Araniko's time, still exists.

Historical facts tell us that, Araniko was later brought to the throne of Kublai Khan in around 1264. Understanding Araniko's confidence and potential, Khan asked Araniko to repair a damaged bronze statue which was almost beyond repair.

The restored image was presented to the emperor secured his reputation at the court. Then after, the emperor offered Araniko with all important imperial projects. One of the most

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INTO THE HISTORY

Structural details of White Dagoba displayed at Araniko Gallery, Nepal Bhasa Academy, Kirtipur

White Daboba illustrated in the book Araniko by Satyamohan Joshi important projects Araniko handled is the consecration of White Dagoba that started in 1271 and ended in 1279.

During the time White Dagoba was being constructed, in 1273, Araniko was made supervisor-in-chief of all classes of artisans.

WHITE DAGOBA The White Dagoba, one of the most important projects Araniko accomplished, is 50.9 meter tall, while the Baudhdhanath stupa, the biggest spherical stupa in Nepal, is only 36 meter tall.

As Satyamohan Joshi has observed, the dagoba is based on the mandala made of triangles and is composed of three major parts: a lotus-style plinth, an inverted-bowl-shaped body and a steeple with trayodashis.

Its plinth which is raised from the land is divided in three parts: having lotus style base on the second and the third parts. The body of the Dagoba is shaped like an inverted alms bowl; it also looks like a gigantic bottle, strong and stable.

The inverted cone-shaped body of the

13th century Thanka of Tara attributed to Araniko

steeple stands firm and it features Trayodashi, or thirteen heavens. On top of the thirteen-tier steeple is a circular canopy of 9.7 meter in diameter, made of bronze. Thirty six bells and other ornaments hang around the edge of the canopy, making it look like an enormous umbrella over the main body. At the top of the canopy is the gold coated pinnacle.

This is taken as the oldest, the biggest of its kind and the most beautifully designed stupa in China.

THE LEGACY "His legendary life and career ‌ had a lasting artistic and spiritual influence on Asia and on China in particular. The magnitude of his accomplishments rivals those of Brunelleschi, Michelangelo, and Leonardo in the West", Anning Jing, a professor in the Department of Art, Michigan State University, writes, "Anige's biography is more than a story of a Nepali artist's gallant adventure and phenomenal success in foreign lands.

It is also a story of how Himalayan Buddhist art became an international style."

While delving into the history, we find historians of art and architecture engaged in never ending debate on the arts and structures accredited to Araniko. Sometimes he is described as not only legendary but mythical hero empowered with divine skills. He seems to have been given credit to any piece of ancient art or architecture of extra ordinary design in Tibet and China, regardless the time and place of its origin.

What can be concluded is, Araniko was a well accomplished artist and architect born in Nepal and contributed a lot in institutionalizing Nepali art and architecture in Asia and in China in particular, either manufacturing stupas or creating art by himself or by teaching or influencing others to do in the same way for centuries after.

Araniko, Anige, Aniko, Anico or Arniko, was not only an individual artist or architect but he was a school or a long tradition serving continuously in manifold for centuries even after his death. He was died in 1306.

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ARCHITECTURE

KOPAN MONASTERY text JEEBESH RAYAMAJHI photo A RAJNBANSH

From Kopan, you get a different perspective of the world. Enjoy the slow pace of life and take in some understanding of yourself and others at the same time.

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ARCHITECTURE

S

election of a proper piece of land, be it its shape, location or the energy it gives, is one of the primary requirements of Vastu for building any sort of structure. There must be a reason for most of the important historical temples are found located either at the top of hills or on the rivers. Naturally river banks are supposed to be full of energy the hill tops cleaner and farther from maddening crowds. For peace loving Buddhist practitioner, perhaps it is a smart choice to consecrate monasteries on the hill tops. Kopan Monastery, founded in 1970 by Lama Thubten Yeshe and Lama Thubten Zopa Rinpoche, is an example of such a smart choice. Situated at the top of pristine hill of Kapan, the monastery offers such an ambience that you can take as a moment to know yourself and the outer world at the same time.

Buddhist Monasteries, be in any form or design, are said to be established since the time of Buddha. Though very simple and minimalist in the initial phases, the

monasteries have been evolved into very grand and sophisticated structures.

There are a number of Bahas and Bahis (Newar Buddhist Monasteries) in Kathmandu Valley consecrated during the time span between 12th and 17th century. They have adapted traditional Newar architectures. In course of time, newly established monasteries especially Tibetan monasteries have adapted modern trends and designs to go well with spiritual functionality and modern aesthetics.

Kopan Monastery is one of a number of Tibetan monasteries around Kathmandu valley. A residence for almost 800 monks and nuns from many parts of Tibet, Nepal and India, the monastery is also a centre of Buddhist Studies and retreat. Within its premises of more than 50 acre land, it comprises monasteries, a school, a Tantric College, hospital, library, canteen etc. It also comprises magnificently carved stupas and also some sheds for rescued animals like goats and cows. The nunnery of Kopan SEPTEMBER 2014 / 25

ARCHITECTURE

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ARCHITECTURE

which is called Khachoe Ghakyil Ling Nunnery is a little down on the way to Baudha.

For the most part, Tibetan monasteries resemble one another in shape and decorations: Grand in style and decorated with Buddhist symbols and thankas or wall paintings. The main monastery of Kopan faces east, which is considered the best direction to face for any monastery. It is a four storey building with 75 x 95 feet and with the maximum height of 48 feet. The façade is featured with separate four windows and a small balcony extended outward. Though temporary, there is a white curtain just below the balcony that presents three srivatsas, one of the auspicious symbols in Buddhism as well as in Hinduism. There are two Kalchakra symbols just above each of the upper windows.

On the top in the middle, there is the wheel of life flanked by two deer, a customary feature of any of Buddhist temple. Similarly there are four cylindrical dhwajas to symbolize Buddha’s victory over maras and 5 pinnacles on the top.

Few steps, flanked by Simha and Simhini, lead you to the main entrance.

Before you enter the hall you can see at symbolic frescoes painted in vivid colours. Flanking the entrance are four Dharma Kings of Tibet, also considered the protectors of Tibet. The Wheel of Life, depicting the cycle of death and rebirth is on your left.

One of the most striking features that separate the main hall of any monastery from the material world outside is the concentration of the energy that is maintained with Vastu or architectural principles. As a rule, the ground plan conforms to a mándala, a visible representation of the sum total of natural and spiritual forces. But liberty is taken as far as it fulfills the functional or spiritual purpose.

As you enter any of the well structured monasteries, you feel completely light as if you have deposited loads of sufferings in the material world outside.

You feel light as you enter the main monastery and you feel completely cleansed with the vibration you get inside. The effect of lightness in the main hall is enhanced by the brightly

colored decorative elements, effective combination of natural and artificial lights and the graceful lines of the finely carved columns supporting the beams.

The centre of the hall or temple, in theory, is reserved for the principal deity.

The principle deity which the monastery is dedicated to is Lama Tsong Khapa, the founder of the Gelug tradition.

Giving sufficient space in the front to accommodate more than 800 monks while in special functions in the hall, the statue of Tsong Khapa is placed against the wall opposite the main entrance.

On either side of him are the statues of his two main disciples. To the far left is Atisha, who brought Buddhism to Tibet.

On the right side altar the center piece is the relic stupa of Lama Thubten Yeshe, one of the two founders of Kopan Monastery. The altar on the left displays the statue of Shakyamuni Buddha, with Maitreya Buddha on his left and Manjushri on his right.

Architecture creates magic with space.

A perfect sense of harmony of space and architecture transforms the place to the extent that it seems not of this world but of the divine spheres. This SEPTEMBER 2014 / 29

ARCHITECTURE

to see the eight stupas of enlightenment, representing the eight great deeds of Shakyamuni Buddha.

Walking up the steps and along a narrow lane you can see the Chenrezig Gompa - here regular courses for visitors are held. The upper path a little ahead leads you to two magnificently carved stupas: One is the Enlightenement Stupa in memory of the previous abbot, Khensur Lama Lhundrup and another one is the Thousand Buddha Relic Stupa, with a circular pond in front of it displaying a statue of the Buddha of Compassion, Chenrezig.

is what the magic created in Kopan monastery with space, architecture, and intricate design and decoration mingling with faith, mantras, thankas, symbols, lights and music.

Coming out of the main temple, does not make you bear load again. Though not concentrated as in the main temple, 30 / SPACESNEPAL.COM

the energy created by the monastery ambience is more than enough to keep you away from worldly avarices. Next to the main temple as you turn right along the lower road is Tantric College where monks are trained in Buddhist rituals and mandalas. Three times a year the tantric monks make sand-mandalas there.

Walking outside the college you happen

This is one spot to take a pause and feel the reality. You can relish the ambience of the spot and the views around. Relishing the beauty carved intricately around the tomb stone of the enlightened one and perceiving anichcha, impermanence, through the transient bubbles from the fountain in the pond, now you will have two options: To make a journey back or to make a journey into the mind. You can embrace both of these options. If tenderly handles they complement each other.

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INTERIOR

INTERIOR DESIGNING:

A CHARISMATIC

CAREER text PARMI SHAKYA

Interior designing means designing a space, which cleverly fulfils the requirement and solves the problem of the user but also keeping it comfortable to all 5 senses. Designer looks after thermal and acoustic comfort of the space. She or he works on lighting design as well, which can create magic in the space without hindering visibility.

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INTERIOR

A

nicely done interior space, be it private, commercial or public space, can attract anyone’s attention. It accentuates both individual and social life, business and family well being, elderly and child comfort. People are more or less aware about these things but as it is a new field in Nepal, people are quite sceptical about taking it as career.

It must be because they don’t have a clear idea of what exactly an interior designer does, where they can be trained as a designer and how to sustain as a designer. There is abundance of scope, and there is no lack of people aspiring to be interior designers.

Undergraduate degree on Interior design generally comprises of 3-4 years courses. To be a good interior designer one needs to be creative, innovative and have knowledge of material and medium to express their design ideas. So, the course contents works on developing these basic needs. There are various subjects such as drawing skill, basic design, building construction, work-shop, graphical communication, history and others. Most of the subjects are repeated every semester with advanced syllabus content.

Drawing skills or interior design develops drawings skills and different drawing techniques that help students put their ideas on paper and also grow their creativity. It eventually teaches how to design. Basic design acknowledges student with design process, principles, theories, standards and various elements of design which act as guidelines for designing. Building construction introduces students about different materials used in construction, construction works, structural strength,etc.History of art helps student to get to know about the origin of this art form and its gradual change over the time. It introduces them with different styles

developed in various periods, which are still very influential.

Other subjects such as graphical communication and workshop help students to express their design through 3D and 2D forms and different medias and BIMsoftware such as Auto CAD, 3D max, Sketch Up, Photoshop, etc which is needed to convince client and also needed for construction works. All architectural plans such elevations, sections, etc are mainly done using Auto CAD 2D. These drawings are very technical and are mainly for the contractors and sub contractors. In order to get a clear idea of all the terms involved in the construction industry clients usually leave all the administrative works to the Interior Designer. This is a very important phase in a Clint-Designer trust building.

Clients depend fully on the Interior Designer for the proper progress and follows up of the works. If clients do not trust the designer or vice versa the project will be hindered in many ways and sometimes the projects comes to stop either because the designer has left the project or because the clients start to get too much involved into the design works.

There are other subjects included which can be very productive after getting into professional life. Vaastu/ FengShui and Landscape designing can be of additional strength while working as designer. Ethics and professional practice help in becoming a good designer and acquire the professional attitude.

After graduation, students will have to deal with clients and administrative works. Dealing with clients specially those who know what they are expecting from you, as an Interior Designer is not an easy task. The clients expect you to behave in a very professional manner. Deadlines or any site meetings, SEPTEMBER 2014 / 33

INTERIOR

etc has to be dealt in a very professional manner. The course also focuses on building presentation skills, design representation skills and frequent survey and field visits which keeps on upgrading students about the new development in the market.

Final year project requires completing a project single handedly. The said project which has to be chosen by the student needs to be an existing building which the latter will redesign according to a set of guidelines set up by the lecturer in charge. This project/ portfolio prepares the students to build confidence and prepare them for professional career ahead. On the top the students have to prepare a Research/Scrap book based on all researches and information gathered during the process of the project. The whole time frame including pre and final presentation takes around 6 months. After the pre final presentation the students have to make a model of the chosen project.

Besides undergraduate course, there are 1or 2-year diploma courses and other short courses, which provides with basic interior design concept. These courses are mainly short, part time courses run mainly for people who have a keen interest in interior design but already have a professional career.

After graduation, one can either work as freelancer or work in companies such as architectural and interior design firms; furniture manufacturers and showrooms or corporate houses.

There is a growing demand for Interior Designer in major cities of Nepal. Nowadays, people seek interior designer’s 34 / SPACESNEPAL.COM

help to design even a small understairs space at their home. There are also people who trust fully on interior designer to turn their house into their dream home. Also there are new restaurants or cafés opening everyday around each corner, and it’s not just food that attracts people but the ambience/atmosphere of the place as well.

The competition is very tough, so everyone wants to have the best looking interiors.

Some restaurant owners who have spent the last couple of years living and working abroad and have experience the wave effect of interior designing wants to reflect this into their own country. They strive to seek professional advice from designers, either local or international. These services either local or international have a cost factor. Needless to say that designer with a good reputation charges a fee that clearly reflects his reputation but it also keeps a lot of potential clients at bay.

These clients turn to local designers and it also gives the young emerging interior designers in Nepal a chance to prove themselves. So, for this purpose interior designers are very much looked upon.

There are various career options to choose from. Some of them are: Interior Design Consultant Set Designer Lighting Designer Colour Consultant Property Consultant Furniture Designer CAD Operator Site Supervisor Residential Designer Product Designer Visual Merchandiser

International and local brands are opening their outlets and every one wants to stand out from other. They want to accentuate their product and draw customer in the store and keep them engaged in the store and tempt them to buy. For this, there is need of professional help and there starts interior designer’s work. International brands are mushrooming everywhere in Kathmandu. These big brands want their stores to be ‘unique’ and ‘original’. They want customers to feel as

INTERIOR

if they are in their own house when shopping, the sense of complete comfort. One very good example of store design is the famous IT company based in California. They have gone the extra mile where all interior designers will stop working on conceptual ideas after several sketches; they have added a little spice, the extra wow factor. Walking into any of those stores makes you feel completely submerged in the products they are selling. Everything has been properly calculated.

The amount of ambiance lights inside and overlooking the displayed products, the colour of the lights, the furniture design, the height of the furniture, etc. The overall interior design makes you, the customers feel comfortable and the most important factor is it gives you a sense of trust: thus pushing you to do some or many purchases.

But there are some misconception regarding the work designers does. Interior designer are not limited to selecting curtains and room colour, it is broader than that. Interior designing means designing a space, which cleverly fulfils the requirement and solves the problem of the user but also keeping it comfortable to all 5 senses.Designer looks after thermal and acoustic comfort of the space. She or he works on lighting design as well, which can create magic in the space without hindering visibility.

Also, if a designer is able to incorporate local material and skills in innovative and sustainable way in his/her design, this field can get popularity beyond the cities they are in and reach out even to smaller cities and might even attract international eyes.Some contribution on communal spaces like youth clubs, libraries, community clubs, etc can draw attention of the locals and acknowledge them about the importance of interior design.

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IMPACT

GET

READY !

SAFE !

text AR SALONI SHRESTHA

W

ith the passage of time we are becoming more and more aware about the various wraths of nature.

Floods, landslides, epidemics and fires cause considerable loss of lives and property all over the world. Earthquakes on the other hand are not so frequent but have the potential for causing the greatest damage. Geologically, Nepal is considered to lie on a seismic zone which experiences frequent earthquakes. Past records have shown that Nepal can expect two earthquakes of magnitude 7.5 – 8 on the Richter scale every forty years and one earthquake of magnitude of 8+ on Richter scale every eighty years. The last great earthquake that struck Nepal was in 1934 which had 8.3 magnitudes; this affected the country’s political, economic and cultural capital, destroyed 20 percent and damaged 40 percent of the valley’s building stock. In Kathmandu itself, one quarter of all homes were destroyed along with many historic buildings.

This earthquake was not an isolated event. Three earthquakes of similar size occurred in Kathmandu Valley in the 19th

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Century: in 1810, 1833, and 1866 AD, indicating that a devastating earthquake is inevitable in the long term and likely in the near future.

Kathmandu today is an entirely different city from the one almost leveled in 1934. It is now a densely populated home to almost 2.5 million people, many living and working in buildings that will not withstand a significant seismic event. Experts say that if an earthquake of 8 magnitudes occurs anytime soon it would displace more than 1.8 million people, kill over 100,000 and injure a further 300,000 and sixty percent of buildings could be destroyed.

Today's scientists understand earthquakes a lot better than we did even 50 years ago, but they still can't match the quake-predicting prowess of the common toad (Bufo Bufo), which can detect seismic activity days in advance of a quake. So for now all we can do is prevent and prepare ourselves and our loved ones from the devastation of an Earthquake.

IMPACT

Today's scientists understand earthquakes a lot better than we did even 50 years ago, but they still can't match the quakepredicting prowess of the common toad which can detect seismic activity days in advance of a quake.

BEFORE • Make sure you have a fire extinguisher, first aid kit, a batterypowered radio, a flashlight, and extra batteries at home.

• Learn first aid.

• Learn how to turn off the gas, water, and electricity.

• Make up a plan of where to meet your family after an earthquake.

• Anchor heavy furniture, cupboards, and appliances to the walls or floor.

• Learn the earthquake plan at your school or workplace.

DURING • Stay calm! If you're indoors, stay inside. If you're outside, stay outside.

• If you're indoors, stand against a wall near the center of the building, stand in a doorway or crawl under heavy furniture. Stay away from windows and outside doors.

• If you're outdoors, stay in the open away from power lines or anything that might fall. Stay away from buildings • Don't use matches, candles, or any flame. Broken gas lines and fire don't mix.

• If you're in a car, stop the car and stay inside the car until the earthquake stops.

• Don't use elevators (they'll probably get stuck anyway).

AFTER • Check yourself and others for injuries.

Provide first aid for anyone who needs it.

• Check water, gas, and electric lines for damage. If any are damaged, shut off the valves. Check for the smell of gas.

If you smell it, open all the windows and doors, leave immediately.

• Turn on the radio. Don't use the phone unless it's an emergency.

• Be careful around broken glass and debris. Wear boots or sturdy shoes to keep from cutting your feet.

• Stay away from damaged areas.

• If you're at school or work, follow the emergency plan or the instructions of the person in charge.

• Expect aftershocks.

"Mr. Abishek Kharel, Proprietor of Dakshinkali Hardware Suppliers, is the dealer of Jagadamba cement.

As per Mr. Kharel, Jagadamba Cement is highly on demand because of its good quality. The packaging/bora is also good."

Dakshinkali Hardware Suppliers Kalanki, Contact: 4302950 Contact Person:Mr. Abishek Kharel, 9841-497950 SEPTEMBER 2014 / 37

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SEPTEMBER 2014 / 39

JOURNEY

LADAKH A JOURNEY INTO MOONSCAPES text and photo ASHESH RAJBANSH

It was the craziest wind I have ever confronted with. Wind eroded landscapes of Ladakh gives a resemblance of Mustang region and you feel as if you are travelling in the Trans Himalayan regions of Nepal. The culture, too, you don’t find different if you are familiar with the people of Tibetan descent. Moreover the Indus River, being quite familier with the name, reconnects you with one of the oldest civilizations.

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JOURNEY

L

adakh is the highest plateau of state of Kashmir with much of it being over 9,800 ft.

It stretches the Himalayan range and the upper Indus valley. The Indus River is the backbone of Ladakh: Most major historical and current towns - Leh, Lamayuru, Bodh Kharbu, Shey, Basgo and Tingmosgang are on the Indus River.

Once it was the connection point between Central Asia and South Asia when the Silk Road was in use. The sixty-day journey on the Ladakh route connecting Amritsar and Yarkand through eleven passes was frequently undertaken by traders till the third quarter of the 19th century. Another common route in regular use was the Kalimpong route between Leh and Lhasa. These traditional routes have been closed since the Ladakh-Tibet border was sealed by the Chinese government. Now, there are only two roads to link it with other Indian territories: Leh-Srinagar road and LehManali road. Airway is the best alternatives to go to the region.

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JOURNEY

You can’t help appreciating the beauty of wind carved slopes, first, and the beauty in the heart of the people there, immediately after. The wind eroded moonscape is full of statute like residual of hard rocks and the terrain of loose sand looks like its plinth. The slopes of uniform colour, hiding-and-seeking clouds over the hills and river snakes through the valley make you forget everything.

The trails to the infinity, some patches of greenery around human settlement, and shadows of hovering clouds over the slopes are sufficient to make you lost in appreciating. Further, you will be rewarded with the best hospitality guided by the higher level humanity: For the people living there, you will find, the humanity binds anyone from any ethnicity or religion and surpases the ‘narrow walls’ of any sorts of sectarism.

PEOPLE AND THE CUSTOMS The best example of religious tolerance and harmony is found in Ladakh.

Inhabited by Indo Aryan and Tibetan descent, the population is mostly dominated by Tibetan Buddhists and Muslims. Masjids and Buddhist monasteries can be found side by side; coexisting and complementing each other.

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JOURNEY

We can see different faces of diverse ethnic groups including the slender, bearded, hazel-eyed Kashmiris and the shorter, broader cheek-boned Ladakhis.

The women in the region are believed to enjoy a high status and relative emancipation, compared to other parts of India. Another feature which is noteworthy is a custom known as khang-bu, in which the elders of a family, as soon as the eldest son has sufficiently matured, retire from participation in affairs, giving the headship of the family to him and taking only enough of the property for their own sustenance.

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JOURNEY

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JOURNEY

ARCHITECTURE Houses are clay topped - strong enough to bear the heavy snow fall. The crazy wind that starts its monstrous motion after the mid day: the bunker like traditional structures are safe from wind outside and warm inside. Mostly the historic houses or heritage buildings are based on hard rocks, often mingling with natural structures.

The monastic architecture in Ladakh reflects a deeply Buddhist approach. Many houses and monasteries are built on elevated, sunny sites facing south. Such structures in the past were made of rocks, mud and wood but are now more often concrete frames.

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JOURNEY

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JOURNEY

SOME PLACES OF WORTH A VISIT Leh is the largest town in Ladakh, this is where your sight seeing commences from.

Now equipped with modern structures and development, the town is still dominated by the ruined Leh Palace, former mansion of the royal family of Ladakh, built in the same style and about the same time as the Potala Palace. Leh is connected to other parts of India by Leh-Srinagar highway in the southwest and to Leh- Manali in the south.

It was before an important stopover on trade routes along the Indus Valley between China and India for centuries.

offerings to the Nagas and made a crack into the ground of the lake to leak out the water predicting that in the future the teachings of Sutra and Tantra will flourish in this place.

Lamayuru, one of the holiest Buddhist places in Ladakh, is situated on the LehKargil-Srinagar road, approximately 110 KM away from Leh. It is known for its one of the oldest monastery called Lamayuru Gompa. Legend has it that at a time Shakyamuni Buddha was under a big lake, which was home to many Nagas. It is said that the Arahat Madhyantika made water

Bodh Kharbu is another place of a worth visit. It is situated in Kargil district.

Located on the Leh-Kargil-Srinagar road, it is 160 KM away from Leh. Along with the remains of ancient forts, renovated monasteries and new settlements, it also houses newly established monasteries established by well accomplished Rimpoches of the region.

Thereafter, Mahasiddha Naropa (1016– 1100) visited the place. He spent a long time in strict retreat in a cave there and turned the place into a sacred land. The cave still exists, and forms part of the main shrine of Lamayuru Monastery.

Rinchen Zangpo (958–1055) is accredited for establishing the monastery.

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FROM THE SHELF

THE TRADITIONAL NEWAR ARCHITECTURE OF THE KATHMANDU VALLEY

THE SIKHARAS Author: Wolfgang Korn Publisher: Ratna Books Published Year: 2014 Language: English

"In The Traditional Newar Architecture of the Kathmandu Valley: The Sikharas, Korn not only documents them but also describes the different types of sikharas on the basis of his own systematic and measured line drawings including the historical development."

- Professor Nirmal Man Tuladhar

INTRODUCTION In the past, most publications dealing especially with Nepalese building tradition have presented the Hindu temples in the form of the so called ‘pagodas’ and the Buddhist sanctuaries, the stupas and chaityas found in the Kathmandu Valley.

the Buddhist stupas, chaityas and the sikharas.

In contrast, the massive towers built in brick or stone called sikharas are mentioned comparatively seldom and not comprehensively enough.

With this publication of the sikhara temples, the trilogy of my studies completes. As in my first book, the different types of sikhara temples are represented by technical drawings only.

In 1975, the first recording of historic monuments (i.e. temples, monasteries and historic sites) was published in the form of a catalogue.

Each monument was represented by a photograph, a site plan and a short description.

In 1976, my book, The Traditional Architecture of the Kathmandu Valley, was published, dealing with buildings with slanting roofs such as the multi-tiered temples, the Buddhist monasteries, Hindu priest houses, residential houses, palaces and guest houses. It did not mention

In 2003, my study on Licchavi Chaityas in Kathmandu Tal was released in German. The book about the Buddhist stupas has yet to be translated into English and published.

In 2011, the most comprehensive, three-volumned work of Niels Gutschow, Architecture of the Newars, appeared in the market. Its immense value is not only in the many, most detailed drawings ever prepared in Nepal and the photos of all aspects of the Newari building history and building types, but also in the volume of information concerning the building history.

At the outset I have talked about the ‘Nepalese’ building tradition as

it appears in most publications and studies. It would have been more correct to call it ‘Newar’ as it was the Newars who created this culture. The Newars are the ethnic inhabitants of the Kathmandu Valley and the neighbouring valleys of Banepa and Panauti. They were the dominant power in a long stretch of the now Nepalese Himalaya, ruling from the Kathmandu Valley which was earlier called Nepal Valley.

EMERGENCE OF THE SIKHARAS IN THE KATHMANDU VALLEY As already mentioned, the Indian sikhara temple has been built in stone and brick since about the 6th century. Not much is known about the appearance of this temple type in the Kathmandu Valley. Slusser (1982: 186) writes: The existing evidence for Licchavi stone architecture, perhaps of the kind that prevailed in contemporary northern India, is extremely fragmentary. But in association with the standing Late Licchavi or Transitional Period half ruined sikhara temple in Pasupati compound, and the ubiquitousnes of sikharas in Malla architecture from at least the 15th century, it does lead us to believe that stone and brick sikhara-style temples were also known during Licchavi Nepal.

‘On stylistic evidence, it can belong to the late Licchavi or early transitional period’ (Slusser 1982: 147). Gutschow (2011: 515) gives an even earlier date SEPTEMBER 2014 / 49

FROM THE SHELF

of construction: ‘The miniature stone sikhara in Pasupati may date to as early as the 8th century’.

and the Buddha as well in a small number.

Still, the almost sudden appearance of this temple type must have been based on a long tradition. The basic layout, the technical and decorative details must have had a source developed in steps over a long time.

As there is no further evidence of these presumptions of early structures there is a gap about six centuries.

‘There are other Sikharas that can be securely dated by inscriptions to at least the beginning of the 15th century.

One of these, for example, stands in Bhaktapur: a squat little neighborhood temple which, according to an in situ inscription, was erected in the reign of Yaksamalla (A.D. 1428-1482)’ (Slusser 1982: 147-48).

Gutschow (2011:51) comments: While the earliest extant tiered structures under a pyramidal roof (Author: so-called ‘pagodas’) date to the later 13th century, it is the brick

towers of the Jagatnatha and Narasiipha temples in Bhaktapur and Patan which reintroduced the sikhara or ‘Mountain’ type of temple to Nepal during the 16th century on a larger scale.

That means that the sikhara temple type became popular during the 16th century and developed into the most popular temple style beside the pagoda temple type. Sikharas serve all deities of the Hindu-pantheon, such as SivaMahadeva, Visnu and his incarnations,

Outside the Kathmandu Valley, several shikharas have been found only in the Karnali zone of western Nepal, erected by the local Malla rulers of the small Khasa kingdom. These temples, dated between the 13th and 14th century, show a great similarity to the Indian precedents thus originating from a time when there is no similar temple found in the Kathmandu Valley.

Figure 2.2 represents a typical example still showing finials with one, two or even three solid, round plates displaying amalaka-design in the function of honorary umbrellas of the temples.

Depending on their size, three, five or even seven rathas divide the elevations into vertical segments. Also typical, and special for the region, are the horizontal divisions of the outer rathas in the design of amalaka-friezes. These friezes are seen on Indian temples too but not on sikharas of the Kathmandu Valley!

In conclusion the sikharas of Western Nepal are much more copies of the then popular Indian sikharas whereas those built in later centuries in the Kathmandu Valley display a more indigenous design from the very beginning.

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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REVIVING HISTORY

NEWLY CONSECRATED

LICHHAVI CHAITYA ALL THE WAY FROM NEPAL TO SWITZERLAND text and photo SUKRASAGAR

Araniko in the 13th century contributed a lot in institutionalizing Nepali art and Architecture in Asia and in China, in particular.

Since the time even before Araniko, Nepali artists have been the most authentic and skilled experts of Buddhist art and have been sought for from across the world. Even these days, the world demands Nepali artisans for creating or consecrating Buddhist arts and statues. Bhutan has recently consecrated the tallest statue of Guru Padmasambhava and it was made possible with the art and craftsmanship of the Nepali artists. Raj Kumar Shakya and his team from Nepal was assigned to design and build the 155 feet tall statue of Guru Padmasambhava in Takela of Eastern Bhutan, and it was completed in March 2014. The newly consecrated Lichhavi Chaitya in Switzerland is another example of the reviving the tradition of Araniko.

A Lichhavi Chaitya recently carved in Nepal has become a part of Alian Bordier Museum complex in the town of Gruyeres, Switzerland. The Chaitya was commissioned by Alian Bordier, the Founder of the Museum and the composition of the Chaitya was decided by Ulrich von Shroeder. The initial drawing for the chaitya was made by Rajan Shrestha of Bhaktapur and carving was done by Santalal Dyakhahjyapoo of Khokana. I was the one to supervise the work of drawing, carving and dispatching it to Switzerland.

THE CONCEPTION Alain Bordier was one of the great lovers of Asian art. He is devoted particularly to the Tibetan and Nepalese art. He has a museum totally devoted to Tibetan Art named TIBET MUSEUM in the city of Greyeres in Switzerland.

Tibet, Nepal, India and Sri Lanka. He is the man of work who is unbeatable in this field. He never ran after the titles of Drs. and Profs. He does not believe and want authentic chairs. He likes working in the fields, camera and computer and has been working without a halt.

Alian has visited Nepal several times and he was especially fascinated with Lichhavi Art of Nepal. Since he was a friend of Ulrich von Shroeder and well acquainted with him, he asked Mr. von Shroeder to select a Chaitya for him to erect in his complex. Ulrich is an expert of Asian art: No other people have printed more pages of the books on Asian Art than him.

Once the project of carving a Lichhavi chaitya of Kathmandu chucked out, Ulrich selected a design that is not truly one piece. He devised combinations of many pieces from different places and brought out one new creation. This product is the result of his hard work and creativity.

He has written the voluminous books individually on the Sculptures of China, 52 / SPACESNEPAL.COM

ADAPTING THE DESIGN First of all a nice base was thought of and the example from Kuthuvahi steps leading up to Kwaapaadya was chosen

REVIVING HISTORY

and is replicated in all four sides of the new Chaitya base. The figure is called Kinnara in Sanskirt and Lapwadyachaa in Newari. Then the Panchadhyaani Buddha cube was copied from a simple but artistic one from the dilapidated and thrown off Chaitya at the outskirt of same Kuthuvahi complex. The four niches on them were vacant and therefore four Dhyaani Budhas were thought of and the oldest so far known in Chaitya architecture was copied from a small Chaitya to the west of Sighabaha Mahachaitya.

This made the full plan workable.

SELECTION OF THE STONE Once the plan was finalized Mr Santalal Dyakhahjyapoo from Khokana was selected. He was given the task of carving the caitya and one year period of time.

He is the most talented stone carver in Kathmandu valley of today.

Three men party was formed with Ulrich von Shroeder, Santalal and I. Then the party went on to select the raw material - the suitable stone. They looked for the stone in many quarries but suitable stone was not easily available. Finally the stone in the village of Talku from the south of Chandragiri hill was found suitable. It took almost four months to acquire and transport the raw material to the workshop of the sculptor. The reason behind the delay was weight of the stone and unavailability of the lifting equipment in the quarry.

The work commenced after nearly five months from the date of order. It took nearly two months to carve out unnecessary parts of the stones and bring SEPTEMBER 2014 / 53

REVIVING HISTORY

into rough sketch form. When the real art work started, nine months had already elapsed and the carver remained in hectic situation and requested Ulrich for four more months’ extension. He was well acquainted with this field and understood the problem.

GIVING LIFE TO THE STONE The work went on smoothly after the time period was extended. Santalal could work patiently. The work was completed in July 2013 and finally Keshav Amatya from Kirtipur happened to be on the site.

He advised us to make a sand blasting on the final product and experimented in another image. The result was spellbinding and it was decided that the same technique would be used as final touch to this Chaitya. The final product looked elegant.

Ulrich inspected the final product and found it at the height of perfection in stone carving and transported it to Switzerland where Alain Bordier received it. It was the generosity of Alain Brodier that he agreed to pour some of his resources in Nepal. He ordered the product to be dispatched by air cargo. Nearly 2000 Kg of stone airlifted to Switzerland and then consecrated there finally.

As a Nepalese, I could not help being proud.

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SEPTEMBER 2014 / 55

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PERSPECTIVE

VS

VASTU ARCHITECTURE text DR MADHAV MANGAL JOSHI

If the energy that the land generates is not positive, or if the land does not generate energy at all, then the house constructed on it never can be suitable to live in, even if all other principles of Vastu have been applied cautiously.

T

he main concept of Vastu is not different from Architecture. These are almost similar. The architecture is more concerned with design: Designing house in such a way that each section would be sufficiently bright and warm. Vastu also demands the same: Vastu demands the balance of five elements while designing a house. The five elements are earth, water, air, fire and the sky.

The land in which we base our architecture is the earth element. Moisture is also important to be in the structure that is water element. There must be sufficient air passing through. And, the room needs to be sufficiently warm: the fire element suffices the rooms with warmth. If the room is not sufficiently high, then we feel suffocated. This is the element of sky to be considered in this aspect. So, Vastu teaches to maintain the balance of all these five elements.

Let's consider the earth element first.

While selecting the land to build any structure on, the shape, slope and the energy it flows needs to be considered.

For homes, square shape of land is considered to be the best. For seismic reasons, too, it is considered the best.

Rectangular and even circular are other alternatives. But it is recommended that the length should not exceed the double

of the breadth if we choose a rectangular land; it is risky from seismic reason, too. It is believed that the shape of the land and the structure should not be of multiple corners and the any corner of less than 90 degree. But in some cases, if the corner in the northeast direction is narrower than 90, it is considered to be the best. On the contrary the narrower corners in some other direction might be disastrous. The worst kind of land is of triangular shape.

Similarly the slope of the land facing east is considered to be the best. It is believed that it brings positive effects in health if the land is slanted towards the east. And, if the slope is facing the north, that is believed to bring wealth. On the contrary, the slope of land slanted towards west might harm the health and slanted towards south might cause poverty.

Only the perfect shape and the slope of the land does not mean that the land is the best to construct any house on.

The energy that the land generates also should be considered cautiously.

Traditionally, in most of the cases in Nepal and India, even these days, the energy of the land used to be tested by smelling the soil or tasting it or digging the land and pouring water in it. Europe has developed now a special kind of

measuring rod to test the energy of the land. With the help of the rod, which is called Dowsing Rod, we can test the energy within a few seconds. If we depend only on the smelling or tasting the soil to measure the energy, the accuracy never can be guaranteed. If the energy that the land generates is not positive, or if the land does not generate energy at all, then the house constructed on it never can be suitable to live in, even if all other principles of Vastu have been applied cautiously. You don't feel comfortable to live in such houses.

Only after considering all these things, here comes the design: Maybe the role of architecture begins only after, but the role of Vastu does not end. While designing the house the principles of Vastu should be followed. Principle of Vastu again means maintaining the balance of five elements and considering the energy. For example, to place the Kitchen, southeast is the best direction since it represents fire elements. Northeast is the direction of water and thus to place water in this direction is considered to be the best.

While considering energy, life force which is called pran vayu flows east to west and geomagnetic force flows north to south.

Northeast is the main source of energy, thus it is the best direction to place living room and also prayer room.

SEPTEMBER 2014 / 57

PHOTO: RAJENDRA CHITRAKAR, GP SANSTHAN

ART

‘Visworup’ – the image of the Lord is found in the walls of the prayer room in the private residence of Prime Minister Bhimsen Thapa, early 19th century at Lagan Tole, Kathmandu. In the painting, two attendants can be seen – Lord Arjun, an important character from the great epic Mahabharata is in the left and the devotee in the right is the representation of the prime minister himself.

MURAL ART HAS ANCIENT ROOTS IN NEPAL text MADAN CHITRAKAR digital support BIJAYA MAHARJAN

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ART

Details of the fresco painting inside the famed 55 Window Durbar Complex, Bhaktapur. Different episodes from the great Hindu epic Mahabharata can be seen in the different panels of the painting.

PHOTO: BIJAYA MAHARJAN

M

any of Buddhist Vihars and Bahis were built during the time span between 12th century and 17th century AD. Mural art by then had had been well established as an important part of entire painting tradition…. Naturally, as the number of Buddhist Vihars begun to grow in the Valley during this period, the earliest wall painting or the archetypal ‘Murals’ also began to appear in Nepal.

Hence in all the possibilities therefore, those early monks cum painters and their religious art in the walls then could be described as the origins or the genesis of mural art in Nepal. (Hook) In the present day Kathmandu, one would hardly fail to notice a liberal presence of wall paintings – visible all over the city walls in the important thoroughfares of the city. A casual visitor may even wonder whether the ‘graffiti’ revolution has finally arrived in Kathmandu. The shapes and forms may vary with a wide spectrum of diverse visual imageries – from unintelligible psychedelic forms to amateurish pop art to community messages or forms as desired by funding agencies –foreign or local.

But the unconventional art practice as is found today is a recent phenomenon: and its appearances could be directly attributed to the overwhelming public desire to do away with and discourage the reviled culture to deface the city walls with ugly political slogans. Thus the motive has been essentially to save the city walls from the ugly political slogans.

It means the present wall paintings or the art of murals - unlike the art of graffiti elsewhere, have no or very little bearings whatsoever with the mainstream contemporary Nepali Art today.

THE ANCIENT ROOTS But unlike the recent wall paintings as stated above however, ‘Murals’- as a work of serious art too had had appeared long ago and had found deep roots in the history of Nepali Painting: and had long remained an integral part of the central

stream of painting since then. And unlike today, the driving spirit and the motives to paint in wall – the murals or frescoes was to illustrate the religious beliefs – or to serve as constant reminders of the faiths. Surprising it may seem today, the importance of ‘Murals’ as an art then, remained so vital not only in the making of the history of art but also has remained equally instrumental in a social evolution - creation of a caste artists ‘Chitrakars’ in the medieval Nepal.

Going by the history, an earliest appearance of any painted form or a ‘Painting’ in Nepali history is dated 11th century – revealing the prevalence of Buddhist faith dominant then. History also revealed that the bulk of the early painters then usually doubled as monks cum painters. Many of the monks cum painters had had made their arrival as refugees from the neighboring Pala empire – fleeing the onslaught of growing Muslim invasions. And in the Buddhist tradition they brought in, wall paintings or the ‘Murals’ in the exteriors as well as inside the antechambers constituted an integral part of the religious practice. Naturally, as the number of Buddhist Vihars begun to grow in the Valley during this period, the earliest wall painting or the archetypal ‘Murals’ also began to appear in Nepal.

Hence in all the possibilities therefore, those early monks cum painters and their religious art in the walls then could be described as the origins or the genesis of mural art in Nepal.

Later in the following centuries too, albeit the dominance of religious faiths began to shift, it seemed the importance of ‘Mural Painting’ did not wane. New Buddhist Vihars continued to be added in the Valley and so did the growth of popularity of mural art. A student of history would note that many of Buddhist Vihars and Bahis were built during the time span between 12th century and 17th century AD. Mural art by then, had had been well established as an important part of entire painting tradition. The early monk cum painters too had had cast off their yellow robes and began to lead a normal married life with family. And as for livelihood, they had had turned into professional painters – catering painting services to both Buddhist and Shaiva or Hindu followers.

The unfailing presence of medieval Buddhist imageries found in the facades of ‘Bahis’- a smaller monasteryadjacent to the larger courtyards known as Buddhist Vihars, remain the vivid testimony of the popularity and growth of mural art in bygone Nepal. And as time passed by, the practice to paint façade walls had had become too conventionalized with set of imageries of Buddhist deities considered mandatory. Usually the imageries of five Dhyani Buddhas or three jewels of Buddhism – personalized as Buddha, Dharma and Sangha remain the central elements – flanked in either side are the wrathful guardians –Bajrapani and Khadgapani. In addition, subsidiary SEPTEMBER 2014 / 59

ART

‘Lord Arjun’ – a detail from the wall painting at Lagan Tole, Kathmandu- residence of Prime minister Bhimsen Thapa.

PHOTO: RAJENDRA CHITRAKAR

elements like ‘Asta Mangala’ – eight auspicious symbols and depictions of extra human elements or animals like monkeys as devotees were also added in the overall composition. In the interior walls too, images of above stated deities and Goddess Green Tara or Arya Tara are found in some of the earlier Bahis.

Although today, in many of the ‘Bahis,’ earlier murals have now mostly vanished – either due to being plastered all over with cement layers and whatever have survived are too in mortal threat. That is, it all remains in abject dilapidated condition. Nonetheless, they bear witness to its importance in the annals of Nepali Painting. But what has remained more interesting and amazing is the fact that as time passed by, the religious murals as practiced by Nepali Buddhists earlier, continued to be followed in Tibet.

One may note the active practice to paint the interior walls of Tibetan Gumbas or the monasteries even today.

In the recent narratives, attempts are being made to attribute a work of painting, ‘Arya Tara’ found in Tibet, as painted by legendary Newar artist Aniko (commonly spelled in Nepal as Arniko) dating thirteenth century. Although 60 / SPACESNEPAL.COM

‘Visworup’- the deity embodying the entire Universe, is the centerpiece of the fresco painting in the famed wall of 55 Window Palace at the Bhaktapur Palace Complex. Please note the human looking facial features of the deity. It reveals the desire of King Bhupatindra Malla, 17th century, to personify himself as the deity while his queen is sought to represent the consort of the Lord.

PHOTO:BIJAYA MAHARJAN

Part of ‘Five Dhyani Buddhas or Celestial Buddha’ – Details from a medieval wall painting, 14th – 15th century circa, found in the façade of the ‘Bahi’ of Jhwaa Bahal, Kathmandu –very near the tourist hub of Thamel. (Pease note the state of sheer disregard and the utter ignorance of the historic heritage.)

PHOTO:BIJAYA MAHARJAN

ART

An entrance to a medieval Buddhist Vihar - very near the famous Bhaktapur Durbar Square.

Here, while there are two Buddhist Guardian deities in the side walls, Asta Mangala- the eight auspicious symbols are painted at the top.

PHOTO: RAJENDRA CHITRAKAR

stylistically, the cited work bears many of the characteristics of the then prevailing Pala School, it is hard to attribute with certainty its origins to the stated artist for various reasons. Firstly, Aniko who led a guild like artisans’ delegation was said to be in late teens when he made a journey to Tibet: and so, is not likely to be an accomplished artist in any specialized genre at that tender age. Moreover, the described time is so early and sketchy it is hard to describe whether Aniko was a painter, an architect or a sculptor! It is practically impossible for a young man of his age gain skills of all the three genres of art – unless blessed by a divine miracle: and produce a work of the quality as is seen! Therefore, the cited ‘Arya Tara’ may’ve been painted at much later date than stated.

WALL PAINTING REACHES ITS ZENITH But what remained true is Mural art reached a new height during the late Malla period. By then the earlier glory and influence of Buddhism had reasonably waned and had had been well displaced by Shakta cult as the state religion. The milieu of painters organized as a caste by king Jaysthithi Malla had had become thorough painters adept in creating divinities from all the prevailing faiths then. To them then, Shakta imageries were the popular elements in the religious art – including the Murals. Between 17th and 18th century, Palace Complexes in Bhaktapur and Hanumandhoka Durbar Square in Kathmandu began to witness an unspoken contest in creating the best of the paintings within their palaces.

Unfortunately, only a small section of these historic works are partly preserved and can be viewed.

Famous 55 Window Palace Complex in Bhaktapur remains one of the glaring examples of our glorious past in this regard. Although at its heyday the entire palace was replete with exquisite wall art, many of the wall paintings have been totally destroyed and are scantily visible.

Today only the front chamber within

the 55 Windows, there is the majestic presence of exquisite frescoes – filled in the entire wall spaces. Executed in typical Newar Paubha School, the centerpiece of the entire mural is ‘Visworup’- an episode from the great Hindu epic Mahabharata.

Unlike in the epic, the deity as the emanation of Lord Bishnu however, here the all powerful deity endowed with unlimited attributes- personalized in an anthropomorphic form with multiple heads and hands with emblems is an incarnate of Lord Shiva - in embrace with his consort. The rest of the imageries narrate the story of the epic – divided in panels and in sequential order. To top of all, the most interesting feature of this unique fresco painting is the desire of the king Bhupatindra Malla who commissioned the work, to personify his own facial image in the divine form and his queen as the divine consort. The name of the king ‘Bhuptindra’ scribbled in Newari script can be clearly eligible in the coiffure of the spouse of the Lord or the queen.

Nearer to the modern times – during early 19th century too, Nepali Painting continued to witness the continual desire and profound love for serious Mural art. Regardless of the changing times and the ruling dynasties, the ruling elites continued to display profound love and fascinations for wall art. The changing times did not diminish the earlier popularity to get the walls of the prayer rooms and the antechambers painted with divine imageries. A series of

unique wall paintings found in the private residence of Prime Minister Bhimsen Thapa stands a vivid testimony of this continual love and desire. It is about two hundred years after the frescoes in 55 Window palace in Bhaktapur, again divine imageries – especially depiction of episodes in Mahabharata in general and image of ‘Visworup’ in particular are found here. Although the central theme of ‘Visworup’- a glimpse of the universe, has had remained the same, a striking difference is the depiction of the Lord as an emanation of Lord Vishnu; and he is not sought as the personification of the devotee or a client. Rather, here he is seen in an angrier look – flanked by the donor or the client.

Stylistically, the frescoes from both the sites may vary in many respects as a result of changing times and growing external influences, what remains more important in our context is the continued importance of the genre in the overall history of Nepali Painting.

Moreover, at the popular level too, fresco art has had long remained an integral part of Newar social life of Kathmandu Valley since the hoary times. Very few may be aware of a fact that to decorate the main entrance of a household where a wedding is taking place, with certain motifs like five ‘Panchayan’ deities from Buddhist or Hindu faiths along with the auspicious symbols in either side. This practice is still being observed obediently right till this moment. It reflects the importance of wall painting in Nepali context.

SEPTEMBER 2014 / 61

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ARTSPACE

PEOPLE

BEING BAKED AND SOLD text ASHA DANGOL artworks GOPAL KALAPREMI SHRESTHA

M

irror of his own perception about the Man’s desires, this Raku Fire Ceramic artworks were created during the 2nd Kathmandu International Art Festival. He believes that we are born free but we chain ourselves with the shackles of desires. He has designed his artworks from the cycle’s chain cover and the characters were developed from mythical male heroes.

The Artist

Gopal Kalapremi Shrestha (b. 1965) is an award-winning ceramic artist from Kathmandu.

He has earned his bachelor’s in Fine Art from Lalit Kala Campus and has ten solo shows to his credit in Nepal and India. He has participated in a number of group art exhibitions. The selected art camps he was involved in are: Nepal- Bangladesh Art Camp, Nepal, 1997; Khoj Residency, India, 2003; SAARC Ceramic Art Camp, Sri Lanka, 1985; Asian Mater Network Program, South Korea, 2008. He has authored several books on clay art and sculpture techniques. He is a lecturer at Centre for Art and Design, Kathmandu University.

SEPTEMBER 2014 / 63

STORE WATCH

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SP AC ES OP EN

How often do we wake-up early? Sometimes when we make something different than usual we might see wonders in small things. This is an amazing world I saw at Janabahal temple, Ason in an early morning. A moment seamlessly frozen in time, raining of grains, and giving a very blissful feeling! I could not help pointing at and I captured the moment instead of silently appreciating it.

The Photographer:

Prabesh Maharjan holds a master’s degree in Business Administration from Kathmandu University School of Management (KUSOM), and a bachelor’s degree in Civil Engineering. Currently he is working at Butwal Power Company as a financial analyst. His involvement is in corporate and project finance of hydropower to support investment decisions and business growth planning. Also dedicated in photography, he received Photography Workshop from SCC and he also had coordinated PHOTO YATRA Kirtipur in 2012, one of the successful projects of SCC. Besides, he enjoys travelling.

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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.

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Its partners across the world are: SALTO from Spain, EVVA from Austria, and Videx from USA. It has celebrated its presence

in Bahrain, Ethiopia, Ghana, Kenya, Kuwait, Oman, Qatar, Sri Lanka, Sudan, Tanzania, UAE, Uganda, UK, Yemen and Nepal. In a bid to establish a deeper familiarity in Nepal, GLSS launched its new series of locks in Kathmandu recently which witnessed the unveiling of the brand’s myriad locking solutions in the premium door handle space, hotel card locks for the hospitality sector, as well as state-of-the-art innovations in the architectural hardware segment.

The man who leads the international business at GLSS is Mr Prasad Sane. An MBA in marketing and BE in production, Mr Sane takes pride in being a result oriented person. He advises others to take up every opportunity to grow faster and be a successful human being. Swarnim Lamsal from SPACES had a chance to talk in person to Mr Sane, head of international business at GLSS, who was here for the launch of its latest products in Nepal.

Could you tell us about the occasion you are here in Nepal for?

Well, GLSS has been a name taken as equivalent to quality, protection, and trust in India. It has been the number 1 in India for past sixty years! Now, with the vision of providing our service in a larger scale and to grab the similar position in Nepal, we have come here. The occasion is to launch our new products. Moreover, we are also focusing on brand awareness, specifically to the institutional clients, who can be a great support to meet our vision!

the other thing. I believe, learning is the only thing that helps one to maintain one’s position. Besides, I work with my team as my family, and I just mentor them.

I just check if they are doing well and following values of the profession. With all these, and of course with innovation and aggression, I think we will be able to maintain all those virtues.

is always a link between these two lives.

That is why I always make sure that I spend ample amount of time with my family.

GLSS has always been a name for protection and trust. Besides, as you said it has in the top position for past sixty years. However, they are the virtues that are more difficult to maintain than to grab.

How are you planning to continue them?

To maintain the trust we have gained, we make sure that we choose only those partners who are trustworthy. The next thing that we zero in on is that of our products. We try to develop new products.

For instance, we produce not only locks but the locking solutions as well. Besides, we produce everything ranging from soaps to missiles. We also impart top-level technical training to our salesperson. We even reach to the rural areas to make sure people are safe and secured, both in Nepal and India.

On the other hand, to maintain our top position, I will continue to learn one or 74 / SPACESNEPAL.COM

Do you recall any incident that made you change in a new way and that was also helpful for your professional lives?

When I was in second grade, I hit a boy very badly. His father got very annoyed with me. Even my parents were furious at me and made me talk to the boy and ask for sorry. Far better is to communicate your problems to the concerned person than to be nasty and harmful. This very message of proper communication is what I learnt from the incident. I am now continuing to use it throughout my life. This message of communication is something that I teach my son as well.

What type of connection do you see between your professional and private life?

3 Idiots is my favourite movie. The movie shows that if a person sets a goal and is then dedicated to fulfill that goal, he or she is definitely going to achieve it. Goal setting and innovations are what drive me in both of my lives; personal and private lives.

Furthermore, one always learns from one life and implements in another. So, there

What difference did you feel after being a businessman from an ordinary person?

I believe I am still an ordinary person.

So, the only thing that I constantly do is keeping on learning. I understand my past and by being focused and positive, I move on my track.

What do you think a business person is responsible to the society besides growing with the business and catering services to the customers?

I am spending annually some money for educating girl children who are poor and I also spend some money in yearly basis to Elderly home. Every company must have one or the other forms of Corporate Social Responsibility (CSR), under which it should be responsible towards the society. Only the charitable works can bring sustainable happiness in one.

What do you say to the new entrepreneurs who aspire to be in this field?

I believe that it is the positive approach and optimism that leads a person to the right path. When one is positive towards anything, it is 100 percent sure that he or she is going to achieve that thing. This is what my experience has taught me. Be positive and hope for the better. Be into a business, a businessperson can do a lot of things.

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