SPACES Nepal JUNE 2017

Vol 13 No. 01 June 2017

ART ARCHITECTURE INTERIOR

Sugauli Treaty & Nepali Art Opening of New Avenues Sukra Sagar Shrestha

obituary Scholarly departure

SEISMIC RESISTANT ARCHITECTURE Arannya Bilash

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conceiving of tranquility ZEN BISTRO & CAFE

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Contents Volume 13 NO. 01 | june

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26 architecture Seismic Resistant Architecture

42 INTERIOR Conceiving of Tranquility ZEN BISTRO & CAFE

30 architecture Arannya Bilash

Land Slip Estimate of 1.5 m during Gorkha earthquake April 25, 2015

Source: Roger Bilhamand Peter Molnar of the University of Colorado and Vinod K Gaur of the Indian 9/11/2015 5 Institute of Astrophysics, 1997

48 Impact

Rebuilding Nepal for next earthquake

66 from the shelf

34 art

The Demonic Divine

Sugauli Treaty & Nepali Art Opening of New Avenues

69 artscape

Silent Speaking

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Contributors

Volume 13 N 01 | june O.

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan

Madan Chitrakar

Badan Lal Nyachhyon

Asha Dangol

Director- Products and Materials

Ar. Pravita Shrestha

Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka Advisor

Ar. Pawan Kumar Shrestha Subscription and Administrative Officer

Riki Shrestha

Contributing Editor

President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographers

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Panday Samir Dahal

Tejita Vaidya Amatya

Swornima Munankarmi

Kritika Rana

Veda Satasha Shrestha

The author, Madan Chitrakar is a senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions he has taken Nepali Art beyond the borders - through his writings in many prestigious publications abroad - notably in Japan, India and Bangladesh. Two well acclaimed books Tej Bahadur Chitrakar - Icon of a Transition’ 2004 and ‘Nepali Art: Issues Miscellany’ - 2012 remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali. Presently, he is associated with Tribhuvan University, Central Department of Fine Arts and Kathmandu University, Center for Art & Design as a member of the respective Subject Committee.

Badan Lal Nyachhyon is chairman of Earthquake Safety Initiatives, a company focused capacity-building for coping with Nepal’s earthquake hazard. The senior civil engineer is also managing director of Multi Consult (P) Ltd. Nyachhyon’s expertise include project management, contract management, civil engineering, research, construction management and community development, among others. He holds a Master’s in Architecture degree from the Kiev Civil Engineering Institute.

Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video.

Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol

Tejita Vaidya Amatya is the Director & Chief Interior Designer of CONCEPTION INTERIOR PVT. LTD., the design company founded together with her better half Er. Kundal Shekhar Amatya in 2004. The company came out of passion of spaces; interior space is taken as canvas and producing a live space sculpture. Amatya’s designs are always a perfect amalgamation of design, décor, and form reaching completeness. She likes to play with material, color, silhouettes and outcome is always acclaimed.

Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary

Published by

IMPRESSIONS Publishing Pvt.Ltd. Kopundole, Lalitpur, GPO Box No. 7048, Kathmandu, Nepal.

Phone: 5181125, 5180132 info@spacesnepal.com

A recent graduate from Kathmandu Engineering College, Swornima Munankarmi is currently working as an architect at Civil International Consults Pvt. Ltd., Sundhara. Much interested in earthquake resistant building designs, she’s looking forward to study the role of public buildings-the effect they impart in lives of people.

Kritika Rana is a graduate from IOE Pulchowk Campus. She is currently practicing architecture at Prabal Thapa Architects. She is keen on research- based writings about architecture and the sensation of spaces. She believes in understanding the essence of space and its influence in human behavior. She is also interested in energy efficient and sustainable design in contemporary scenarios.

High Schooled from The Lawrence School, India and Malpi International, Nepal, Veda Satasha Shrestha did Bachelor of Business (Majoring in Management & Human Resources) from Kaplan Business School, Melbourne, Australia. She had worked as marketing internship at Vijaya Motors, Kathmandu and HR internship at Vivir Healthcare, Melbourne. Currently, she is working at HR Department at Agni Group, and Program Coordinator at E-Arts Nepal for Himalayan Art Camp, Pokhara.

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Kasthamandap Distributors, Ph: 4247241

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Regd. No 30657/061-62 CDO No. 41 SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

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Editorial Sukra Sagar was much of exemplary to divulge the silent stories is yet another art that seldom seen shining. At the pinnacle of safeties at archeology and history, Nepali and Newari linguistics, history, photography, art, architecture, culture Sukra Sagar was rather reluctant to publicize his work. Before the nation knew much about, we lost him in May 2017. The feeling of his absence might be diluted over time but the vague emptiness will remain forever.

Architecture should speak of its time and place, but yearn for timelessness - Frank Gehry For Nepal, getting shaken and stirred by seismic activities has indeed become a habit that’s hard to forget. A natural phenomenon that became more of a disaster with ever increasing man-made structures, Nepal ranks 11th position at earthquake risk and has suffered massive loss of lives and property over time. Practicing the modern scientific approach can lead towards minimizing the damage. It’s the preparedness of seismic resistance architecture that can lead towards minimizing the damage. Same is true for rebuilding Nepal for next earthquake as it is known to all that a large earthquake is inevitable. Most challenge is faced by the traditional residential buildings and heritage monuments with vernacular aesthetics that represented the identity of the country and carried the value of history and culture of over 2,500 years. Though the overall concern of the cities in Nepal after the April 2015 earthquake did not resemble the picture of earthquake stricken cities but of a normal one with visibly intact cityscape, paying attention on need for declaring policy on building Earthquake safer cities has become ever more urgent.

Clever interplay of volume with solids and void, the idea of a large open and breathable space for a densely populated, unplanned area are prominent in the functional design of ARANNYA BILASH in Mirpur Shawrapara, Bangladesh. A challenge in itself with the urban crawls extending to the locality, interplay of plaster and brick with extended greenery from the ground up to the roof level for a nature lover’s delight with birds and insects added more lifeline to the structure. The project has been well received amongst the technical crowds and the engineering novices for its righteous use of open spaces within the site.

The human evolution has always been fascinated with colors either with naturals in early years or with more vibrant hues in present time. The distinctive characteristics of each hue is therefore associated with the values, notions and entities of each culture thus resulting the development of color symbolism. The beauty of our world lies in the uniqueness of the cultural diversity. Surprisingly red is often used to indicate danger or caution, it is also a universal representation of love and romance.

The beauty of our world lies in the uniqueness of the cultural diversity, but interestingly symbolic interpretation of the same color may vary between diverse cultures and festivals. The tranquil essence that one can feel with the fusion of materials like iron, concrete, wood, clay and bricks, along with soft leaves and colorful innocent flowers at Zen Bristro & café is a wonderful example of interplaying the feeling of colors in interior design.

Sugauli Treaty - concluded between Britain and Nepal in 1816 still remains a glaring example. The eventual ripples that emerged to bring number of new monumental shifts in the entire gamut of Nepali cultural outlooks, in particular - in shaping the future evolution of the Art & Architecture of the country then after. ‘Nepal- Britain bicentenary Exhibition’ show probably remained the first vivid visual narratives of events that led to earliest openings of many new avenues in Nepali life narrated in visuals. The arrival of Brian Hodgson in Kathmandu to join the British legation in the early 1820s. He unintentionally, proved an earliest catalytic agent of a far reaching change in Nepali painting. A phenomenal beginning not intended to achieve then drawings were made based on or under the direct supervision of a European eye - as a result the works revealed the earliest notion of perspectives of proportion in the annals of Nepali Art history. Not intended to achieve then, it is hard to conceive today how complex scenes were created with full sense of perspective and proportion at that early stage. Over the years, today Nepali painting has had made many long strides.

Ashesh Rajbansh / CEO

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News

ARCASIA Forum

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RCASIA Forum is a platform for the on-going discussion of current architectural ideas pertinent to the region. This is a gathering of prominent architects and thinkers intended to serve as an Asian “Catapult of Minds” on matters concerning architectural, and environment in the Asian context.

The 19th ARCASIA Forum was held in Jaipur, India on the theme “Happiness through Architecture” from 21th May to 25th May. Eleven Nepalese participated including two official delegates Ar. Suman N. Vaidya and Ar. Sudeep Sharma Paudyal. Among total 55 speakers on the ARCASIA forum, the two speaker were selected from Nepal based on paper submission .

They were Ar. Sarosh Pradhan and Ar. Arjun Basnet on the topic “Finding lost Public spaces” and “Linking traditional knowledge to underlying culture

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and agrarian economy in the post earthquake scenario” respectively.

The participants from Nepal attended on the five committee meetings of Arcasia. The 12th President of Society of Nepalese Architects (SONA) Ar. Suman N. Vaidhya attended on

the Arcasia Education Committee and General Secretary attended on Arcasia Young Architects Committee meetings, Dr. Shriram Bhagut Mathe (2nd President of SONA) attended committee meeting of Arcasia on Social Responsibility, Ar. Prajwal Hada (Chairman of Professional Practice) and Ar. Anju Malla Pradhan(Vice President of 12th Executive of SONA) attended the committee meeting of Arcasia on Professional Practice and Executive member of SONA, Ar. Binaya Rajan Shrestha attended on Arcasia on Green and Sustainable architecture Committee meeting. n

News

was inaugurated by Chief Guest Dr. Satyamohan Joshi. Students from both short term and long term programs had their paintings on display. Moreover, paintings from various times during Lok Chitrakar’s career were on display.

Living Heritage

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imrik Atelier hosted an exhibition called ‘Living Heritage’, to showcase the paintings of graduating class of 2017 as well as master paintings of artist Lok Chitrakar from Jestha 13 - Jestha 15, 2074. The theme “Living Heritage” is in recognition of the continuation of the tradition of Paubha which is a form of art that is over one thousand year old. The convocational ceremony at Simrik Atelier featured high profile guest speakers such as Kanak Mani Dixit, Anil Chaudhary and Madan Chitrakar. This program

Paubha is a rich painting tradition developed by the indigenous people of the Kathmandu Valley, known as Newar. Newar people have been esteemed for their extensive talent in creating art and decorative styles for centuries. The sacred art form of Paubha is a visual interpretation of Buddhist and Hindu ancient text such as the Sadhanamala, Guhyasamaja Tantra, Prajnaparamita Sutra, etc.

The symbols found in Paubha are visual representations of Philosophical teachings.

In addition to this, Simrik Atelier is celebrating 8th Anniversary. On Jestha 14, 2074, on the occasion of 8th Anniversary, there was a special musical performance of traditional “Dhrupad” by Bishal Battarai, Inoue So and Mukesh Shakya.n

Supreme Furniture

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upreme Furniture organized dealer’s meet on 24th May, 2017 at Grand Hotel. This event was held in gracious presence of Mr. Mukesh Kaul (Senior General Manager of Supreme Industries Ltd. This meet was organized by Rohi International which is one of the distributors of Supreme Furniture. Around 80 guests attended this event including dealers and banquet owners. Its been 4 years since Rohi International deal with Supreme Furniture.

Supreme is an acknowledged leader of India’s plastics industry.

Handling volumes of over 3,20,000 tons of polymers annually effectively makes the country’s largest plastics processors. They also offer the widest and most comprehensive range of plastic products in India. In fact, Supreme is credited with pioneering several products in India. These include Cross- Laminated Films, HMHD Films, Multilayer Films, SWR Piping Systems and more. Supreme Industries Limited is India’s leading plastic processing company with seven business divisions.

The furniture division is the most bejeweled crown in Supreme’s product range. It has been most ably spearheaded in Eastern region, Nepal and Bhutan by Mr. Mukesh Kaul who has created a new niche in the market for molded furniture with his international taste, strong R & D and the strictest vigil over quality. n

June 2017 SPACES / 13

News

Architect speaks 3 was held on 3rd May, 2017 by Society of Nepalese Architects (SONA). The objective of this event was to update activities accomplished and challenges emerged, to disseminate restoration Plan for the rest of projects, to prepare a common mandate for conservation and to discuss the possible solution for current chaos, the methodology.

Architect speaks 3

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epal is famous for its heritage, culture, and vernacular architecture. Right after great Gorkha Earthquake, the well-wishers of Nepal, international friends and organizations hoisted support and relief for the rehabilitation of public affected by earthquake, their settlement including all types of buildings, heritages and monuments, temples and palaces.

The most affected were the heritage like Boudhanath, Changunarayan, Pashupati area, Basantapur durbar square, Lalitpur durbar square, Bhaktapur durbar square, Sankhu settlement, Bungamati settlement, Singha Durbar, Machhindra nath, Ranipokhari, Dharahara and many more. Department of Archaeology (DOA), Government of Nepal, led the reconstruction of the heritage and monuments along with

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volunteering INGOs for protecting and preserving the vast cultural heritage of the country.

Society of Nepalese architects (SONA) was involved in various rescue works of heritage and monuments. It took part in various activities such as debris collection of fallen temples, rapid inspection of public buildings. SONA contributed in heritage reconstruction by collecting cash to “PM relief fund�, and providing the expertise and technical manpower to DOA.

SONA currently shows deep concerns on the methods of conservation of heritages and monuments executed, with questionable tender process and use of highly debatable concrete materials. The newly reconstructed Bouddhanath with a heavy concrete platform, the extensive use of concrete beams and pillars at Ranipokhari, the concrete laying at Tunaldevi temple base, and extraordinary concrete structure at Doleswor Mahadev, are some serious and questionable concerns regarding the methodology and principles of cultural conservation.

The current practice of conservation is getting controversial as it seems.

The general public is getting ignorant towards our traditional architecture and building techniques. n

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Review

Beauty behind the canvas TEXT : Veda Satasha Shrestha

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he energy of the Himalayan Art Camp was I felt absolute at peace and could feel the passion for creativity.

Hear the thoughts aloud with an inch of movement as a brush was dipped into the color and held towards a canvas, created beauty with each ones thoughts coming to life. Creativity is at the highest level possible, sitting around all these well known artists from the Asian countries. All the people brought together by nothing but the love of Art, each artist with their unique style and concept creating their masterpieces in the presence of the Annapurna ranges, the beauty of people of Pokhara and the Nepali culture that surrounds them.

It’s been an absolute privileged to be a part of the Himalayan Art Camp, as an art admirer, to be in the presence of a group such talented and well renowned artists. To witness their pieces coming to life in stages till their final touches.

Going through their thought process of what they were and are thinking as I look at a painting being painted.

While we generally look at a painting at its final stage of being completed when it’s hung at a museum or any other venues, you can still understand the time line when the painting was painted, the perspective of an artist on social, political, economic issues faced during that particular time frame and most importantly the emotions the artist was feeling then. Art has a very vast definition as each individual defines it as his or her unique way of perception.

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I believe that “life intimates art” and vice versa, as each thing has a beauty of its own and it reflects on what it surrounds.

has enjoyed the Himalayan Art Camp experience a lot.

As it was Cong’s first visit to Nepal, her impression about Nepal was from what was projected by the media. However that all changed when she got here and realized Nepalese people is very friendly and welcoming. Seeing cows on the roads was a bit of a culture shock and staying in Nepal for a week, made her think about her life in Vietnam to the life here of a Nepalese person.Cong was impressed with how well prepared Himalayan art camp was to meet their needs such as food, stay, art supplies.

Happy with the weather is Pokhara as it was mostly pleasant. Cong enjoyed the beauty that surrounds Pokhara, the lake and the flora and fauna. Her inspiration of the paintings created here in Pokhara, were inspired by the earth and music. She said she

Pramila mostly follows a theme while creating any one of her paintings, it usually changes if she decides to end a series or feels like she wants to start new one. Before Himalayan Art Camp began, she was doing a series regarding the earthquake in Nepal.

However during the HAC, she was drawn to the beauty Pokhara holds, surrounded by the greenery, she wanted to paint her canvas also green and she painted her canvas in layers of green. Pramila Bajracharya usually paints landscape and figures, so does both her pieces created during the HAC. The best part of the Himalayan Art Camp is that I got to witness other artists from their respected countries, see how they work, understand their thoughts which have been amazing.

Interaction between artists has been the best part. This has been the first

Cong Kim Hoa (Hanoi, Vietnam) Earth & Music, Acrylic on canvas

Pramila Bajracharya (Lalitpur, Nepal) Himal ki Chhori, Acrylic on canvas

Review

Jeevan Rajopadhyay (Kathmandu, Nepal) Nature, Acrylic on canvas

Myat Tun Aung (Yangon, Myanmar) To the Inlightment, Acrylic on canvas

HAC, hopefully continue with this concept and keep improving it over the time.

to as to when he usually paints, he wanted to be well prepared before starting his paintings. Since an early age, he has wanted to visit Nepal to see two things to see the Himalayas and to visit Lumbini. So his first visit to Nepal let him to both, so the Himalayan Art Camp has made his dream come true. I have enjoyed being in Pokhara, as it is clean, beautiful surrounded by mountains and it’s natural beauty.

HAC has been wonderful experience meeting old friends, making new ones.

HAC is all about art exchange and exposure to the Nepali culture. Witness how other artists work on their paintings and interacting with other artists; talking about art is the most important thing for artists. An Art camp lets you do that.

Art is created freely, there is no secret, all depends on your mind what is your inspiration, what is your concept, what technique you use. Himalayan Art Camp has been beneficial for all the artists and for art lovers.

Jeevan Rajopadhyay talks about his working style, before his theme were landscapes. While working on landscapes, the form slow started to disappear and only the colors were left. With that his style changed into abstract, with the loss of scenic beauty and love for colors. Every artist has his or her own working styles, some work in different forms, I enjoy working with colors. Even with his style changing from landscape to abstract, if you look at his painting closely, you will somewhat get a landscape feeling.

More than a concept, he tries to capture the colors of the surroundings.

When Jeevan thinks about Pokhara, he thinks about the white Himal, green Phewa Taal, blue sky as everyone pictures it. He really enjoyed his experience during the Himalayan Art Camp; he thanks E-Arts Nepal for giving him the opportunity and creating such a platform for artists. By creating this platform there has been interaction, understanding of different working styles, we observing how they work, they observing how we work and creating an understanding among artists. Such art camps will help Nepali Art create a bigger impact globally.

Myat likes being well prepared by choosing a subject and deciding on what technique, concept to use, what he wants to portray in his painting before starting his work. Due to the limited time given during art camps

Hadi Soesanto choose banana for an object, as it is usually used on a daily bases in Indonesia even for religious offerings. He has a pencil in his painting as it symbolizes a new beginning. Sometimes he changes his series according to what inspires him.

Hadi really enjoyed being in Nepal, thought it was a nice country and loved his experience at the Himalayan art camp. Before being a part of Himalayan art camp, visiting Nepal was like a dream and he is glad to take part in it. Himalayan Art Camp gave him new experience to collaborated with other artists from countries all around south Asia.

Hadi Soesanto (Yogyakarta, Indonesia) Alone, Acrylic on canvas

Binod Pradhan (Kathmandu, Nepal) Fewa Lake, Acrylic on canvas

The surrounding and the beauty that comes with being in the nature inspires, Binod to paints his canvases. Binod’s specific concept is based on the eco system, effects on nature and the preservation of heritage. In his paintings, he tries to reinstate a consciousness for the society for preservation of nature.

Binod is currently doing a series based on nature and he has continued to paint his series during the Himalayan Art Camp. Binod says Nepal is his color palette for being his subjects for his canvases, as he is more aware of the beauty of our country as he travels it and puts it on a canvas, as he feels connected to a place. One of the places in Nepal that inspires his work is Pokhara. Himalayan Art Camp has been held for the first time ever in Nepal and has been both resourceful and an opportunity to interact with artists from different countries. Being one of the organizers in the E-Arts Nepal team it

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Review

Asha Dangol (Lalitpur, Nepal) The Anger of Machhapuchhre, Acrylic on canvas

Ng Kim Heoh (Pulau Pinang, Malaysia) Love from Pokhara, Acrylic on canvas

Ng Bee (Sasaran, Malaysia) Dancing with Mountain, Acrylic on canvas

was overwhelming happiness having a successful art camp even though it was the first one and has to learn as we go.

Asha‘s artworks reflect on the concerns of urbanization, consumerism and ecology. These issues are framed with a polarity of visual symbols: the traditional with the contemporary, the past with the present and the mythic with the real. During the Himalayan art camp Asha’s was involved with the management and co-ordination for the artists, programs and hospitality.

Asha thought it was a great learning experience and was an honor, to be one of the organizers in E-Arts Nepal for HAC. Himalayan Art Camp is the first international event organized by E-Arts Nepal. It was well received by all guest artists as well as from the local artists of Pokhara. During the HAC all the artists were sharing ideas, having interesting conversations about contemporary art, which gave us more value from this interactive art camp. HAC travelled to the city of lakes Pokhara with the view of the Himalayans and started and ended with the city of art and culture in Patan. Hoping all guest artists enjoyed the diversity of our landscape and culture.

she will focusing on traditional kind of motif and combine with figurative to which she want to express the relation of people and the culture, how culture shapes our lives and defines who we are. Ng Kim loved Nepal and will be definitely visiting again, the rich culture and religious environment gave her a sense of calm and serenity, she thought the people were friendly and humble, easy to communicate with and she was also fascinated by the magnificent landscape and hope she comes back for some trekking. Ng Kim thought the HAC was successful and well run, having a small camp allowed artists to interact and get to know each other better, exchange different ideas and art views. The Himalayan Art camp group became like family, some of us initially just a distance friends on Facebook, now after the HAC, we have become close friends.

he’s mentioned above. Ng Bee thought Nepal is a beautiful country, still under developed but got great scenery, landscapes, kind people who are happy to live a simple life. Himalayan Art Camp was well organized for a first timer and they should keep up the good job.

Ng Kim uses a concept to execute her artwork. She chooses a concept and based on it, she produces a series. Ng Kim believes in realism, so her style is more towards realism but not to the point of photorealism. Ng Kim’s last series was called “i.cloud”; she is in the process and development stages of her upcoming series. Still in her working stages for a next series but

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From Ng Bee’s past experiences from when he was still a student and from practice and experience when he paints, the feel and texture of lines gave him a lot of space and intuitive reflection to his ideas. The strength and depth of lines have become the main force for Ng Bee to express his images on the canvas, the key source of my imagination to compose my paintings. Ng Bee’s main focus around his concepts are the environment, the constantly changing of surroundings and also the dark side of his county’s politics such as corruption. Ng Bee has 3 main series till date and is still on going such as abstract, rhino and figurative, all three based on the ideas

Bhairaj’s artwork concepts are created by how the surrounding environment inspires him. Currently he is captivated with contemporary issues like earthquake, air pollution and government policies for women empowerment as concept, blending with traditional elements, using textures to add beauty and aesthetic values to it. Bhairaj’s on going series is based on pollution and mask, created awareness about pollution and the effects it has on the people. As an artist, Bhairaj has taken part in several international art camps but Himalayan Art Camp was special experience

Bhairaj Maharjan (Lalitpur, Nepal) Portrait of Kathmandu, Acrylic on canvas

Trinh Tuan (Hanoi, Vietnam) Tree of Life, Acrylic on canvas

Wattanachot Tungateja (Nakhon Sawan, Thailand) Dreamscape in Pokhara, Acrylic on canvas

for him as an organizer. We (E-Arts Nepal) had a very selective process by choosing only 12 artists who are genuine and professional from all around South Asia and addition of 8 established Nepali artists. Bhairaj found it very interesting, as each artist was very mature and unique in terms of style, technique, theme and concept, which was a great learning experience.

Wattanachot has his own concept called dreamscape, inspired by being well travelled and getting to witness beautiful places and stunning sceneriesall around the world.His painting does not represent what a country he has visited, looks like but the combination of his thoughts and his imagination to what remembers of the places he has visited. His series dreamscape, the painting composition is focusing on two parts the earth and the sky. The sky consisting of things such as the wind blowing, the crowd and the earth consisting of all the things given by nature such as flowers, trees, animals. Wattanachot talks about the power colors from inside the earth leading up to the sky. Painting for Wattanchot is like meditation; it gives him a sense of inner peace and helps him stay calm. Wattanachot talks how art camps like the Himalayan Art Camp is good for artists as it helps in networking and he would call few artists over to Thailand for a program like this one in the future. Himalayan Art Camp has been a good platform for all of us to come and exchange ideas with one another and interact with other artists and understand their concepts and working styles.

Trinh’s paintings is an expression of internal energy, is all about emotions.

The choice of what Trinh paints is lead by feeling that is heartfelt with a choice of emotions. He does not tend to think about his style or concept so logically. The images come to Trinh as he thinks and feels about his emotions as an individual. Trinh said, “There is something deep down in my soul, the feeling of the unbreakable connection between a human being and the nature, so you can see the figures of human and flowers, trees in my paintings.

Trinh found a never-ending foundation of inspiration with images, shapes, colors and lines from nature. Trinh describes Nepal as when he realized that there is still a living fairy tale, an ancient world that still exists on the earth. Trinh says here in Nepal, he sense of hugging arms with Mother Nature. Trinh with all his regardless and respect he would love to say ‘thank you’ many times to the Himalayan Art Camp organizers and sponsors. Trinh says now I have such an unforgettable memory of Nepal people, their culture, art, the forests, the mountains, he rely himself in the lulling hands of Nature.

Siraj usually following his inner energy of a painter, which he has developed throughout the years, he does not follow any concepts. He believes picture making can be learnt but painting must be in you to come out, so he just lets his heart and body flow in come out in visual grammar.

Siraj believes every artist has a visual

Siraj Saxena (Delhi, India) Fishtail Mountain, Acrylic on canvas

Surya Baraili (Pokhara, Nepal) Inside the Mask, Acrylic on canvas

grammar and inner energy to create what he or she creates. Siraj calls his experience in Pokhara as visual poetry, he says who has god created this all for but man, who can express the way they feel about the beauty behind god’s creations. Siraj thanks the E-Arts Nepal group for inviting him over to Nepal.

Siraj says us humans are very tiny in front of the Himalayans but we have eyes to see, hands to paint and words to express to leave a mark on the world.

Art camps give us the freedom to share our technique, exchange our visual grammar and see what other artists put into a white canvas.

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News

Siddharth Shahaji Shingade (Mumbai, India) Gold Fish, Acrylic on canvas

Erina Tamrakar (Lalitpur, Nepal) Third Eye, Acrylic on canvas

Surya believes in creating a concept before painting and the colors used in his paintings are related to what the series need. During the HAC, Surya continued painting for the current series called inside the mask. Inside the mask series is regarding how an individual is perceived on the outside and how they are actually on the inside. It’s all about the perception on how an individual portrays themselves to others and how they are different people known to themselves. His inside the mask series represent various outlooks to a situation faced by individuals especially by the female gender. As Suraj’s paintings for the current series is represented by different women, focusing mainly on the perception of individuals to the outside world and to themselves.

culture as very similar. Siddharth feels Nepalese artists gives a lot of respect to other artists and are humble, which he had not seen before. Himalayan Art Camp has given him the opportunity to interact with various artists who are in different stage of the art career, which he would not be able to do from a studio in Mumbai and is thankful for it.

Siddharth trip to Nepal, was the first time he went anywhere outside India.

Being in Nepal, has been a feeling such as being home away home with the food, nature, language and culture being so similar to India.

Siddharth lives in a very crowded area of Mumbai from there to being in Pokhara, that change has been good for him. According to Siddharth people in Nepal are very loveable. The faces that appear in Siddharth’s paintings, he keeps looking for them wherever he goes, their innocence, their honesty and their purity. How his character think, how they live, he keeps thinking and looking for his characters from his painting in the people he comes across. Siddharth feels there isn’t much of a difference between Indians and Nepalese, as the people and 20 / SPACES June 2017

Erina continued working on her current series called the third eye during the HAC. The paintings created in Pokhara for the third eye series were the faces and the women Erina came across on the journey to the art camp.

Erina’s motif was from the surrounding where she worked and was creating her paintings. Erina’s third eye series focuses on the root in the feminism on the subjects through the deep reds.

Erina has found that the recurrence of symbols create a distinct opposition, the Shakti and the statements of self, identity and gender. Erina says as an artist, it was fruitful memory to being with all participating artists at the HAC and as being one of the organizers this was the first event where she enjoyed, interacted well with guest artists and all the participated artists were so friendly and supportive about E-Arts Nepal and enjoyed themselves.

During the Himalayan Art Camp, Titarubi understood how to work with a limited time limit and work quickly with other artists. Titarubi talks about how her usual work style gives her the freedom to work on her own pace for her exhibitions. Usually she takes the first week just for planning and looking for her inspiration but the Himalayan Art

Titarubi (Yogyakarta, Indonesia) The Shadow of Tree, Charcoal on canvas

Netikorn Chinyo (Bangkok, Thailand) Memory, Acrylic on canvas

Camp has helped her work in a different way and has helped her work better.

Titarubi says Himalayan Art Camp has been a good experience and a nice get away for the artists to work together in a new environment and be creative.

Netikorn concepts are inspired by the architecture from the past to the present. The timeline of the ancient to the modern and the difference in structure of a building built and is being built is what inspires Netikorn for his art works. The more Netikorn travels to different cities around the world, the sculptures, statues, buildings and other artifacts he comes across he thinks about it and how it reminds him of hometown. As a young child, Netikorn used to live with his grandmother.

News from all around South East Asia. Durga was admired for his artworks from all the participating artists from Southeast Asian artists and he felt sorry about only a few local artist visited at the camp.

It was the first ever program at the Pokhara Art Gallery at an International capacity with a lot of visitors and he was happy about it.

Inza Qiao Yin (Yinchuan, Ningxia, China) Buddha’s eye, Mixed on Rice paper

Durga Baral (Pokhara, Nepal) Stretch, Acrylic on canvas

With the artifacts Netikorn is inspired from, from his travels he creates his paintings with his imagination. With the combination of his memories and his imagination, his canvas comes to life.

Durga Baral is a senior artist from Pokhara who was apart of the Himalayan Art Camp. Durga paints on his own style continued to do even during the HAC. The theme of his painting is “Stretch”. Himalayan Art Camp is one of the first inspired international art camp which took place in Pokhara, where he could share and interact with guest artists

Inza’s paintings are on mixed media on rice paper she brought from China for Himalayan Art Camp. During the HAC, she has traveled in many places in Kathmandu, where she found an interesting about the eyes of Buddha.

In every shop she went, she found the souvenir of Buddha’s eyes. Tried to capture all this moments during the Himalayan art camp in Pokhara where she revealed herself in the peaceful environment, hills, lakes and the forests. The floating colors and linear perspectives make her painting more curiosity to the viewers. Since her first visit to Nepal, Himalayan Art Camp gave her new way of thinking and collaborate, she said. n

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Sukra Sagar Shrestha

obituary Scholarly departure

TEXT : pratap jung khadka photo : a. rajbansh

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O

n May 18th, Nepal lost a scholarly giant, a gem. Sukra Sagar Shrestha is mostly known for his groundbreaking work in archeology and history, but Kanak Dixit accurately compared his abilities to those of a “polymath”, a modern Renaissance man, and deservedly so. Sukra Sagar was also an expert on Nepali and Newari linguistics, history, photography, art, architecture, culture and amusingly also, baking bread.

Despite his many scholarly contributions, Sukra Sagar was rather reluctant to publicize his work.

Dr. Safalya Amatya, Sukra Sagar’s immediate supervisor at the Archeology department, a mentor and a friend, also mentioned that Sukra Sagar cared mostly for his work and possessed no ambitions to further his career in public service. He was a man with simple tastes, he bicycled to work every day. His friends and colleagues have mentioned running into Sukra Sagar on weekends at various temples and stupas around Kathmandu, often carrying a backpack containing a camera and a loaf of self-baked bread. Such was his genuine enthusiasm to learn and discover. While some friends characterize him to be a little stubborn and short tempered, others contend that he was mostly angry and frustrated with many people’s ignorance and unprofessionalism regarding the matters he cared about most.

Perhaps, most great minds inhibit erratic behavioral personalities, probably a little perplexed that the rest of the world does not share the same level of passion and intellect.

Born as the second child among five other brothers in the historic city of Kirtipur, Sukra Sagar displayed academic promise since his early schooling days at the local Nikunj

School. Former Vice-Chancellor of Tribhuwan University Hari Maharjan, Sukra Sagar’s childhood comrade, recalled the polymath’s brilliant command over both the Nepali and Newari languages during school. After his SLC examinations, Sukra Sagar joined the Ministry of Defense, as a typist. He successively continued his work in civil service at the Department of Tourism and then, in the Department of Archeology. He also got a chance to further his education, obtaining a scholarship to study Tourism Management in Salzburg, Austria. His scholarly acumen and hard work enabled him to rise through the ranks within the government bureaucracy.

However, higher positions also entailed an increasing amount of mundane administrative work and Sukra Sagar chose to voluntarily retire from civil service in 2005 to focus instead on his scholarly pursuits, as a freelancer.

Sukra Sagar’s study of Nepal’s various archeological sites was revolutionary and has immeasurably contributed to our understanding of the significance of the country’s rich history. He led the exhumation project in Ramgram stupa, and discovered that the site indicated the abode of Siddhartha Gautam’s (Lord Buddha) mother’s side of the family. Similarly, the archeologist directed other unearthing projects in the ancient caves in lower and upper Mustang as well as in Salyantar (Dhading). As one of the few historians that could read the archaic Brahmi scripts inscribed on the Ashoka pillar in Lumbini, he constantly lamented about the the wrongful transliteration of some of the runes carved at the ancient pillar. His constant requests to the government to correct these mistakes have only fallen on deaf ears.

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Sukra Sagar’s love for his hometown can be seen through his work in the study and preservation of the art, architecture and culture of his hometown of Kirtipur and the greater Kathmandu Valley.

Even before the 2015 earthquakes, Sukra Sagar has been known to bemoan the loss of Kathmandu Valley’s unique heritage amid rapid urbanization and modernization. Ferociously proud of his Newari heritage, anecdotal evidence suggests that he successfully renovated a neighborhood temple from a dome-shaped architecture to the native pagoda style. Indeed, he was also the foremost expert on matters relating to the restoration and reconstruction of our cultural heritage sites that were destroyed in the recent disaster. His book on the cultural and archeological history of Kirtipur is an immense scholarly endeavor, along with his significant contributions to other books on his hometown such as “Street Shrines of Kirtipur” and “Kirtipur: An urban community in Nepal.”

Sukra Sagar is no longer among us but, Nepalis can keep Sukra Sagar alive by championing more efforts to preserve and restore our native

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cultural heritage. Moreover, instead of designing modern buildings and houses in the brutish and bland architecture style we see in Kathmandu and other urban centers today, we can adopt the architectural style used by our forefathers, while simultaneously using modern concrete to make them earthquake resistant. It would truly be a boon for the academic community as well as interested members in civil society if Sukra Sagar’s foremost colleagues would continue his scholarly pursuits that are left unfinished.

An eulogy ceremony was held in Sukra Sagar’s name at the Lecture Hall of the Nepal Tourism Board on June 2nd. The lecture room was quiet; a sense of grief as well as reverence could be sensed in the air as friends, former colleagues and family gathered to remember the life and work of the late Sukra Sagar Shrestha. It was an emotional ceremony; renowned academics, journalists, Sukra Sagar’s colleagues and his closest friends gave moving accounts of befriending and working with a man of multifaceted talents. Sukra Sagar’s school friends remembered him as a remarkable student that never came second in class while his colleagues at the Department of Archaeology reminisced his dedication, hard-work and outstanding scholarly achievements. n

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Architecture

SEISMIC RESISTANT ARCHITECTURE It is unrealistic to expect that engineers can somehow design poorly architecturally configured buildings to perform well in earthquakes.

- Andrew Charleson

TEXT : Swornima Munankarmi

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The study was done as a part of academics during 5th year of my Bachelors in Architecture. After Gorkha Earthquake, the general concept is, ‘poorly designed structures caused so much damage of property and loss of lives.’ Literally, only structural aspect of building is blamed for failure. Common people and even professionals are being ignorant on the role of architectural aspects in seismic capacity of building. Is it just the size of foundation, column, beam and reinforcements?? Do architects not share the responsibility? So, I decided to do a little research to on the role of architecture in seismic resistance capacity of building which I would like to share to all.

Architecture

Emergency Operations Building, Foligno, Italy

SEISMIC RESISTANT ARCHITECTURAL DESIGN

BACKGROUND The neglectfulness of the interaction between the resistant structure and other non-structural elements in the building modifies the resistancestiffness relationship of structural elements. In such a situation, it is possible that the structure does not show all the resistant capacity simultaneously as required during the seismic action. This stepping of the building’s seismic resistant capacity results in its partial damage or a total collapse. This is one reason for the pure structural analysis becoming insufficient to assert the seismic invulnerability of a building.

INRODUCTION Seismic Resistance Architecture (SRA) is a theory for architectural design of buildings in seismic zones. The basic principle of SRA is, “The seismic resistant structural elements should produce the stiffness, strength ductility and synchronization as anticipated in the structural design and analysis when subjected to seismic action”

An earthquake is basically the perceptible shaking or vibration of surface of earth resulting from sudden release of energy in Earth’s crust which causes seismic waves. An earthquake is essentially a natural phenomenon but becomes disaster when it causes loss of life and damage to structures and systems. It is estimated that around 500,000 earthquakes occur each year, detectable with current instrumentation. About 100,000 of these can be felt. Nepal lies in active seismic zone V with high intensity scale of MMI IX and X for the generally accepted recurrence period. According to Global report on disaster risk, Nepal ranks 11th position in terms of Earthquake risk. Due to poorly designed modern structures we suffered massive loss of lives and property in 2015 Gorkha Earthquake.

SEISMIC RESISTANT STRUCTURAL DESIGN

In this theory, all the structural, non-structural and space forming elements conforming a building are considered to be interacting with each other and hold responsible for seismic resistant capacity. The SRA is focused on the responses of the building’s morphological and spatial configurations during the architectural design so that it does not cause structural maladjustments which would decrease the seismic resistant capacity of the building. In fact, the SRA should not be mistaken for the optimized seismic resistant structural design. It rather deals with the solutions from the architecture to seismic constraints.

STRATEGIES TO STREAMLINE STRUCTURAL AND ARCHITECTURAL DESIGN • Avoiding Flexible Floors This situation arises when stiffness of a certain floor is considerably reduced in relation to contiguous floors. To avoid this, whenever a floor with large separation between columns is

ADJUSTED DESIGN

required, it should be the last one or preferably design it in single level.

• Prevent seismic Torsion When center of mass and center of rigidity of building do not coincide, it causes eccentricity in building leading to torsional effects during seismic events. The morphological solution is met by designing building with symmetrical plan and elevation.

• Prevent building collision This phenomenon takes place when there are no joints between contiguous buildings and the collision is produced when the oscillations are not synchronized. Proper seismic separation should be given in such case. Also designer should try to provide uniform structures and avoid sudden stiffness changes.

• Avoid resonance This phenomenon arises when the period of building matches the period of foundation soil. This condition remarkably increases the seismic

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Architecture

effect. Designers can manipulate morphological parameters of building to avoid resonance. Adding stiffness increases the frequency whereas adding mass decreases the frequency of building.

• Avoid sudden stiffness changes in Plan and Elevation This situation can be prevented by using compact, homogenous spatial shapes in architectural design.

• Avoid Concentrated Weight The seismic coefficient increases proportionally to floor level with respect to ground level. Designers should avoid using heavy materials, sub floors, partition wall etc. at higher level. Spaces for swimming pools, heavy equipment etc. should be provided at lower levels.

Damage at reentrant corner in a L-shaped Building

• Avoid short columns This situation can be easily avoided by appropriately designing the shape and location of spaces and openings.

Moreover, Mezzanines should be avoided as far as possible.

• Avoid U,T,L Shaped Building Above mention shape give rise to reentrant corners in building. Reentrant corners are subjected to variation of rigidity and torsion which can cause damage to building.

EMERGENCY MANAGEMENT CENTER, FOLIGNO ITALY Within the emergency management center, a special attention is paid to the building hosting the operation room.

The building was designed by Alberto Parducci and Guido Tommesani. The main aim behind the construction of building was to make a tangible contribution that proves the importance

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of architectural involvement in current seismic problems. The architectural morphology and structural system were designed to ensure top performance during seismic events.

The general configuration of building takes shape of false cupola that is 32 meters in diameter. The ten reinforceed concrete semi arches spring from first floor supports and come together on third floor roofing level. The core comprises of two concentric shaft of pre stressed reinforced concrete. The shaft is suspended from keystone

of arches and houses stair and lift.

The floor slabs are supported by suspended coreand perimeter arches.

The domical configurationof building is considered morphologically stable.

Moreoer, it fulfills one major spatial requiremnt – columnless open floors.

A system of elegant open shell sustain the load of three floors above it. The design also intends to meet the requirement of a ground floor that would be acessible to pedestrians.

The entire structure is supported and seismically isolated by 10 elastomeric HDRB isolators – a cutting

Architecture edge technology in field of seismic engineering. This building is example that architectural and structural design can be adjusted together to create seismic resistant structure.

Building During Construction Phase Image Source: www.curee. org/architecture/gallery/ images/g1-i09-i.jpg

A new vision of architecture operating “towards” seismic engineering instead of “versus “seismic engineering is needed for effective protection of building from maximum expected quakes. Seismic resistance is not just structural agenda.

Architects also share responsibility in construction of seismic resistant structure. The seismic resistance of building largely depends upon balance of gravity and lateral resistant elements. In our context, building construction for many people is “once in a lifetime” project. Building failure is failure of designer as a professional. An architect should conceive the structural configuration at preliminary design stage that not only satisfies programmatic requirements and his or her design ideas, but is also structurally sound with respect to seismic forces.

Open Ground Floor

Image source: www.bautechnik.pro/images/presse/ ESCN_Award/Building_3.jpg

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Architecture

Arannya Bilash correspondence : samir dahal

Name of design office: auritro architects Principal Architect: MOHAMMAD MAHBUB HOSSAIN Assistant Architect: MD. SAKIB HOSSAIN SIFAT MAHMUD Name of the Project: ARANNYA BILASH Project Category: Residential Architecture – Multiple Housing PROJECT DATA Site Area (sq-m.): 3,943 sft Total area in square feet or meters Building Floor Area: MGC – 23, 40 sft (59.45% of total land) Total Buildable Area: 21,300 sft In square feet or meters Project Technology As cast RCC column beam structure, unplaster pointing brickwork, metal, pre-cast fero cement panel, wood and glasswork

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Architecture

Concept The concept focuses mainly on the idea of a large open and breathable space for a densely populated, unplanned area where one can breathe, enjoy with the public sphere beside the transparent boundary green wall, a sense of undisrupted dialogue in-between. Moreover, the idea was to replicate the culture of “Uthan� into this urban realm and also reclaiming children play space.

The design ideology plays a significant role towards the contribution into the public domain by considering a proper threshold volume; interplay of volume with solids and void is prominent in the functional and design of the project.

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Architecture

Description Mirpur Shawrapara, a place eminent with a high dense urban scenario, neither follows convention nor morph to the existing governing guidelines: open spaces, setbacks, threshold space for passerby. In such a prevalent condition, this project using the MGC 59% of total land area is an example of ample urban living where the ground is kept free to revive the traditional value of children play space and the value of a public sphere not limited by the boundary walls. At ground floor, double height volume delivers a psychological threshold to a public domain. The core idea to enlarge the setback at the corners by reducing the MGC which also contributes to the skyline of the context and into the ground as it replicates the culture of “Uthan” into the urban realm.

The design provided an apt environment in the sale of units; people‘s anticipation

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to rent the apartments increased up to 20% of the existing market value.

The project has been successful to bring a new concept into the locality.

Besides, following through the norms and standards of open space and greenery at urban areas, the owners have benefitted with a reduction of 10% in govt tax as such due to the plantation at ground and roof top level.

The design and outlook renders the neoclassical character. Interplay of plaster and brick plays well with the context which has been overflowed into the interior spaces as well. The greenery has been extended from the ground up to the roof level where flora and fauna flourish; a nature lover’s delight with birds and insects adding more lifeline to the structure. The idea for roof top garden space is a celebration of bliss, coherence and revival of the biosphere in the urban chaos.

OWNER / CLIENT Name: MD. SAIFUL ISLAM Address: 193/A WEST SHAWRAPARA, MIRPUR, DHAKA – 1216 ENGINEERS/CONSULTANT 1. Name, IEB No.: MD. JAHANGIR ALAM Service Provided Structural Consultant 2. Name: A K M KAMARUZZAMAN Plumbing Consultant 3. Name: MD. ALFAT HOSSAIN Electrical Consultant 4. Name:WIDE VISION 5. ROHIMUL HAQUE NOYON Landscape Implementer GENERAL CONTRACTOR Name: Engr. MD. ABDUR RAHMAN Project Manager MOHAMMAD AZAD Project Contractor PHOTOGRAPHY: AHMED YASBIR AHMED, RAHAT HASSAN, SNAHASIS SAHA

Architecture

Materials and Construction Detail The total building is filled up with handmaid unplaster pointing brick work; no plaster and pain are use. All columns and beams and other RCC forms are as cast fair face concrete, creating a sense of neoclassical outlook. Also, pre cast fero cement panels in different sizes are extensively used, which are constructed on site and are used as horizontal drip course on pointing walls, in paving, parking floors and for the roof material.

Natural woods and lamination board are used for false ceiling at ground floor, in addition to some metal work; aluminum and clear natural glass for the openings. Natural stones are used at the lift lobby areas.

This building is constructed in postlintel structural system. At the north side of the building [bottom of unit B] there is a semi-basement floor for car parking. Although a semi-basement space, it was constructed with retaining walls up to the soil level.

There are six circular columns at front side of the building as a requirement by the client, which adds a sense of derivation from the rectilinear form of the structure A challenge in itself with the urban crawls extending to the locality, the project has been well received amongst the technical crowds and the engineering novices for its righteous use of open spaces within the site: a milestone for urban dwellings. n

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Source: Madan Chitrakar

Art

First Rana Prime Minister Jung Bahadur with his Maharani.

This photograph remains one of the earliest photographs ever taken in Nepal – by Clarence Comyn Taylor in late 1850s.

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Art

Sugauli Treaty & Nepali Art Opening of New Avenues

TEXT : Madan Chitrakar

N

epal Art Council – an Art organization based in Kathmandu, recently (15-30 April 2017) hosted a unique Exhibition. To a lay visitor, the show may have passed as a routine common Show. For the exhibits included nothing huge and mammoth to impress such visitors.

But to a critical eye, the exhibits presented a grand panorama of Nepali history in visuals. In was a literal unfolding of many new shifting outlooks of the then Nepali social life - that followed the historic Sugauli Treaty. Entitled ‘Nepal-Britain Bicentenary Exhibition’, the Show probably remained the first vivid visual narratives of events that led to earliest openings of many new avenues in Nepali life. Most importantly, it narrated in visuals the earliest unfailing winds of changes in the centuries old tradition of Nepali Painting: also the definite evidences of earliest appearances of Photographic documentations in Nepal.

Common wisdom has it that peace treaties are made to ensure a perpetual peace and friendship between the warring parties. But history has also taught us it may yield unexpected consequences beyond the aimed objectives. Sugauli Treaty - concluded between Britain and Nepal in 1816 remains one - a glaring example.

Essentially aimed to maintain a long lasting peace and friendship, the treaty did come as an epitome of a long lasting friendship. But as time would prove later, the

Treaty caused many un-thought of effects and impacts to the both.

For sure, to Nepal the ‘Treaty’ led to many new openings.

It was all caused by – a series of epoch making events which would not have been possible in a hostile environ or sans a Treaty. But the eventual and far reaching outcomes and the ripples that emerged later were neither thought of nor intended then. And it led to bring number of new monumental shifts in the entire gamut of Nepali cultural outlooks, in particular - in shaping the future evolution of the Art & Architecture of the country then after.

The Art of Painting To begin with, prior to the period, Nepali Painting presented an endless continuation of earlier tradition – rooted on the spiritual beliefs and rendered in a fusion of Newar style with late Mogul and Rajasthani influences.

The notion of western style of painting like to emulate the natural forms remained unheard of. An idealistic presentation remained the core of a Painting.

But after the treaty, one of the earliest and consequential events to happen in our context is the arrival of Brian Hodgson in Kathmandu to join the British Legation in the early 1820s. He unintentionally, proved an earliest catalytic agent of a far reaching change in Nepali Painting: and the change was to remain for good. For when he began to pursue his research works in Buddhist

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Art

Maharaja Chandra Shumsher JBR with his Maharani, 1905 AD – a photograph direct from the original collections of Herzog & Higgins’s Studio.

Source: Madan Chitrakar

studies he needed artists who could draw from the real objects as illustrations for his studies or be able to follow the forms as found or seen in nature. It was a monumental departure from the prevailing perception of an art. Subsequently, a team of Newar artists was formed to prepare the needed drawings as needed to illustrate Hodgson’s studies.

of drawings and sketches – spanning an amazingly a wide spectrum of subjects – from Buddhist art and architecture to studies on Natural life like birds, animals and later to studies on human forms. And it resulted in a huge collection of series of drawings and landscapes – particularly Buddhist monuments and a vast treasure of colored sketches of native birds and wild lives.

At this point, we see the historic emergence of Raj Man Singh Chitrakar – now rightly described as a pioneer, as the team leader of the group. And the over the years, until Brian Hodgson left Kathmandu after the completion of his tenure during 1840s, the team led

by Raj Man had had created an impressive corpus

And what has remained amazing is that all the drawings were made based on or under the direct supervision of a European eye or Brian Hodgson himself; to follow the natural forms with full three dimensional effects.

As a result, the works revealed the earliest notion of perspectives, light and shade and of course, a sense

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Art

Source: Madan Chitrakar

Maharaja Dev Shumsher’s “Sindoor Jatra or State visit to Pattan”.

The title is as described in the original album of Herzog & Higgins’s collections.

of proportion in the annals of Nepali Art history. It was a phenomenal beginning not intended to achieve then.

Added to it is an earliest of appearance of Watercolor in these pioneering sketches as a medium in the annals of art here. It is hard to conceive today how complex scenes were created with full sense of perspective and proportion at that early stage. The credit undeniably leads us to the visionary thoughts and guidance of Brian Hodgson.

Little later, Kathmandu witnessed the arrival of Dr. Henry Ambrose Oldfield (1850 – 63) in the British Legation – equally important in the context of Nepali Art landscape.

A surgeon by profession, his tenure at Kathmandu proved no less important and impressive as an artist along with his artist wife Margaret Alicia Oldfield.

Although the Show mentioned above revealed a limited number of works, for sure the spectrum of Brian Hodgson’s scholarly pursuits and Raj Man’s drawings

By the time he left Kathmandu, he was able to create an impressive collection of Water color landscapes of Kathmandu Valley and around. It remain an important

and sketches are too wide and vast – stretching from the studies on birds and wild animals to ethnic studies.

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Art

A conjured-up portrait of artist Raj Man Singh – painted

by Madan Chitrakar.

Source: Madan Chitrakar

This portrait has appeared in the postage stamp issued to commemorate the contributions of Raj Man Singh in 2009.

Postage Stamps (2009 AD) depicting

a self portrait of Tej B. Chitrakar (left) and ‘Tributes to my Forefathers’ – a work by the artist (right).

Tawny Fish Owl –

watercolor by Raj Man Singh Chitrakar, 1843 AD. Source: Nepali Art – Issues Miscellany, 2012.- p.118

visual documentation of the then Nepal. His drawings and sketches made during his stay in Kathmandu, to this date is regarded as a valuable reference to reveal the cultural life and landscape of the then Kathmandu Valley in visuals. The colorful drawings and sketches he created are all based on the first-hand studies made in the open nature. From this perspective thus along with Brian Hodgson, Raj Man and the works of Oldfield herald the initial phase of modernity or an arrival of western style Painting in Nepal. It was indeed an advent of a new era.

At this point, an event that made a far reaching consequence in the annals of Nepali Painting is the Prime Minister Jung Bahadur’s state visit to Britain and France in 1850 AD. Politically, the visit was, indeed an extension of the efforts made by the both the parties Nepal and Britain. Again, un-intently, the visit was to remain a historic benchmark and an event of monumental consequences in Nepali Art. For the entourage of the Prime minister also included a highly talented Nepali artist. It was the phenomenal rise of a legendary painter Bhaju Man Chitrakar – fondly known as ‘Bhaju Macha’ – a gentleman, who as a member of the entourage, was exposed to many prevailing trends of Painting in the West. And eventually, apparently a keen observer he proved instrumental in bringing unfailing early winds of changes in Nepali Painting thereafter as a direct result of his sojourn in London.

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Source: Madan Chitrakar

Over the years, today Nepali Painting has had made many long strides; and today it is fast seeking to merge with the global mainstream. But the fact remains that the advent of modernity in Nepali Painting is essentially built on the foundations laid by the two pioneers Tej Bahadur and C.M.Maskey in the late 20s of the last century. They remain the earliest Nepali artists ever to have graduated academically from Calcutta – from an Art institution modeled and established by Britain. No need to add they irreversibly introduced the Western ways of Painting in Nepali Art – for the first time ever academically.

Earliest Appearances of Photographs Aside from the art of Painting, the arrival of Photography in Nepal bears an event of high significance in the cultural history of the country. Nepal witnessed the arrival of an earliest ever photographer Clarence Comyn Taylor during the rule of first Rana Prime minister Jung Bahadur.

Probably his photographic works - private family photo shoots or the outdoor ‘works, maybe the earliest event of its kind then. Undeniably it should be seen as yet another gift of western civilization to the Kingdom then or an evidence of a growing closeness - a visible aspect of friendship between the two people. It did constitute a new dimension in the socio-cultural life of Nepal.

Clarence C. Taylor, a soldier in the East India Company after being wounded in the Uprising of 1857 in India,

Art

Historically a very important portrait of Prime Minister Jung Bahadur painted by legendary painter ‘Bhaju Man Chitrakar.’

This is one of the few rarest works of the artist found so far and authenticated on the basis of the writing found in the bottom of the painting.

Source: British Library, London c/o Nepal Art Council, Kathmandu.

joined as Assistant Resident in Kathmandu in 1863.

Since he was an avid and a capable photographer, Colonial Government capitalized his skills in the ongoing program of the Indian Government to make photographic documentation of people and monuments of the Capital Valley. During his stay between 1863-65, Taylor was able to make a fabulous collection of photographs – a wealth of photographs from Jung Bahadur’s family to the various locations of the Capital city. These photographs in addition to being the earliest evidence of photography

here, today the collection remain a phenomenal window – a rare valuable visual source to know the early life and the physical state of places recorded then in Nepal While talking about the photo-documentations of early Nepal, the visit of two other subsequent photographic teams also merit equal mentions. During the last leg of 19th century, we see the arrival of Johnston & Hoffman and it seemed they made some noteworthy photographic collections. Although more focused to the

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Art

Asoka’s Temple – called Chillundeo – in the centre of Patan.

The title is as described in original collections).

A view of ‘British Residency’ at Kathmandu.

Both the watercolor sketches are made by Dr. Henry Ambrose Oldfield during his stay in Kathmandu - 1850-63 AD. Picture courtesy both: British Library, London c/o Nepal Art Council, Kathmandu.

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Art

A watercolor sketch made by Raj Man Singh.

This drawing suggests a good sense of architectural drawing along with ‘Perspectives’ at an early stage of Nepali Art history.

Source: Madan Chitrakar

capital city of Kathmandu, the group also photographed some spectacular scenes en-route from the southern plains to the Valley.

But more important is the collection made by Herzog and Higgins during the early 20th century in 1901.

Apparently invited by H.H.Maharaja Dev Shumsher to cover his Sindur Jatra or ‘State Visit to Pattan’ as described in the collection, the collection has some very important photos of Maharaja Chandra Shumsher as well. In the photos of Maharaja Dev Shumsher’s visit to the nearby city of Patan, he is seen on elephant mount amidst a pompous crowd of army men and the public. But the collection also has an impressive list of photographs depicting the Valley of Kathmandu and

adjoining areas. Till to this date this collection is often referred as a historic visual document. One may easily describe it as yet one more added benefit of the ever growing friendship between the two people.

Importance of the Friendship As has been discussed in earlier lines, the Exhibition organized by Nepal Art Council, made vividly clear how the treaty of Sugauli brought upon phenomenal changes in the thoughts of Fine Arts in Nepal – eventually leading it to the present state of global stage. And no less important is the appearance of Photography – a gift of modern science, at such an early phase of history. It all remained undeniable extensions of the friendship between the two people - unintended and un-thought of then. n June 2017 SPACES / 41

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Conceiving of tranquility ZEN BISTRO & CAFE TEXT : Tejita Vaidya Amatya photo : pradip ratna tuladhar

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Interior

The centrally located Coffee station serves hot coffee, chilled smoothies, delicious pastries with ease. The aroma perfectly blends in with the alfresco.

W

ith beautiful amalgamation of down to earth interiors and equally majestic natural green exteriors, there awaits a blissful eatery with exotic cuisines specially tailored from Thailand. ZEN BISTRO & CAFÉ stands tall among the crowd of beautiful eating places in town. It is stationed in Bansbari, Kathmandu, and is connected by the newly constructed wide roads linking the inner Kathmandu city to the suburbs of Budhanilkantha.

Date: Project:

ZEN BISTRO & CAFE Bansbari, Kathmandu, Nepal

FURNITURE LAYOUT Ground Floor

D E S I G N

Conception Interior Pvt. Ltd. Kupondol, Lalitpur, Nepal Phone: 2112220, email:conception_interior@yahoo.com

May 2016

Sheet No.:

01

The interior ambience is a warm appeal to all, as nature is respected in every form. Forms adapted are far from artificial, natural earthen formulae has been promoted to bring out a bistro feel.

The restaurant’s design was conceived together by husband-wife duo Kundal & Tejita Amatya and the energetic team of Conception Interior Pvt. Ltd. It is spread over a serene setting of 11,000 sq.ft. The design theme was perceived such that the architecture of the building would be in a perfect synchronization with the interior space, as the two are too intimate to be thought of separately. Housed on a one and half storey structure, with equal interior and exterior space, its functionality has been planned such that service may never be compromised.

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ZEN is another venture of restaurateur Mr. Kishor Pradhan, who is personally very passionate that dĂŠcor, service and cuisine are in perfect sync. Tamarind Restaurant, Jhamsikhel and Embassy Restro n Bar, were also conceptualized by the same design team.

Parking space is scarce in cosmopolitan cities, but Zen offers plenty of room to rest one’s vehicles. Pedestrian and vehicle entrance has been separately defined, leading to a peaceful atmosphere. The clear glass roof allows beautiful views of the Kathmandu sky. The outdoors is split into different levels, partitioned by an iron structure with potted plants hung on them. One can feel the fusion of materials like iron, concrete, wood, clay and bricks, along with soft leaves and colorful innocent flowers.

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The bricked building with black doors and windows stand as guardian to the outdoors. The main entrance invites the patron to a solid RRC structured bar counter with black wooden shelves. The liquor bottles stand proud against the white wall.

Accompanied by well laid out interior settings, the entire layout is functional like a well-oiled machine, keeping in mind the positioning of the kitchen, supplier deliveries, toilets, employee entrances, and the movement of employees and customers. For comfort, sofas and cushioned chairs, complemented with suitably heighted tables have also been placed. Many split levels inside the building adds more character to the ambience. The upper floor consists of a combination of indoors and terrace spaces, offering more choices to the diners.

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The union of colors is pleasing to the beholder. The color palate is maintained subtly with strong black as the captain, unifying the rest of the players: the gray concrete, robust iron, natural green leaves, and the earthen red. The beautiful cuisines and cutlery are also allowed to play their important part in this entire color pallet.

Sticking to traditional architectural techniques, Vaastu Shastra has also been practiced extensively by respected Vaastu Expert Dr. Madhav Mangal Joshi. Placement of crystal pyramids in allocated positions has enhanced and maintained the positive vibes. Water bodies are placed towards the Ishaan Kone, and tall trees on the southern side guard the place from any negativity. Positioning of important

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functions like kitchen, cashier, counters, and rest rooms has been placed as per the recommendations of the Vaastu expert.

Effective lighting design and layout in a restaurant is the key to setting the tone, mood and atmosphere of the place. Great lighting doesn’t mean placing lights all over the place; it’s not a hospital or a supermarket. Natural and warm-colored lighting, used sparingly, is specifically positioned to create the tranquil feel.

Acoustic vibes are an added ingredient in crafting this mood. The sound of the soothing melody matching the ambience drifts dramatically through the walls, making the food more appetizing. Special place has been

assigned for live musical performance.

Indeed, it is always a pleasure to experience good music, good food, and good décor. The environment is not only preferred by single diners, but has also gained popularity in hosting private parties and events. Similarly, a photo wall has added character, allowing people to take home a living memory. People are always passionate to take pictures next to this iconic wall and share them on Instagram and Facebook.

Interior designing a space doesn’t always mean plastering every wall with decoration. Addition of unique design elements and stand-out pieces reflect the theme of the restaurant. n

Interior

Date: Project:

ZEN BISTRO & CAFE Bansbari, Kathmandu, Nepal

FURNITURE LAYOUT First Floor

D E S I G N

Conception Interior Pvt. Ltd. Kupondol, Lalitpur, Nepal Phone: 2112220, email:conception_interior@yahoo.com

June 2017 SPACES / 47

May 2016

Sheet No.:

02

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Rebuilding Nepal for

next earthquake TEXT : Er. Badan L Nyachhyon

T

he April 25, 2015 Nepal Earthquake created huge damages to life and properties in Kathmandu Valley and 28 other Earthquake affected districts along with massive landslides and avalanches in Mount Everest and Lamtang Himalayas. Strong aftershocks counted over 425 had drastically weakened the remaining building stock, which has created unaccounted strain on the recovery plan. By that time, many of the buildings either will be dismantled without any rationale and post mortem study or rebuilt at the owners’ risk without any value addition of retrofit, recovery, protection of assets and ancient values. Surely, the need for deriving lessons and confidently facing challenges of recovery is paramount for enhancing the safety from future earthquakes.

The Earthquake did not forgive the negligence shown in effectiveness of implementation of Building Codes, assurance of quality construction and proper utilization but it has become the source of huge casualties. Particularly, the massive destruction of 745 cultural heritage monuments comprising of traditional vernacular esthetics in the form of temples of centuries old, 850,000 building units collapsed or damaged spread in numerous traditional urban settlements and destruction of the ability to demonstrate wisdom are the big challenges for post earthquake recovery. These world heritage assets and the physical outlook of the settlements will never

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be the same again and will repeat the same fate with ad hoc reconstruction in the absence of guided recovery plan.

Many people expect that the professional Diaspora should come up with identified means to predict the potential future earthquakes. The process of identification of methods to predict a potential earthquake may be still a distant fact but the need for observation of local ground movement around the places of concerns are brightly visible. The tension cracks along the hill slopes are potential threat of massive avalanche to inundate a hydropower or wash it out or a local micro crack of Harihar

Bhawan-Machagal-Kumaripati ground crack, Sunkosh Landslide of 2014 and Mustang dry landslide of 2016 could be pre-warning of potential immediate earthquake. The vigilance is most wanted. But the question is who takes the leadership and ownership the earthquake affair.

However, the cities of Kathmandu Valley do not give impression that they were stricken with a deadly Earthquake with Peak Ground Acceleration of 1.2g much exceeding previous records of 0.52g. The whole world expected a flattened Nepal. But to the contrary, amid the vast destruction of poor quality and weak construction, the whole city including most of the cultural heritage sites, high rise buildings and residences are marvelously standing safe and intact. The credit for this state-of-the-art performance goes to the stakeholders who had worked hard during last 30 years to create Earthquake resilient community following the provisions of Building codes and requirements of quality construction. But, however, the challenge remains aggravated with the lack of coherent vision, acceptable Earthquake model, ownership of the Earthquake affairs in general and rebuilding policy for Next earthquake.

The overall scenario of the cities in Nepal after the April earthquake did not

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Figure 1:

Earthquake Gap in Himalayan Arc

resemble the scenario of earthquake stricken cities but of a normal one with visibly intact cityscape. The most of the vital infrastructure as water supply and sanitation facilities, electricity, telephone, internet, roads and bridges, and airports remained unaffected and the services were not interrupted. That was very instrumental in effective delivery of the international and domestic relief works across the affected 14 districts.

The damages though accounted as significant did not extended to the magnitude forecasted by previous studies. The estimated and actual casualties and damages are presented in Table 1.

Apart from the damages of the buildings that had made over 4.5 million people homeless, numerous landslides and rock falls were triggered in the mountain areas, temporarily blocking roads.

It was known to all that a large earthquake is inevitable and the only way to face such earthquakes is to make adequate preparations. Various tasks that were very glaringly visible such as need for updating building codes and urban development bylaws, removing the weaknesses and mischief in them. Despite for several voices called for paying attention on need for declaring policy on building Earthquake Safer cities and protecting important premises as historic cultural monuments, schools, hospitals, industries, communication and tourism infrastructure, the country has no pronounced program to the effect needed. The priority of actions for conservation of heritage and cultural

Land Slip Estimate of 1.5 m during Gorkha earthquake April 25, 2015

Source: Roger Bilhamand Peter Molnar of the University of Colorado and Vinod K Gaur of the Indian 9/11/2015 5 Institute of Astrophysics, 1997

Table 1: Damages and Toll

Desc rip tio n

E xp ecte d Tol l

Actual To l

% of Nati on al

Human Toll Inju ries Coll a ps ed Build ings in N e pa l Full y /Pa rtia lly Da mage d Priv ate House s

1 00 ,00 0 3 00 ,00 0 5 46 ,00 0

8,9 69 22 ,32 1

0 .03 %

Full y /Pa rtia lly Da mage d Health fa cili ty Gove rnmentOffice s Schools Industries Coll a ps ed/D a maged Cultura l Heritage Enda ngere d Cultural He r i tage Hydropowe rdama ge d Bridge s Roads Wa ter Supply

> 50 % > 10 % > 95 %

89 3,5 39 88 7,0 74 96 3 6,4 65 6,3 08 13 3 74 5 15 00 ?

18 1 Few pla ce s Few Days

Telephone > 60 % None Sou rce : Kathma ndu Val le y Earthq uak e Risk M app in g Pro j ect, UNDP1 992 ; h t p :/ /drrp ortal. g ov.np

values verses modern engineering technology needs to be established.

The encouragement and motivation factors for investment in Earthquake Safer Cities are still missing. This state of adamant situation cannot be anymore continued.

The USGS quick report on the April 25, 2015 Gorkha Earthquake made reference to very large Nepal earthquakes, with a moment magnitude of 7.5 or more, observed

8 .33 % 4 .46 % 3 .33 %

0 .07 % Very s mall Very s mall None

in the historic periods in 1100, 1255, 1505, 1555, 1724, 1803, 1833, 1897, 1947, 1950, 1964, 1988. Three earthquakes of similar size to the Gorkha Earthquake occurred in the Kathmandu Valley in the 19th Century: in 1810, 1833, and 1866. The seismic record of the region, extending back to 1100, suggests that earthquakes of this size occurred approximately every 75 years, indicating that a devastating earthquake is inevitable in the long term.

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The strong motion network of Nepal is quite limited. Nevertheless, Kanti Path (Kathmandu) recorded the maximum ground acceleration of 0.164 g. The USGS preliminary estimation of the maximum ground acceleration (PGA) in the epicenter area was about 0.35g and 0.1 - 0.15 g for Kathmandu. In Western Nepal, PGA range was between 0.5 g and 0.6 g, whereas in Eastern Nepal that ranged between 0.3 g and 0.6 g. The PGA estimate was based on the empirical relations developed

by Aydan (Aydan and Ohta, 2011; Aydan 2007, 2012).

Mr. Jean Ampuero, California Institute of Technology, in his paper “Salient Features of the 2015 Gorkha, Nepal Earthquake in Relation to Earthquake Cycle and Dynamic Rupture Models� indicates that the high-frequency (HF) ground motions produced in Kathmandu by the Gorkha Earthquake were weaker than expected for such a magnitude. The static slip reached close to Kathmandu but had a long rise time. An important observation (Katsuichiro Goda, Department of Civil Engineering, University of Bristol, Bristol, UK and et el) is that the ground motion shaking in Kathmandu during the 2015 main shock was less than the PGA estimates (with 10% probability of exceedance in 50 years i.e., a return period of 475 years). This may indicate that ground motion intensity experienced in Kathmandu was not so intense, in comparison with those predicted from probabilistic seismic hazard studies for Nepal.

Therefore, a caution is necessary related to future earthquakes in

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Figure 2:

Rapid Vulnerability Assessment

Strikers: Safe and Unsafe Category of Buildings

Nepal because the 2015 earthquake is not necessarily the worst-case scenario and more intense Earthquakes may be in making.

The surface deformation measurements including Interferometric Synthetic Aperture Radar (InSAR) data acquired by the ALOS-2 mission of the Japanese Aerospace Exploration Agency (JAXA) and Global Positioning System (GPS) data were inverted for the fault geometry and seismic slip distribution of the 2015 Mw 7.8 Gorkha Earthquake in Nepal. The rupture of the 2015 Gorkha earthquake was dominated by thrust motion that was primarily concentrated in a 150-km long zone 50 to 100 km northward from the surface trace of the Main Frontal Thrust (MFT), with maximum slip of ~ 5.8 m at a depth of ~8 km, and 1.5 m at surface in Kathmandu Valley. In 1988, Roger Bilham estimated this slip would be of magnitude of at least 10 m (Figure 1).

Thus, based on the observed values of Maximum Land Slip and the Maximum PGA, the April Earthquake could be termed as a Grand Rehearsal for the potential future earthquakes in Nepal.

Most of the existing buildings stock in rural and urban areas comprises of Non-engineered traditional construction of Brick/stone in mud

mortar, and recent buildings in cement and RCC structure. In the aftermath of the April Earthquake, it is assumed that over 80% of the damaged buildings fall in the first category of brick and mud construction, and remaining buildings to second category. Though there is no post earthquake detailed vulnerability assessment report of damaged and existing building stock available at this time. However, it is absolutely necessary to determine whether the existing building stock can withstand the next Most Considered Earthquake or Design Earthquake.

This question demands for carrying out a detailed vulnerability assessment of the building stock covering four issues: 1) lack of documentation of the building stock, 2) Updating of building code with consideration of recommended Design Earthquake Model. Many of these buildings are not designed to sustain that kind of load; 3) construction quality and change in occupancy, and 4) maintenance (Samir Chidiac, McMaster University, May 21, 2008).

One of the most immediate action carried out in Nepal immediately after the earthquake was the rapid visual vulnerability assessment of buildings.

But the action faced controversy because of lack of adequate preparation and legal provisions. The tools used were informally borrowed from ATC 40 without proper legal backup and training. Most controversial action was the issue of Stickers (Green, Yellow and Red) categorizing the buildings into Safe, Caution, Unsafe (Figure 2).

The actions created confusion in the community about its rationale and appropriateness. Surely, that was the result of lack of preparedness for

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such rapid action. The stickers were the good example of lack of adequate preparation. They were issued in very unprofessional manner and illegally since there were no such laws or guidelines that provide authority to do so. The Rapid Vulnerability Assessment forms were borrowed from elsewhere without authorization, proper guidelines and did not match with the typology of the buildings in the country.

The distribution of the category of these buildings is not known.

There are two major challenges: 1) Demolition of collapsed buildings and disposal or reuse of debris, and 2) Rehabilitation of Partially damaged buildings and buildings with minor damages. The general psyche is that buildings with cracks (whatever may be the extent and cause) are no more useful for habitation and many started demolition without giving any thoughts on potential for restoration or rehabilitation. That has created strain on building stock deficiency creating huge price rise on rental. But the rational for recovery is on rise.

Figure 3 a :

Pillachhen Redevelopment (Source: Maya Foundation)

Quick recovery of damaged buildings immediately after the Earthquake was a very important aspect that would reduce the strain on the building stock. But in the absence of recovery guidelines, access to resources as technology of recovery and financing, the people gradually lost the nostalgia of the earthquake and started recovery on their one way, mostly guided by the approach to quick repair and to demonstrate that the buildings were not affected by the Earthquake. They could no more wait for proper things to happen but to make efforts to quickly make financial recovery through use of the premises at the earliest, neglecting the safety issues. The buildings demolished during the relief works period was never recorded and analyzed to discover the root cause of the damages and actual effect of the Earthquake.

Most challenge is faced by the traditional residential buildings and heritage monuments with vernacular aesthetics that represented the identity of the country and carried the value of history and culture of over 2,500

years. Recovery of these buildings in the original form and shape would be a strain on investment unless specific measures are taken to recover the lost heritage and generate economic return. There are several approaches being forwarded under the principles of “Integrated settlement development� which will be developed following massive dismantling of damaged buildings to give an outlook (Figure 3) of the traditional aesthetics. This will be totally new construction and nothing will resemble of the value of history and culture carried by these settlements. Contrary to these, the modern trends for quick recovery will change the landscape dominated by modern technology that will lead to the extinction of the ancient values. This will be a total loss of the whole heritage assets. The broad objectives of these reconstruction as stated are 1) To provide safe living and healthy environment by repairing and reconstructing houses of the local residents, 2) To protect the traditional architecture, 3) To develop infrastructures, 4) To promote local business, 5) To increase income of

Figure 3 b :

Khokana Reconstruction (Source: Kantipur Daily)

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Figure 4 :

Shrestha House and Swotha Café converted to “Conserve and Earn” Projects

Figure 5 :

Heritage monuments damaged during Gorkha Earthquake under restoration with international assistance

Figure 6 :

Krishna Mandir at Patan: Damaged by unplanned intervention by erection of timber strut during Gorkha Earthquake. Note damage to ancient inscription on Stone.

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local residents by promoting the tourism- oriented business, and 6) To conduct programs in social buildings and open space for encouraging social interactions.

Though the reconstruction program has the protection of the traditional architecture in its objectives but has not included the conservation of heritage and historic values of 2500 years. Possibly, we are wondering in the huge score of nomenclature associated with the post earthquake recovery i.e. Building Back Better, Rebuild, recovery, retrofit, renovation, rehabilitation, protection, conservation and reconstruction. Until we clarify what we want, it is sure that we will be swept away by the flood of the funds being poured in the reconstruction.

The money power of immediate resource mobilization is much stronger than professional strength that is struggling with lack of resources and time. Some of the live cases where the regeneration based on the recovery of cultural heritage settlements promoted under the principle of “Conserve and Earn” have carried the message for paying attention on heritage conservation. These schemes are getting more popular as “Home stay” tourist accommodation. Some of the examples are: Shrestha House and Swotha Café (Figure 4). The innovative concept of “Conserve and Earn” was recognized by UNESCO and given “World Heritage” recognition. These structures did not suffered during Gorkha Earthquake.

Some of the cultural heritage monuments restored with International assistance suffered severe damages and totally collapsed (See Figure 5). Probably, Earthquake resistant construction of these monuments was not in their task.

Similarly, there are few instances where the structures of cultural heritage were intervened and damaged them by local authorities post Gorkha Earthquake (Figure 6). The temporary timber struts were erected without any purpose and without any knowledge of the technical unit of the municipality and without consultation with local community.

After some time the struts were removed again without any information and taking any measurement of strengthening or precaution.

These factors are considered the lack of ownership at the Government level and lack of consultation with the professional and local community.

More complex is the situation in Nepal where the need for following other international codes is paramount since Nepal Building Code in itself is inadequate and incomplete (Box 1). There is a dare need for updating the Nepal Building Code making it independent from other codes or reduce it to a guideline that will help to make choice of better codes.

In the Gorkha Earthquake Damage Survey report recommended that a basis for seismic design may be considered the PGA estimates with

Nepal Building Code Deficiency

Nepal Building Code is divided into four sections: Part 1) State-of-the-Art Buildings, Part 2) Professionally Engineered Buildings, 3) Non-Engineered Buildings (Mandatory Rule of Thumb), and 4) Rural Construction. The code is divided into 22 parts and the seismic design method is specified in NBC 105.

In the preface, NBC 105 has included IS 4326 - 1993 Code of Practice for Earthquake Resistant Design and Construction of Buildings as related code. There is a marked difference between these two codes with various values of the seismic parameters and giving different results. This anomaly has confused most of the practicing engineers and NBC is practically not used. Other factor affecting the use of NBC is the nonaccessibility of International software as SAP, ETAB and STAAD Pro where NBC is not included as one of the recognized Codes.

10% Probability of Exceedance in 50 years as the design earthquake model for Nepal. Given consideration of earthquake design parameters, the level of risks of structures will depend on the choice of Building code selected. Hence, the level of risk in every project becomes different and level of earthquake hazard risk in Nepal also becomes heterogeneous based on the source of funding sources. Having said all above issues, it is imperative that the consistency of design principles is lost and the compliance to the Building Code requirements or application of correct design criteria and analysis is assured.

After the donors meet called by the Government in May 2015, the International Community and the country as a whole expected that rebuild initiatives will be launched very quickly and the recovery initiatives will be started. The Government’s effort to establish an independent authority met the political and legal jargon and was practically went to coma.

The Government’s post earthquake instructions, related to 1) building bylaws restricted new construction until further notice, 2) reduction of interest for bank loans, 3) short training of fresh engineers and 4) finally the nomination of National Rebuilding Authority, became redundant because of inadequate home work and preparation and could not be formally established even after 6 months. The lack of consultation with experts and unilateral decisions were quite visible.

The Government’s attitude of “Making the Decision in Haste and Repent in Leisure” was very prominent.

The well-wishers from all over the world are quite in panic that Nepal could not practically gear up for post earthquake recovery and loosing time.

There were practically no guidelines for post earthquake recovery and rebuilding. People started repair and recovery without any engineering or government support and many of the buildings started to return to the same status as before. There is a strong voice that Nepal should learn from the

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experience of Earthquake Recovery from other countries as Japan and New Zealand and should send Fact Finding missions for learning the lessons and developing right approach and policy. The New Zealand’s approach of post earthquake recovery through nomination of the Rebuild Team comprising of industry representatives ie the government, consultants, contractors, bankers, suppliers and manufacturers, insurance and community was a unique model that helped New Zealand to recover from 2011 Earthquake in a fast track manner with most effective way in terms of cost, time saving and employment creation.

Recently, the September16, 2015 Earthquake with magnitude 8.3 Mw in Chile caused only 13 fatalities. Why only 13 fatalities in this earthquake, which is considered the world’s strongest earthquake to date this year.

While far weaker earthquakes in Haiti and, more recently, in Nepal, killed tens of thousands? The Chileans very proudly report that the resilience of Chile has three dimensions: a) Strong evacuation plans in coordination with international community as the UN humanitarian affairs office and the International Search and Rescue Advisory Group [Insarag], b) Strict building code that demand all new buildings must be able to survive a 9.0-magnitude earthquake. The buildings can crack, tilt and even be declared unfit for future use but it must not collapse and c) Strong sensitiveness to the Earthquake Disaster carried by Ricardo Toro , a former army general, in-charge of Chile’s disaster relief agency, ONEMI. The lack of institutional model for rebuilding and generally dealing with Earthquake Affairs in general is instrumental in the context of current chaos in Rebuilding Arrangement.

There are very few buildings and structures in Nepal which were insured against earthquake damages. But the insurance as such has hardly helped to recover the losses due to earthquake damages. The insurance policies of

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Safety Commission. The leadership created through the Commission will be beneficial for permanent surveillance, developing policies and strategy, performance monitoring and evaluation, timely review and updating, and building consensus, which will be instrumental in creating Earthquake Resilient Society.

most of the Insurance companies of Nepal has hardly defined the effect of Earthquake and paying mechanism for the losses. Insurance companies define the earthquake damages within four corners of the buildings (even don’t care about the four corners of foundation) and don’t consider about the effect on foundation as foundation soil consolidation and risk associated with it, minor tilts and settlements in foundation, and need for taking protection needs. The gaps in Insurance payable damages shall be carefully included in the Rebuild Policy.

Given the situation in Nepal where there is a big gap in terms of ownership of earthquake matters, a lot of unscrupulous actions emerged that has created panic within the community and created negative image. The issue of Red and Green Stickers described above is an example. The post earthquake scenario and delay in organizational set up for post earthquake recovery actions has made it paramount for establishing an independent and autonomous apex bode - Earthquake

Protecting existing building stock of Nepal counting over 5.5 million is a big challenge in itself. There is not a single building, particularly the mud-brick/stone-timber buildings that are not affected by the Gorkha Earthquake. The biggest threat is from the society that view demolition is the best way in three ways: 1) The building does not to them or owner is from the different community or a neighbor, 2) It is the easy way to be safe from the risk it is associated with irrespective of the actual physical condition, and 3) There is no funds or technical assistance available for detailed damage assessment and determining the wisdom of demolition or protection through utilizing retrofit techniques. Surely, when wisdom fails, the flatterers prevail. Demolition and reconstruction of 5.5 million houses is not a factor any economy can afford, and not for Nepal as well. If we look at demolition of these 5.5 million houses to be replaced, probably Nepal will never rise again. Nepal needs a stitch in time and this is the time. Protecting the existing Heritage monuments, residences, schools, hospitals all needs to be fairly assessed. There are several tradition houses waiting for damage assessment and technical assistance for strengthening. Nepal Reconstruction Authority needs to look seriously to extend a package of technical assistance, which will be the most wanted step towards protection of national assets.

The other day of the April 25 Earthquake, Sriyesh Nyachhyon, age 7 years, Grade 2 GEMS School, made his expression about his first experience of the Earthquake. He said, “Yes. I know why earthquakes come.

They come to test how strong our

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ACKNOWLEDGEMENT

Department of Urban Development and Building Construction, Government of Nepal Society of Consulting Architectural and Engineering Firms Structural engineers Association of Nepal Society of Nepalese Architects Nepal Engineers’ Association Indian Chapter of American Concrete Institute, Mumbai, India Shivam Cement (P) Ltd Venus Group of Companies Sika India

houses are. The strong ones stand firm and the weak ones fell down.”

Nepal is a highly earthquake prone area with noted earthquakes of magnitudes 4-5Mw two times a year, one in summer and one in winter. The Gorkha Earthquake of April 25, 2015 is considered as a grand rehearsal for future potential earthquakes. The large energy accumulated in the Himalayan Range, particularly around Kathmandu, that could rock the area with a land slip of 10 m is not fully released since the land slip was just 1.5 m.

The huge toll of life over 8,900 and loss of property about 600,000 collapsed buildings and 500,000 damaged buildings, though a very sad result, is considered significantly much less damage compared to the loss estimates of previous studies.

This is a positive achievement of the efforts made during decade towards creating Earthquake Safer Cities. At the same time, it is also considered that pre-earthquake preparation was grossly inadequate. Nepal’s Earthquake resilience march carries a huge score of challenges. In the wake of recent earthquake and next potential disastrous earthquake,

Nepal needs to rebuild over 800,000 buildings and strengthen other existing 5.5 million buildings of adobe construction. Apparently, there is no effective technology to restore, rebuild and strengthen the existing adobe construction. At the same time, updating of the building code and its strict implementation that would help to assure Earthquake Resilient Society is of essence in terms of assessment, planning, implementation in a timely manner.

The rebuilding initiatives already have been delayed and disappointed the whole world and the devastated people. But the Government is still not in move. This is a very pathetic situation, aggravated by the economic embargo of September 2015 that will further delay the progress of rebuilding and overall progress. The country is slowly going back to the same status of vulnerability it was before the earthquake.

From the various messages, it could be concluded that the Nepalese Diaspora have a very good knowledge about the essence of Earthquake resistant construction needs. But the deficiency is the national policy that still has to take appropriate shape and deliver the services. n

REFERENCES

• ALOS-2 mission of the Japanese Aerospace Exploration Agency (JAXA) • Applied Technical Council ATC 40, California, USA • American Concrete Institute • American Society of Civil Engineers • Aydan and Ohta, 2011; Aydan 2007, 2012 • Badan Lal Nyachhyon, Hunting Dangerous Buildings, 2008 • Federal Emergency Management Agency • International Building Code, 2012 • Jean Ampuero, California Institute of Technology, USA • Kathmandu Valley Earthquake Risk Mapping Project, UNDP, 1997 • Katsuichiro Goda, Department of Civil Engineering, University of Bristol, Bristol, UK and et el • National Forum for Earthquake Safety • Nepal National Building Code 1994 and 2009 • Recommendation for Update of Nepal National Building Code 1994, Earthquake Risk Recovery and Rehabilitation Project, UNDP/ ERRRP-Project: NEP/07/010, Multi Disciplinary Consultants (P) Ltd., 2009.

• United States Geological services • Various internet sources.

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Cultural Deduction of Color Symbolism Understanding Cultures and Festivals through Colors TEXT : Ar. Kritika Rana

L

iving in a world surrounded by an infinite spectrum of colors, we describe the exquisiteness of our world with colors. The deep blue sky turns to fiery red towards the end of the day, grey in the storm and black with twinkling stars at night, imparting the same color to the clear water of the sea. It is fascinating how we can describe the alterations in the sky alone with colors. The distinctive characteristics of each hue is therefore associated with the values, notions and entities of each culture. This has resulted in the development of color symbolism, where colors evolved as a symbol to convey the same message within a cultural group.

The most important feature of color symbolism is its diversity that relies largely on an individual, a cultural group or through a universal acceptance. Same colors may have different meanings in different cultures within a religion in various parts of the world. Moreover, the color symbolism is directly proportional to context, therefore changes can be observed even within the same culture over time.

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Interior

The color perception goes beyond a culture, as certain symbols have been established in such a way that it delivers the same message worldwide. For instance, a green movement signifies an appeal to clean and protect the environment. At the same time, the meaning of the same color may vary depending on the context. While red is often used to indicate danger or caution through red traffic signs, it is also a universal representation of love and romance. Similarly, a group of people dressed in black may denote a formal event, funeral, priests or a musical band. It is rather a demanding task to decipher the layers of meanings behind colors.

CULTURAL GUIDE TO COLORS In order to gain a thorough knowledge of a culture, we must develop an understanding of the meaning associated with each hue. The symbolic interpretation of the same color may vary between diverse cultures. In addition, the beauty of our world lies in the uniqueness of the cultural diversity.

Red Red as a symbol of matrimony in both Nepalese and Chinese culture The vast color symbolism of red ranges from the positive aura of purity, love and beauty to the power elements such as fire and wealth.

Red is an auspicious color in most cultures, especially in Hindu based or Asian cultures. Similarly, as red is believed to welcome prosperity, good fortune, longevity and joy, it is vital during celebrations. Moreover, red is an obligatory element of a wedding ceremony, especially for the bride who is recognized as a married women solely by the color red. Also in Chinese culture, the red traditional attire is often worn in New Year, weddings as well as funerals. Furthermore, a red envelope with money is handed out as an offering during celebrations as a symbol of blessing. In Thai culture, a definite color associated with a specific god is assigned to each day

Red as a symbol of matrimony in both Nepalese and Chinese culture

of the week. The god of fire Surya was born on a Sunday, which is ascribed with the red hue; and each year the people are clad in red on his birthday.

In western cultures, not only does red symbolize love and passion but energy, enthusiasm, action and danger.

Perhaps for this reason, red has always had its associations with communism as well as revolution; while in Nigeria

red represents aggression as well as vigor. Red symbolizes mourning and death in South Africa and the strategic use of red in the flag represents the sacrifice and violence faced by the citizens during their fight for independence. On the other hand, red has positive associations of fortune and prosperity in many countries such as Egypt and Iran.

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Interior Blue eye shaped amulets

Egyptian tomb painted in golden yellow

Thai dressed in yellow as a prayer for King

Virgin Mary in a blue robe

Yellow Representing the joy of sunshine, yellow is universally regarded as the color of optimism, hope, warmth as well as caution and cowardice. In Thai culture, yellow is regarded as an auspicious hue for Monday, the most significant day of the week when the former King Bhumibol was born. This gave rise to the tradition of wearing yellow as a tribute to the king. Moreover, as the king was born on December 5, 1927, Thai teachers are often seen wearing yellow throughout the first week of December. Whereas, yellow is associated with valor, fortune and sophistication in Japanese culture.

Especially during the War of Dynasties in 1357, the soldiers were seen with yellow chrysanthemums as a symbol of bravery to serve the royal family and emperor of Japan.

Blue Representing the joy of sunshine, yellow is universally regarded as the color of optimism, hope, warmth as well as caution and cowardice. In Thai culture, yellow is regarded as an auspicious hue for Monday, the most significant day of the week when the former King Bhumibol was born. This gave rise to the tradition of wearing yellow as a tribute to the king. Moreover, as the king was born on December 5, 1927, Thai teachers are often seen wearing yellow throughout the first week of December. Whereas, yellow is associated with valor, fortune and sophistication in Japanese culture.

Especially during the War of Dynasties in 1357, the soldiers were seen with yellow chrysanthemums as a symbol of bravery to serve the royal family and emperor of Japan.

A direct color substitute to gold, yellow is highly prized symbolizing wealth and success ever since the early times.

For this reason, the hue was considered as a luxury only accessible by the superior individuals, particularly in African countries. Similarly, yellow evolved as a color of mourning in Egypt, where the tombs and mummies were painted in yellow for a safe passage into the afterlife. The color associations of yellow goes deeper than that of fortune and bravery, varying as per cultures across the world. Yellow is a sign of envy in Germany; while the color also represents conflict, treachery and flaw in France. Hence, arose the practice of painting the doors of the traitors and convicts yellow in the 10th century.

A direct color substitute to gold, yellow is highly prized symbolizing wealth and success ever since the early times.

For this reason, the hue was considered as a luxury only accessible by the superior individuals, particularly in African countries. Similarly, yellow evolved as a color of mourning in Egypt, where the tombs and mummies were painted in yellow for a safe passage into the afterlife. The color associations of yellow goes deeper than that of fortune and bravery, varying as per cultures across the world. Yellow is a sign of envy in Germany; while the color also represents conflict, treachery and flaw in France. Hence, arose the practice of painting the doors of the traitors and convicts yellow in the 10th century.

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Interior

The Emerald Isle Green The symbolic association of green is constant throughout the world representing nature, health, wealth, environmental awareness and army. Mostly in western cultures, green is symbolic to the freshness of the spring, currency, color of Christmas and greed as explained by the phrase ‘turning green with envy’. Green is the national color of Ireland, which is famously known as the Emerald Isle for its lush green countryside. Moreover, it is customary to wear a green clothing on St. Patrick’s Day, which is the color related to the Catholics in Ireland.

St. Patrick’s Day celebration

The green hue featured in the flag of Mexico signifies its independence as a result of the war for freedom with Spain. Whereas, green is regarded as a symbol of death, especially in the South American cultures developed amidst the dark forest. In Eastern cultures, green is symbolic to health, fertility, prosperity and an eternal life. Green is considered auspicious and is the central color of Islam based cultures. Alternatively, it is forbidden in Indonesia and is a symbol of infidelity in the Chinese culture.

Purple Extraordinary attributes such as spirituality, royalty, affluence and supremacy are regularly associated with the rare purple hue. This goes back to the ancient times when the purple dye was extracted from sea snails, which was a rare find along with the difficulty in production. Purple clothing then became a luxury and a symbol of status among the rulers. Traditionally in Japanese culture, merely the superior Buddhist monks were clad in purple colored robes as a symbol of highest level of spirituality. Alongside black, purple is also considered as the universal color of mourning across diverse cultures. Especially in Brazilian culture, purple is avoided in events other than a funeral procession. Moreover, purple is the symbol of honor and bravery in the United States, where Purple Heart is awarded to the wounded personnel of the US armed forces for their heroic service.

Purple as a symbol of status

Buddhist monk in a purple robe

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Interior

The Dutch clad in orange for World Cup Orange The bold and vibrant hue orange is symbolic to enthusiasm, creativity, curiosity and even wealth. As the emblematic color of Netherlands, people wear orange as a tribute to the Royal Dutch family. Orange is closely associated with affection, joy, wellbeing and creativity particularly in the Asian cultures of Japan and China. Hindu based cultures in South Asia consider orange as the symbol of fire. Because of the close resemblance of the color with saffron, orange shares the same attribute of sacredness and fortune. However, most countries in the Middle East including Egypt consider orange as the color of mourning. As a result of the most significant political events in Ukraine known as the Orange Revolution, orange developed as a symbol of strength and valor.

Pink Across all cultures, pink is regarded as a feminine color relating to positive features such as love, compassion and sympathy. However, the unisex hue is closely associated to men rather than women according to the Japanese culture. The pink hue is novel in the Chinese culture introduced through the western cultures, which is why the Chinese translation to the color pink indicates ‘foreign color’. On the other hand, pink is symbolic to trust in Korea. Therefore, the interpretations of pink differs widely across eastern cultures.

Saffron in Hindu culture

White Because of the association of the color with peace, purity and elegance, white is the traditional color of a bride in the western culture. In some countries including Peru, white represents angels and wellbeing. However, in Asian cultures, white is regarded as the color of grieving and mourning, commonly worn during a funeral procession.

Black Mostly in the western culture, black is more of a sophisticated hue adorned in formal events. In Africa, black is a symbol of the wise, mature and manhood. However, in other cultures, it also represents evil, sorcery, ailment, death and the unknown. Moreover, black is the universal color of mourning; and especially in the Middle East, mourning as well as the rebirth are indicated by the black hue.

COLOR SYMBOLISM ASSOCIATED WITH FESTIVALS We recognize festivals through the colors that come to play. For instance, when we think of Christmas, we are instantly reminded of the combination of red and green. Whereas, the great Hindu festival Holi employs multiple colors enjoyed to the maximum. The colors ascribed to each festival goes beyond a mere selection. Hence, color with its rich symbolism plays a major role in the festivals celebrated across the world.

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Interior

Holi- The Festival of Colors: Holi is primarily an ancient Hindu religious festival celebrated in South Asia, yet it has extended to all religions across the world. Also known as the ‘festival of love’, Holi connotes the triumph of good over evil, welcoming of the spring and expressing gratitude for a good harvest. The employment

of the infinite colors in this festival is to convey emotions and spread love and happiness. Smearing colored powder and drenching our loved ones with colored water marks the celebration of Holi. In the earlier times, the colors were produced naturally by drying and grounding of flowers.

This saffron-red colored powdered dust, famously known as ‘abir’ had been the chief component of Holi until the development of vivid chemically produced colors. The wide range of Holi hues are all vibrant such as red, yellow, blue, green, purple and pink; and each and every color holds some religious or cultural symbolism.

The most auspicious hue in the Hindu based cultures, red is a mandatory element of Holi. The red ‘abir’ is put in the form of tika on our forehead as a symbol of blessing. At the same time, it is offered to the idol of our deity as a symbol of prayer. Traditionally, red has been used to symbolize marriage as well as matrimony. The application of the red hue in Holi marks the spreading of happiness and the provision of strength and power.

A symbol of holiness, yellow is derived from turmeric and is also an obligatory element of cultural rituals. Turmeric has been valuable since the ancient times perhaps because of its diverse applications as a spice, medicine or beauty product. The radiance of yellow in Holi is believed to impart warmth to all.

Alongside the customary hues of Holi, the diverse complimentary hues each have a certain significance as well.

Saffron, central to the Hindu religion is also a major element of the Holi tradition. Similarly, application of blue represents life and power, mostly because it is symbolic to Lord Krishna, a widely worshipped god in Hinduism.

A symbol of nature, smearing of the green hue in Holi marks a new beginning and bliss. Therefore, through the color symbolism of vibrant array of hues applied on the joyous occasion of Holi, a variety of messages are delivered simultaneously.

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Interior

Christmas As a commemoration of the birth of Jesus Christ, Christmas is a religious and cultural festival celebrated worldwide. Green and red along with a hint of gold have been the traditional colors of Christmas from the time immemorial. The color symbolism traces back to the European traditions associated with Christmas held in the cold and dark winter.

The Christmas tree represents the green hue in Christmas. This evergreen tree is symbolic to resurrection and the eternal life of Jesus Christ. Ever since the early times, evergreen plants have been used to brighten the buildings during the long winter as an assurance that the spring is just around the corner.

Moreover, branches of evergreen trees that acted as a symbol of good luck were exchanged by the Romans in January. Similarly, palm branches were brought into the homes of ancient Egypt during the festivals held in mid-winter.

In medieval Europe, the story of the Fall of Adam and Eve from Eden known as ‘Paradise Play’ was performed in the

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Christmas Eve every year. Because of the unavailability of an apple tree in winter, the ‘paradise tree’ was achieved through a branch of a fir or pine tree with red apples hung to it. These red apples that represent the fall of Adam evolved into the association of the red hue with Christmas. Moreover, red and green are common sights in the wintertime evergreen flora including the holly plant with red berries. While the sharp leaves are in reference to the crown of thorns of Christ, the berries are symbolic to the cross smeared with his blood. On the other hand, a red robe had been customary to Bishops, which was later ascribed to Santa Claus who is clad in an iconic red suit.

The red hue accompanied with gold, both characterize the warmth and light of the Sun. Similarly, the gold star sitting on top of the Christmas tree symbolize gold, one of the gifts received by Jesus representing the star that wise men follow. n

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architectural art digest

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From the shelf

The Demonic Divine

J

ust as Dante journeyed through hell and purgatory before reaching paradise, followers of the sacred traditions of the Himalayas find the path to enlightenment through transforming the dark side of the mind and gaining inner freedom from destructive emotions.

These violent paintings are meant to aid us in our journey to understand the nature of the heart, and beyond that to the hard work of change. As such, they are metaphors for compassion—a compassion neither passive nor gentle— but an affirmative, active, and courageous force.

What is it about sacred art that makes it sacred? It is not just that it draws its images and ideas from one or another of the world’s religions. Truly sacred art awakens in the mind a direct experience deeper than our ordinary selves and the material world. The sun may at times be hidden from us behind the clouds, but that makes no difference to the sun itself. Its own brilliance can never be obscured.

Likewise, primordial wisdom and compassion are always present within every sentient being, even when hidden by clouds of hatred, obsession, pride, jealousy, and, first and foremost, ignorance.

Although it might at first seem a nihilistic view of the world, this is far from being the case. Emptiness does not imply nothingness. Rather, it refers to the infinite potential for phenomena to appear in a vast network of interdependent processes—which would be impossible if everything consisted of inert, immutable, self-contained entities. In such a context, how can we understand the so-called wrathful deities, the focus of so many contemplative practices in Tibetan Buddhism? In essence, their awesome appearance expresses the invincible power of compassion.

This becomes clear when we examine some examples of the symbolism associated with wrathful deities. Their hair bristles upward in a blazing mane out of overwhelming compassion for the intense suffering of beings caught up in delusion. If they have only one head, it symbolizes the absolute truth, while if they have three heads, these represent the three dimensions of Buddhahood (trikaya), as well as the transformation of the three main mental poisons—desire, anger, and ignorance.

These deities are not seen as having material, tangible bodies of flesh, blood, and bone, but bodies of light, vivid and translucent like a rainbow, and totally immaterial, like the reflection of the moon in water. They are not just lifeless images, but full of wisdom and love and the power to help beings. Many meditational deities have both peaceful and wrathful forms. The process of transition from peaceful to wrathful is called “peacefulness transfigured into wrathfulness”.

Ordinary beauty is certainly a source of joy, but spiritual beauty has a unique value, because it inspires in us

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From the shelf

the conviction that enlightenment both exists and can be attained. It is this beauty that sacred art seeks to express, be it Buddhist, Christian, Hindu, or Islamic, and whether its mode of expression is music, dance, painting, or simple contemplation. Sacred art is not just a representation of symbols and ideas. It is a direct experience of inner peace, free from attachment to the illusory solidity of the ego and the phenomenal world. n

This is not a Book Review; this is just an effort to conveying information to the readers on rare and valuable books on art and architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).

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Artscape

Silent Speaking

Her paintings are focused on plants, and its inter-relationship with human emotion with the still objects such as chilies. Various colors of chilies and plants have become are regularly featured in her work. The motionless objects like chilies as well as other fruits and vegetables always fascinated her. Hence, she aims to create a relationship between human sentiments and its nature in her artwork. Similarly, she is is deeply interested in creating unique forms of character, textures and colors of chilies.

Asha Dangol

Sarita Dongol (b 1973), MFA from Tribhuvan University, is a founder of the Community Children Art School in Chakupat. Since 1992, her works have been exhibited in many national and international galleries and she has performed in 12 solo shows in Nepal, Japan, France and Australia.

In 2002, she received the South Asian Artist Residency in Fukuoka, Japan and in 2006, received International Artist Residency in Gwanju Museum, South Korea. She was also awarded the first prize in Human Happiness Art Competition in 2000 at Sirjana Contemporary Art Gallery at Camlin Art Foundation, Kolkatta, India. She was honored with a Gold Medal by the Arniko Yuwa Sewa Kosh in 2011 and “Women Talent Hem Ganga Award� in 2013. She works as the Gallery Coordinator at Newa Chen Art Gallery and Classic Gallery in Lalitpur.

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