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This art is a strict monopoly of the women of Mithila.They cover their courtyard walls in abstract images in brilliant colour, resembling in form and function the sand paintings of the Navahos. The art is a kind of traditional painting that reflects the natural environment including animals, people, life style, tradition and culture of the local people.

The art of Mithila is linked to religious ceremonies, particularly marriage and its consequence, procreation. Interspersed with the Vedic marital rites, with the Sanskrit chanting by the Brahmins, is a tradition controlled by the women and devoted to female deities Durga, Kali and Gauri. During marriage ceremony the bride and groom are pulled away by the women for their own ceremonies devoted to Gauri in which men other than the groom are forbidden. Gauri is the goddess to whom the bride has prayed since childhood to bring her a good husband. These ceremonies are performed in courtyards before painted images of the goddesses. The function of the paintings being ritualistic the art is very symbolic. The primordial energy of the universe is embodied in various female forms, both living women and Goddesses.

 image source: wikimedia

As the wedding ceremony is a special occasion in Maithili society, which is also known as “Kohabar” within thecommunity, a separate room is set and decorated tastefully with several arts for its celebration. This painting is done in the inner as well as outer walls of the Kohabar Ghar (honeymoon house). As a popular social practice, its main motto is to increase the sexual potency and fertility of both the bride and bridegroom. This special painting is drawn on the walls of the house in three places: the Gosaighar (special room for family god), the Kohabar Ghar (honeymoon room) and Kohabar-Gharak-Koniya (corridor or outside of the Kohabar Ghar).

These paintings are wonderfully depicted by the illiterate woman folk of Mithila, and are quite attractive to look at. They express their artistic sentiments and skills on various occasions. The outer walls of the Kohabar are decorated with the paintings of rural life such as a palanquin with its carriers, shady fruit trees like those of mango, banana, Kadamba and Ashoka. They also paint love-scenes of Lord Krishna with the gopinis and his constant companion, Radha.

Some common themes in mithila arts include the Snake goddess, a form in which snakes are worshipped at Nag Panchmi during the monsoons, a time when snakes abound. Durga astride her tiger is another common representation. Probably the most powerful symbolism is the one associated with Duragoman Puren. A single seed that is dropped in the pond produces many lotus flowers, an appropriate thought for the bride and the groom at the time of their wedding. Lakshmi, the Hindu Goddess of wealth, is a newer and common addition to the repertoire of Mithila symbolism. Among the male deities Ganesha, Krishna and Shiva are more commonly depicted. Trees, birds and animals are extensively used in combination with other ritual and religious paintings. Sometimes, rarely, one will see these alone without religious implication.

The painting tradition varies from caste to caste. The art of Brahmins and Kayastha is closely tied to religious ritual, as exemplified in the making of aripana.

To make aripana a woman grinds rice with some water into a paste called pithar. Dipping two fingers into the pithar, she makes graceful lace-like designs on the mud floor of her home or courtyard. She then dots the designs with red powder. Women have a repertoire of such designs that may be drawn for worship of the house deity or for rituals related to marriage or a particular full moon day. The arts of the women are transient. Rains destroy the mud and painted designs or in the spring during a New Year festival, paintings are covered over with mud.

Aripan: paintings of Mithila The Aripanas are drawn by various female members of the household, on ritually prescribed occasions, on the clean swept ground of the courtyards or inside the house.

The Aripan painting, derived from Sanskrit “ Alepan” (meaning “to smear”), is quite auspicious in the whole Mithila region. It basically refers to smearing the ground with cow dung and clay for ritual purification. Also known as “Mandala”, this art form comes into play on several religious occasions such as Brata Bandha (sacred thread ceremony), Chhatiyar (sixth day rites of a child after birth), Mundan (head shaving ceremony of a child), puberty, conception, initiation into learning, and marriage. Interestingly, this art is also practiced in various parts of India under different names like “Alpna” in West Bengal, “Mandala” in Rajasthan and “Rangoli” in Gujurat. In Nepal’s Bhojpuri areas, it is known as “Chaukapurna” while in Mithila, it is “Aripam’.

This Tradition of Aripan is found in Grihyasutra too. The Vastu Purusha Mandala is a schematic mental map, and the basis for nationalizing any site. It is not a measured drawing or a contour map, but a code that enables reading of the site and a resolution of its design. A piece of land, once assigned for a dwelling, becomes the Mandala within which the world of a man is organized. Its features become the Mandala, which in turn adopts its shape and terrain. The concept of the Vastu Purusha Mandala acts through a site without which it remains physically nonexistent, which means that an ordered field cannot exist without a field.

Aripan is drawn and depicted both for adornment and purification of a piece of ground. It is painted either on the main entrance gate of a house, or at thresh-holds and courtyards. Sometimes, it also finds place in the main residential room. Both young and old women are talented at this particular art form.
There are many kinds of Atipan art which are depicted and drawn for various purposes. One kind of Aripan is drawn on the auspicious occasion of Tusari Pooja in which young, unmarried Maithili girls draw it to get good husbands. Its duration is between Makar Sankranti and Falgun Sankranti. In this Aripan they draw a temple, the moon, sun, navagrah (nine planets and so on. Likewise, Sanjha Aripan, which is depicted in honor of Sandhya Devi (goddess of the evening) . And the whole cosmos are drawn and shown in the form of a temple. Panch Dev (five gods) and Shapta Rishis (seven sages) are also sketched in the shape of the lotus Aripan.

Similarly, Sasthi-pooja-Aripan is painted when young girls start menstruation. This Aripan signifies the creation and destruction of the universe. The Gatra-Sankrant Aripan is the symbol of birth and death, whereas the Kojagara Aripan is drawn on the leaf of Makhan on the full moon-day of Aswin (September). Diwali Aripan, which is known in Mithila region as Sukha-ratri Aripan, is depicted to welcome laxmi, the goddess of wealth. And Swastik Aripan is painted for blessing the young generation.

Aripan art is cosmic in nature and playful in expression. It is a bright and beautiful art. The material applied in such art is a mixture of powdered rice and water, known as “pithar”. The women folk, dipping two fingers into the pithar, produce graceful geometrical diagrams with different designs on the mud floor of their housed and courtyards and at the thresholds. This art tells of the magnanimity of the mother goddess

In order to make it more adorning, the women also smear red powder on it. Moreover, three inner triangles symbolize gauri, the favorite goddess of the Maithil maidens.

The Aripanas are drawn by various female members of the household, on ritually prescribed occasions, on the clean swept ground of the courtyards or inside the house.

Ideally, the design of an Aripana should be revealed to the lady-artist as a result of meditation and general yogic experience.

In practice, the details of the various Aripanas are learned by girls from watching the work of their mothers, grandmothers and other female relatives and neighbors”.

Nepal Trekking Season generally known best as two seasons after falls and after the winter.  The following month mid of September to mid of December consider ever best season of trekking in Himalayas. During this period of months have pleasant climate condition not so hot and cold and visibility of mountain are crystal clear. There is another best season of trekking Nepal after winter when sun getting more warmer in spring time may trekkers to Himalayas can again enjoy comfortable climate condition. In spring season in Nepal many different types of flowers bloom both trees and ground and it is also the best time to climb up peaks for expedition.

Autumn (September-November)

Autumn season is considered as the best trekking season for the trekking in Nepal.  September, October and November are fall in this trekking season in Nepal. During in this season offers excellent weather and tantalizing mountain views. Temperature is moderate, making it a good time for any trekking. The sky is generally clear with outstanding views. Occasionally short storms may dump considerable snow at high altitudes.

Winter (December-February)

Generally, the days are clear in winter season in Nepal. December, January and February months are cold days in mountain. In winter season in Nepal is usually snow fall in the higher elevations with risk winds and colder temperatures. Hence is ideal for trekking in the lower elevation. If you are looking for suitable and incredible scenery, this is a great time to Trek in lower elevations.  

Spring (March-May)

Spring season in Nepal is also considered as the best season to do the trekking and mountain climbing. In this season offers different varieties of wild flora blossoming of the giant rhododendrons above 3000m and hunting paradise during this season, which makes higher altitude trekking more comfortable and interesting. It is mildly warm at lower elevations and quite moderate temperature at higher elevation over 4000m, which provides spectacular and excellent mountains View. March, April and May months are fall in this trekking season in Nepal.

Summer (June-August)

June, July and August months are main rainy season in Nepal and involves monsoon with heavy rainfall which makes trekking conditions unfavorable.This season is ideal time for Trekking and tour to Tibet however, in some Trekking regions of Nepal connecting to Tibet and desert parts of Nepal like Mustang, Nar-Phu valley and Dolpo regions are best season to do trekking which is summer trekking a great alternative behind the Himalayas rain shadow area.

Some Glimpses Of Trekking

A single statement applicable to all the women in Nepal cannot be made as different groups of women enjoy different status. For instance, Hindu women and the women belonging to indigenous ethnic groups have different rights and suffered from different modes of oppression. The latter groups enjoy more excess and control of researchers. Indigenous women have relatively a higher degree of social mobility, and posses freedom within the private sphere.

They are, however, unable to participate in the public realm due to the dominant ideology of culture being practised. Dissimilarly, Hindu women have no autonomy within private sphere, but enjoy limited positions in the public sphere. Their oppression stems from the concepts of hierarchy, the caste system, traditional thought about food, and the high value of chastity. Although the women belonging to different caste, religion and culture have different status, one thing is certain that they are being oppressed with respect to economic , socio-cultural, political and legal status which cannot be analysed into isolation because each is intrinsically tied to the next. But for the sake of clarity, each category is discussed separately.

Poverty

 Let’s discuss economic status. The dominant Hindu religion and culture have popularized a belief that women should be dependent on males for income from cradle to grave. Men are considered the sole breadwinners of families; and women are viewed only as domestic maternal. Women’s work is confined to the household. Their responsibilities are thought to include cooking, washing, collecting fuel and firewood, fetching water, engage in agriculture, maternity, and service to males and other family members. Although their work plays a vital role, it is normally left uncounted.

Women involved in wage-labour

 The work load of Nepalese women is immense. They work about 16 hours everyday. Nepalese women are mainly engaged in agriculture work, carpet industries, and wage-labour activities. Furthermore, Nepalese women are compelled to resort to prostitution and to be sold as commercial sex workers. Because of modernization, their workload has certainly increased. Thus, they are now forced to perform triple roles: that of mother,of a traditional wife and of a community participant. Generally Nepalese women have much less access of industrial credit, both an individual and household enterprise levels irrespective of ecological regions, urban or rural areas and ethnic or castes. Complicating economic disparity is the increasing feminization of poverty. To remedy this situation, women would need full economic rights.

Dowry system

 Let’s discuss socio-cultural status. Patriarchy persists as the dominant ideology under Hindu religion and culture. The constitution of the Kingdom of Nepal codified this declaring Nepal a Hindu Kingdom. The religion and its associated culture, norms and values have prevailed for hundred of years and as the result, Hindu women are more oppressed. Because of the great diversity of Nepalese society,the status of women can not be defined by Hinduism alone. These are various indigenous ethnic groups and races. Comparing to Hindu women, indigenous women have relatively better status concerning social mobility, decision making, and sexuality. But the Muslim women have the worst social status among the women belonging to different religions and cultures. The existing dowry system is to be thought to be one of the hindrances for Nepalese women. Many newly married women especially in the Terai are badly tortured by the spouse and other senior family members. The overall literacy rate of women is considerably low; only 24.7 % of Nepalese women are literate. Nepal is one of only two countries in the world where women’s life expectancy is less than that of men.

Women in politics

In Nepalese political status, Nepalese women have been involved in the political movement since the fifties but several factors have prevented them from actively participating in local and national politics. These factors include: the dominant ideology of patriarchy, male chauvinism, criminalization of policies, lack of equal property rights, restrictions on women’s mobility, and domination of men in all the political parties. Only few women have gained higher public positions. An encouraging trend is the presence of  a lot of elected women representatives in the local bodies. This is due to the provision of seat reservation at this level. However, women lack the power to contribute significantly even within these roles as most of the resources are controlled by their male colleagues.

Status of women at present

 To conclude, we can mention that Nepalese women have already opened the door to achieve the destinations of their entire freedom and rights along with their responsibilities. There is no solution to this miserable condition of Nepalese women unless they are adequately and appropriately educated concerning their rights and responsibilities.

Indra is Lord of Rain and the king of Heaven.  Jatra is procession. Indra Jatra is celebration of God Indra’s Day.  Indra Jatra is festival of Kathmandu, the capital of Nepal.  Some believes Indra Jatra is thanking day to lord Indra for the rain. According to others, the festival is celebrated in the honor of Bahirab, who is Shiva’s manifestation and is believed to destroy evil.

ईन्द्र जात्रा ( INDRA JATRA )

When do we celebrate Indra Jatra

Indra Jatra begins every year from the day of the Bhadra Dwadasi to Ashwin Krishna Chaturdasi. It is a eight day long festival.

How do we celebrate Indra Jatra

The festival begins with the carnival-like erection of The Linga (Yasingh), a ceremonial pole, accompanied by the rare display of the deity Akash Bhairab, represented by a massive mask spouting Jaad and raksi (Nepali local liquors). Households throughout Kathmandu (especially Newars) display images and sculptures of Indra and Bhairab at this time of year. This thirty-six feet long wooden pole (The Linga (Yasingh)) is chosen with great care from the Nala forest in Kavre district east of Kathmandu.

According to traditional beliefs, Indra had received this flag from Lord Vishnu for protection.

Finally, the Kumari (living goddess), leaves the seclusion of her temple in a palanquin and leads a procession through the streets of Kathmandu to thank Indra the rain god. The main attraction of the festival is the procession of chariots and masked dancers representing deities and demons. Indra is called Yanya in Newari. Jaad (Nepali local liquor) flows from the Bahirab statue, which is remarkable to look at in Hanuman Dhoka.

The procession consists of:

•    Majipa Lakhey
•    Pulukishi
•    Sawan Bhaku
•    Ganesh (Chariot)
•    Kumar (Chariot)
•    Kumari (Chariot)

Besides these, there are various dances held on the open stages of the city called dabu. There is display of Swet Bhairava as well as various deities of the city.

Story Behind Indra Jatra

Indra’s mother needed parijat, a type of flower, for some religious ritual so Indra disguised as a human being came to the earth to fetch them. But, he was recognized when he was to steal the flowers so the people caught him and tied him with ropes. The statue of which is still worshipped in Maru Tole in Kathmandu. This image is also put on display with others in different parts of the city during Indra Jatra festival.

Indra Jatra is a very interesting festival because for the whole week people enjoy various traditional dances and witness the chariot of Goddess Kumari, Lord Ganesh and Lord Bhairav being pulled through the older parts of the Kathmandu city. A day has been added to the original seven days of celebration and on that day known as Nanicha yaa the chariots are pulled through Naradevi, Nhyokha, Ason, Indrachwok and Hanuman Dhoka. This extra day of chariot pulling was introduced by King Jaya Prakash Malla in 1765 B.S.

In Indra Chowk, the famous Akash Bhairava bust is displayed and it is decorated with flowers. This Akash Bhairava’s head is related to the Mahabharata story. Some believe it to be the head of the first Kirat King Yalamber. In Indra Chowk, every night different groups gather and sing bhajans and hymns.

During Indra Jatra, there are a variety of performances including the dances of Sawa Bhakku Bhairav from Halchowk, Majipa Lakhey from Majipat, Devi Nach and Yeravat hathi (Pulukisi) from Naradevi, Mahakali and Kathi Maka Nach from Bhaktapur. All the dances take place around Hanuman Dhoka area. The Dasavatar or the ten incarnations of Lord Vishnu is also staged every night.

The first day of the festival is also observed by the Newars as a day to remember the family members who died during the past year by offering small oil lamps along a traditional route covering all the parts of the old city. It is believed to have been started during the reign of Mahendra Malla.

The Linga (Yasingh) is pulled down signalling the end of Indra Jatra festival. It is taken to the confluence of Bagmati and Bishnumati in Teku to be put to rest.

The end of the Indra Jatra festival heralds the beginning of Dashain and Tihar celebrated with great enthusiasm not only in the Kathmandu Valley but throughout the country.

Art

The art and culture of Nepal have been strongly influenced by the religious beliefs of the country. The artwork is decorative, delicate, and very beautiful. Nepal art is strongly influenced by the culture of the people and the two really go together and are interwoven. The two most typical forms of art are paintings and sculptures. Nepal’s art and culture have changed little over the centuries through western influences are slowly starting to affect some modern artists.

Painting

The earliest examples of Nepalese art in painting form is that of manuscript illustrations found on palm leaves. This tradition goes far back into the past and the earliest known illustrated manuscript is the Astasahasrika Prajnaparamita of 1015 AD. Often the wooden covers which were created to protect the manuscript-painted leaves are more lavishly decorated than the actual manuscript. Many examples of this type of art have survived and are well preserved. The influence that religion has on such artwork is evident in the fact that such manuscripts are usually only decorated with figures Nepal Painting of divinities. All the manuscripts are illustrated with images of gods and goddesses, regardless of whether they are Buddhist or Hindu in origin. Oftentimes certain manuscripts – along with the relevant imagery – would be copied and donated to a monk, priest, monastery, or temple. Thus the style of painting remained fairly constant and painting quality was maintained for a long period of time. The quality of paper manuscripts also declined. Due to this, older paintings are now held in higher regard than more modern manuscripts of lower quality.

Another form of painting that is evident in Nepal since ancient times is the Thangka Paintings. These were primarily religious in nature and were used as icons in worship. These paintings are known as Paubha in Newari and Thangka in Tibetan and originated in Nepal. The creation of illuminated wall paintings or religious metal sculptures was in big demand at one stage and this spawned an ‘industry’ of skilled artisans who catered to the demand by initiating the painting of such icons on cloth which could be rolled up and easily transported. These thangka paintings were widely received with praise and thus made their way into homes and monasteries in the ninth century and are still popular today. A good example of a thangka painting is the ‘Mandala of Vishnu’ which dates back to 1420 AD. Early thangkas are simple in design and consist of a centrally positioned large deity surrounded by smaller figures of lesser importance. From the 15th century, the Tantric cult started to take hold of the people of the land. Artists started to use brighter colors and there was a tendency towards the portrayal of Shiva and Shakti in various conventional poses. Because of the esoteric nature of Tantrism, a strong emphasis was put on the female element and sexuality during this time. The thangkas produced were said to possess magic forces and a great variety of symbols were incorporated into the artwork.

Sculpture

The sculpture has enjoyed a long and interesting history in Nepal and many carved artifacts have been found in the Terai region of the country. All early sculptures were religious in nature and the artists themselves also seemed to be extremely devoted to their various deities. While early sculptures were very simple, but those from the Lichchhavi period were strikingly beautiful. These sculptures were made from stone, copper, and bronze and depict round faces and slanted eyes. There is a lot of attention to detail while still presenting the deity in a simplistic way. The use of clothing and ornaments were always kept to a minimum and often the subject wears only a Dhoti or Sanghatis. The Lichchhavi period (5-8 CE) was the Golden Age of Nepalese sculpture and many excellently excavated and preserved examples can be found. Woodcarving, while not always in ornamental form, also served a decorative purpose in ancient Nepal and thus is viewed as an art form. Windows, doors, temples, roof-struts, and numerous artifacts were all carved by hand and can be still seen in the Katmandu valley. Wood is not as long-lasting as a stone and so Sculptures in Nepal examples do not date back further than the 14th century yet wood carving continues to be a very prominent aspect of Nepalese architecture. Nepalese artwork had far-reaching effects on other cultures. The first major introduction of local art to other cultures occurred in the 7th century AD when Mahayana Buddhism was introduced in Tibet under the order of king Angshuvarma. A large number of monasteries were subsequently built and these all needed to be filled with manuscripts and sculptures. Today some of the most outstanding examples of Nepalese art can be found in Tibet. Nepal’s artistic influence even cross the borders of China when Nepalese artisans were sent to the courts of Chinese emperors to impart their knowledge to local craftsmen and to create artworks. The most exemplary contribution of this nature was made by the innovator and architect Balbahu or ‘Arniko’, who’s many creations can still be found to this day.

Stupa Style

A Nepalese architectural style is borne out of Buddhist concepts and used in the construction of Buddhist shrines. Stupa architecture is easy to spot. A square base is mounted upon a hemispherical structure. Atop the strong base is thirteen rings layered on top of each other and progressively narrowing to a point. A parasol tops it all off. The square bases, also known as Harmika has pairs of “all-seeing” eyes painted on each of its exposed sides. Swayambhu Shrine and Baudhanath Shrines, declared World Heritage Sites by UNESCO, are exquisite examples of the stupa style. In Patan, you will discover some of the oldest stupas in Nepal that were commissioned by King Ashoka.

Shikhara Style

Nepal’s Shikhara style consists of 5 or nine vertical sections forming a high pyramidal or curvilinear tower-like structure. The apex is bell-shaped. This style is not very common, but a fine example can be seen in Patan, it is the Krishna temple.

Architecture

The magnificent architecture of Nepal is a form of art that truly captures the culture and essence of Nepal. Traditional Nepalese architecture attracts both tourists and scholars to this amazing country. The fascinating historical buildings and unique Nepalese architectural designs inspire much awe. Particularly popular is Bhaktapur where tourists can explore numerous outstanding Nepalese architectural structures. Certain people have divided Nepal’s architecture into three non-specific stylistic groups, namely Pagoda style, stupa style, and shikhara style.

Pagoda Style

This Nepalese architectural style features several layered roofs that have broad eaves carefully held up by carved wood struts. The building’s roof is typically crowned by triangular spires surrounding upside-down bell made out of burnished gold. Windows on Nepal Temple-Architecture the structure protrudes and is usually latticed. The pagoda style is a true demonstration of fine artistic architectural design. Interestingly, China later borrowed the style which further spread through Asia. Pay a visit to Kasthamandap in the Kathmandu Valley to view an impressive wooden pagoda constructed during the Malla age. Another spectacular example of this intriguing Nepalese architectural style is Basantpur Palace, a nine-story structure commissioned by King Prithvi Narayan Shah. Also make your way to the temples of Pashupati, Changu Narayan, and Taleju.

Thangka is a silk painting with embroidery, usually showing a Buddhist god, famous scene, or a mandala. The Thangka is very different than regular oil or acrylic painting. It is a piece of the picture which is painted or embroidered, over which fabric is attached, and then over which is laid a cover, usually silk. Generally, Thangkas last for a very long tenure. It is delicate and hence, should be stored in dry places. Moisture is not at all good for it. Thangka is also known as scroll- painting.

Origin and Purpose of Thangka

A thangka is a Nepali form of art exported to Tibet by princess Bhrikuti ( Harit Tara – daughter of Ansuvarma) of Nepal (7^thCentury) married to Sron Tsan Gampo, the then ruler of Tibet. The word “Thangka” is believed to have come from the Tibetan word “Thang Yig” meaning a written record.

Originally, Thangka paintings became popular among travelers and monks as a teaching tool to illustrate the life history of Gautam Buddha, lamas, another god/goddesses, and Bodhisattvas. One of the most popular subjects seen in Thangkas is “The wheel of life” which is the visual representation of Abhidharma teachings or the art of enlightenment. These religious paintings offer a beautiful expression of both being visually and mentally inspiring.

Thangka is the most bought product by travelers as gifts from Nepal.

Types of Thangka

Based on the technique and materials of painting Thangkas can be grouped by types. Generally, they are divided into two broad categories: those that are painted (Tib.) bris-tan—and those made of silk, either by appliqué or embroidery         

Thangkas are further divided into specific categories:

1. Painted in colors (Tib.) tson-tang—the most common type
2. Appliqué (Tib.) go-tang
3. Black Background—meaning gold line on a black background (Tib.) nagtang
4. Blockprints—paper or cloth outlined renderings, by woodcut/woodblock printing
5. Embroidery (Tib.) tshim-tang
6. Gold Background—an auspicious treatment, used judiciously for peaceful, long-life deities and fully enlightened buddhas
7. Red Background—literally gold line, but referring to a gold line on a vermillion (Tib.) mar-tang

Check our wide collection of Nepali Thangka Paintings

Typical Thangkas are fairly small, between about 18 and 30 inches tall or wide, there are also giant festival Thangkas, usually Appliqué, and designed to be unrolled against a wall in a monastery for particular religious occasions. These are likely to be wider than they are tall, and maybe sixty or more feet across and possibly twenty or higher.      

Thangka Paintings

Thangkas are painted on cotton or silk. The most commonly used are loosely woven cotton produced in widths from 40 to 58 centimeters (16 – 23 inches). While some differences do exist, Thangkas wider than 45 centimeters (17 or 18 inches) normally have layers in support. The paint consists of water-soluble dyes. Both mineral and organic pigments are used, hardened with herb and glue solution. In Western terminology, this is adistempertechnique.

The composition of a Thangka, as with the popular Buddhist art, is highly logical. Arms, legs, eyes, nostrils, ears, and various ritual implements are all arranged out on a systematic web of angles and intersecting lines. A skilled Thangka artist will usually select from a range of predesigned items to include in the masterpiece, extending from alms bowls and animals to the shape, size, and angle of a figure’s eyes, nose, and lips. The procedure seems well-disciplined, but often requires a deep understanding of the imagination involved to capture the spirit of it.

Making of Thangka

There are different kinds of Thangka employing various canvases. However, most are painted on cloth or paper. The white cloth is first mounted on a frame and water-based colloid chalk is applied to the surface. It is polished with talc when dried. The canvas is thus ready for painting. Apart from this, there are Thangka which are webs of embroidery, woven silk, silk tapestry, or appliqué. Embroidered Thangkas are done with multi-colored silk threads. Silk woven Thangka takes the warp of brocade as the base and applies the method of jacquard weaving with colored silk threads as the weft.

With appliqué Thangka, human figures, designs, and patterns are cut out of colored satin and glued onto the canvas. The resulting work is also called “embossed embroidery.” Tapestry Thangka is woven with the method of “complete warps and broken wefts: which calls for the application of the weft threads on the warp only where the picture or design needs it. The “hollowed out” work produces a three- dimensional effect. Tapestry Thangka is thick, closely woven, delicately designed, and gorgeously decorated with colored silk threads. There is yet another kind of Thangka in which beautifully designed colored fabrics decorated with pearls and precious stones are attached to the fabric with gold thread thereby creating a resplendent and dazzling effect.

Method

1. Line drawing is created with complete accuracy, proportion, and detail, of the deity or desired image.
2. Then portions of the drawing are transferred by tracing to the silks that will be used in the final piece.
3. Definition of line details is created by rolling silk thread over the cord and then by carefully hand-stitching this to the silk pieces.
4. The pieces are then cut out and edges turned under and ironed. Piece by piece the image is created with all its detail.
5. Features such as eyes, jewels, and flowers are masterfully stitched using special embroidery techniques.
6. Next, the individual pieces are joined together, first using glue and then stitched along every edge so that the pieces form the completed image.
7. Lastly, there are some finishing stitches, and additions of gems such as Tibetan turquoise and coral are added.
8. The image is then framed in silk brocade.

Thangka often overflows with imagination and reference. Because the art is clearly religious, all symbols and references must be in accordance with strict guidelines laid out in Buddhist scripture. The artist must be properly trained and have sufficient religious understanding, knowledge, and background to create precise and correct Thangka.

What are topis anyway? Are they a symbol of honor, a basic fabric of culture, or an utterly exaggerated form of clothing

Each culture that’s proud of its existence has pieces of clothing with stories that go back into the past. A veil or a scarf. A meager hairpin or an exaggerated gown. When it comes to Nepal, there is nothing that can explain our history as clearly as the Nepali topi.

Nepali topi or Dhaka Topi has been adorning Nepali heads for generations. This unusually cut piece of clothing is a way of life for many older people. Even youngsters find it important to adopt a topi on formal occasions. Intrigued to know its history, I went to Ason, probably the only place where I could find answers.

Nirmal Tuladhar took over the shop of hats from his father in 1976 but it has been there in the same place since his grandfather’s time, for probably more than 75 years, making it one of the oldest Dhaka Topi shops in Nepal. “We had people from all over Nepal come here. At a time when it was difficult to find good quality topis, ours was probably the only one people trusted. Things have not changed much. We are still revered as the oldest topi shop in Nepal,” says Nirmal Tuladhar.

Dhaka Topi got its name from the fabric that was imported from Dhaka in Bangladesh. Although these materials are no longer brought in from Dhaka, old shawls are still cut to make these Topies that are appreciated for their rarity and history. “Dhaka Topis are expensive. They are rare and of very good quality. Only one in a million wear these,” says Nirmal Tuladhar, smiling.

The store itself has changed over the years and has adopted modern hats along with Nepali topis. But the highlight of the place still remains the Bhaktapur-made Bhadgaule topi and Dhaka Topi.

“Topis are strongly attached to our culture. My father gave them away for free when King Mahendra passed away. I still remember that day. Even something as simple as the way you wear a topi represents the status you have in society. Kings wore it in a more different manner than the common people. It is a huge part of our culture and the time that was,” shares Nirmal.

From stories of Kings’ demises to the actual interaction among people on the latest trends of Nepali topis, it wouldn’t be wrong to say that these hats have witnessed more events than any other form of clothing. “People from different political parties have different ways of wearing the topis as well. I have many who buy theirs from my place,” says Nirmal. His statement only apprises us about how our history is still being created as we speak. We can only hope this symbol of pride can shine on for a long time on the heads of the Nepalese.

image sources: flicker/wikimedia

Janai Purnima, the thread festival, falls on the full moon day in the month of Bhadra (August/ September) and is celebrated with great gusto, devotion, and splendor by Hindus all over the country.

A Janai is a sacred thread and Purnima is a full moon day, hence, Janai Purnima points to the change of the thread on the auspicious full moon day.  On this day, the Tagadharis (Hindu men wearing the sacred thread), especially the Brahmins and Chettris performing their annual change of Janai (sacred yellow cotton thread) slung from the shoulder and also tie Tago (sacred thread) sanctified by priests chanting the Gayatri Mantra as a symbol of protection. The Janai is given to Hindu men in a coming-of-age ceremony called Bratabandha that initiates them into manhood and commands them to faithfully follow the religion. It must be worn every day of their lives from this day onwards. The triple cord of Janai is a symbol of body, speech, and mind, and when the knots are tied the wearer is supposed to gain complete control over each. After taking bath and making offerings to the Saptarishis (seven legendary Rishis or sages) and to their departed fathers and fore-fathers, the Tagadharis put new Janai with a belief of having absolute control over the mind.

The day also marks another holy festival Rakshya Bandhan when men, women, and children regardless of station and caste tie Doro (a sacred yellow thread) around their wrist as a symbol of protection from fear and disease. Raksha means protection and Bandhan means a bond, hence, the Doro is tied by a Hindu priest intoning a quick prayer which goes, ‘Thus I tie the Raksha around your wrist, the same which bound the arm of the mighty Bali, King of the Danavas. May its protection be eternal.’ With a belief of bringing good luck, the entire family gathers around a priest to tie the sacred thread; men tie the thread around their right wrist and the women tie it on their left wrist. It is believed that this thread should only be removed on Laxmi Puja, which falls three months later and tied to the tail of a cow. Thus when death comes to the wearer the cow will help him/her to cross the river Bhaitarna, by allowing the dead to cling to her tail.

Many legends are associated with this pious festival and among them; the myth of Bali is widely imitated on a propitious day. The day might be a reminder of the extraordinary acts of charity performed by King Bali- the king of Danavas (demons). The King had taken the vow of charity, according to which he would grant every wish made to him. His deep devotion and boundless benevolence won him a place higher than Lord Indra- King of heaven. Seeing their realm under a demon, the gods prayed to Lord Vishnu. The Lord came to their assistance disguised as a dwarf and begged Bali for as much land as he could cover in three strides. After Bali’s agreement, the dwarfed Vishnu swelled to the size of a tremendous giant and in two mighty strides stepped across Heaven and Earth. When he demanded where he might take the promised third step, Bali who had already recognized Vishnu placed the giant’s foot atop his own head and was pushed far into the bowels of the earth. In this way, Lord Vishnu restored the three worlds to the rightful ruling gods, and repaid Bali for his last act of earthly charity, by making him the King of the underworld, where he is believed to be still ruling.

To mark the day, Hindu pilgrims visit Gosaikunda, a holy shrine of Lord Shiva, situated at mountains north of Kathmandu, and take a dip in the sacred lake with a belief of purging their sins. As part of the Janai Purnima celebration, a grand festival takes place at Kumbeshwor Mahadev Temple in Patan. An idol of Lord Shiva is placed in the middle of the pond of Kumbeshwor where people take a plunge, perform puja, and watch religious fairs.

On the day, a special dish – Kwati- a soup prepared from nine different beans, and different variety of traditional Nepali food is served at home. The soup is highly nutritious which keeps diseases away and all family members come together to eat Kwati and to celebrate the festival.

Moreover, the Newar community marks the same day as the beginning of the nine-day festival called Gunhu Punhi. The Newars coat the threshold of their houses with mud and offer food to gods and food and bougainvillea (Gunakeshari flower) to frogs on banana leaves. Likewise, in the Terai region, the day is celebrated as Rakhi festival when sisters tie Rakhi (a thread signifying bond of protection) around their brothers’ wrists wishing them long life and prosperity and in turn, brothers give gifts to their sisters as an assurance of protecting them from all impediments in life. The colorful festival of Janai Purnima observes the bond of purity and security.

As Janai Purnima is on the way,  iMartNepal dot com provides you various kinds of handicrafts items that you can gift to your siblings and relatives. It helps you to celebrate Janai Purnima in Nepali traditional style and culture. We express our warm wishes to you all on the special occasion of Janai Purnima.

“Better to die than be a coward” is the motto of the world-famous Nepalese Gurkha soldiers who are an integral part of the British Army. They still carry into battle their traditional weapon curved knife known as the Khukuri.In times past, it was said that once a Khukuri was drawn in battle, it had to “taste blood” – if not, its owner had to cut himself before returning it to its sheath.

The potential of these warriors was first realised by the British at the height of their empire-building in the last century. The Victorians identified them as a “martial race”, perceiving in them particularly masculine qualities of toughness. Bravest of the brave, most generous of the generous, never had a country more faithful friends than you Sir Ralph Turner MC, 3rd Queen Alexandra’s Own Gurkha Rifles, 1931. After suffering heavy casualties in the invasion of Nepal, the British East India Company signed a hasty peace deal in 1815, which also allowed it to recruit from the ranks of the former enemy.Following the partition of India in 1947, an agreement between Nepal, India and Britain meant four Gurkha regiments from the Indian army were transferred to the British Army, eventually becoming the Gurkha Brigade.
Since then, the Gurkhas have loyally fought for the British all over the world, receiving 13 Victoria Crosses between them.

PIC: Balbhadra Kunwar on the Nalapani War.

It is a medium-length curved knife each Gurkha soldier carries with him in uniform and in battle. In his grip, it is a formidable razor-shape weapon and a cutting tool. In fact, it is an extension of his arm. When his rifle misfires, or when his bullets have run out, a Gurkha unsheathes his Khukuri and makes his final “do-ir-die” run on the enemy in a fury to finish the business. This scene created the romance and the legends. The Khukuri is carried in a wooden (often leather covered) stealth.

Khukuri is the national knife of Nepal, originating in ancient times. It is all-purpose knife of the hill peoples of Nepal, especially the Magars and Gurungs in the west, and the Rais and Limbus in the east.The name and fame of khukuri is so exceptional and not only because it is one very efficient and excellent knife but the myths it carries within and its religious values have literally made this knife a true legend.  Nepalese are commonly recognized as Gurkhas because of their bravery and solidarity. Each and every Nepalese keeps Khukuri in their homes for the protection. iMartNepal provides various ranges of Khukuris to all Nepalese living in abroad.

You can also buy Khukuri for decoration and protection.