15t

h
Anniversary

sirjanã
A Journal on Arts and Art Education
Vol. 3, 2016
The 15th Anniversary Special

Chief Editor | Krishna Manadhar

Executive Editor | Navindra Man Rajbhandari
Consultant Editors| Madan Chitrakar, Jitendra Man Rajbhandari
Design | Bijaya Maharjan
Production Support | Gautam Manandhar, Bandana Manandhar,
Bhawana Sharma
Photograph Contribution | Laxman Bhujel, Rabin Kaji Shakya
Cover Image |Jerom Maharjan, BFA 2nd Year (Makar, Plaster of Paris, 2016)
Printing | Prism Color Scanning and Press Support,
Kuleshwor, Kathmandu, 01 428 2511

Published by Sirjana College of Fine Arts

Utter Dhoka Sadak, Lazimpat, Kathmandu, Nepal
01 441 2634, 01 441 8455
www.sirjanacollege.edu.np
sirjanacollege@gmail.com

Established in 2001 in affiliation to Tribhuvan University

The opinions and the interpretations expressed in the articles are the personal views of authors and do not
necessarily reflect the views of the publisher and editors.
 15t
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editorial

Art is the aesthetic tool for expressing human feelings, emotions and
perceptions. Art brings beauty into our world. And beauty brings joy in our
lives. Art immortalizes people, places and events. Art helps us to organize the
world and serves as an important intellectual stimulant.

From the very first day of the inception of SIRJANA COLLEGE OF FINE
ARTS, it has been the prime mission of the college to establish the value of art
in the Nepali society. The college has dedicated itself in an effort of making
people understand the society, the culture and the world through academic
interactions among students, teachers and artists.

Today Sirjana College of Fine Arts is celebrating its 15th Anniversary. For an
educational institution the period of fifteen years may not be too long time
but when we look back to these years, we feel proud of our achievements and
contribution as the sole art institution run by the community. This is perhaps
the best example of what the art community can give back to its community.

The academic journey of the college during the last fifteen years has been quite
eventful. We are glad that our graduates have been successfully displaying their
talents in various fields related to arts and art education. The college proudly
presents this journal on arts and arts education SIRJANĀ in commemoration
of its 15th Anniversary. The objective behind this publication is to bring out
some of the art issues for academic discourse. The present issue features a wide
range of perceptions and research on visual arts by various scholars. The college
intends to publish this journal as one of its annual academic pursuits.

Finally on behalf of the college fraternity and editorial team, I would like to
extend my sincere gratitude to all the contributors who have been associated
with this publication in one way or another.

Krishna Manandhar
Chief Editor/Principal
September 18, 2016
Roshani Maharjan (BFA 2nd year). Shardul. 19 cm x 16 cm. Plaster of Paris. 2016.
contents
7 Sirjana College of Fine
Arts: in a Nutshell
Baikhuntha Man Shrestha
14 Art Education in Nepal:
Pedagogical Challenges
Madan Chitrakar
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24 Twilight Zones of
Nepali Sculpture
Dr. Abhi Subedi
36 b]jgfu/L lnlk / o;sf] cfw'lgsLs/0f
czf]sdfg l;+
45 Mystical World of
Caryāgīti and Caryānŗtya
Arun Shrestha
55 kfZrfTo snf M ;Gbe{ kf]6«]6 k]lG6ª
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80 Art and Heritage: An
Ancient Image at Our
Dooorstep
Dr. Poonam R. L. Rana
84 tfn jfbgdf bzk|f0fsf] ljz]iftf
Pjd\ dxTTj
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89 Poetry on Visual Art
Jitendra Man Rajbhandari
96… Of Memories and
Realization …
Saroj Bajracharya
103 g]kfnL snfdf
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111 ;ª\uLt Ps ljj]rgf
b'uf{k|;fb vltj8f
114 Music Therapy
Dr. Niranjan Bhandari
116 New Media Art in
Art Education
Manish Lal Shrestha
120 Experiences in Sirjana
College of Fine Arts
Bob Benjamin
125 Hilariously yours,
Kuldip Jang Bahadur Gurung
 Hari Ram Adhikari (BFA 3rd year). Bust.
Plaster of Paris. 2016
6

SIRJANA COLLEGE OF FINE ARTS:
IN A NUTSHELL
Baikuntha Man Shrestha
(Chairman, Sirjana College of Fine Arts)
A History of Fine Art Education in
Nepal: A Brief Outline
Formal Art Education in Nepal
started in AD 1935 with the inception
of Nepal Art School by the initiation
of Master Chatur Ratna Udas. At that
time the school was run in the ground
floor of Tri-Chandra College. The
eminent and pioneer art teachers of
the country like Kalidas Shrestha, Jiv
Ratna Shakya and Chandra Bahadur
Manandhar were the first products of
the Nepal Art School.
In 1938 Nepal Art School was
renamed as Juddha Kala Pathsala.
At that time two levels of certificates
known as Kalā Kushal and Kalā Pravin
used to be awarded from the school.
Besides, students were provided
with the monthly stipends along
with art materials. In 1942 Juddha
Kala Pathsala was shifted to its own
building at Bhotahity.
In 1968 Juddha Kala Pathsala
was renamed to Nepal Lalit Kala
Mahavidhyalaya under the aegis
of the Ministry of Education. Later,
during the implementation of the
National Education System, Lalit
Kala Mahavidhyalaya was merged
with the Institute of Humanities and
Social Sciences, Tribhuvan University
in 1974 renaming it as Lalit Kala
Campus.
In the academic year 1977 the two
years Bachelor’s level program was
introduced at this campus. In 1995 the
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program was upgraded to the three
years Bachelor’s program.
After a long period, other two
additional art institutions came into
inception — Sirjana College of Fine
Arts in 2001, affiliated with Tribhuvan
University and Centre for Art and
Design in 2003, under the aegis of the
Kathmandu University.
Although the formal Art Education in
Nepal carries a long history of about
eighty-one years, till fifteen years
ago there was only an art institution
in existence. Many major changes
have taken place in most of the other
sectors during these years, but art
education was taken as neglected
sector. In course of time, education in
many of other social or technical fields
have mushroomed and multiplied
by leaps and bounds within a very
short period of time. However,
Art Education on the other hand is
left languished in a most pathetic
condition.
The entire concerned stake-holders,
including the governing authorities
apparently have never felt a need to
adjust with the changing times.
Today, when we tend to think of Art
Education in a broader spectrum
in par with international standard
a physically sound infrastructure
becomes a major pre-requisite apart
from up to date curriculum, teaching
methods and materials.
7
The day when Sirjana College of Fine Arts came into inception with a number of seven students,
August 24, 2001
Inception and Evolution of Sirjana
College of Fine Arts
Sirjana College of Fine Arts was
established in August 24, 2001 in
affiliation with Tribhuvan University.
The College is an outcome of a
common aspiration and vision shared
by a group of prominent artists and
art enthusiasts of Nepal. Above all, it
holds the pride of being the first Fine
Arts college in Nepal established by
the community.
This is a non-profit and community
college, running under the course
outline and curriculum framework of
Tribhuvan University.
Mission
Our mission is to provide aspiring
artists, illustrators, designers,
sculptors, vocalists, instrumental
artists and performing artists with
8
career preparation combined with
academic excellence for the +2 levels
in Fine Arts (Painting, Sculpture,
Applied Arts, Music and History of
Arts) and Bachelor’s Degree in Fine
Arts (BFA) in Painting, Sculpture,
Graphic Communications, Music and
Dance.
Imparting a strong academic program
to the students in the fields of Fine
Arts has been the main aim of the
college. We look forward to bringing
out the best in each student, helping
the birth of talented and creative
minds required for human resources
in the field of Visual Arts and
Performing Arts.
Initial Academic Program
For the two initial years
(2001-003) the College was granted
a permission to run the Proficiency
Certificate Level (PCL) in Fine Arts

under the Faculty of Humanities and
Social Sciences of TU. Moreover, the
three years Bachelor’s program has
been introduced since the academic
session 2003-004 at the college.
The Later Developments
Implementation and dissemination of
curriculum on new courses as per the
special decision made by Tribhuvan
University to phase out the PCL from
the academic session 2010/011, the
college was entitled to commence
the +2 level in affiliation with Higher
Secondary Education Board (HSEB),
Nepal. At present, the new courses
on +2 level in Fine Arts (Painting,
Applied Arts, Sculpture, History of
Arts, Music and Dance) have been run
by the college in full swing. However,
with special reference to Music
course, the same curriculum has been
offered at the +2 level in compliance
with the provision being made for the
previous Proficiency Certificate level
of TU.
Moreover, as Tribhuvan University
initiated the four years Bachelor’s
degree in Fine Arts with a new
curriculum from the academic session
2012-013, Graphic Communications,
Music and Dance were also
introduced by the college at the BFA
level since then. As a matter of fact,
Applied Arts is said to be an art that
is basically applied to socio-economic
needs of a modern society. However,
this very discipline was found to
be significantly neglected and was
being kept in shadow and in a state of
isolation for a long period of time in
our education system. Consequently,
Graphic Communications, as an
Applied Arts was introduced by
TU as one of the core subjects in the
four years Bachelor’s degree from
the academic session 2012-013. In
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addition, the integration of Traditional
Nepali Painting and Traditional
Nepali Sculpture was made into
the curriculum of BFA as the major
subjects. It can also be considered as
a breakthrough in the history of Art
Education in our country.
Most remarkable achievement has
been made in implementation and
dissemination of the curriculums on
the following new elective courses of
Fine Arts at the higher secondary
level (Class 11 and 12) and the major
subjects for 4 years Bachelor’s degree :
+2 Level
• Painting
• Applied Arts
• Sculpture
• History of Arts
• Music
Four Years BFA
• Painting
• Graphic Communications
• Sculpture
• Traditional Nepali Painting
• Traditional Nepali Sculpture
• Music (Instrumental and Vocal)
• Dance (Kathak and Bharat
Naatyam)
Strength and Weaknesses
The average pass percentage at Sirjana
College of Fine Arts has been 95%.
Students from the college have topped
the Faculty of Humanities and Social
Sciences of Tribhuvan University at
the Bachelor’s level for seven times
till date. A remarkable number of
our +2 graduates have been able to
enroll themselves successfully in the
Bachelor’s degree programs at the
various art institutions of India under
the Indian Government’s scholarship
program and abroad.
9
Celebrating the 3rd Anniversary of the college - September 2004
Team Work: For effective
implementation of the educational
activities under Sirjana College of Fine
Arts, its team sprit has been found
to be significantly harmonious. The
College Management Committee
operates and coordinates with the
Principal, Program Coordinator and
the Faculty Members as well as non-
teaching staff at the college.
Student Strength: The college had
begun its academic journey with only
ten students in 2001. Till date about 60
students have completed successfully
their BFA degree from our college.
So far, a total number of 18 graduates
from our college have passed Master's
degree from TU. Presently, about
240 students are pursuing their art
education at this college at various
levels including class XI, XII and
Bachelor's level. It should be noted
10
that with each passing year more and
more students are being enrolled at
the college. The college feels proud to
produce efficient human resources in
the field of Fine Arts in a remarkable
size.
Positive Aspects: By and large, it is
worthwhile to mention some of the
major achievements that have been
made by the college in the process of
implementing academic activities:
• Realization of need of creative
and innovative activities on Fine
Arts and their related matters
are found to be high among the
faculty members.
• Appreciation and positive
attitudes towards innovative and
creative processes are found to
be significantly high among the
students.
 15t
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• Good communication between • No standardized monitoring

teachers and students with
respect to imparting knowledge is
found.
• Extra curricula activities, e.g.
art workshops, exhibitions,
symposiums, events, advocacy
campaigns are organized
frequently in collaboration
with national and international
communities.
Issues and Problems:
• Lack of innovative programs for
motivating and encouraging the
faculty and the students at large.
• Inadequate supply of teaching
learning materials required for
Fine Arts.
• Limited capacity of orientation
and advocacy materials/
equipments.
system for the particular
educational programs.
• No provision of sensitizing/
incentive programs (inter country
exposure visits) for teaching
staff, focal person/heads of the
Institution.
The Biggest Constraint: Lack of
College's Own Building
Looking back for the last fifteen years,
the journey of Sirjana College of Fine
Arts has not been without obstacles.
In absence of our own building, the
college has to be run in rent premises,
which makes the financial security of
the college a difficult enterprise. Due
to the lack of college’s own building,
we have not been able to offer a sound
infrastructure that exactly suits to a
Fine Arts institution.

• No provision of exhibition gallery

for displaying artworks and
auditorium for musical/dance
performance.

• Lack of funds for inter-country

skills exchange program of Fine
Arts.

• No funds for translation of

resource materials being
developed by neighboring
countries and leading
international agencies/
communities.

• No provision of special funds for

undertaking action researches,
mini researches and impact
studies on effectiveness of Fine
Arts education curricula and Pranisha Gurung (BFA 3rd year, Painting). Life
materials. Study, 2016. Oil on canvas, 122 cm x 100.5 cm.

11
Display of the works by BFA 4th year students, 2016
From the very beginning, the college
has been running its operations in
a rented building at Uttar Dhoka
Sadak, Lazimpat, Kathmandu-2. But
the devastating earthquakes that
struck Nepal in April and May, 2012,
destroyed livelihoods, infrastructure
as well as educational institutions like
ours. Our college has also been badly
affected by the last earthquakes. The
upper stories of the building have
turned unsuitable for running classes.
Therefore, the classroom activities are
being carried out in a temporary truss
built in the courtyard of the college
building.
In spite of all the obstacles, we stand
our ground as ever. No one can deny
the invaluable contributions that
we have made as the only single
community art institution across the
country.
Proposed Building for the College
With a view to develop the college
12
as a full-fledged art institution
in the nation, we are planning to
build our own building as earliest
as possible. For this very purpose
we have already purchased about
1183.5 sq. m. area of land at Sita
Paila, Nagarjun Metropolitan,
Kathmandu. The college is quite
obliged to its members, well wishers,
patrons, art lovers for their invaluable
cooperation and generous support
in purchasing its own land. We are
now more enthusiastic to turn our
dream of running our college under
our own premises. This would be
definitely a most significant milestone
of our academic evolution. This
new building will be well equipped
and furnished with all amenities
and the physical facilities required
for a modern college offering
higher education in Painting,
Sculpture, Graphic Communications
(Applied Arts), Music and Dance.
Consequently, the college would
be proved as a highly esteemed
model institution of Fine Arts of its
 15t
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own outstanding nature with this

infrastructure in the country.

However, looking at the financial

constraint of the college, we look
forward to receiving every possible
support from all the concerned
authorities, well wishers and donor
agencies to turn this project into
reality. As Sirjana College of Fine Arts
is, obviously, a non-profit making
community college, the college itself
cannot make available the required
fund for construction of the aforesaid
physical infrastructures. In this
connection, the college avails itself
of this opportunity to make a special
request to the donor agencies the
assurance of its highest consideration
for their cooperation and generous
support to this project of constructing
a building for nation's one and only
community Fine Arts college.

Expected Outcomes after Having Baikuntha Man Shrestha

Accomplished the College Building
Baikuntha Man Shrestha is the
• A model art college of Founder Chairman of Sirjana
international standard, well College of Fine Arts. He is a
equipped with all the needed premier art activist with four
amenities and the physical decades of experience. He began his
facilities that is suitable for higher foray into art as a sculptor, and he
learning in Fine Arts has been playing a pivotal role in
(Painting, Sculpture, Applied mobilizing and encouraging young
Arts, Music and Dance) artists. He has contributed greatly
• Quality art education to the Nepali art scene, organizing
comparatively at a low fees large scale art events. He has been
• Increase in extra curricula awarded the Rastriya Pratibha
Purashkar by the Government of
activities, e.g. art workshops,
Nepal in 2003.
exhibitions, symposiums,
events, etc.
bbbshrestha@gmail.com
• An access to the art education for
big number of target audiences/
stakeholders
• Sufficient space for undertaking
various activities related to Visual
Arts

13
Art Education in Nepal:
Pedagogical Challenges
Madan Chitrakar
Background | Introduction
While looking for a topic to write
on our ‘Art Education’, a chance
encounter with a young artist holding
a ‘Bachelor’s Degree in Fine Arts’
offered an important eye-opener
often ignored by all – the quality of
‘the qualified artists’ we produce.
It’s true the said artist proved to
be an unpleasant example but he
reminded us all – mentors, planners,
educationists and all the stakeholders
all alike that we have failed. Then
and there, I concluded we need to
make immediate soul-searching
‘where did we go wrong and what
proved us inept in our delivery.’
It was during one of my casual walks
around the old part of Kathmandu I
spotted the familiar face - ‘the artist’- a
graduate, sitting in a corner of a busy
street, painting a landscape scene.
The central content in his canvas was
a pagoda temple flanked by rows
of medieval houses on both sides of
the composition. The composition –
rows of houses converging to more
than one vanishing point, asked for a
fair amount of skills and knowledge
of architectural drawing: and a
reasonable familiarity to capture the
moment and the mood of the spot in
colors within a limited time.
As the common wisdom dictated, it
was but natural to expect from him –
a graduate artist, to be fully in verse
with all the fundamentals needed in
this work. As I watched him work
14
however, to my great dismay, I
found none of the qualities described
above in his work. He failed utterly
to display even the rudimentary
principles. He seemed totally
unaware of how perspectives worked
or the basic tenets of light and shades
so very essential in the art of painting.
He literally shocked my conscience
to the core as an art teacher. I found
myself even ashamed, albeit I never
have had occasions to mentor him.
So initially I consoled myself with a
thought that he may be an exception.
His failings, maybe, only reflected
his individual incompetence. In a
second thought however, it occurred
to me no: rather he reflected the
entire teaching system we make.
He made us visible the failings of
the educational system we’ve had
chosen to ignore. He, it seemed, is
a living example of our collective
failure and negligence. His failings
openly questioned the very essence
of awarding the academic degrees
in such a situation. Thus he not only
provided us reasons but also to forced
to re-assess what really went wrong
and what ails the system?
Constraints
First and foremost, the structure
and the system of ‘Art Education’
we’ve had been following, for sure,
remained static in view with the
changing times. Many of the earlier
practices and the efforts – regular or
pro-active, made so far has proven

BFA 2 nd year painting class, 2016
to be grossly inadequate in multiple
fronts; and is long overdue for a total
re-evaluation.
A modern education as we see it is
an activity evolved with a play of
multiple factors like – timely up-dated
teaching methods, teaching materials
and the curricula in par with any
modern art education elsewhere. The
other primary requisites of course,
remain the availability of minimum
physical facilities as needed in a
multifaceted art institute – that is
creation of a right ambience for
proper teaching and learning of Fine
Arts. Also, equally important is the
proper staffing - a pool of faculty
members manned based on merit
alone – not entered through back
doors as a perk; and is of proven track
record and ability to teach or impart
the assigned lessons with an honest
attitude.
Unfortunately for sure, if one is to
give a running look at the present
state our facilities, one would note in
all the counts stated above it’s not up
to the desired mark or level.
15t
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Attitude
Honestly speaking, always perceived
as a non-productive segment of
national economy, ‘Art education’
has never been a priority in the
state planning and this attitude has
obediently filtered or handed down
to university planners. A recent
government decision that students
with lowest grades are to be assigned
to the Studies of Fine Art has come
as a stark reminder of continued
antiquated attitude towards Art. No
need to add that here lays the basic
roots of all the woes which reflect
in every segment of running an Art
education in Nepal.
A psychological embodiment and the
dilapidated condition of the present
Fine Art Campus building – is the
visible reflection of state apathy;
and it speaks volumes about Art
education here. Historically too, from
the very beginning, art education
here remained too confined to a
narrow based single institution in
Kathmandu – thus making it a
least known institution for higher
15
education. The authorities and the
concerned professionals alike failed
to propagate the merits and values of
‘Art Education’ nationally. For a long
time, only a small segment of whole
population knew about the possibility
art education in Nepal. It meant we
failed miserably to popularize the Art
Education.
As a result, aspiring artists from the
nooks and corners of the country
were deprived of opportunities to
acquire art education. This is precisely
the reason while the higher education
in other social and technical fields like
Engineering and Medicine reached to
new levels with multiple educational
facilities, Art education confined and
languished in a single campus with
rudimentary physical infrastructures
and faculty with inadequate academic
credentials and needed experience
to deliver effective modern art
education.
Secondly, for a long time the
education planners and the
authorities alike remained unaware
of the needs to expand the scope of
Art Education. It remained myopic
in their views to remain stuck in long
held notion of art education. While
in neighboring countries, many new
facets of Art Education appeared and
prospered to international heights,
Nepal on the other hand, chose to
either ignore or failed to take note
of changing times. It never occurred
to them a need to introduce other
important facets of art in our art
education system. And it is only
recently that Studies on Applied
Art and Traditional Art have been
featured in curriculum.
16
Emergence of Sirjana College of Fine
Arts
However, it was in this not so happy
background and the setting, a group
of concerned artists and art- lovers
began to take note of it and began
mulling of an alternative institution of
learning Art. Today, it has remained a
matter of great pride and satisfaction
that at such a critical juncture and
setting, Sirjana College of Fine
Arts appeared in Nepal as a timely
alternative in 2001 AD. Undoubtedly,
history has proven it was a timely
initiative made at a very right
moment.
Initially, it was a modest beginning
in 2000 AD., as stated in lines above
a group of committed artists and
the art teachers’ collective idea to
create an alternative platform for
higher learning at the private level.
Sirjana College of Fine Arts thus
came into existence and was formally
established in 2001 AD beginning
with offering IFA initially then to
Bachelors Degree (BFA). It indeed has
proven and remained a pioneering
vision in the annals of art history in
Nepal. As is natural, since its very
inception the College sought to
remain a premium college of learning
and accordingly striven every effort to
achieve the stated lofty goals.
As time passed by, regardless of the
initial hardships the College faced
however, the hard work began to bear
fruits. The graduate students emerged
with flying colors and succeeded in
achieving highest score amongst the
entire Humanities and Social Science
category. The success story continued
to repeat year after years and
continues to do so till this date.

A BFA 3rd year student of Graphic Communications explaining about his class works to the jury
during the final display, 2015
Time for Self-Assessment
Sirjana College of Fine Arts did
remain proud of its achievement but
at the same time, also remained well
aware of that the success achieved
because many factors worked in our
favor during the period. The factors
include:
The Initial Advantages
- The College has had a privilege of
a pool of small but highly dedicated
faculty who were also the eminent
artists of the country then. Their
esteem and reputation also worked as
the motivating additional attraction of
the College then.
-The faculty and the staff then fully
understood the missionary zeal of the
founders. The teachers in particular,
have had a sound experience in
imparting the needed lessons in
15t
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Anniversary
consonance with the curriculum and
thus worked in full earnest.
-But the most important factor was
the limited small number of students
enrolled then for a long time – thus
making it easier to tutor individually
to each student and administer the
entire college management. And
it resulted in excelling the overall
results.
Changing Times and the Recent
Developments
Many factors including recent
political, social and economic changes
in the country led many drastic
changes in the existing education
sector at the national level – including
the phasing out of Intermediate
Studies within University curricula.
As is natural, it also affected the
regular academic programs of Sirjana
College as well. To meet the new
17
developments, some of the major -Visible lack of understanding of the
changes and additions the College core spirit of curriculum – resulting in
introduced are listed below: deviating from the texts as described
in the curricula or often going beyond
- Introduction of 11 and 12 classes
or totally out of the given guidelines.
in Fine arts which offer Painting,
Sculpture and Graphic - A constant need to remind the
faculty to strictly adhere and lay strict
- Introduction of Graphic
emphasis in the basic fundamentals
Communications (Applied Arts) as a
of every respective subject. This
specialized BFA program in addition
tendency is mostly found in the
to existing Painting Studies.
faculty more fascinated or exposed
Significant growth of number of to modern trends. They are found
students enrolled in the College as a to opt more on experimentations
result of additions stated above. e.g. courses on photography or
creative compositions. In short a
New Challenges
general tendency is to ignore the
fundamentals and has become a
- Need of additional faculty - with
common malaise.
needed academic qualifications and
teaching experiences in respective - Last but not the least, the present
specialized subjects. set of new students in general, is
found out to be less punctual, less
- Need to understand and update
disciplined and less interested serious
teaching methods so as to impart
manual exercise or practices. They
lessons more effectively as per the
are found more inclined to digital
newly introduced subjects and the
references and experimentations
curriculum.
Solution | Suggestion
Constraints
First and foremost, the College’s
The changed situation and the new
first need and prerequisite is its own
challenges have also prompted
spacious physical space. No need to
Sirjana College of Fines Arts to make
add that the envisioned space is a well
an immediate self – assessment of
equipped building with all the needed
its strength and weaknesses. And
amenities and the physical facilities as
while making a quick and a short
suitable to a modern space for higher
assessment, in a nutshell the College
learning in – Painting, Sculpture,
found the present constraints as
Graphic Communications (Applied
follows and are listed below:
Art) and Music & Dance. Only in
such an ambience where all the
- Absence of needed physical space
prescribed courses and classes could
so as to run /conduct all the classes
be conducted smoothly.
– including the newly introduced
academic programs.
- The code of conduct – with specific
- Non-availability of qualified and mention of discipline and decorum
experienced faculty. of the College should be formulated
- Lack of enthusiasm to make timely with a strict mandate to the
adjustments/improvements in the management to enforce it.
teaching methods in the part of
faculty.

18
 15t
h
Anniversary

-A special attention should be paid

to maintain a pool of faculty with
needed academic qualifications and
experiences.
- It must be ensured that the faculty
pays special emphasis on the
respective fundamentals of the subject
than what the teacher know or like it
most.
- While imparting the lessons, the
teachers should be made aware that
experimentations can wait till the
Master’s program.
- There is a constant need to allocate
a sizeable amount of budget to make
needed promotion and publicity of Madan Chitrakar
the College.
Madan Chitrakar is a senior
- As there is a visible absence of artist and an art writer based
updated teaching materials, the in Kathmandu. As a leading art
College makes timely initiatives to writer of the country, on many
create such. Or it may encourage occasions he has taken Nepali
the potential authors to develop art beyond the borders - through
the materials- remaining within the his writings in many prestigious
prescribed curriculum. publications abroad - notably
- The College must have an Japan, India and Bangladesh.
information outlet as a medium to
ventilate the timely news and views Two well acclaimed books "Tej
of the College. Bahadur Chitrakar - Icon of
Transition" 2004 and "Nepali
Conclusions Art - Issues Miscellany" 2012
remain to his credit.
In view with the present situation
and the present man power and the madanc@ntc.net.np
current financial health of the College,
it may not be possible to implement
all at a time or within a near
foreseeable future. Therefore as a long
term strategy, there should be a grand
master plan where all the tasks are
categorized as urgent or immediate,
tasks which can be done sometime in
near future and finally, a carried over
long term tasks like a building of its
own etc. Such a grand master plan
would serve as the guiding principle
so as to move to further success.

19
sf7df8f}F pkTosfsf] Ps dxTTjk"0f{ kf}ef M
dh'jh| / jh|wft]Zj/L
nf]s lrqsf/
g]kfnL df}lns snfsf k|d'v ljwfsf ¿kdf
/x]sf] kf}ef snfsf af/]df cr]n s]xL dfqfdf
eP klg rrf{ kl/rrf{ x'g yfn]sf] kfOG5 .
kf}efaf/] ?lr /fVg] :jb]zL Pjd\ ljb]zL
lh1f;'x¿sf] ;ª\Vof klg a9\b} uO/x]sf] 5 .
o;nfO{ ;'vb g} dfGg ;lsG5 . k/Gt' kf}ef /
o;sf snfsf/sf af/]df s'/f ubf{
ljifoaf/] kof{Kt cWoog ;fdu|L, k|df0fx¿
cflb ePgg\ eg] tL rrf{ / To; ljifosf
pkfb]otf bL3{sfn;Dd /xFb}g . ;xL
ljZn]if0fsf nflu klg ;To / tYok/s
cWoog ;fdu|Lx¿sf] cfjZostf k5{ . k|foM
snf n]vsx¿n] kf}efaf/] cWoog cg';Gwfg
ug{sf nflu kof{Kt ;fdu|L pknAw gePsf]
eGg] u'gf;f] u/]sf klg ;'lgG5 .
kf}efsf af/]df s'/f ubf{ cWoflTds b:tfj]h,
P]ltxfl;s k|df0f, k'/ftflTTjs cg';Gwfg,
ljifout tYox¿, k|fljlws ;fdu|L /
tt\;DaGwL hfgsf/LÙ cleJolStsf] If]q,
l;df / :jtGqtfÙ lzNk bIftfÙ af}b\w bz{g
cflbaf/] yf]/ax't hfgsf/L /fVg'kg]{ x'G5 .
lj8Dagf g} dfGgk5{, g]kfnL df}lns snfsf
af/]df hfgsf/L jf 1fg xfl;n ug{sf nflu
ljb]zL n]vsx¿åf/f lnlvt ;fdu|Lx¿ jf
ljb]zL k|sfzgx¿sf] ;xof]u lng'kg]{ cj:yf
ljb\odfg 5 .
kf}efsf k|s/0fdf ;jf{lws k|frLg kf}ef s'g
xf]nf, slxn] ;'? eof] xf]nf, s;n] ;'? u/]sf
20
lyP xf]nf, s;/L cufl8 a9\of] xf]nf cflb
k|Zgx¿ cb\ofjlw cg'Ttl/t g} 5g\ . ;lhn}
/ zL3| o;sf] pTt/ kfpg] ck]Iff ug{ ;lsg]
cj:yf klg 5}g . tyflk h] hlt hfgsf/L
pknAw 5g\, To;af/] sd;]sd yfxf kfpg kfP
klg x'GYof] . obfsbf ljb]zL ljåfg\x¿n]
n]v]sf k':ts jf ljb]zdf x'g] k|bz{gLx¿sf]
Sof6nudf k|sflzt ePkZrft\ xfd|f] g]kfnL
kf}ef snf kmnfgf Do'lhoddf /x]5, kmnfgfsf]
JolStut ;ª\u|xdf /x]5, pSt lrqsf]
;+/rgf o:tf] /x]sf] eGg] Go"gtd
hfgsf/L;Dd kfOG5 . o;} k|;ª\udf oxf“ s'g}
a]nf ljb]zL k|sfzgaf6 k|sflzt, ljb]zL
snfljb\åf/f lnlvt / ljb]zL ;ª\u|xstf{;“u
/x]sf] Pp6f dxTTjk"0f{ kf}efsf af/]df ;ª\If]kdf
rrf{ ug]{ hdsf]{ ul/Psf] 5 . kf}efdf lrlqt
s]Gb|Lo ljifo j:t'sf cfwf/df kf}efsf] zLif{s
‘d~h'jh| / jh|wft]Zj/L’ /x]sf] 5 .
o; kf}efsf] s]Gb|df d~h'jh| / pgsL k|1f
jh|wfTj]Zj/L /x]sf 5g\ . dWosfnLg g]kfnL
kf}ef z}nLdf k|foM ltg v08x¿ /x]sf
x'G5g\ . ;a}eGbf zLif{ v08df u'?, a'b\wx¿
cflbsf lrqx¿ x'G5g\ eg] ;a}eGbf d'lgsf]
v08df hhdfgsf] kl/jf/, k"hf jf g[To ub}{
u/]sf b[Zo cflb k|:t't ul/Psf] b]lvG5 .
lrqsf] s]Gb|Lo efu ;a}eGbf 7'nf] x'G5 / d'Vo
ljifo j:t' klg 7'n} cfsf/df lrq0f ul/Psf]
x'G5 . o; kf}efdf klg ;f]xL lgodnfO{ cg';/0f
ul/Psf] kfOG5 .
 15t
h
Anniversary

dgjh| / jh|wft]Zj/L . sl/a O= ;+= !$)( . &^ X ^@ ;]= ld= . ld;f O{= h's/sf] ;ª\u|x, nG8g .

21
o;sf] cfsf/ &^ X ^@ ;]ld /x]sf] 5 /
lrqsf snfsf/sf] gfpF / hhdfgsf] gfd klg
plNnlvt 5g\ . O:jL ;+jt\ !$)( -g]kfn
;+jt\ %@(_ df /rlot o; kf}efnfO{ snfsf/
sf] gfd pNn]v ul/Psf] xfn;Dd k|fKo
;jf{lws k'/fgf] kf}ef dfGg'kg]{ x'G5 . s]xL bzs
cufl8;Dd snfsf/sf] gfd pNn]v ePsf]
kf}efsf ¿kdf ‘lji0f' d08n’nfO{ dflgPsf]df
clxn] cfP/ s]xL jif{n] eP klg of] kf}ef
k'/fgf] b]lvPsf] 5 .
kf}efsf] s]Gb|df 5 cf]6f e'hf ;lxtsf
/St j0f{sf d~h'jh| /x]sf 5g\ .
;fdfGotof d~h'jh|nfO{ kx]Fnf] /ªdf lrq0f
ul/G5 t/ o;df /ftf] /ªsf] k|wfGo /x]sf] 5 .
of] lrq /rgf s'g} ljz]if k"hf jf pT;jsf]
k|of]hgsf nflu lrq0f ul/Psf] lyof] eGg]
cg'dfg ug{ ;lsG5 . d~h'jh| lqeª\u /
jh|f;gdf lj/fhdfg 5g\ . pgsf ltg cf]6f
d'xf/dWo] bfofF lgnj0f{ / afofF :j]t j0f{sf]
cg'xf/ /x]sf] 5 . 5 cf]6f xftdWo] k|d'v b'O{
xftn] j/bd'b|f -bfofF_ / afofF xft 5ftLdf
/fvL k':ts ;dfPsf] 5 . ;aeGbf dflysf]
b'O{ xftdWo] bfofF xftn] rGb|xf; v8\u / afofF
xftn] gLnf]Tkn ;dfPsf] 5 . b'O{ xftn] ;/wg'
cyf{t\ jf0f / wg'if ;dfPsf] 5 .
d~h'jh|sL k|1f jh|wft]Zj/LnfO{ Zj]t j0f{df
b]vfOPsf] 5 . pgL nlntf;gdf a;]sL l5g\ .
ceo j/;lxt b'j} xftdf lgnf]Tkn ;dfPsL
l5g\ . o;sf] /rgf z}nLnfO{ dWosfnLg g]jf/
k/Dk/fut lzNk ljwfsf] pRrtd z}nL
dfGg'k5{ . tf]/0fdf ds/ hf]8L -lx6Ld+u_ sf
a'6\6]bf/ k'R5/df gfusf] k'R5/ cª\sg ul/Psf]
5 . s]Gb|df /x]sf] u?8sf] v'6\6fn] Ps hf]8L
gfu / gfusGofnfO{ aGwgdf kf/]sf] efg
22
x'G5 . tf]/0fnfO{ k"0f{snz ;lxtsf] vDafn]
yfd]sf] 5 . jh|wfTj]Zj/L / d~h'jh| sdn
k'mnsf] snfTds l;+xf;gsf] cf;gdfly
lj/fhdfg 5g\ . l;+xf;gdf l;+xsf] cltl/St
Ps hf]8L xfTtL klg lrq0f ul/Psf] 5 .
o;} v08sf] ;aeGbf zLif{ efudf bfofF afofF
Ps Ps hgf wd{kfn b]jtfx¿ clUgsf]
k[i7e"ld;lxt /x]sf 5g\ . afofF s'gfdf /x]sf
rGb|dxf/f]if0fnfO{ eLif0f 8/nfUbf] k|tLssf
¿kdf k|:t't ul/Psf] 5 . logL crn jf
;ª\s6fsf gfpFaf6 klg k'lhG5 .
rGb|dxf/f]if0fsf] afofF v'6\6fsf] 3'F8fn]
df/nfO{ bdg u/]sf] 5 . bfofF xftdf rGb|xf;
v8\u / afofF xftn] 8f]/L ;dfPsf] 5 . bfofF
s'gfdf dxfsfnsf] cfs[lt plePsf] 5 . pgsf]
bfofF xftn] slt{s -s/f}FtL_ / skfn kfq
;dfPsf] 5 . lgnf] k[i7 e"lddf 3fFo a'6\6f
el/Psf] 5 / k'ik j[li6 eO/x]sf] k|tLt x'G5 .
;a}eGbf tNnf] v08df hhdfgsf kl/jf/,
k'hf/L / g[To d08nL b]lvG5g\ . ;Kt/TgnfO{
rqmjtL{gsf ¿kdf k|:t't ul/Psf] 5 . oLdWo]
xfTtL / 3f]8f dfq} :ki6 b]Vg ;lsG5 .
g]jf/ kf}ef lrqsf] ljz]iftf dflgg] /ªsf Go"g
k|sf/x¿, clt ;':ki6 / nok"0f{ /]vf, Go"g
5fofsf] k|of]u, a'6\6fsf] afx'No, clUg Hjfnf,
sdnsf] k'mn h:tf k|fs[lts ljifonfO{ dxTTj
cflb o; kf}efdf b[Zodfg x'G5g\ . d~h'jh|
/ jh|wfTj]Zj/Ln] wf/0f u/]sf cfe/0fx¿df
clt ;"Id sfd ul/Psf] b]lvG5 .
g]kfn ;+jt\ %@( -O= ;+= !$)(_, ;fpg
dlxgf, s[i0f kIf, qof]bzL, k|sfZo gIfq
jl/oz of]udf l;lh{t of] kf}ef s]z/fhf
lrqsf/n] /rgf u/]sf x'g\ . cfrfo{ s'neb|

k"hf/L x'g\ eg] xif{/fd lrqsf/ o; kf}ef /
wfld{s cg'i7fgsf hhdfg x'g\ .
l;b\w d~h'>L / s]zgL tf/f eg]/ clen]vdf
pNn]v ePtf klg d~h'jh| / jh|wfTj]Zj/L
egL gfds/0f ug'{df cfk;df d]n vfFb}g .
ctM k|frLg g]jf/ efiffsf 1ftf jf ljz]if1n]
o;df cª\lst clen]v k"0f{ kf7 ug'{kg]{
b]lvG5 . /ftf], ;]tf], sfnf] / lgnf] d'Vo /ªsf]
k|wfGo /x]sf] o; kf}efdf /ftf]sf nflu lx+u'n,
kx]Fnf]sf nflu xl/tfn, lgnf]sf nflu gL/,
sfnf]sf nflu WjfF;f] / ;]tf]sf nflu r"gsf]
k|of]u ePsf] b]lvG5 . uf9f / lkmsf xl/of] gL/
/ kx]Fnf]sf] ld>0f xf] eg] u'nfkmL ;]tf] /
/ftf]sf] ld>0f xf] . lrqdf k|o'St /ftf],
kx]Fnf] / ;]tf] vlgh /ª x'g\ eg] gL/ / sfnf]
jg:klthGo /ª x'g\ . o; lrq /rgfdf ;'gsf]
k|of]u ePsf] b]lvFb}g .
kf}ef snfsf af/]df vf]hL ug{ s]xL sl7g
xf]nf, lsGt' c;Dej eg] 5}g . h] hlt
e]6\6fOG5g\, tL ;a} lj:tf/} cWoog ub}{
hfg'kg]{ x'G5 . o;} d~h'jh|sf] kf}efdf
plNnlvt snfsf/ s]z/fhfsf af/]df k"0f{
¿kdf hfgsf/L pknAw gePtf klg pgnfO{
dWosfnLg kf}ef z}nLsf k|ltlglw snfsf/sf
¿kdf lrGg ;lsG5 . rfdn bfg ul//x]sf
xif{/fd lrqsf/n] ;DejtM k~rbfgsf]
cg'i7fg ubf{ of] kf}ef n]Vg nufPsf lyP .
P]lR5s k~rbfg ubf{ kf}ef n]vfP/ P]ltxfl;s
clen]v /fVg] rng 5 . cfrfo{ s'neb|
;DejtM jh|frfo{ x'g'k5{ . o; lrqdf
cª\lst hhdfgsf kl/jf/hsf lrqsf
dfWodåf/f tTsfnLg ;fdflhs kl/j]zaf/] klg
s]xL emns kfpg ;lsG5 .
15t
h
Anniversary
kGw|f}F ztfAbLdf g]kfnL lrqsnf slt pTsif{df
k'u]sf] lyof] eGg] a'‰gsf nflu of] d~h'jh|sf]
kf}efn] xfdLnfO{ ;3fPsf] 5 .
Work cited:
Kreijger, Hugo E. Kathmandu Valley
Painting. Serindia Publications, 1999.
nf]s lrqsf/
nf]s lrqsf/ ;dsfnLg kf}ef lrqsnfsf
If]qdf l;b\wx:t / cGt/f{li6«o Vofltk|fKt
;h{ssf ¿kdf ;'kl/lrt 5g\ . hfkfg,
lkmgNofG8, ;+o'St /fHo cd]l/sfsf
ljleGg lzIf0f ;+:yfx¿df cltly
k|fWofks /x]sf lrqsf/ sf7df8f}F
ljZjljb\ofn;Fu cfab\w 5g\ .
:jb]z tyf ljb]zsf ljleGg snf
;ª\u|xfno / JolStut ;ª\u|xdf pgsf
lrq /rgfx¿ /x]sf lrqsf/n]
xfn;fn} sf7df8f}Fdf cfof]lht
cGt/f{li6«o snf dxf]T;jdf a[xt\
cfsf/df lrq /rgf u/]sf 5g\ . /fli6«o
k|ltef k'/:sf/ -;g\ @)!#_ / kf6g
Do'lhod k'/:sf/ -;g\ @)!@_ h:tf
k|ltli7t k'/:sf/af6 ;Ddflgt eO;s]sf
lrqsf/ k/Dk/fut kf}ef snfsf] pTyfgsf
nflu :yfgLo Pjd\\ cGt/f{li6«o :t/df lgs}
;lj|mo /lxcfPsf 5g\ .
23
Twilight zones of
Nepali sculpture
Dr. Abhi Subedi
Preview
I wrote this essay as part of a review
of stone sculptures executed by artists
from Nepal and abroad as mentioned
below. As it remained unpublished
up until now, I at one point had felt
a desire to put these ideas in other
forms in Nepali because I wanted this
experience of reading, conversations
and observations about sculptural
works to be read widely. Before
writing this I observed the artists
working at Harnamadi amidst a
kind of celebration, as it were. After
that I kept thinking about the final
shape of these works until I got a
chance to visit the hill little over a
year later with English teachers, my
erstwhile students, of Makwanpur
college. I was very impressed to see
these works that were half-drowned
in spear grass. But now I guess it has
been restored to a good shape.
The other point that I see now is
a kind of historicity about stone
sculptures. Before writing this, I
had never realised that stone works
hold such a great place in Nepali
artistic imaginaire. Our artists in the
past millennia handled this form
with great confidence and sense of
communication with the world—the
universe that included the earth
and sky or the mundane and astral
planes. They created replica, icons to
represent these responses with the
human and ecological world. When
I met a young sculptor of young
generation Om Khatri and found out
24
about the current and past activities,
I felt that I have always been a lover
of stone sculptures, though as a
critic I had only been writing about
paintings. I remember the late Lain
Bangdel's observation in one of my
many meetings with him that the
subtlety of art that a painter feels in
the fluidity of paintings can be the
same for a stone sculptor who creates
fluidity on stone. The late Balakrishna
Sama told me a few times, how
difficult the work of a stone sculptor
would be inasmuch as a single flint if
it flies away while working requires
the artist to work all over again. He
was of course referring to the tools
that they used. Today's sculptors
who use easy sawing and smoothing
machines to create mouldings, and
even three-dimensional techniques
may not have to experience the
same problems. But what Sama and
Bangdel said, I realised later, spoke
volumes about this genre of art and
the sculptors' challenges.
Without much ado, I want to submit
this essay for publication here at
the advice of sculptor Om Khatri
as well as the painter Navindra
Rajbhandari, by putting one piece
of information which is, sections of
this essay are included in my article
‘speaking stones’ published in The
Kathmandu Post (June 1, 2014), which
was written as part of disseminating
the information. The following essay
is a modest attempt to introduce the
dynamics of this great genre of art. I
would also like to express my deep

The green hill at Harnamadi is now full of the stone sculptures.
seated interest to do more study and
write in this area.
Rolling question
A modern Nepali sculptor of the
young generation and an erstwhile
member of Nepal Academy of Fine
Arts, Om Khatri made me pensive
with this question—what differences
do I see between traditional and
modern Nepali sculptures? Though
the repertoire of my art reviews
is pretty big, I have written little
about Nepali sculptures despite my
great interest in this genre of art.
The meeting was in connection with
the review of sculptures executed
by Nepali and foreign sculptors; it
happened like this. I received an
invitation from two sculptors Om
Khatri and Laxman Bhujel, and one
academic and literary writer and my
erstwhile student Dr.Taralal Shrestha,
to attend an opening of a sculptural
workshop over a non-descript but
lovely inner hill of Makawanpur
called Harnamadi, on 25 November
15t
h
Anniversary
2012. I was struck by the sheer energy
that these people had gathered over
this hill. Laxman Bhujel had worked
most relentlessly for this activity. The
stone narrative was more exciting
than the project itself. Om Khatri
told me about their stone odyssey.
They had hunted quarries looking
for suitable stones for sculpture;
and stones, in return, had haunted
them, by the failures and frustrations
while locating and retrieving them.
Sculptors, some of whom are world-
renowned, had come to work on
these stones for weeks. Very eager
to see the finished works, I made
it to the hill about a year later and
found the greens full of these lovely
stone sculptures executed by both
the native and foreign sculptors. That
hill reminded me of Hakone park
in Japan, a hillside full of tangible
art works, where I was lost in the
sculptural jungle a number of times.
No comparison there, but it gave
me occasion to wish—if only Nepal
had turned one of these hills into
sculptural open museums, which is
25
not an impossible thing to do. But
state support is essential for that. As
long as those in power do not realise
stone sculptural forms can open up
international partnership and inspire
native sculptors, nothing can be
achieved.
Om Khatri who rolled the above
question towards me on the flat roof
of Sita Bhawan of the Academy,
gave me forthwith several brilliant
brochures of the workshops he
had organised with friends as an
apprentice in 2005, and several others
as an art academician for four years,
and a loosely written glossy book
written by others, full of names and
history.
Khatri’s own introductory notes in
the brochures chronicle the modern
time sculptural activities. Rich in
experience and global connectivity,
this young sculptor impressed me
one more time. Meeting him and
others convinces me, stones are
becoming eloquent; they are speaking
in modern idioms under the chisels
of these sculptors of the young
generation. But unlike several areas of
cultural studies, it is difficult to create
awareness about this genre of art on
a wider scale. Sculpture is the most
practised but least discussed visual
and tangible form of art. A brief
description of the character of this
genre’s history is in order.
Chiselled history of soul
Nepali sculpture can evoke the most
exciting discussions in the domain of
Nepali art of both the traditional and
modern orders. Eastern and Western
philosophers see the value of space
and sculpture by linking that to
human body. Body or the corporeality
in various stylistic manifestations has
26
always been the very motif of Nepali
sculpture. Equally powerful was the
Nepali sculptors’ perception and
creation of space in this genre of art
done in metal, stone, wood and clay
mediums for millennia. I have always
liked Nepali sculpture of the last two
millennia and have read whatever
struck me as important to understand
this genre of art. I see, in other words,
sculpture as the chiselled history
of Nepali soul; it captures spiritual
longings, erotic manifestations and
the most complex textures of our
emotions. It also captures the history
of power and projection of ego and
domination. Images showing unique
blend of power and Eros, religion
and egocentric statist projections,
lie scattered in the open, in temples,
courtyards, palatial buildings of
Nepali and occidental styles, private
worshipping places, reliquaries, lofts
and attics, roofs and struts, water
conduits, temples and monastic
precincts.
Stone sculpture strikes a chord
directly with the ecology, originary
and human sense of time and space.
The corporeality that dominates
the Western stone sculptures, as
discussed by writers and philosophers
in the West, Nepali stone sculptures
too do pose a challenge to onlookers,
believers and art lovers by their
sheer beauty and the finish, very
importantly, by the location where
they stand. Stone sculptures in Nepal
have been the meeting loci of history,
religion and arts. Some of these
forms also appear semi-abstract in
the artists’ bid to put these different
strands together.
Questions always come up in art
discussions whether the classical
forms do represent that combination
or not. But as in other forms of art

Now Harnamadi hill has turned into a favourite destinaton for visiters.
sculptural art too assumed abstract
form in the West. The sculptor’s
question resonates in my mind-
-where do we stand in modern
sculpture especially of stone? I
would only like to write about one
problematic--the identification of the
twilight zones of Nepali sculptures
in the context of the shift from the
traditional form to the modern one.
I would also like to indicate how
I see the value and significance of
the works of Nepali sculptors and
their international partnership. After
discussing this briefly, I will evaluate
the stone sculptures executed on
Harnamadi hill, which is indeed the
subject of this essay.
Nepali sculptures: fuzzy borders
Nepali sculpture, the term itself is
better known than Nepali paintings
or architecture even though the
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latter form has become a subject of
discussion especially after the 2003
UNESCO definition of intangible
and tangible cultural heritage.
Attention has shifted from sculpture
to the preservation and study
of architectural entities, namely
houses and temples, courtyards and
musical and performative traditions.
However, sculpture is the subject
of discussion. The most repeated
text about Nepali sculpture is about
their theft—their dislodgements
and disappearances. More is said
about the lost sculptural items than
about their preservations and their
features and power as art forms.
Very importantly, tributes are paid
by art scholars to these bereft works;
calls have been made by artists
and scholars for their retrieval.
Lain Singh Bangdel writes these
words in his very useful and well-
documented book, ‘We are more
27
concerned now about the safety of
the remaining images in Nepal, in
view of the increasing art theft of
stone sculptures’. This is the story
of stone sculptures, some of which
have returned to Nepal ever since,
but a large body of them remain
unaccounted for. Bangdel’s other
major work about the stone sculptures
of the Kathmandu valley makes a
historico-stylistic study of the stone
images of the valley. In this book
Bangdel traces the history of stone
sculpture from the sixth century
BC, beginning with the birth site of
Shakyamini Buddha at Lumbini.
Interested readers can find a detailed
and illustrated history of Nepali
stone sculptures in this book that
divides the style with the historical
times. Very importantly, he traces
the history of the connectivity of
Nepali sculpture with the Indic
sculptural traditions. The dynastic,
millennial signposts like the Kiranta,
Lichchhavis, Mallas, Shahs is a
heuristic device, if not anything
else. However, the dynastic periods
saw some modes of promotions and
occasions of neglect of the sculptural
art.
Bangdel’s third major book about the
traditional Nepali sculpture covers
a visual analytical history of early
sculptures beginning from the first
century AD up until the second half
of the fifth century. The book features
sculptural art executed from monastic
locations like vihara and stupa to
other human locations represented by
water-spouts, courtyards, and shrines
and roofs that are crumbling. We can
find similar treatment of the subject
in the study of Pratapaditya Pal.
Paying tribute to the sole power of the
Newar artists, as far as continuity is
concerned, Pal says,
28
Nevertheless, the Nepali sculptural
tradition has remained vital and creative
for more than a millennium, and even
though it began to decline by the Late
Malla period, talented artists continued
to produce beautiful bronzes. Certainly
the technical dexterity of the Newari
craftsman remained undiminished as
testified by the impressive bronzes… .
Briefly speaking, the major motifs
of the sculptural forms are divine
images like Yaksha, Laxmis,
power goddesses, naga or serpent
deities, mother images, Vaisnava
or Bishnu icons, Kubera and other
manifestations. But images carved
out on struts, attached stone and
metal imageries, as well as standing
ones, movable figurines filling the
antique shops, exquisite images of the
Buddhas and Avalokiteshwaras, and
other manifestations, waiting for the
metropolitan visitors in Kathmandu
valley towns, also form a major bulk
of Nepali sculptural figures.
Though a distinction made by the
noted Chinese sculptor and scholar
Wu Weisham may not be directly
applicable here, I have the temptation
to cite him here for one important
reason. He states, ‘Since ancient
China, Chinese sculpture has existed
in two most notable forms: indoor
Buddha sculptures, and outdoor
stone sculptures of human figures
and animals in front of mausoleum
paths. The former mostly conforms
to standards as it is strictly restricted
by methods of sculpting and religious
fervour, unlike the latter, which is
transcendent, bold and free spirited.
Perhaps, due to them being placed
outdoors, many ancient tomb
sculptures would lose the power of
competing with nature for space if
they were depicted too realistically.”

In Nepal conversely, most of the
shrines and sculptural images of
deities are stones. The theory of
leaving stone sculptural works to face
nature, and metal images as canonical
indoor forms, somehow does not
seem to have guided the makers
and worshippers of stone images in
Nepal. The inventory of Bangdel’s
stone sculptural images therefore
speaks volumes about the freehand
sculptural works of Nepali artists.
Therefore, when I was confronted
with the question of traditional and
modern sculptures of Nepal, I took
recourse to some scholarly analyses
and histories to find some answer. But
the answer did not come by so easily
to me.
Some of the outstanding discussions
about sculptural works open up a
few interesting debates. According
to Burnham, the base ‘the twilight
zone both physically and psychically’
that a sculptor creates is indeed a
“convention for rooting his art to
surrounding reality while permitting
it to stand apart.”
Western artists and critics see in the
decline of the base a phenomenon of
the placing of the sculptural figure.
The modern sculpture does see
the sculptural figure, image, as an
important entity that neither stands
apart nor mingles in the crowd; it
has become a plural theme. One
phenomenon of Nepali sculptures
of the classical or traditional order is
that they were created in the twilight
zones of faith and poetry, power and
submission and joy and pain. Another
factor about them is that the sculptors
used classical methods but judging
by the nuances, the free play of
imagination, the choice of the location
of the ground or base that were
created for the sculptural works, we
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find it difficult sometimes to draw a
line between old and new or classical
and modern forms of sculpture in
Nepal. That the Western modern
artists like Braque and Picasso turned
to the traditional African sculptural
images to develop modern perception
could be a good reminder here.
The one problematic I am introducing
here in connection with the modern
Nepali sculptor’s modus operandi
is that when we discuss about the
modern Nepali sculptures, we need
not entirely use the Western modern
mode of seeing the forms; we can
bring perceptions and techniques
from our own traditions as well.
But I want to quote Burnham here
especially in the context of the
unresolved questions about modern
sculptural art:
In trying to uncover the foundations of
modern sculptural form, several questions
have dominated my concerns, namely:
What are the intellectual and psychical
origins of modern abstraction? What
forces precipitate the rapid stylistic
changes of modern sculpture? Where
have these forces shifted and why? What
are the formal foundations of modern
sculpture? Does sculpture conform to a
pattern which can give us intimations
of its future? These questions, among
others, have become important in the
last few years as sculpture has risen in
prominence and painting continues to
show signs of failing vitality. Sculpture
is, however, far from being a monolithic
set of interests. Thus, much of the most
contemporary and provocative three-
dimensional art is only generically
related to the figurative sculpture of the
past. Recent modes, particularly Kinetic,
Luminous, and Environmental Art, are
all stuffed uneasily under the category
of sculpture, but as yet they are too
problematic to be classified.
29
A sculptor at work - "Stone Sculpture Symposium-2012"
Interestingly, Burnham sees the
continuity of the three-dimensional
art as the generic continuation of
the figurative sculpture of the past
order. Space does not permit me
to discuss the subject in detail. But
there are some other challenges in
modern sculptural art in the context
of almost everything passing for
modern sculpture, from ecologically
meaningful constellations to visual
and aural forms and geographical
and natural structures. But the main
stylistic features like proportion,
structure, texture, scale, contexts
and colours and shapes remain
valid. But one important feature
of modern Nepali sculpture is the
challenge to make the figures move,
to acknowledge the biological
configuration of sculptures. Bodily
contours, painful positions of
sculptures, the serene, suave moods,
make up the variety of this versatile
genre of art. Nepali sculptures stand
on base, rise from under the ground,
fly in air, latch on to human body and
30
phallic forms, and some appear in
somewhat vainglorious forms made
by western sculptors bestriding what
looks like a stallion, stretching bodies,
some can be seen half-broken in their
exquisite forms sitting in the corners
and reliquaries. But in our sculptures
the bodies are lost into some kind
of ecstatic, cosmogonic moods. That
is expressed by extreme ecstasy
of sexuality, divine awe, power
and theatricality. So if any modern
sculptors draw a line between the
abstract and the classical in absolute
terms in Nepal they may hazard the
risk of simplification. The question of
base and the location of the sculptural
bodies remains as a valid mode of
discussion in sculptural genre of art
today.
Modernist turn: brief story
Though the history of modern
sculpture in Nepal is short, some
limited sculptors have made
important innovations in this

regard. I want to discuss briefly the
history of this modern sculpture
before talking about the sculptural
works of Harnamadi. I would only
like to allude to the story of the
apprenticeship of the Nepali artists
in the modern school of sculpture.
Some names of modern pioneering
Indian gurus in modern sculpture
are mentioned by the Nepali modern
sculptors. Modern Nepali sculptors
use the name of Ram Kinkar Baji
most prominently. Baji visited Nepal
with his student Sankho Chaudharito
execute sculptural figures for Sainik
Manch in 1945. Sankho Chaudhari
also learnt the traditional method of
metal casting from Nepali sculptor
Jagman Shakya of Patan. A network
of apprenticeship is mentioned by
historians. Sankkho Chaudhari
taught Thakur Prasad Mainali who is
considered the first modern sculptor,
and another sculptor Pramila Giri was
taught by Baji at Shanti Niketan. Baji’s
students Balbir Sing Katt, Latika Katt
and Sankho Chaudhari taught other
sculptors of the first phase of modern
Nepali sculptural apprenticeship.
The modernsculptors of the young
generation appreciate Mainali for
boldly introducing modern sculptural
forms in Nepal. The repertoire of
names of the pioneering generation
of sculptors who received their
education from the above gurus is
small. But the great legacy of Nepali
sculptors in this land should be
viewed from dual perspectives of
continuity and change. They have
seen different periods of change in
their works. Like traditional Nepali
painters of the nineteenth and early
twentieth centuries who had to shift
their art from the traditional mode to
the mode of portrait making, Nepali
sculptors too,in later times, were
commissioned to create sculptural
figures of kings and important
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people in society. That certainly
did involve some tension caused by
the shift, and exposed sculptors to
new forms of dialogue between art
and power. I would call it another
twilight zone of Nepali sculpture. We
should not forget theses shifts, these
‘moulding’--if I may use the sculptors’
term--moments while discussing the
history of Nepali sculpture. Various
periods of shifts have occurred in
the millennial history of Nepali
sculpture. But the history of modern
Nepali sculpture, that works with
the distortion of figurality and the
dismantling of the solid base, is pretty
short. I want to end my discourse of
historicity here and write about the
Harnamadi experience mentioned
earlier.
Harnamadi experience
The sculptural works scattered over
the green cover a good range of
subjects. A constellation of works
executed by native and foreign
sculptors of various degrees of
experience, training and talent present
an interesting exhibition of sculptural
arts in this non-descript place. Some
traditional sculptors have gone to
sculpt modern figures on good stone
pieces. All Nepali sculptors, some
of whom have executed their first
abstract or modern works, appear
to have shown a good sense of
participation in this exhibition. Each
work cannot be called a consummate
piece of sculpture. Some are rough
and perfunctory. Participation of
Purnakaji Shakya, son of the great
sculptor of traditional and pre-
modern order Ratnakaji Shakya, for
example, is an interesting matter.
His figure with the back of a bird is
significant from the point of view
of an idea of shift if not anything
else. A similar form is sculpted by
31
Gangadhar Saru. This is a woman’s
visage with eyes closed, and twisted
head. It is an incomplete work,
but expressive. Chandra Shyam’s
sculpture is a fusion work with the
juxtaposition of concave and convex
forms. A protrusion of Ganesh
figure and the overall shyly executed
abstract form is a half-hearted attempt
towards the creation of modern
sculpture.
A seed image made by Nagendra
Rajbhandari, who teaches sculpture
in Baroda arts college, is a good
but incomplete piece of sculpture.
This organic seed, an abstract form,
with textured feature, is reminiscent
of the fertility of ecology that
surrounds the vicinity. Raju Pithakote
hassculptedsome fine contours on
a very fine piece of stone; it is an
unfinished endeavour, too. Narendra
Prasad Bhandari’s shape of a cauldron
with bubbles rising quite smoothly
is an interesting piece of sculpture.
Babulal Waiba’s figure wearing a
cloak is quite a good work. He has
given the semblance of a finished
piece of work by creating a dark
visage and the rest of the natural
surface functioning as cloak, which is
a clever device to escape detail work.
Similarly, Buddha Chaudhari has
created Buddh’s serene figurality at
one side of the stone leaving the rest
as the open space, a natural stony
expansion. Prakash Ratna Shakya has
created a chair with a hole for shoes.
It is a clever but unfinished work.
Laxman Bhujel’s stone, I guess with a
thinner surface, becomes a good piece
of sculpture with a hole in the middle,
which breaks a barrier of the solidity.
I found this sculpture like a theatre
where people participate by going
though the hole into the open sky. He
has devised a subtle way of merging
sky, nature, space and solidity in a
32
dramatic manner. Sudarshan Bikram
Rana has created a rhythmic texture
by playing with the natural surface.
Govinda Chaudhari’s basket figurality
and Baikunthaman Shrestha’s bull
are quite tangible figures. These two
works of sculptures could do with
more works. Bishnu Prasad Shrestha’s
piece shows minimum sculptural
work. The moulding path in the
middle of the mass is foregrounded as
pattern creating a smooth intervention
in the natural shape. Similarly, Om
Bhakta Bhandari’s piece of sculpture
is a simple experiment with tortoise
figurality. Textures are created to
represent scale. It is a basic attempt.
Sharadaman Shrestha’s stone is very
fine in which he has sculpted elephant
tusk and muzzle,showing buffalo
head in the middle. This piece is a
good attempt but an unfinished work.
On the whole, all the above sculptures
manifest certain degree of creative
experiments. They are half-hearted
efforts, except some. I guess they
constitute index of new sculptural
art and artists in Nepal. I would
not call them consummate piece of
works, but they manifest a great deal
of experimental thrust. I liked that
especially in the context of the works
that they had done in a limited time.
The spirit is important.
Om Khatri’s sculpture work is
excellent. His delineation of mass,
volume, texture, line and plain shows
consummation. A bull gives the
impression of solidity, and it is not
mounted on base. He has created the
semblance of the fortes and humped
summits of the Makawanpur valley
in the bull’s humps. The very smooth
and finished lines and surface, the
finely cut out surface reminiscent of
the valley, and the texture acquired
in the process of moulding make up
a very good combination of skills.

A sculptor at work - "Stone Sculpture Symposium-2012"
This is a very good piece of work.
Rajan Kafle’s sculptural work is
a quite fine piece of art. Layers of
rough mandalic circles and triangular
shapes contrast with the smooth
upper and bottom linear form. It
shows a certain biological mobility.
A tiny replica adds to its meaning.
Consummate are the other works of
foreign sculptors. The Korean artist’s
natural lines, smoothness, the sudden
breaks representing clouds and rivers
for a geo-space, draw the viewers.
The terraced back which comes from
the quarry adds to this geo-surface
formation. Bettino Francini, president
of the International Sculptors’
Organisation, has made an excellent
mother figure wearing a nose-ring.
He has created this with minimum
carving works. The stone shape
that dominates the view, brings the
mother image down to earth with all
its naturalness and expressionism.
The Japanese Sugimoto Juni-chiro
has created the pod of a bean, which
is consumed famously in Japan and
15t
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Anniversary
Nepal. The pod fat with the mature
beans inside comes out so brilliantly.
This is an excellent piece of sculpture.
Forms, line, rhythm are maintained
with the natural shape; and it is very
well balanced structure. Chinese
sculptor Liu Yang has created a veiled
woman. I like the stony transparency
of the cloak. The effect is subtle; the
frontality is foregrounded in this
work. The French sculptor Laeititia de
Bazelaire has created a human figure
sleeping with year glued to mother
earth to hear her sound. She has
left the texture of the moulding and
has retained what she thinks as the
naturalness of the field of action. This
is a very moving and lyrical piece of
sculptural work.
Conclusion
I have focussed on each work as
far as possible. The final word that
I want to say about this exhibition
and this write up is that, I have used
the occasion not only to review
33
A sculptor at work - "Stone Sculpture Symposium-2012"
the works on Harnamadi greens,
but also to review the features of
Nepali sculpture. Quite a number
of these sculptural pieces have
addressed the question raised in
modern sculptural art, which is
the biophysical phenomenon, the
dynamics, and the propensity for
movement in sculpture. This new
thrust has created some installation
works with overt aims, in the world
today. But good sculptors put that
biophysical dynamism with great
subtlety in their works. We see that
in the Harmanri sculptural works not
only of the foreign artists but alsoof
some native sculptors. The biological
34
awareness of sculptures’ mobility is
represented in works that vary in the
degree of standard. And the main
section of this review is an attempt to
answer the question—how do I see
the differences between the traditional
and modern Nepali sculptures. I have
made some attempts towards that.
I believe, we can create new energy
in artistic creation by promoting this
genre of art—the modern sculpture
without losing sight of the great
tradition and heritage of that in
this land, and of the twilight zones
of Nepali sculptural art as seen in
various modes of transitions.

End notes:
Mukesh Malla and Saroj Bajracharya,
A Concise Introduction to Nepali Modern
Sculpture (Kathmandu: Nepal Academy of
Fine Arts, 2014).
Lain S. Bangdel, Stolen Images of Nepal
(Kathmandu: Royal Nepal Academy,
1989) p 14.
Lain S. Bangdel, Inventory of Stone
Sculptures of the Kathmandu Valley
(Kathmandu: Royal Nepal Academy,
1995). This book with an introduction
written by Dina Bangdel, the writer’s
daughter, now a famous art professor in
the US, presents a very useful inventory of
stone sculptures.
Lain S. Bangdel, The Early Sculptures of
Nepal (Delhi: Vikas Publishing House Pvt.
Ltd., 1982).
Pratapaditya Pal, The Art of Nepal (Berkley,
London: Los Angeles County Museum
of Art in association with University of
California Press, 1985) p 87.
Wu Weishan, The poetry of sculpture
(London: World Scientific Publishing Co.
Pte. Ltd., 2008). p 225.
Jack Burnham, Beyond Modern Sculpture
(New York: George Braziller, Inc., 1968,
fourth printing 1975) p 19.
Burnham, ibid, p 2.
Malla and Bajracharya, ibid p 38.
15t
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Anniversary
Born in Terathum of eastern Nepal,
Dr. Abhi Subedi received his higher
education in Nepal and Britain.
He is an essayist, critic, linguist,
playwright and poet. He has over
two-dozen books on different
subjects to his credit. Among his
over 10 plays, strong theatre groups
in Nepal and abroad have performed
several of them. Professor Subedi
has taught 43 years at the Central
Department of English. He is the
founding former President of the
International Theatre Institute (ITI)
UNESCO from
2000—2008 and member of
International Playwright’s Forum
from 2000-2011. Subedi became
President (1990-1992) and two
times General Secretary of the
Linguistic Society of Nepal.
He was also President of the
Literary Association of Nepal.
He is vice-President of the Nepal
Folklore Society, and member
of International Association of
Theatre Critics. He has written
extensively about Nepali arts and
artists. He is involved in a number
of interdisciplinary study groups
and a prolific writer on issues of
freedom, culture, literature, arts and
social transformations. His essays
and seminar papers are published in
Nepal and outside.
35
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15t
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Anniversary
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ePcg';f/ g]kfnLsf] sfFrf] efiffsf] ;|f]t eg]
cflbToj+zL /fhf 8d'kfnåf/f lj= ;+= !)#*
df ;'? ePsf] dflgG5 . csf]{ ;|f]tcg';f/
g]kfnL efiff / b]jgfu/L lnlksf] cfudg
;'?df uf]/vf / u8jfndf ePsf] dflgG5 . pSt
b]jgfu/L lnlksf] g]kfnL efiff g} k[YjLgf/fo0f
zfxsf k'vf{n] g]kfndf ;qf}F ztfAbLlt/
NofPsf x'g\ . kl5 pSt efiffnfO{ kl/dfh{g u/L
uf]vf{nL cyjf v; efiffsf] gfddf k|rngdf
NofO{ k|of]u ug]{ k[YjLgf/fo0f zfx x'g\ . k|foM
g]kfnsf] kxf8lt/ af]lng] efiff ePsf] x'Fbf o;
efiffnfO{ kj{tLo efiff klg elgGYof] . kl5
g]kfn 7'nf] /fHosf] ¿kdf Plss[t x'g] j|mddf
km]l/ pgLåf/f g} uf]/vfnL cyjf v; efiffnfO{
g]kfnL efiff eg]/ gfds/0f ul/of] .
Oltxf;df pNn]v ePcg';f/ g]kfnL efiffdf
;a}eGbf k'/fgf] x:tlnlvt lnlksf] s[lt
‘czf]s lrNn’ xf] . o;sf] cIf/ lj= ;+=
!#@! df tfdfsf] kftfdf s'FlbPsf] 5 . g]kfnL
b]jgfu/L lnlksf] ;a}eGbf k'/fgf] / klxnf]
x:tlnlvt k':ts ‘v08 vfB’ xf] . of]
37
lj= ;+= !^$@ df n]lvPsf] xf] . t/ n]vssf]
gfd pNn]v u/L k|sflzt ul/Psf] ;a}eGbf
k'/fgf] g]kfnL b]jgfu/Lsf] x:tlnlvt lnlksf]
k':tsrflxF ‘Hjf/k klt lrlsT;f’ xf] . of]
lj= ;+= !&&# df ;+:s[t efiffaf6 cg'jfb
ul/Psf] lyof] . g]kfnsf] klxnf] g]kfnL
b]jgfu/L lnlkåf/f x:tlnlvt u|Gy
efg'eStsf] /fdfo0f dxfsfJo xf] /
efg'eStåf/f lgufnf]n] b]jgfu/L lnlkaf6
sljtf n]Vg] yfngL lj= ;+= !*@) lt/ u/]sf
lyP .

g]kfndf ljleGg hfltsf ljleGg efiff eP klg

ltgLx¿sf] n]lvg] d"n lnlksf] ;|f]t klg
a|fx\dL lnlk g} xf] . pSt lnlkaf6 g} kl/dflh{t
eO{ ;a} efiffsf lnlkx¿ cfkm\g} df}lns ¿kdf
ljsf; ePsf x'g\ . t/ g]kfnsf] Oltxf;df
g]kfnL efiffsf] cltl/St g]kfn efiffsf] gfddf
g]jf/L efiffsf] lnlksf] ljsf; klg emG8}
b;f}F ztfAbLb]lv g} ePsf] a'lemG5 . g]jf/
efiffnfO{ g]kfn efiff elgPsf] d"n sf/0f
klxnf ltg cf]6f g]jf/ /fHo /x]sf] sf7df8f}F
pkTosfnfO{ g]kfn elgGYof] / oxfFsf
afl;Gbfn] af]lng] efiff g]jf/ ePsf] sf/0f
pSt efiffnfO{ g]kfn efiff /flvPsf] xf] .
g]kfndf k|rlnt lnlk b]jgfu/L xf] / g]kfnsf
cGo efiffsf lnlkx¿sf] 9fFrf / z}nL
b]jgfu/L;Fu ldNbfh'Nbf 5g\ . t/ g]kfn
efiffsf] lnlk tyf cIf/ 9fFrf c¿eGbf k[ys
5g\ . g]kfn efiffsf] lnlk klg d"n ltg
y/Lsf 5g\ — k|rlnt g]kfn lnlk, /~hgf
lnlk / e'lhdf]n lnlk . g]kfnsf] k|frLg
u|Gyx¿df jf lznfkqx¿df k|foM k|rlnt
g]kfn lnlk k|of]u u/]sf] kfOG5 . t/ g]kfnsf]
cfkm\g} df}lns tyf snfTds 9fFrfaf6
38
l;h{gf ul/Psf] lnlk eg] /~hgf lnlk xf] .
o;sf] cfsf/ k|sf/ cyjf 9fFrfsf
lx;fan] of] g]kfnsf] ;j{yf df}lns lnlk xf] .
of] lnlk P3f/f}F ztfAbLb]lv c7f/f}F
ztfAbL;Dd Jofks¿kdf k|rlnt ePsf]
lnlk dflgG5 . cGt/f{li6«o If]qdf g]kfnsf] df}
lns lnlksf ¿kdf klxrfg u/fpg] lnlk oxL
/~hgf xf] .
lnlksf] cfw'lgsLs/0fsf] ljsf;df
b]jgfu/L lnlk la;f}F ztfAbLdf cfP/ gofF
gofF ljleGg cIf/sf] cfsf/ k|sf/ jf 9fFrfdf
ljsf; ePsf] b]lvG5 . n]6/ k|];åf/f 5kfO
ul/g] k|fljlws ljsf; ePkl5 cª\u|]hL
cIf/sf] gofF gofF 6fOkkmG6sf] 9fFrfdf
ef/taf6 b]jgfu/L lnlkdf 6fOk lgdf{0f x'g
yfNof] . pSt ljleGg :6fOnsf 6fOkx¿
ef/tsf 6fOk kmfpG8«Lx¿af6 g]kfndf lelqg
yfn] .
 15t
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Anniversary

g]kfnsf] Oltxf;df emG8} lj= ;+= @)#^

;fn;Dd klg b]jgfu/Lsf d"n lnlkafx]s
cfw'lgs 9fFrfdf lnlk agfpg] ljsf; ePsf]
b]lvPg . lj= ;+= @)$@ ;fnlt/ ckm;]6
k|ljlwsf] k|rng;Fu} kqklqsfdf gofF gofF
:6fOnsf cIf/ k|of]u ug{ yflnP . sDKo'6/
k|ljlwsf] ;'ljwf gcfO;s]sf] cj:yfdf emG8}}
lj= ;+= @)%@ ;fn;Dd k|foM xftn] cIf/
n]v]/ k|of]u ug]{ k|rngdf ;Lldt /lx/x\of] .
g]kfndf sDKo'6/ lelqPkl5 sDKo'6/åf/f
k|of]u ug{ ;lsg] gofF gofF cfw'lgs kmG6x¿sf]
;km\6j]o/ ef/taf6 lelqof] . g]kfndf
kqklqsfdf l8hfOgsf] dxTTj / o;sf]
ljsf;sf] la:tf/ klg ;'? x'g yfn]sf]
cj:yfdf Tolt pko'St cfw'lgs cIf/sf] 5g\ . ;~rf/sf ljleGg dfWoddf gofF gofF
cefj lgs} v8\ls/x]sf] lyof] . cfw'lgs kmG6x¿ k|of]u ePsf] b]Vg kfO/fv]sf
5f}F . kqklqsfsf If]qdf / ;~rf/sf cGo
o;} cefjnfO{ dgg u/L lj= ;+= @)%$ If]qdf ;d]t cIf/sf dfWodaf6 ljljwtf,
;fndf sfdgf k|sfzg ;+:yfdf /xFbf /f]rstf, gjLgtf tyf cfsif{0f k|:t't x'g]
…sfdgf’ gfdsf] gofF g]kfnL kmG6 lgdf{0f u/]sf] 5 . l8hfOlgª If]qsf nflu of] uj{sf]
ul/of] . To;sf] nuTt} lj= ;+= @)%^ ;fndf s'/f ePsf] 5 . gofF k|ltefd'vL
km]l/ csf]{ 5 cf]6f gofF cIf/x¿ lgdf{0f l8hfOg/ tyf snfsf/x¿sf nflu xf};nf
ul/of] . ljleGg 9fFrfdf tof/ kf/L k|sflzt Pjd\ k|]/0ffsf ;|f]t aGg k'u]sf] 5 .
ul/Psf pSt kmG6x¿ ;DejtM g]kfnsf]
Oltxf;df klxnf] k|ltlnlk clwsf/ k|fKt
-slk/fO6_ btf{ ul/Psf kmG6x¿ x'g \. tL x'g\
— sfdgf, ;fwgf, cfs[lt, dxfgu/, g"l/zf a|;
:s[K6, s'~hg cf6{8]sf] / /jLg . c7f/ jif{
cufl8 /rgf ul/Psf pSt cIf/x¿sf] u'?skL
/ btf{sf] k|df0fkq xfn;Dd o;
kª\ltsf/ tyf lnlksf/;Fu ;'/lIft 5 .

xfn cfP/ ;~rf/sf] xf]8afhLdf

b]jgfu/L lnlksf ljleGg cTofw'lgs
9fFrfx¿df cIf/x¿ tof/ kfg]{ l;h{gfTds
sfddf w]/} l8hfOg/x¿ nfluk/]sf
39
40
 15t
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Anniversary

41
 czf]sdfg l;+

la= ;+= @)!@ df kfNkf tfg;]gdf hGd]sf

czf]sdfg l;+ snf Ifqdf rf/ bzs
kf/ ul/;s]sf 5g \. tLg bzs cufl8b]lv
kmf]6f]u|fkmL, u|flkms l8hfOg, On:6«];g, d'b|0f
tyf pTkfbg Pjd\ k|sfzg If]qdf sfo{/t
/xFb} cfPsf pgL lrqsnf If]qdf rf/ bzs
b]lv g} ;+nUg /xFb} cfPsf 5g\ . snf If]qsf
cltl/St pgL ;flxTo ljwfdf klg snd
rnfpF5g \. pgsf ‘/ªÚ zLif{ssf] cToGt
pkof]uL k':tssf cltl/St pkGof; Pjd\
afn syfx¿ k|sflzt 5g\ . g]kfn
;/sf/af6 k|bfg ul/g] If]qLo /fli6«o
k'/:sf/ / g]kfn nlnt snf k|1f
k'/:sf/af6 ;d]t ;Ddflgt l;+n] cGo ljleGg
k'/:sf/ k|fKt ul/;s]sf 5g\ . xfn pgL ;]G6/
km/ cf6{ PG8 l8hfOg, sf7df8f}F o'lgel;{6L /
l;h{gf sn]h ckm kmfOg cf6{;\df
cWofkg/t 5g\ .

42

Mystical world of caryāgīti
and caryānŗtya
arun shrestha
It all began with the relevant
documents on caryāgīti indentified
by Hara Prasad Shastri in possession
of Darbar Library of Kathmandu in
1907 A.D. Just after that, a modern
academic study of caryāgīti started
taking its shape with the publication
of the document in Calcutta in 1916,
exactly hundred years back from
today. Subsequent editions followed
in 1951 and 1959. The book was
written in Bengali and was titled
in Bengali which meant ‘Hundred
years old Bauddha Gāna O Dohā
written in Bengali’ though it became
popular as ‘Bauddha Gāna O Dohā’. It
had four parts: First part was titled
‘caryācaryaviniścaya’, the second was
‘Dohākoşa’ of Saraha or Saroruhavajra,
the third was ‘Dohākoşa’ of Kaņhā or
Kŗşņacaryapada and the fourth was
Đārkarņavā Tantra.
First three parts were accompanied
by interpretation in saňskŗta by
Munidatta though it does not
mention his name. The conclusion
was derived from other sources.
Out of the total of 50 caryāgīti in
original ‘caryācaryaviniścaya’, the book
contained 46 complete caryāgīti and 1
incomplete caryāgīti. 3 caryāgīti were
missing. The original manuscript
had total of 69 pages, out of which 5
pages were missing. These missing
pages were numbered 35, 36, 37,
38 and 66 which contained last 4
lines of caryāgīti 23 and complete
caryāgīti numbered 24, 25 and 48.
The manuscript regained its original
structure by looking into other
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Tibetan sources. Presently the original
manuscript has been lost but a copy is
preserved in Bengal Library.
Based on the works published by
Hara Prasad Shastri, Professor
Mohammad Shahidullah translated
and interpreted the Dohākoşa part of
the book in French and published
in Paris in the year in 1928 with
subsequent editions in 1940 and
1966. The book was titled ‘Les Chants
mystiques de Kanha et de Sarah’. The
later editions were titled as ‘Buddhist
Mystic Songs’ and were published
from Dhaka.
Within first 50 years of publication
of caryāgīti, many scholars and
intellectuals tried to study and
translate the manuscript among
which Rahul Sannkrityayan, Prabodh
Chandra Bagchi, Shashi Bhushan
Das Gupta, Sukumar Sen, Dharmavir
Bharati and Nil Ratan Sen were
prominent.
In 1977, an important work on
caryāgīti took its form in the
publication of the book titled ‘An
Anthology of Buddhist Tantric
Songs: A Study of the Caryāgīti’ from
Oslo-Bergen-Tromso written by Per
Kvaerne. His book included regained
50 caryāgīti and interpretations of
Munidatta’s saňskŗta interpretation
& Tibetan caryāgīti translations.
He opined and put up his critical
study of the previous works on
caryāgīti. He was in agreement with
David Snellgrove on the period of
43
 Tara Manandhar, Faculty
Member of the
Department of Dance,
Sirjana College of
Fine Arts performing
caryānŗtya during the
14th Anniversary of the
college, 2015

44

caryāgīti creation as 11th century or
some of it in the previous century.
He has attempted to explain and
clarify the ‘symbolic language’
used in caryāgīti. He opined that
the ‘symbolic language’ or so called
‘sandhyā bhāşā’ was rendered as
twilight speech, intentional speech,
enigmatic speech and secret speech in
English which may lead to different
meaning. According to him, these
‘symbolic language’ had religious
and philosophical intents. To him, the
contradictory words had more force
in explanation of the deep intended
expressions. His thought on sahaja
and caryāgīti is very impressive and
pragmatic. He says: ‘Sahaja can be
experienced by those who have been
initiated. Caryāgīti turns into initiation
once the meaning and intent of the
words of caryāgīti is realized in full.
The moment words of caryāgīti see
the light of wisdom, the symbolic
language is exposed to reality and
ultimate truth.
To my mind, this exposure of caryāgīti
reflects on caryānŗtya and one goes
through the experience of sahaja in the
act of dance divine.
Now to our front, pioneering work
of Ācārya Ratna Kaji Vajracarya
Gurujyu in the form of two volumes
of Cacā Munā published in 1999
is the first and last of its kind. It
contains possibly all the important
caryāgīti prevalent in the valley.
This compilation of caryāgīti with
sufficiently long introduction paves
the way for further study but to our
loss no attempt was made to study,
analyse and interpret the document
so vigorously worked on for the
posterity. Being his self proclaimed
disciple, I have dared to analyse
and interpret caryāgīti contained in
ahorātrapadasādhanavidhi, a systematic
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document of vajrayāna ritual practice
or caryā.
It has to be noted that only
‘trihaņđā’, included in 50 caryāgīti of
‘caryācaryaviniścaya’, forms a part
of our ritual practice of caryāgīti
rendering. None of the other caryāgīti
of ‘caryācaryaviniścaya’forms a part of
our ritual practice. Caryāgīti kolāire of
Hevajratantra is the other one which is
included in our ritual practice but it is
not included in ‘caryācaryaviniścaya’.
The language of ‘caryācaryaviniścaya’
is claimed to be prominently Bengali
with other vernacular Indian
languages but the caryāgīti in practice
among vajrācārya is prominently
saňskŗta with so called vernacular
language and sandhyābhāşā.
Expressions contained in caryāgīti
practiced by vajrācārya also differ
though doctrinal concepts remains the
same, as the source is the same.
Ahorātrapadasādhanavidhi begins
with hāđābharaņaśūnye and ends
with cakrikuņđala caryāgīti. There
are host of caryāgīti, only sung and
sung & danced to, in between.
Hāđābharaņaśūnye is the one which is
only sung but cakrikuņđala is the one
sung and danced to.
I am attempting to present
transliteration and analysed
interpretation of caryāgīti
hāđābharaņaśūnye:
Hāđābharaņa : Original song
hādābharaņa kriyāyire, sambara
dharayikam vāchhalireveśā 2
tumha vorante, maņdiyā muśāne, mūkūta
keśe digambarā ll 1 ll
re re morusambararāyā,
samarasūndarī, morukorā 2
45
hama virāhini, vajravārāhi, phedamahi
moruśārā ll 2 ll
śārim bhoyane, balam śuhamayane,
karpūra bhava itamvorā 2
gagananīlāvarņa, maņdile jvadā,
merumaņdala bhavarīņā ll 3 ll
dīyamdhauşatahu, chhādigera, sambara,
payisayi sūnyabhattārā 2
hama virāhinī, vajravārāhī tumha vinu
deşami andhārā ll 4 ll
gāvanti līlāvajra jvaliyāure,
sadgurucaraņaārādhe 2
samayānande phalingela maņdala
sambara vajravārāhī ll 5 ll
Hāđābharaŋa : transliteration of the
song
Wearing bone ornament, sambara
holds vācchali or vajravārāhi in her
dwelling. You, ( vorante ), adorning
muśāna and crown on hair , Oh
digambara.
O listen, my sambara brings a beautiful
woman of the battle in my hermitage.
I, vajravārāhi, am a separated lover;
the earth is my abode.
Possessing wind or air, semen virile
is made of happiness, camphor is the
world. (itambolā). The sky is of blue
color. (maņđile jwađā).The world
flowed in merumaņđala.
dīyamdhauşatahu, chhādigera,
sambara. Revered void is a lake. I,
vajravārāhī, am a separated lover. The
world is all darkness without you.
The composer Lilāvajra sings,
46
(jwaliyāure) worshiping the feet of
the respected teacher. Sambara and
vajravārāhi have entered maņđala in the
state of samayānanda.
Analysis and interpretation of words
of caryāgīti hāđābharaņaśūnye:
hāđābharaņa: bone ornament
Sambara and vajravārāhi both are
decorated with ornaments of bone.
Bone signifying the death of the
senses is very meaningful symbolic
presentation of the wisdom of the
concept inherent in the vajrayāna
doctrine. Control and ultimate
destruction of the human senses on
a path leading to salvation is a key
to yoga process adhered to in the
practice or caryā brought forth by the
originators of the vajrayāna religious
philosophy. Ample examples of use
of the word hāđābharaņa can be found
in caryāgīti but what is expressed in
caryāgīti hāđābharaņa with ‘hāđābharaņa
kriyāire’ gives it a new dimension
of expression in explanation of
the vajrayāna doctrine. Most of the
caryāgīti depict ornamentation worn
made of bone with the expression
hāđābharaņa suśobhitā, hāđābharaņa
vibhusitā or hāđābharaņa śobhā’.
kriyāyire: wearing or making use of
Similar use of the word is found
in another caryāgīti named
trāyatriňśanātha:
trāyatriňśanātha kriyāire sacipati 2
gacchatu bhuvane, iha nahi tişţha ll 1ll
sambara: male divinity
Sambara is also spelled as samvara.
Synonym of this manifestation is
 15t
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heruka, again spelled as heruva, and

hevajra. His female counterpart is
vajravārāhī who is also named as
vācchali. Sambara and vajravārāhī
are always depicted as in embrace
(āliňgana) symbolizing the non-
dual (advaya) nature of phenomenal
existence. He is the embodiment
of compassion (karuņāmaya).
Union of the two outpours in the
dance performed with great bliss
(mahāsukha). Together they are in the
state of innate happiness (sahajānande).

vācchali: vajravārāhī, a female divinity

Vācchali is also associated with the

concept of ‘māyā’ in gajajina. Vācchali
being the other name for vajravārāhī,
she is also called guhyeśvarī in namāmi
2 śrī vajrayoginī and ānandādi devī,
one in the state of happiness, in
nijabhuva. As depicted in namāmī 2
śrī vajrayoginī, she is a dharmodaya
picturised or to be visualized in the
posture of tāņđava – a dance posture
basically symbolizing the destruction
of evil. She is also a samarasundarī:
a beautiful woman of the battle, a
battle for the destruction of the evil,
as depicted in hāđābharaņa. She is
visualized dancing in many a posture
with sambara in cakrikuņđala. She is
evoked and worshiped as jaya vācchali,
vācchali the victorious one.
vorante :
Vorante does allude interpretation.
Hāđābharaņa refers to ‘tumhavorante’
whereas triņilocana refers to
‘karnavorante’.
muśāne: cemetery
Muśāna or śmasāna are the synonym
for cemetery. In a ritual, cemeteries
are the place of secret rites.
Cemeteries are being specified as
candroga, gavhara, ghora or aşţa śmasāna
Prof. Honey Shrestha, veteran classical dance
artist and Faculty Member of Sirjana College of
Fine Arts presenting Gyān Mudrā.
in candrogramusāna, where divinely
personified manifestations remain in
innate happiness expressed through
eternal dance. Both sambara and
vajravārāhī preside over a ceremony
performed in the cemeteries or musāna
as narrated in hāđābharaņa.
mukuţa: crown
Mukuţa or crown is an essential
headgear of a divinity depicted in
texts and images created in bronze
or painted scrolls. ‘Mukuţakeśe’ is a
frequent expression referred to in
caryāgīti, and sometimes it becomes
jatāmukuţa or ratnamukuţa. A picture
of one of the paňca Buddha to whom
the divinity belongs is carried on the
crown.
digambarā: epithet
Digambara is indicative of one of the

47
families of paňca Buddha from whom
other manifestations emanate. It is an
epithet bestowed on paňca Buddha. In
the explanatory thought process of
vajrayāna doctrine, visual projection of
the manifestation is shown carrying
an image of one of the paňca Buddha
on the crown on the head to which
it belongs. In the present case it
is akşobhya. Caryāgītis invariably
mentions it as ‘mukuţa keśe digambarā’.
References in other caryāgīti like
vārāhī vyaşţhita, dvibhuja ekamukha and
raktavarņa verifies the assumption.
moru: my
In Indian vernacular language it
means ‘my’. Besides hāđābharaņa and
cakrikuņđala, referred to in the present
work, urdhvarakta also uses this word
along with ‘kolā’ or ‘korā’, ‘ra’ and
‘la’ being interchangeable, i.e. moru
kolā. Other uses of this word includes
‘moru śālā’ in hāđābharaņa and ‘moru
ativa bhāve’ in anila, again referred to
in the present work, besides ‘moru
saraņa’ in raktavarņa.
samara: the battle
This word may mean the battle or
to fight. The word samara is variably
used in caryā songs. In hāđābharaņa
it is used with ‘sundarī’ and in
dharadhara, elsewhere in the present
work it reoccurs as ‘dŗđhamaya samara’
meaning determined to fight. In other
caryā songs it is used thus:
sayala samara bhayabandhana mocayi
& trimukha trilocana samarasuhave
in nirmala gagane, şođaśa yoginī
samarasambhāve in vajrighorī, samara
surāsura jagad uddhārī in jaya vācchali
and samara riddhi siddhi dāyanī in aşţa
catvārinśat.
sundarī: the woman
48
Female counterparts have been
described as sahaja sundarī in
dvambinī, triņilocanasundarī in
raktavarņa, khaņđorohādevī and namāmi
śrī yogāmbara and lhādasūndarī in
rāgamālā, beside samara sundarī in
hāđābharaņa. She has been described
as the one who fights the battle and
the woman of innate nature (sahaja)
who rejoices (lhāda) with divine eyes
(trinilocanī). In hāratī, she is presented
as ‘surasundarī’ meaning a woman of
spirituous liquor.
vajravārāhī: the female deity
Vajravārāhī in embrace of sambara
is non-duality (advaya) personified.
Enjoined with her male counterpart
she dances in ecstasy symbolizing
void (śūnyatā) and compassion
(karuņā). The sky (gagana) is where
she resides. She is the embodiment of
wisdom (pragyā).
śuha or sukha: happiness
Happiness (sukha) as a divine
experience in the process of yoga
practices or caryā adhered to; it
relates itself with balama (semen virile),
karpura, tāmbula (or itamborā?) and
kastūrī (or kacchūrī) i.e. kastūrī karpura
tāmbula sukhalāyā in jaya vācchali.
These are the words, which have
been identified as so called sandhyā
bhāşā or twilight language. In other
uses the word sukha is followed by
phala or citto (sukhacitto or citta and
sukhapala) and where it is preceded by
‘abhimata’, it becomes abhimatasukha.
Words like kastūrī, abhimata and phala
need some explanation here. Other
words will be explained elsewhere
as we progress. Regarding abhimata,
meaning desired or wished, it
occurs as abhimata sukhaphala mokşa
bhavantu in jvalita vajrānala and
sinhāsanasthita purņacandra dhutiva

abhimata sukhaphaladāyinī in vajradhara.
Abhimata with the interlude of sukha is
followed by phala tent amounting to
desired result of happiness. Desire for
fruit of happiness is the experiences
of the senses expected in the
phenomenal world. In the spiritual
pursuit of the divine state of mind all
those experiences become non-entity.
The word kastūrī has no reference
point in any other caryāgīti.
Sukhaphala, sukhcitto, sukhacitta,
sukhadāyinī and suhadāmaka are the
other derivative words from sukha or
suha in referential caryāgīti.
karpūra: camphor
Here karpūra is narrated as ‘karpūra
bhava’ and kastūrī karpūra tāmbula
sukhalāyā in jaya vācchali indicates
at latent meaning of the word used
in sandhyā bhāşā whereas the same
word is indicative of the color of the
camphor, which is white e.g.
naitrtyadigsthitā caņđālīdevī
cakārasaňjāta kŗşņavarņabhā 2
vāyavyadigsthitā đombinīdevī
dakārasaňjāta karpūravarņabhā ll
(in pūrvadiksthita)
In guhyasamājatantra it comes thus: GT
p 80 chapter 15
karpūracandanairyuktām gulikām
trilohaveşţitām l
dvayendriyaprayogeņa sarvabuddhairna
dŗśyate ll 46 ll
karpūrakumkumairyuktām gulikām
trilohayeşţitām l
dvayendriyaprayogeņa sarvabuddhairna
dŗśyate ll 48 ll
itamvorā or itamvolā:
Itamvorā or itamvolā is probably
15t
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Anniversary
synonymous with tāmbula, which
finds its reference in jaya vācchali:
kastūrī karpūra tāmbula sukhalāyā.
śirasi sindurakajalasphula 2
kastūrī karpūra tāmbula sukhalāyā (5th
stanza)
This is one of those words that finds
its place in sandhyā bhāşā and eludes
proper explanation.
The word itamvorā comes in caryāgīti
in many forms. It has come as tāmbolā
in caryāgītikoşa No. 28 and tāmbūla
in cacā munā. The word tāmbolā,
this seems to be the rightly spelled
word, has always occurred with the
word karpūra – either preceding it
or following it. Hāđābharaņa refers
to sambara and vajravārāhī whereas
caryāgītikoşa mentions sabaro (or
sabarā) and sabarī – sabaro stands
for sambara and sabarī stands for
vajravārāhī.
uňcā uňcā pāvata tahi vasai sabarī bālī I
moraňgi pīccha parahiņa sabarī givata
gunjarī mālī II[1]II
umata sabaro pāgala sabaro mā kara gulī
guhāđā tohori I
ņia dhariņī nāme sahaja sundarī II
dhruvapada II
nānā taruvara maulila re gaaņata lāgelī
đālī I
ekelī sabarī e vaņa hiņđai
karņakuņđalavajradhāriī II dhru [2] II
tia dhāu khāţa pađilā sabaro mahāsukhe
seji chāilī I
sabaro bhujanga nairāmaņi dārī pemha
rāti pohāilī II dhru [3] II
hia tāmbolā mahāsuhe kāpura khāi I
suna nirāmaņi kaņţhe laiā mahāsuhe rāti
pohāi II dhru [4] II
49

guruvāka puňchiā bindha niamaņa bāņe I
eke śarasandhāne bindhaha bindhaha
paramaņivāņe II dhru [5] II
umata sabaro garuā roşe I
girivara sihara sandhi paisante sabaro
lođiba kaise II dhru [6] II
(from Caryāgītikoşa by Prabodh
Chandra Bagchi)
Nilaratna Sen in caryagitikosa, another
version, explains the caryā thus:
The hills are high; there dwells the
śabarī girl.
Worn in peacock feathers, the śabarī
has a garland of guňjarī on her neck.2
O drunkard śabara, o mad śabara, do
not raise hue and cry.
This is your wife, sahajasundari by
name.4
Various trees are in blossom; the
branches are touching the sky.
The śabara alone roams in the forest
wearing kuņđala and vajra.6
A cot made of three materials was
laid; the śabara spread the bed with
great pleasure.
The serpent śabara and the public
woman nairāmaņi spent the night in
love.8
With great pleasure he eats the betel
50
heart with camphor.
Taking the void nairāmaņi on the
neck, he spent the night with great
pleasure.10
Using the preceptor’s word as a bow,
you pierce him with your arrow
mind.
Pierce; pierce the supreme nirvāņa
with a single shot of the arrow.12
The śabara is mad with great anger.
The śabara has entered the juncture
of the mountain peak, how can he be
traced? 14
Para 8 and 10 is explained thus by Dr.
Vijayalaxmi in Siddha & Santa:
Dwelling in the nectar (of mahāsukha),
spent the night (destroying the
vikalpagyāna in the form of darkness)
eating tambolā (Nilaratna Sen calls
it a betel) and karpūra, in turn
engrossed the citta (hia) in embrace
and yuganaddha, taking śūnya on
neck (sambhogacakra) spent the night
in mahāsukha, symbolic of rays of
knowledge of wisdom.
Tambolā and karpūra can be compared
to pairing of śūnya-karuņā, pragyā-
upāya, ālī-kālī, lalanā-rasanā, vajra-
ghanţa so on and so forth and its
ultimate unity (yuganadha) and
transformation into non-duality
(advaya).

gagana: sky
The expression gagana has different
dimensions in caryāgīti. It is symbolic
of color blue as in “gagana nilavarņa’
in hāđābharaņa. Similarly it is ‘gagana
nīlāmbara’ in vajramaya bhūmi and
‘gagana sadŗśa varņa sobhita dehā” in
humkārasambhava. In another sense
which plays a vital role in explanation
of the vajrayāna doctrine, it is one
of the paňca mahābhuta- five basic
elements of which the phenomenal
world consists of – others being earth,
air, water and fire. On this concept
koyarīvaňśā says:
gaňgā jamunā edui tanti 2
sva śire raviśaśigagana dubāre ll
Here gaňgā – jamunā are synonymous
with lalanā-rasnā or āli-kālī of
vajrayāna Buddhism and iđā-piňgalā
of Hinduism which are two major
veins (nāđī or tanti) placed on the
back of the head that amalgamates
and acquires a single identity and
the name avadhuti in vajrayāna and
suşumnā in Hinduism. In vajrayāna
it is symbolic of non-duality or in
other words advaya. In the same
way ravi (sun) and śaśi (moon) placed
in the sky (gagana) has a symbolic
presence in the yoga process adhered
to in vajrayāna. In an appropriate
point of interpretation of the present
work, detailed explanation would
be brought forth. As was referred
to earlier under vajravārāhī topic,
it is here where she resides with
sambara and engages in a sādhana – a
mediation psychic process of yoga:
akhayaniranjana advaya
anupamagaganakamalasādhanā 2
śūnyatāvilasita rāyaśrī viddhyādevī
prāņabindusama jvalitā ll (1st stanza)
(in akhayaniranjana)
15t
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Anniversary
Gagana, in the sense of a residence
of the deities, is supported by the
narrations in atasi kusuma, nirmala
gagane and tridalapadma.
merumaņđala:
Merumaņđala has two conceptual
dimensions – meru & maņđala. In
caryā, meru has been pronounced as
merusŗňga, a mountain named meru, in
nandinamaskāra. In the middle of the
mountain resides (rājita) self-existent
‘ mahāmaņikanaka’: madhyameru
mahāmaņikanakarājita (in madhyameru).
The earth (mahi) is sealed (samudrā)
and flowed (rina or lina) by mount
meru.
Maņđala, a circumscribed circle or
sphere, has been linked to a cakra-
nerve centers in the body aroused
during yoga practice - in caryā songs
supratimaņđita and anila cited in
the present work. Dvādaśabhuja
states: tricakra raviśaśi maņđalamājhe.
Tridalapadma specifically links
guhyamaņđala with tatvagyānacakra
whereas in akhayaniranjana
merumaņđala is linked to hŗdayacakra.
Tridalapadma narrates:
tridala padma
guhyamaņđalamahāsukhakşaņe 2
devī vajravilāsinī tatvagyānacakre ll dhu
ll(1st stanza)
And akhayaniranjana says:
khadga yogāmbara sādhire cakravartī
merumaņđala bhavalīnā 2
nirmala hŗdayācakra vyāpita ahiniśāca
dantasamayasādhanā ll (3rd stanza)
Many a maņđalas are being named
beside merumaņđala (in hāđābharaņa
& anila), mahimaņđala (in ye
mahimaņđala), śaśadharamaņđala
(in bhāśvara) and bimbamaņđala (in
51
jinajik). The names that occurs in
other caryā songs not cited in the
present work are: đākinīmaņđala (in
nirmala gagane), bhānumaņđala (in
raktavarņa), chatrivireśvaramaņđala
(in jvalitavajrānala), raviśaśimaņđala
(in dvādaśabhuja), đākarņavāmaņđala
(in aşţacatvariňśat), dinakaramņđala
(in uditātara, vārāhīvyaşţitha &
viśvasaroruha), gaņamaņđala (in
lakşamīkşaņa), gandhamaņđala (in
gandhamaņđala), guhyamaņđala (in
tridalapadma) and kāyavākcittamaņđala
(in śataśatahāthe).
Vajradhara mentions of mahāmaņđala
and maņđalasutra, ambhavavasundharā
of maņđalakarma and vajramayabhūmi
of maņđalamedini.
rīņā: flowed
Similar use of the word as in namo
hum and hāđābharaņa can be seen in
koyarīvaňśā:
koire vaňśā vājire vīnā 2
anuhata sarvadeva tribhuvana tŗnā ll dhu
ll
payisayi : lake
Payisayi adjudged to be lake in
the translation does allude the
correct meaning and its ultimate
interpretation though it can be noted
that the word is associated with deity
or the epithet for deity in caryāgīti
such as nijabhuva and jvalita vajrānala,
including hāđābharaņa, e.g. ‘payisayi
đombi’ in nijabhuva, ‘tribhuvanalīnā
payisayi jinaśaśi’ in jvalitavajrānala
and ‘sambara, payisayi’ in hāđābharaņa.
Đombini has ‘payise’ instead of
‘payisayi’.
śūnya: void
Śūnya is compared to a lake- calm
and quiet in hāđābharaņa -payisayi
śūnyabhattārā . Śūnya in negation
52
of arrogance (darpa), in paramarato, is
paired with karuņā or all compassion
as in cakrikuņđala. Akārasaňjāta
mentions śūnyagŗha and anila-
śūnyakaraņa or arrival of the state of
śūnya.
It is like ‘prakŗtiprabhāśvara’ (in
vajramahādevī):
bhavanirvāņa ekarupā 2
prakŗtiprabhāśvara śūnyasvarupā ll
On certain stage of yoga practice the
mind is illuminated like a jewel and
that state is likened to śūnya. This
is one of the main topics that will
get unfolded as we progress in the
discussion of vajrayāna doctrine.
Madhuripu, vajramahādevī and
viśvarupa sarva project śūnya-
karuņā together, vāma dahina has
śūnyasamādhi as one of the samādhi
refered to and śūnyatā or the state
of śūnya vis-a-vis other concepts of
vajrayāna is the subject matter of
akhayaniranjana, including drasvita
kanakavarņa, aşţacatvāriňśat and hevajra
nairātmādevī.
ārādhe: to worship
Most of the uses of the expression are
preceded by ‘sadagurucaraņa’. Worship
(aradhya) of guru’s feet being common
phenomenon, it has been used for
vajrasattva, cakrasamvara, yogāmbara,
maņđala and bindu.
samayānande:
Ānanda or happiness is what is
achieved on a path to emancipation.
But this state of happiness is attached
to the divinities that preside over
a maņđala from where the ritual
of salvation begins as refered to
in hāđābharaņa. It has been called

‘vimalapaňkajasamayānanda’, spotless
like lotus, in gokudahana caryāgīti.
On a closing note, let me throw some
light on gīta or for that matter what is
known as caryāgīti and the creator of
the gīta or caryāgīti Līlāvajra.
gīta: song
A very usual and commonly practiced
reference to gīta occurs at the end
of the caryāgīti with the name of the
composer or racita or carita who utters
or bhanayi those words written in the
song. The other expression for carita
or racita is praņita or creator; likewise
for bhanayi it is gāvanti or sings.
Some of the songs or gīta are being
named:
sadguruprasāde caraņa śākyabhikşu 2
śrāvaka bhānucitta samvara gīta ll dhu ll
amalasvabhāva
Here bhānucitta is the name of the
composer and what he has composed
is named as samvara gīta. This example
differs with other caryāgīti where
reference to gīta occurs right after the
name of the composer:
sadgurucaraņe jinasiddhi gīta
şođaśabhuja
trinetra mukuţakeśi paňcamudrā
saňsthitā 2
sadgurucaraņe candravajragīta ll dhu ll
đākinīdevī
Example of aşţacatvāriňśat is
exemplary in the sense of the song
being called tāņđavakŗta, along with
a reference to ālīđha, both pointing at
the dance performed with the song,
caraņagīta.
15t
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Anniversary
aşţacatvāriňśata dalamājhe humkāra nānā
raśmi phalane 2
haragauri samākrāntā ālīđha, tāņđavakŗta
caraņagīta ll
aşţacatvāriňśata
Another such an example is from
nijabhuva:
śrī ođiyāne jvaliya caņđāli 2 gīta aneha
kŗđanti vājanti ll
ālikālī duipada dharante 2 yā cau yoginī
maňgalagīte ll ll
nijabhuva
The gīta here is referred to as
maňgalagīta not only rendered but
danced to, accompanied by the sound
of music – kŗđanti vājanti. And finally,
prominence and strength of caryāgīti
to defend and protect vajrayāna
doctrine, with performance of dance,
is well exemplified in supratimaņđita:
jātā eka mahāsukha nāmā 2
nŗtyantu gīta balena rakşena ll ll
supratimaņđita
In aşţacatāariňśat, use of the word gīta
with dhvani or sound distinguishes it
from any other expression:
sadgurupada śire namitā
bhanayi gitadhvani omkāravajra ll dhu ll
aşţacatvāriňśat
And finally some concluding remarks
on Līlāvajra, creator of the gīta or
caryāgīti.
Līlāvajra:
Līlāvajra as creator of caryāgīti is
credited with writing of hāđābharaņa,
hevajranairātmā and vajramayabhūmī.
He stands tall along with Suratavajra
and Amoghavajra, who are credited
with writing of caryāgīti which is
being put in ritual practice. His
period of siddhācārya status is
53
marked as 741 A.D. He is placed
among five most important siddhas
of Kathmandu valley- Maňjuvajra,
Līlāvajra, Suratavajra, Vākavajra and
Śāntikarācārya, according to Paul
Williams. He has been established as a
commentator of Maňjuśrīnāmasaňgīti.
According to Tārānātha, he
is the author of Kŗşņayamāri
Tantra. According to Benoytosh
Bhattacharyya, Līlāvajra has written
many authoritative books of vajrayāna
which are preserved in Tibetan
translation in the Tangyur collection
though none of these are existent in
the original Sanskrit.

The list includes Śrī Sahajaguhya

samāja sādhana, Śrī Sahajasiddhi,
Āryanāmasaňgīţītikā, Yamāntaka
mantramūlārtha Vajraprabheda,
Dākīnivajrapaňjara-paňcađākīnisādhana,
Kŗşņayamāritantrasya
paňjikā, Mahātīlakakrams,
Guhyasamājatantranidāna
gurūpadeśa bhāşya and
Vajrasattvasādhananibandhana.
Arun Shrestha
Born April 24, 1947, with schooling
and initial college years from
Mumbai, Maharashtra Board and
Bombay University, graduated from
T.U. Kathmandu in Economics and
English Literature.
Career spanned as a management
personnel (Director/GM/MD) in
the private sector of handicraft
house (Kathmandu Travels),
airlines (Nepal Airways), ground
water management (NEDRILL)
and consultancy (USAID) with
addition of a contribution as a
training and assistance personnel
to Election Commission and
Ministry of Tourism. Two papers
presented on Caryā and Caryānŗtya
on the auspices of Department of
Education and Sanskritik Sansthan,
Kathmandu, Nepal.

Caryā: Dancing Away to Nirvāņā,

a book based on study of ‘Ahorātra
Pada Sādhana Vidhi’ ready for
publication.

hansshrestha73@gmail.com

54

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15t
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Anniversary
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55
lyof] . snf / ;+:s[ltsf If]qdf klg
o'/f]k]nLx¿n] ce"tk"j{ pknlAw xfl;n
u/]sf lyP . o; o'unfO{ ‘l/g];fF’ cyf{t\
k'ghf{u/0f sfn elgG5 . o; o'udf
lnof]gfbf]{ bf leGrL, dfOs]nfGh]nf], /fkmfon,
l6l;og h:tf ljnIf0f k|ltefzfnL
snfsf/x¿ hGd]sf lyP . /fhk|f;fb / rr{df
oL df:6/x¿nfO{ ef/bf/ jf pRr kb:y
clwsf/L ;/xsf] k|lti7f k|fKt x'g' k5fl8
pgLx¿sf] k|ltef g} lyof] .
tTsfnLg snf ;h{sx¿df k|fs[lts hut\
k|ltsf] sf}t'xntf / k|frLg u|L; / /f]dsf
zf:qLo ;+:s[ltk|ltsf] cle?lr lgs}
a9]sf] lyof] . To;}sf] kmn:j¿k snfsf
If]qdf cfZro{hgs kl/jt{g / k|jt{gx¿
b]vfk/]sf lyP . lrq / d"lt{ b'j} ljwfdf
kf]6«]6nfO{ ljlzi6 dxTTj lbg yflnPsf]
lyof] . tTsfnLg clehft ;dfhdf
kf]6«]6nfO{ JolStsf] ef}lts ;DkGgtf /
k|lti7fnfO{ cleJoSt ug]{ dfWodsf ¿kdf
lng yflnPsf] lyof] . l/g];fF kf]6«]6 snfsf]
dxTTjk"0f{ pknlAw lrq kfqsf] ;fb[Zotfsf
cltl/St dfgj ;+j]unfO{ d'xf/sf] efjåf/f
cleJoSt ug'{ /x]sf] lyof] . o; sfnb]lv
k|f/De ePsf] ldlgor/ kf]6«]6 cyf{t\ :jNkfsf/
kf]6«]6sf] k/Dk/f sfnfGt/df kmf]6f]u|fkmL snfsf]
pbo x'“bf;Dd hf/L /x]sf] lyof] .
kGw|f}“ ztfAbLdf pTt/L o'/f]ksf snfsf/x¿n]
wd{ lg/k]If oyfy{k/s kf]6«]6x¿sf] k/Dk/fnfO{
;j{yf gjLg ult lbPsf lyP . lrqsf/ tyf
d"lt{sf/x¿ cfk\mgf snf ;+/Ifsx¿sf kf]6«]6
agfp“y] / ljz]if :yfg Pjd\ k|of]hgsf nflu
agfOg] k|]m:sf]x¿df klg ltgsf cfs[ltnfO{
;dfj]z uy]{ . pgLx¿n] t]n/ª / nflnTok"0f{
t'lnsf3ftåf/f ;"Id Pjd\ clws oyfy{k/s
56
kf]6«]6x¿ l;h{gf ug{ yfln;Sbf klg O6nL /
:k]gsf lrqsf/x¿ eg] 6]Dk/f dfWoddf g} sfd
uy]{ . t]n/ª kb\wltnfO{ ljsf; ug]{
>]o g]b/NofG8\;sf hfg efg OsnfO{ hfG5 .
O6flnog lrqsf/dWo] t]n/ªnfO{ k|of]u ug]{
klxnf] snfsf/ PG6f]g]Nnf] bf d]l:;gf lyP .
a]lNhoddf bLlIft oL lrqsf/ ;g\ !$&%
tfsf e]lg; a;fO ;/]sf lyP . lhcf]efGgL
a]lngL / ;du| pTt/L O6flnog :s'ndf pgsf]
7'nf] k|efj k/]sf] lyof] . ;f]/f}“ ztfAbL;Dd
cfOk'Ubf ;d:t o'/f]kel/ t]n /ªsf]
nf]slk|otfn] lgs} Jofkstf lnO;s]sf] lyof] .
o;} ztfAbLb]lv lrq ;txsf ¿kdf
Sofgef;n] sf7nfO{ lj:yfkg ug{ yfn]sf]
lyof] .
hfg efg Ossf] ‘cfgf]{lnlkmgL kf]6«]6’ -;g\
!$#$_ nfO{ kfZrfTo kf]6«]6 snfsf]
sf]z]9'ª\ufsf ¿kdf lnOG5 . pgsf] of] s[lt
k"0f{ sb -k'mn ;fOh_ kf]6«]6sf] k|f/lDes
pbfx/0fsf ¿kdf lrlgG5 . hfg efg Osn]
o; /rgfdf lrq kfqx¿nfO{ ltgsf ;DkGgtf
/ k|lti7faf6 t6:y /xL ltgnfO{ oyf :j¿kdf
cª\sg u/]sf lyP . ctM kf]6«]6 snfsf b[li6n]
cfgf]{lnlkmgL kf]6«]6nfO{ k"0f{tM k|s[ltk/s /
k|ltlglwd"ns s[lt dfGg ;lsG5 . hfg efg
Ossf] csf]{ k|l;b\w kf]6«]6 /rgf ‘/ftf] km]6f
af“w]sf JolSt’ pgsf] cfTd lrq xf] eGg]
ljZjf; ul/Psf] 5 . of] lrq l/g];f“ sfnsf
;'?sf cfTd lrqdWo] Pssf ¿kdf klg
lrlgG5 . lrq kfqsf] lz/df af“lwPsf] km]6fn]
sk8fsf] d'hfsf] cWoog / /ftf] /ªsf]
k|efjk|lt lrqsf/sf] cle?lrnfO{ ;ª\s]t
u5{ .
o; ;dosf t]n/ª k|ljlwdf bIf hd{g
lrqsf/x¿df n'sf; j|mfgfs, cNa|]V6 8\o'// /

Jan van Eyck. The Arnolfini Portrait, 1434. Oil
on oak panel. 82 cm x 60 cm. National Gallery,
London.
xfG; xf]lNag h'lgo/sf] gfp“ pNn]Vo /x]sf]
5 . To; tfsf Oª\NofG8df pRr sf]6Lsf kf]6«]6
k]G6/x¿sf] ;j{yf cefj /x]sf] cj:yfdf
ToxfF xf]lNag h:tf ljb]zL snfsf/x¿s}
xflnd'xfnL /x]sf] lyof] .
O6nLdf df;frf]n] dfgj cfs[ltx¿nfO{ cem
oyfy{k/s 9ª\un] cª\sg ub}{ k|]m:sf]
kb\wltnfO{ cfw'lgsLs/0f u/]sf lyP .
/fkmfonn] cfk\mgf a[xt\ cfsf/sf
lelTtlrqx¿nfO{ oyfy{k/stfsf] pTsif{df
k'¥ofPsf lyP . To; tfsf j}jflxs ;df/f]x
;DaGwL kf]6«]6x¿ nf]slk|o x'g yfn]sf lyP /
nf]/]Ghf] nf]6\6f] o;sf ljz]if1 g} dflgGy] . ;g\
!%)) sf] bzsdf e]lg;sf] kf]6«]6 k]lG6ªdf
h]lG6n] a]lngL / lhof]efgL a]lngLsf] jr{:j
/x]sf] lyof] . lhof]efgL a]lngLåf/f l;lh{t
15t
h
Anniversary
Giovanni Bellini. Portrait of Doge Leonardo
Loredan, 1501. Oil on panel. 61.6 cm × 45.1 cm.
National Gallery, London.
8f]u] lncf]gfbf]{ nf]/]8g -;g\ !%)!_ sf]
kf]6«]6nfO{ l/g];fF o'usf clt pTs[i6 kf]6«]6dWo]
Pssf ¿kdf lnOG5 .
l/g];fF o'udf k\mnf]/]G; / ldnfgsf
;De|fGt JolStx¿df cfk\mgf kf]6«]6 n]Vg
nufpg] xf]8afhL g} rn]sf] lyof] . kmntM k"0f{
sb / t[tLof+z b[Zosf kf]6«]6 /rgfx¿df k|of]u
/ k|jt{gx¿ b]vfkg{ yfn]sf lyP . ;fGb|f]
af]l6r]nL, lko/f] 8]Nnf k|mfGr]:sf, 8f]d]lgsf]
lynf]G8f], nf]/]Ghf] bL j|]m8L, lnof]gfbf]{ bf leGrL
cflb k|e[lt lrqsf/x¿n] k/Dk/fut wfld{s /
zf:qLo ljifo j:t';Fu kf]6«]6nfO{ ;dfof]hg
ub}{ o; ljwfnfO{ gofF cfofd lbPsf lyP .
lnof]gfbf]{sf] ‘df]gfln;f’ -;g\ !%)%_
kfZrfTo snfsf] Oltxf;df ;jf{lws k|l;b\w
s[ltsf ¿kdf /x]sf] 5 . k\mnf]/]G;sf wgf9\o
57

Leonardo da Vinci. The Mona Lisa, 1503–1505.
Oil on canvas. 77 cm x 53 cm. Musée du Louvre,
Paris.
Jofkf/L k|mfGr]:sf] 8]n lhof]sf]G8f]sL kTgL
ln;f 8]n lhof]sf]G8f]sf] o; kf]6«]6df b[Zodfg
‘df]gfln;f d':sfg’ sf nflu of] ljZj ljVoft
/x]sf] 5 . lrqdf cg'xf/sf] df+;k]zLaf6
cfGtl/s d':sfg b]vfOPsf] 5 /
zf/Ll/s efjnfO{ s'zntfk"j{s k|:t't
ul/Psf] 5 . o; kf]6«]6nfO{ d'xf/sf]
;dfg'kflts ;Gt'ngsf] pTs[i6 pbfx/0fsf
¿kdf lnOG5 . lnof]gfbf]{sf] /]vfª\sg zlSt,
cfs[lt cª\sgsf] Ifdtf, rl/qdfly
ljZn]if0ffTds ;d´sf sf/0f g} of] lrq
b'lgof“sf] ;jf{lws ;'Gb/ lrqdf bl/Psf]
xf] . elgG5, of] lrq n]lv“bf df]gfln;f ue{jtL
lyOg\ . To;} sf/0fn] ue{jtL k]6 n'sfpg]
pb\b]Zon] pgn] cfk\mgf xft k]6df /fv]sL
lyOg\ . s]xL snfljb\x¿sf cg';f/ o; lrqdf
58
Raphael. Portrait of Baldassare Castiglione,
c.1514–1515, Oil paint. 82 cm x 67 cm. Musée du
Louvre, Paris.
h:tf] gf/Lsf] ;'Gb/ xft ;fob} c¿ lrqdf
ag]sf 5g\ . lnof]gfbf]{n] of] kf]6«]6 ;g\ !%)#
df ;'? u/]sf lyP t/ ;g\ !%)% df cfP/ dfq
k"/f ePsf] lyof] . sf7sf] kmNofsdfly
t]n/ªn] agfOPsf] of] lrq xfn
k|mfG;sf] n'e| ;ª\u|xfnodf /x]sf] 5 .
csf{ k|efjzfnL l/g];fF lrqsf/ /fkmfonn]
cfk\mgf] hLjg sfndf cg]sf}“ kf]6«]6 sld;gx¿
kfPsf lyP . pgsf tL /rgfx¿df kfqsf]
a;fO, k|sfz / lzNk k|ljlwsf ljljw
k|sf/x¿ b[Zodfg x'G5g\ . l/g];fF snfsf
pbLodfg wf/nfO{ ;an / kl/is[t ug'{
/fkmfonsf] Ps dfq Wo]o /x]sf] lyof] . lrq
kfqx¿sf] JolStTj / efjnfO{ cfk\mgf
/rgfx¿df hLjGt agfpgdf pgn] lgs} bIftf
xfl;n ul/;s]sf lyP . pgn] agfPsf
afN8f;f/ sfl:6of]g] -sl/a ;g\ !%!%_,
h'lno; låtLo -sl/a ;g\ !%!@_ cflbsf

Titian. Portrait of Charles V with a Dog, 1533.
Oil on canvas. 192 cm x 111 cm. Museo del
Prado, Madrid.
kf]6«]6x¿df JolSt lrq0fdf pgsf] ljnIf0f
bIftf b[Zodfg x'G5 . oL kf]6«]6x¿sf s}of}“
cg's[ltx¿ kl5 cfpg] cg]sf}“ snfsf/x¿
agfPsf lyP . cfk\mgf] df:6/lk; ‘Py]G;sf]
kf7zfnf’ -;g\ !%)(–!%!!_ df /fkmfonn]
ljljw bfz{lgs :s'nx¿nfO{ PsLs[t ug'{sf
cltl/St ltgdf ;dflji6 kfqx¿sf] d'xf/sf
nflu cfk\mgf ;dsfnLgx¿ a|dfG6],
lnof]gfbf]{, dfOs]nfGh]nf] cflbnufot cfk"m
:jod\sf] kf]6«]6 cª\sg u/]sf lyP .
/fkmfonsf] cfZro{hgs bIftfs} sf/0f
kf]knufot clehft JolStx¿ pgLaf6
15t
h
Anniversary
Agnolo Bronzino. Portrait of Cosimo de'
Medici, 1545. Tempera on panel. 74 cm x 58 cm.
Uffizi, Florence.
cfk\mgf kf]6«]6 n]vfpg nfnflot /xGy] .
clwsf+z l/g];fF snfsf/x¿ kf]6«]6 sld;g
kfpg nfnflot /x]sf cj:yfdf
dfOs]nfGh]nf] eg] kf]6«]6 ljwfk|lt pbf;Lg
b]lvGy . pgL l;:6fOg Rofkn h:tf a[xt\
Pjd\ dxTTjfsfª\IfL sfddf g} /dfO/x]sf lyP .
l/g];fF o'udf e]lg;sf ;jf{lws k|efjzfnL /
;kmn kf]6«]6 lrqsf/sf ¿kdf l6l;ogsf] gfpF
pNn]Vo /x]sf] 5 . ;g\ !%@( b]lv l6l;ogn]
/f]dsf ;d|f6\ rfN;{ kf“rf}“sf nflu sfd ug{
yfn]sf lyP . elgG5, l6l;ogn] klxnf] kN6
cfk\mgf] kf]6«]6 agfPkl5 rfN;{n] tb'k/fGt c¿
lrqsf/af6 cfk\mgf] kf]6«]6 agfpg gnufpg] k|0f
g} u/]sf lyP . l6l;ogn] /fhsLo
kfqx¿nfO{ ljljw a;fO / d'b|fdf cª\sg
u/]sf lyP . afn aflnsfx¿nfO{ nflnTok"0f{
9ª\un] kf]6«]6df ptfg]{ klxnf] lrqsf/sf ¿kdf
klg pgnfO{ :d/0f ul/G5 .
59
e]lg;df l6l;ogsf] z]ifkZrft\ O6flnog
snfnfO{ ‘Dofgl/Hd’ cyf{t\ ‘crfr/0fjfb’
tk{m 8f]¥ofpg] lrqsf/sf ¿kdf l6G6f]/]6\6f] /
e]/f]lghsf] gfp“ pNn]vgLo /x]sf] 5 . PUgf]nf]
a|f]lGhgf] / Hofs]kf] kf]G6f]/df] h:tf Dofgl/:6
lrqsf/x¿n] ef}lts ;DkGgtf / hl6n d'b|fdf
cfwfl/t ckjfbk"0f{ kf]6«]6x¿ /rgf u/]sf
lyP . a|f]lGhgf] /rlot sf]l;df] n b] d]l8rL
-;g\ !%$%_ sf] kf]6«]6nfO{ ;fxl;s s[ltsf
¿kdf lnOG5 . o; kf]6«]6df /fhsLo Pjd\
clehft kfqx¿nfO{ zfGt / zfnLg :j¿kdf
k|:t't ug]{ k|rngnfO{ tf]8\b} pgn] s7f]/
zf;ssf ¿kdf lrlgg] sf]l;df]nfO{ sjr
wf/0f u/L ;ts{ / ;+lbUw gh/n] bfofFtk{m
x]l//x]sf] cj:yfdf k|:t't u/]sf lyP .
;f]/f}“ ztfAbLdf O6nLsf k|ltefzfnL dlxnf
snfsf/x¿df ;f]kmf]lg:af cª\u':;f]nfsf] gfd
cu| kª\lStdf cfp“5 . cª\u':;f]nf kf]6«]6 /
ldlgor/ b'j} sfddf lgs} kf]Vt lyOg\ . pgn]
JolStut / ;fd"lxs kf]6«]6 /rgfsf] k/Dk/fnfO{
gjLg cfofd lbPsL lyOg\ .
;qf}“ ztfAbL M a/f]s snf
;qf}“ ztfAbLdf o'/f]kn] lj1fg / bz{gsf If]qdf
7'nf] km8\sf] df/]sf] lyof] . l/g];f“ sfndf ;'?
ePsf] k|fs[lts hut\ af/]sf] cGj]if0fn] ;qf}“ /
c7f/f}“ ztfAbLdf yk ult lnPsf] lyof] .
a9\bf] cfly{s ;d'Gglt;“u} o'/f]k]nL d'n'sx¿df
snfnfO{ ;+/If0f lbg] ;Gbe{df Jofks
kl/jt{g cfpg yfn]sf] lyof] . ;dfhsf
clehft ju{df dfq ;Lldt snf ;ª\u|xsf]
;f]v ;DkGg dWod ju{df klg ;g{ yfn]sf]
lyof] . To; tfsf eJo dxn Pjd\ luhf{3/x¿,
a[xt\ cfsf/sf lrqx¿ tyf /fhsLo
kf]6«]6x¿df rr{ / /fHosf] zlSt Pjd\
60
dxf]TTjfsfª\IffnfO{ cleJoSt ug]{ xf]8afhL
rNg yfn]sf] lyof] .
;f]/f}“ ztfAbLsf] cGTo;Dd cfOk'Ubf O6nLsf]
snfdf Dofgl/Hd z}nL cj;fgsf] r/0fdf
k'lu;s]sf] lyof] / ‘a/f]s z}nL’ sf] cEo'bo
eO;s]sf] lyof] . /f]ddf a/f]s z}nLsf] hu
xfNg] >]o sf/cfrL kl/jf/ / sf/fefhf]nfO{
lbOG5 . o; z}nLsf] pTyfg ;f]/f}“ ztfAbLsf]
pTt/fb\w{df eO{ ´G8} ;g\ !&%) ;Dd sfod
/x]sf] dflgG5 . zL3| g} ;d:t o'/f]kel/sf
snfsf/x¿n] a/f]s z}nLnfO{ cfTd;ft\
u/]sf lyP . zf:qLo ljifo j:t'k|lt snf
;+/Ifs tyf snfsf/x¿df cfsif{0f sfod g}
/x]tf klg t'ngfTds ¿kdf a/f]s z}nL a9L
:jR5Gb, ;+j]uk"0f{, cf]hbf/ Pjd\ pTt]hs
dflgG5 . ;+j]uk"0f{ cfs[ltx¿, gf6sLo /ª
ljGof; Pjd\ 5fof k|sfz tyf lrq ;txdfly
afSnf 6]S;r/sf] k|of]u a/f]s snfsf
ljz]iftf dflgG5g\ . ‘lr/f];So'/f]’ -Psbd
ljk/Lt 5fof k|sfzsf] k|of]u_ kb\wlt /
lrq ;+of]hgdf /ª\ud~rsf] h:tf]
gf6sLo k|efjnfO{ a/f]s lrqsf/x¿n] cToGt}
s'zntfk"j{s pkof]u u/]sf lyP . kf]6«]6
snfdf a/f]s lrqsf/x¿n] lrq kfqsf]
ef}lts :j¿ksf cltl/St ltgsf rl/q tyf
dgf]bzfnfO{ ;d]t ptfg{ yfn]sf lyP .
tTsfnLg o'/f]k]nL ;dfhdf kf]6«]6 k]lG6ªnfO{
kb / k|lti7fsf] clen]vsf ¿kdf lng
yflnPsf] lyof] . To; tfsf b/af/Lof /
clehft ju{df e8\lsnf j:qfe"if0fåf/f
;';lHht eP/ kf]6«]6 /rgf ug{ nufpg] kl/kf6L
g} a;]sf] lyof] . o; lsl;dsf kf]6«]6sf nflu
pgLx¿ cGyf]gL efg 8fOs / lk6/ kf}n ?a]G;
h:tf k\mnf]ld; lrqsf/x¿nfO{ cg'aGw ug{
dg k/fpFy] . xNofG8sf of]xg; ed]{/sf] ?lr

Peter Paul Rubens. The Honeysuckle Bower,.
c. 1609. Oil on canvas. 178 cm x 136.5 cm. Alte
Pinakothek, Munich.
eg] dWod ju{nfO{ k|ltlglwTj ug]{ kfqx¿df
/x]sf] lyof] .
lk6/ kf}n ?a]G;sf] gfd pTt/L o'/f]ksf] a/f]s
snfsf dxfgtd snfsf/sf ¿kdf Oltxf;df
cª\lst 5 . ?a]G; ax' cfoflds JolStTjsf
wgL lyP . k|ltefzfnL lrqsf/sf
cltl/St pgL s'6gLlt1, snf ;ª\u|xstf{
/ ;kmn Jofkf/L lyP . pgsf] ‘?a]G; / kTgL
O;fa]nf a|fG6’ -;g\ !^)(_ nfO{ gj ljjflxtf
hf]8Lsf] clt ;'Gb/ kf]6«]6 /rgfsf] pbfx/0fsf
¿kdf lng ;lsG5 . ?a]G;n] cfk\mgf] bf];|f]
kTgL x]n]g kmf]/d]G6sf cg]sf}“ lrqx¿ n]v]sf
lyP . o; ;Gbe{df ‘e'Tnf ePsf] asf]{
cf]9]sL x]n]g kmf]/d]G6’ -;g\ !^#)_ zLif{ssf]
lrq lgs} k|l;b\w /x]sf] 5 . o; kf]6«]6df gf/L
b]x ;f}i7jsf] s'zn cª\g / d'xf/sf] efj
;Dk|]if0f ug{df ?a]G;sf] ljnIf0f Ifdtf
b[li6uf]r/ x'G5 .
15t
h
Anniversary
k\mn]ld; a/f]s snfsf/ cGyf]gL efg 8fOssf]
gfp“ Oª\uNofG8sf rfN;{ k|yd / pgsf kl/jf/
Pjd\ ef/bf/x¿sf] nflnTok"0f{ kf]6«]6x¿sf
nflu k|l;b\w /x]sf] 5 . Oª\uNofG8sf] /fhsLo
lrqsf/sf ¿kdf lgo'St x'g' cufl8 pgn]
O6nL / k\mn]G8;{df Jofks Voflt
sdfO;s]sf lyP .
k|mfG;df /fhsLo lrqsf/sf ¿kdf x\ofl;G6
l/ufp sf] 7'nf] babaf /x]sf] lyof] . pgn]
k|mfG;sf tTsfnLg b/af/Lofx¿sf ljljw d'b|f
/ kl/wfgdf cg]sf}F kf]6«]6x¿ /rgf u/]sf
lyP . n'O{ rf}wf}“sf] zf;g sfnsf dxTTjk"0f{
kf]6«]6 cfl6{:6sf ¿kdf pgsf] klxrfg /x]sf]
5 . l/ufpn] tTsfnLg b/af/Lof, s"6gLlt1,
Jofkf/L tyf ;DkGg JolStx¿sf cg]sf}“ kf]6«]6
n]v]sf lyP . ltgdf lrq kfqsf
JolStTjnufot k[i7e"ldsf] b[Zo tyf
j:qfe/0f ;a} b'?:t Pjd\ ;"Id 9ª\un] cª\sg
ul/Psf sf/0f ltgnfO{ ;dsfnLg ;fh;Hhf
tyf j:q ljGof;sf] clen]vsf ¿kdf lng]
ul/G5 . l/ufp lrq kfqsf cgfsif{s kIfnfO{
klg lrTtfsif{s Pjd\ cfbz{ :j¿k k|bfg ug{
l;kfn' lrqsf/ lyP .
8r a/f]s kf]6«]6 snfdf ;fdfGo Psn
cfs[ltb]lv lnP/ e8\lsnf j:q kl/wfgdf
;lhPsf JolStx¿sf eJo ;fd"lxs kf]6«]6x¿
;d]l6Psf 5g\ . tL kf]6«]6 /rgfdf lrq kfqsf
oyf:j¿k tyf ltgsf j:qfe"if0fsf] ;"Id
cª\sgsf cltl/St ltgsf dgl:ylt Pjd\
;+j]u ;d]tnfO{ cleJoSt ul/Psf]
kfOG5 . s'g} lglZrt lgsfo jf ;+:yf;“u
cfab\w ;b:ox¿sf] ;fd"lxs kf]6«]6 n]vg
8r kf]6«]6 snfsf ljz]iftf g} /x]sf] 5 . a[xt\
cfsf/sf Sofgef;df n]lvg] o:tf ;fd"lxs
kf]6«]6df cfk\mgf cfs[lt ;dfj]z u/fpgsf
61
Rembrandt. The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 107 cm x 216 cm.
The Mauritshuis Museum, The Hague.

nflu k|To]s JolStn] lrqsf/nfO{ cfsif{s k|rngnfO{ /]Da|fG6n] ‘8f= 6'Nksf] z/L/ lj1fg
kfl/>lds a'´fp“y] . ;qf}“ ztfAbLsf] sIff’ åf/f eª\u u/]sf lyP . o; lrqsf]
xNofG8df o:tf ;fd"lxs kf]6«]6 /rgfx¿ lgs} ;+/rgfdf s;}nfO{ Go"g jf s;}nfO{ clws
nf]slk|o /x]sf] lyof] . dxTTj glbO{sg ;a} kfqnfO{ ;dfg'kflts
dxTTj lbOPsf] 5 . tyflk lrqsf d"n kfq
a/f]s o'usf dxfg\ 8r lrqsf/ /]Da|fG6sf
8f= 6'lnknfO{ sfnf] 6f]k nufOlbO{ pgsf]
kf]6«]6x¿df a]hf]8 lzNk bIftfsf cltl/St
JolStTjnfO{ d'vl/t ul/Psf] 5 . lr/kmf/sf]
ltgdf lrq kfqsf dgf]bzf / ltgsf
b[ZonfO{ ljido Pjd\ sf}t'xntfk"j{s
efjx¿sf] ljnIf0f bz{g x'G5 . pgn]
cjnf]sg ul//x]sf ;ft hgf kfqx¿sf]
O6flnog cu|h lrqsf/ sf/fefhf]sf]
;d"xnfO{ lk/fld8 cfsf/df ;+/rgf ul/Psf]
cg';/0f ub}{ cfk\mgf kf]6«]6x¿df ;+/rgf /
5 . gf6sLo 5fof k|sfz cª\sgk|lt /]Da|fG6sf]
lzNk k|ljlw b'j} b[li6n] ;j{yf k[ys k|of]u
nufj / bIftf o; lrqdf b]Vg ;lsG5 . o;
u/]sf lyP . pgsf] of] k|jt{gsf/L z}nL pgsf
/rgfnfO{ ;qf}“ ztfAbLsf] xNofG8sf]
k|Voft s[ltx¿ ‘8f lgsf]nf; t'n'ksf] z/L/
P]ltxfl;s, snfTds Pjd\ ;fdflhs
lj1fg sIff’ -;g\ !^##_ / ‘lb gfO6 jfr’
ljsf;sf] bk{0fsf ¿kdf klg lng ;lsG5 .
-;g\ !^$@_ df b[li6uf]r/ x'G5 . kfqx¿nfO{
h8 jf l:y/ ¿kdf k|:t't ug]{ To; a]nfsf] /]Da|fG6sf] df:6/ lk;sf ¿kdf lrlgg] ‘lb gfO6
62

Frans Hals. Officers of the Haarlem Militia
Company of Saint Adrian, c. 1627. Oil on
canvas, 183 cm x 267 cm. Frans Halsmuseum,
Haarlem.
jfr’ sf] k|l;b\lwsf k5fl8 tLg cf]6f ljlzi6
kIfx¿ /x]sf 5g\ — o;sf] a[xt\ cfsf/
-#=^# ld= X $=#& ld=_, clt k|efjf]Tkfbs
5fof k|sfzsf] k|of]u tyf ultzLn
cfs[ltx¿ . o; lrqsf] ljifo SofK6]g
sf]ssf] g]t[Tjdf lg;fgafhL cEof;sf nflu
lx“l8/x]sf] PD;6/8\ofdsf cw{ ;}lgs b:tf
/x]sf] 5 . eL8ef8k"0f{ cfs[ltx¿lar
SofK6]g, pgsf n]k\ml6g]G6 / afof“ k[i7e"lddf
/x]sL aflnsfnfO{ k|an 5fof k|sfzåf/f
lrqsf] s]Gb|Lo kfqsf ¿kdf p7fOPsf] 5 .
cGo cfs[ltx¿df Wjhf jfxs, 9f]ns jfbs,
aGb'swf/Lx¿ cflb /x]sf 5g\ . j:t'tM of]
;fd"lxs kf]6«]6 /rgf xf], tyflk lrq
kfqx¿nfO{ h8 ¿kdf gb]vfO{sg ltgnfO{
/]Da|fG6n] k"/f ultk"0f{ b]vfOlbPsf 5g\ . kmntM
;Dk"0f{ lrq s'g} /ª\ud~rsf] b[Zo h:tf] k|tLt
x'G5 .
a/f]s kf]6«]6 snfsf] Oltxf;df k|mG; xN;sf]
ljlzi6 of]ubfg /x]sf] 5 . k|mG; xN;sf
kf]6«]6 /rgfx¿df ;fdflhs hLjgsf ljleGg
JolStx¿, h:t} M :yfgLo ;}lgs, c:ktfnsf
clwsf/L, gu/ kl/ifb\sf sd{rf/Lx¿b]lv
lnP/ 3'dSs8 ufosx¿ / ;j{;fwf/0f;Dd
15t
h
Anniversary
;d]l6Psf 5g\ . pgn] a]x'nf a]x'nL
hf]8Lx¿sf klg k|z:t kf]6«]6x¿ n]v]sf
lyP . k|mG; xN;sf] lrq0f kb\wlt
sf/fefhf]sf] z}nLaf6 k|]l/t t/ oyfy{jfbk|lt
8r snfsf/x¿sf] cg'/fuaf6 lgb]{lzt
lyof] . cGo a/f]s lrqsf/x¿ h:t} k|mG;
xN; klg k|sfz / 6]S;r/sf] rfIf'if
k|efjnfO{ cª\sg ug{df lgs} cle?lr /fVy] .
pgL ;xh Pjd\ bIftfk"j{s t'lnsf ;~rfng
uy]{ . ‘Sofyl/gf x'k\m6 / kl/rfl/sf’ -;g\
!^@)_ / ‘;]G6 Pl8«ogsf] xfn]{d cw{ ;}lgs
b:tfsf clws[tx¿’ -;g\ !^@&_ h:tf /
rgfx¿df k|mG; xN;sf] k|ltef b]Vg ;lsG5 .
:k]lg; a/f]s snf z}nLsf snfsf/x¿df
:k]gsf e]nf:s];sf] gfp“ cu| kª\lStdf
cfp“5 . ltgtfs o'/f]ks} ;jf{lws
zlStzfnL JolStsf ¿kdf lrlgg] :k]gsf o'jf
/fhf lkmlnk rf}yf] e]nf:s];n] n]v]sf cfk\mgf]
kf]6«]6 b]v]/ clt d'Uw ePsf lyP . jf:tjdf
of] lrq /fhf lkmlnk rf}yf] / lrqsf/ larsf]
nfdf] / k|uf9 ;DaGwsf] ;'?cft lyof] . ;g\
!^$* df :k]gsf] /fhk|f;fbsf nflu O6flnog
snfs[ltx¿ vl/b ug]{ l;nl;nfdf e]nf:s];
O6nL uPsf lyP . pgL;“u pgsf cg'r/ x\jf“
8] kf/]xf klg ;fy nfu]sf lyP . jf:tjdf
kf/]xf e]nf:s];sf bf; lyP . O6nL a;fO
cjlwdf e]nf:s];nfO{ kf]ksf] lrq n]Vgsf
nflu efol6sgaf6 cfdGq0f ul/Psf]
lyof] . kf]ksf] kf]6«]{6 n]Vg' cufl8 pgn]
cEof;sf j|mddf kf/]xf -;g\ !^%)_ sf] cw{
sbsf] kf]6«]{6 n]v]sf lyP . kf/]xfsf lgZ5n
cf“vf / d'xf/df b]lvg] lg/k]If efj Pjd\
:jR5Gb t'lnsf ;~rfng tyf nflnTok"0f{ /ª
ljGof;sf sf/0f of] lrq cfzftLt ¿kdf clt
;'Gb/ ag]sf] lyof] . ;g\ !^%$ df e]nf:s];n]
63

Diego Velázquez. The Portrait of Juan
de Pareja, 1650. Oil paint. 81 cm x 70 cm.
Metropolitan Museum of Art, New York.
kf/]xfnfO{ bf;Tjaf6 d'St ul/lbPsf lyP .
e]nf:s];sf] k|v/ lzNksf] rdTsf/ ‘nf;
d]lggf’ cyf{t\ ‘ljlzi6 sGofx¿’ zLif{ssf]
a[xt\ ;fd"lxs lrqdf b[li6uf]r/ x'G5 .
e]nf:s];n] ljZj k|l;b\w lrq /rgf cfk\mgf]
d/0f x'g' rf/ jif{ cufl8 -;g\ !^%^_
n]v]sf lyP . o; lrq /rgfdf dfl8«8
/fhk|f;fbleq Pp6f ljzfn sIfdf b/af/sf
lr/kl/lrt kfqx¿ b]lvG5g\ . lrq ;txsf]
dWo Pjd\ cu| efudf /fhs'df/L dfu{l/tf,
pgsf] cun aundf b'O{ cf]6L kl/rfl/sf,
;';f/], cª\u/Ifs, b'O{ hgf afpGg] tyf ltgsf
cufl8 s's'/sf cfs[lt /x]sf 5g\ . tLdWo]
sf]xL Ps csf{;“u s'/f ub}{ 5g\ eg] sf]xL
bz{stk{m d'vfltj 5g\ . ltgLx¿sf l7s
k5fl8 afof“ 5]p :jod\ e]nf:s]; xftdf s'rL
lnP/ ljzfn Sofgef; cufl8 plePsf 5g\ .
leTtfsf] P]gfdf lkmlnk rf}yf] tyf dxf/fgL
dl/cfgfsf k|ltljDa b]lvG5 . s]xL
64
snfljb\sf] cg'dfgcg';f/ lrqsf/n]
Sofgef;df n]Vb} u/]sf /fhf /fgLsf] cfs[lt
g} P]gfdf k|ltljlDat b]vfOPsf] x'g'k5{ .
e]nf:s];n] :yfg, b"/fGt/ tyf k|sfzsf]
;d:ofnfO{ o; lrqdf s'zntfk"j{s ;dfwfg
u/]sf 5g\ . s'zn t'lnsf ;~rfng tyf /ª
/ 6f]gdflysf] cfk\mgf] lgoGq0faf6 pgn] o:tf]
hl6n /rgfnfO{ k"/f PsLs[t ul/lbPsf lyP .
c7f/f} ztfAbL M /f]sf]sf] /
gjzf:qLotfjfbsf] cEo'bo
;g\ !&!% df k|mfG;sf /fhf n'O{ rf}yf“}sf]
lgwgkZrft\ Toxf“ snf ;+:s[ltdfly /x“b}
cfPsf] /fhsLo ;+/If0fdf j|mdzM x|f; cfpg
yfn]sf] lyof] . k|mfG;]nL ;dfhdf cfly{s
¿kn] ;DkGg sf]6Ldf a'h'{jf tyf pRr dWod
ju{sf] pbo x'g yfn]sf] lyof] . c7f/f}“
ztfAbLsf] pTt/fb\w{sf bzsx¿df o'/f]kdf
ljleGg snf z}nLx¿ k|fb'ef{j ePsf lyP / tL
z}nL pGgfO;f}“ ztfAbL;Dd cl:tTjdf /x]sf
lyP . ;qf}“ ztfAbLdf lgs} nf]slk|o /x]sf]
a/f]s snfb]lv o; sfnv08;Dd cfOk'Ubf
snf ;+/Ifs tyf snfsf/x¿ lj/lSt;s]sf
lyP . o'/f]ksf] clehftLo j[Ttdf gof“ snf
z}nL nf]slk|o x'g yfn]sf] lyof] . kfZrfTo
snfsf] Oltxf;df of] z}nL ‘/f]sf]sf] z}nL’ sf
gfp“af6 lrlgG5 . a/f]s z}nLsf lrqx¿df
b]lvg] pTt]hs b[Zo tyf gf6sLo k|efjsf]
abnf /f]sf]sf] z}nLsf lrqx¿sf ljifo
;fwf/0f Pjd\ xNsfk'mNsf /x]sf 5g\, k/Gt' tL
nflnTok"0f{ /x]sf 5g\ . ;g\ !&^) sf] bzsdf
gj zf:qLotfjfbsf] cEo'bo geP;Dd
/f]sf]sf] z}nLsf] jr{:j /x]sf] lyof] .
/f]sf]sf] z}nLsf snfsf/x¿ e8\lsnf /
cfnª\sfl/s ;hfj6sf cg'/fuL t lyP g},

o; cltl/St pgLx¿ ;'kl/is[t kf]6«]6sf df:6/
klg lyP . k|mf:jfF a';]sf] k|l;b\w kf]6«]6 ‘d8fd
8] kDk]8f]’ nfO{ ;"Id Pjd\ nflnTok"0f{ /f]sf]sf]
z}nLsf] cg'kd pbfx/0fsf ¿kdf lng
;lsG5 .
k|mfG;]nL snf hut\nfO{ k]:6n dfWod;“u
kl/lrt u/fpg] >]o O6flnog lrqsf/ /f]hfNaf
sfl//fnfO{ hfG5 . pgsf] klxrfg ;kmn Pjd\
k|ltefzfnL dlxnf lrqsf/sf ¿kdf dfq
xf]Og, clkt' O6flnog /f]sf]sf] z}nLnfO{
k|ltlglwTj ug]{ dxTTjk"0f{ lrqsf/sf ¿kdf
/x]sf] 5 . sfl//fsf] Voflt k]:6n dfWoddf
/lrt clt ;'Gb/ kf]6«]6x¿sf nflu /x]sf] 5 .
pgsf] :6'l8of]df kf]6«]6 n]vfpgsf nflu
e]lg;sf :yfgLo k|ltli7t JolStx¿sf
cltl/St dxTTjk"0f{ ljb]zL cfuGt's,
s"6gLlt1 cflbsf] eL8 /xGYof] . sfl//fsf
Thomas Gainsborough. Mrs. Richard Brinsley
Sheridan, 1787. Oil on canvas. 219.7 cm x 153.7
cm. National Gallery of Art, Washington D.C.
15t
h
Anniversary
kf]6«]6 /rgfx¿df k|foM lrq kfqsf] lhpnfO{
clnslt kmsf{O{ 6fpsf] bz{sk6\l6 kmsf{OPsf]
x'G5 . sf/]/fdf lrq kfqx¿sf] j:q kl/wfgsf
6]S;r/, a'6\6f, k'msf{ tyf cfe"if0f, s]z
cflbnfO{ clt k|fs[lts Pjd\ ;"Id 9ª\un]
cª\sg ug]{ ljnIf0f Ifdtf lyof] .
df}l/; Sj]G6L“ 8] nf 6'/sf] gfd k]:6n dfWoddf
sfd ug]{ k|mfG;]nL /f]sf]sf] kf]6«]6 cfl6{:6sf
¿kdf :d/0fLo /x]sf] 5 . pgn] ef]N6]/, ?;f],
n'O{ kGw|f}“, d8fd 8] kDk]8f] h:tf ;dsfnLg
k|ltli7t JolStx¿sf cg]sf}“ kf]6«]6x¿ n]v]sf
lyP . ;g\ !&@& b]lv pgn] k]:6ndf sfd ug{
yfn]sf lyP / tt\kZrft\ hLjge/ o;}
dfWodk|lt ;dlk{t /x]sf lyP . nf 6'/
cfk\mgf lrq kfqx¿sf] ljlzi6 rl/qnfO{
;dfTg / ltgnfO{ dgf]xf/L ¿k lbgdf l;kfn'
lyP .
Élisabeth Louise Vigée-le Brun. Portrait of
Marie Antoinette with Her Children, 1788. Oil
on canvas, 275 cm x 215 cm. Musée National du
Château de Versailles.
65
yf]d; u]G;af]/f] / hf];'cf /]gf]N8; la|l6; JolStTjx¿sf] ;'Gb/ kf]6«]6sf nflu pgL
:s'nsf] k|yd kf]6«]6 lrqsf/sf ¿kdf k|l;b\w l5g\ . sltko snfljb\x¿ pgnfO{ gj
lrlgG5g\ . oL b'j} lrqsf/x¿ cfk\mgf kf]6«]6df zf:qLotfjfbL snfsf/sf] sf]6Ldf /fV5g\,
j:q kl/wfgsf] cª\sgnfO{ clt dxTTj clkt' clwsf+z lj1x¿sf cg';f/ pgsf
lbGy] . u]G;af]/f] k[i7e"lddf e"–b[Zo ;lxtsf kf]6«]6x¿df k|o'St /ª ljGof; / lrqfª\sgsf]
k"0f{sbsf kf]6«]6sf nflu k|l;b\w 5g\ . pgL z}nL d"ntM /f]sf]sf] z}nLcGtu{t g} k5{g\ . ;g\
snfsf cf}krfl/s lgodnfO{ k5\ofpg'eGbf !&&( df dxf/fgL d]/L PG6f]g]6]sf] kf]6«]6
dfgj / k|s[ltsf] cjnf]sgdf hf]8 n]Vgsf nflu pgnfO{ e;f{O{ /fhk|f;fbdf
lbGy] . kmntM pgsf lrqx¿ x]bf{ bz{snfO{ af]nfOPsf] lyof] . 5 jif{sf] cjlwdf pgn]
Ps lsl;dsf] sfJofTds cg'e"lt x'G5 . dxf/fgL / /fhkl/jf/sf dfq lt; cf]6feGbf
u]G;af]/f] j:q kl/wfgdf clt a9L kf]6«]6 n]v]sL lyOg\ . ‘d]/L PG6f]g]6] / pgsf
s'zntfk"j{s sfd ug{ l;kfn' lyP . pgsf s]6fs]6Lx¿’ -;g\ !&**_ df cl:6«ofdf
dxTTjk"0f{ s[ltx¿ xf]o\sL sfpG6]; d]/L’ hGd]sL k|mfG;sL dxf/fgL / pgsf ;GtfgnfO{
-;g\ !&^)_ / ‘>LdtL l/r8{ la|G:n] /fhsLo kl/j]zdf lrq0f ul/Psf] 5 . lrqdf
;]l/8g’ -;g\ !&*&_ k|mfG;]nL /f]sf]sf] dxf/fgLsf] /];dL kl/wfg / Kjf“vaf6 ;lhPsf]
z}nLsf] cg';/0fdf ag]sf 5g\ . csf{ 6f]k cflbdf pgsf] x}l;ot / zlSt k|ltljlDat
cª\u|]h lrqsf/ ljlnod xf]ufy{n] k/Dk/fnfO{ ePsf 5g\ . of] lrq n'O{–Plnhfa]yn] k|mfG;sf]
eª\u ub}{ kf]6«]6 k]lG6ªnfO{ xf:ok"0f{ k|:t'lt j|mflGt x'g' Ps jif{ cufl8 n]v]sL lyOg\ .
lbPsf lyP .
c7f/f}F ztfAbLdf ;+o'St /fHo cd]l/sfsf
c7f/f}F ztfAbLdf kf]6«]6 k]lG6ªsf If]qdf k|v/
Pjd\ k|ltef;DkGg dlxnf lrqsf/x¿
b]vfk/]sf lyP . tL dWo] k|mfG;sL Plnhfj]y
leuL n]a|'F, x6nLsL /f]hfNaf sf/]/f /
l:j6\h/NofG8sL PGh]lnsf spkmDofgsf] gfpF
Oltxf;df :j0f{ cIf/df cª\lst 5g\ . o;
ztfAbLdf kmf]6f]u|fkmLsf] cfljisf/
geO;s]sf] cj:yfdf :jNkfsf/sf
kf]6«]6x¿nfO{ lgs} dxTTj lbOGYof] . clt ;"Id
cª\sg ul/Psf o:tf :jNkfsf/sf kf]6«]6x¿
k|foM ;'gsf a6\6fleq jf unfdf nufOg]
cfe"if0fdf /flvGy] .
d]/L–n'O{–Plnhfa]y leu]–n]a|'“sf] gfpF c7f/f}“
ztfAbLsf] k|mfG;sf dlxnf lrqsf/dWo] zLif{
:yfgdf /x]sf] 5 . pgL n'O{–Plnhfa]y gfp“af6
John Singleton Copley. Paul Revere, 1768. Oil
a9L lrlgG5g\ . clehft Pjd\ k|ltli7t on canvas, 89.22 x 72.39 cm.

66
 15t
h
Anniversary

zf:qLo z}nL’ sf gfdaf6 lrlgG5 .

c7f/f}F ztfAbLsf] pTt/f{b\w{ / pGgfO;f}F
ztfAbLsf] k"jf{b\w{df gj zf:qLotfjfbL
snfsf/x¿n] k|frLg u|Ls / /f]dg j:q
kl/wfgdf ;';lHht cfs[ltx¿sf] cª\sgsf
k/Dk/fnfO{ lg/Gt/tf lbPsf lyP . oL
lrqsf/x¿ d'xf/ / xft uf]8fsf] uf]nfOsf]
k|efj b]vfpg k|ToIf k|sfzsf] k|of]u uy]{ .
hfs n'O 8]le8 / hf“–cf]u':6–8f]d]lgs O“u|
h:tf lrqsf/x¿ q'l6/lxt /]vfª\sg / lrq
kfqsf rfl/lqs ljz]iftfk|lt clt ;r]t /x]/
sfd uy]{ .

Jacques-Louis David. Napoleon at the

k|mfG;sf] /fhgLltdf g]kf]lnogsf]
Saint-Bernard Pass, 1801. Oil on canvas, 261 pTyfg;“u} hfs–n'O{ 8]le8n] cfk"mnfO{
cm × 221 cm. Musée de l'Armée.
k|mfG;]nL lrqsnf If]qsf k|d'v lg0ff{ossf
¿kdf :yflkt u/]sf lyP . g]kf]lnognfO{
kf]6«]6 cfl6{:6dWo] hf]g l;ª\un6f]g sf]Kn]sf] snfaf/] s'g} 1fg lyPg, tyflk cfk\mgf]
gfpF cu| kª\lStdf cfpF5 . pgLåf/f l;lh{t /fhgLlts 5ljnfO{ k|ab\w{g ug]{ lbzfdf
;fDo'n P8D; -;g\ !&&@_ / kf}n l/e]/] -;g\ snfnfO{ pkof]u ug{ ;lsG5 eGg]af/] pgL
!&^*_ sf kf]6«]6x¿ ltgdf b[Zodfg pu|
oyfy{jfbL u'0fsf nflu rlr{t 5g\ . o;
;dosf csf{ lrqsf/ luNa6{ :6'cf6{n]
cd]l/sL /fi6«kltx¿sf cltl/St Ps xhf/
cf]6feGbf a9L ;ª\Vofdf kf]6«]6x¿ n]v]sf
lyP .
c7f/f}“ ztfAbLsf] pTt/fb\w{ tyf pgfO;f}“
ztfAbLsf] k"jf{b\w{ M gj zf:qLotfjfb /
/f]dfG;jfb
c7f/f}“ ztfAbLsf] pTt/fb\w{;Dd cfOk'Ubf
k|mfG;]nL snf hut\df /f]sf]sf] z}nL cj;fg
x'g] cj:yfdf k'lu;s]sf] lyof] . k|mfG;]nL
lrqsnfsf If]qdf u|Ls snfnfO{ cfbz{ dfg]/
gof“ z}nLsf] hGd lbg] >]o hfs n'O{ 8]le8nfO{ Marie-Guillemine Benoist. Portrait of a
hfG5 . of] z}nL ‘gj zf:qLotfjfb’ jf ‘gj Negress, 1800. Oil on canvas, 81 x 65 cm. Musée
du Louvre, Paris.

67
;r]t lyP . o:tf] kl/l:yltdf oL b'O{
dxTTjfsfª\IfL JolStTjsf] pko'St
;ª\ud ePsf] lyof] . 8]le8åf/f l;lh{t ‘;]G6
agf{8{af6 hf“b} u/]sf g]kf]lnog’ -;g\ !*))_
nfO{ o;sf] pbfx/0fsf ¿kdf lng ;lsG5 .
8]le8sf lzio OFu|sf] ‘l;+xf;gdf cf?9
g]kf]lnog’ -;g\ !*)^_ sf] /rgf k5fl8 klg
Ps dfq pb\b]Zo g]kf]lnogsf] /fhsLo
5jLnfO{ a9fOr9fO k|:t't ug'{ /x]sf] lyof] .
d]/L–u'On]dfOg a]gf]O{sf] lrq ‘cZj]t o'jtLsf]
kf]6]«6’ -;g\ !*))_ df c7f/f}“ ztfAbLsf]
pTt/fb\w{sf] zf:qLotfjfb / pGgfO;f}“
ztfAbLsf] k"jf{b\w{sf] /f]dfG;jfb b'j} z}nLsf
tTTjx¿ kfOG5g\ . o; lrqdf sDd/b]lv dfly
cf+lzs ¿kdf gUg Zofd j0f{sL o'jtL

Francisco de Goya. The Nude Maja, 1800-1805. Oil on canvas, 97 cm × 190 cm. Museo del Prado.

Francisco de Goya. The Clothed Maja,1800-1805. Oil on canvas, 97 cm × 190 cm. Museo del Prado.

68

b[li6uf]r/ x'G5 . ;fbf k[i7e"ld / ;]tf] kl/wfg
lar uf9f j0f{sL cfs[ltdf b[Zodfg ;zSt
/]vfª\sg / ;an /ª\ufª\sgnfO{ o; lrqsf]
ljz]iftf dflgG5 .
c7f/f}“ ztfAbLsf] pTt/fb\w{df cfPsf]
j|mflGtsf] rj|mjftn] o'/f]k / cd]l/sfdf k'/fgf
/fhgLlts ;+:yfkgnfO{ a9fl/lbPsf] lyof] .
kmntM snfsf If]qdf klg o;sf] k|efj
k/]sf] lyof] . clehft ;dfh lj?b\w
ljb|f]x ug]{ j|mddf tL j|mflGtsf nflu snfn]
dxTTjk"0f{ e"ldsf v]n]sf] lyof] . o;sf
nflu gj zf:qLotfjfb k|efjzfnL dfWod
l;b\w ePsf] lyof] . k/Gt' pGgfO;f}“ ztfAbLsf]
;'?cft;“u} gj zf:qLotfjfb lzlyn
eO;s]sf] lyof] . To;nfO{ /f]dfG;jfbsf]
cleofgn] lj:yfkg u/]sf] lyof] .
kGofOnf] t'lnsf3ft, ;an /ª ljGof;, hl6n
Pjd\ c;dfg'kflts ;+/rgf, 5fof k|sfzsf]
;zSt k|efj, cfs[ltx¿sf] efjk"0f{ d'b|f /
l:ylt /f]dfG;jfbL lrqsnfsf ljz]iftf
dflgG5g\ . /f]dfG;jfbL lrqsf/x¿n]
k|efjzfnL g]tfx¿, ;'Gb/ dlxnfx¿ /
ljb|f]xL ljifo j:t'dfly hLjGt kf]6]«6x¿
l;h{gf u/]sf lyP . t]cf]8f]/ h]l/sf] /
cf]h]g b]nfj|mfn] cg]sf}F o:tf kf]6«]6x¿ /rgf
u/]sf lyP . /f]dfG;jfbnfO{ :ki6 :j¿k lbg]
>]o h]l/sf]nfO{ hfG5 . h]l/sf]n] dgf]/f]uaf6
u|l;t JolStx¿sf b; cf]6f kf]6«]6sf] z[ª\vnf
n]v]sf lyP . tL kf]6«]6x¿ pTs[i6 snfTds
z}nL / cleJo~hgfsf cltl/St JolSt
ljz]ifsf] dgf]ut ljrngsf] cj:yfsf
clen]vsf ¿kdf k|l;b\w 5g\ .
:k]gsf lrqsf/ uf]ofn] b/af/L Pjd\ clehft
JolStx¿sf] hlt klg lrq agfP, pgLx¿nfO{
15t
h
Anniversary
v';L kfg]{ Wo]on] slxNo} agfPgg\, a?
cfk\mgf lrqx¿df pgn] ltgsf ljnf; j[lTt /
d"v{tfnfO{ pbfª\uf] kf/]sf 5g\ . ;g\ !*)) df
uf]ofn] b'O{ cf]6f lrq agfPsf lyP — ‘ljj:q
dfhf’ / ‘;j:q dfhf’ . b'j} lrqdf cfs[ltnfO{
pxL kl/j]z / d'b|fdf cª\sg ul/Psf] 5 . km/s
s]jn Pp6f lrqdf cfs[ltnfO{ j:q;lxt /
csf]{df j:q/lxt b]vfOPsf] 5 . oL lrqsf
jf:tljs df]8]n sf] lyP eGg]af/] ;xL
hfgsf/L k|fKo 5}g . To; a]nfsf] xNnfcg';f/
oL lrqsf kfq Ps ;dosf uf]ofsL k|]ldsf
cNafsL /fgL lyOg\ eg] sf]xL lognfO{ :k]gsf
tTsfnLg k|wfgdGqL dfGo'n 8] uf]8f]O{sL
k|]ldsf k]lk6f 6'8f] dfGy] . uf]ofnfO{ oL lrq
uf]8f]O{n] g} n]Vg nufPsf lyP . nf}lss
kfqnfO{ ljj:q lrq0f ug{ / k|bz{g ug{df
Sofyf]lns rr{n] k|ltaGw nufPsf sf/0f
uf]ofsf] hLjg sfndf oL b'j} lrq ;fj{hlgs
ul/Psf] lyPg .
pGgfO;f}“ ztfAbL M oyfy{jfb, k|efjjfb /
pTt/ k|efjjfb
pGgfO;f}“ ztfAbLdf rr{ / /fhfsf] zlStdf
ljv08g cfP;“u} snfsf If]qdf klg ltgsf]
k|efj 36\g yfn]sf] lyof] . ltgsf 7fp“df snf
;+/Ifssf ¿kdf k'“hLklt a'h'{jf ju{, /fHo
;/sf/ tyf /fli6«o Ps]8]dLx¿ b]vfkg{
yfn]sf lyP . ztfAbLsf] pQ/fb\w{sf
bzs;Dd cfOk'Ubf snf ahf/n] cGt/f{li6«o
:j¿k lnO;s]sf] lyof] eg] gof“ / k'/fgf
snfs[ltx¿ lsga]r ug]{ Jofj;flos cf6{
l8n/x¿n] dxTTjk"0f{ :yfg cf]ul6;s]sf
lyP . o'/f]k / cd]l/sfel/sf k|lzIffyL{x¿sf
nflu ‘Osf]n 8] af]hf/’ elgg] k]l/;sf Ps]8]
lds snfsf/x¿sf :6'l8of]x¿ cfsif{0fsf
s]Gb| lyP . k|foM ;a} snfsf/x¿ ‘k]l/; ;nf]“’
69

Thomas Eakins. Mrs. Edith Mahon, 1903.
Oil on canvas. Smith College Museum of Art
-Northampton, Massachusetts.
elgg] /fli6«o k|bz{gLdf snfs[lt k|bz{g ug{,
cfk\mgf sfdaf/] ;dLIfsx¿af6
;sf/fTds k|ltlj|mof kfpg / snf
cg'/fuLx¿nfO{ snfs[lt a]Rg nfnflot
/xGy] . cvaf/ tyf klqsfdf k|sflzt x'g]
snf ;dLIfsx¿sf] l6Kk0fL / b[li6sf]0fn]
snf ;ª\u|xstf{x¿nfO{ k|efljt kfg{ yfn]
sf lyP . cf6{ Uofn/L tyf Do'lhodx¿ o;}
ztfAbLb]lv cl:tTjdf cfpg yfn]sf lyP .
pGgfO;f}“ ztfAbLsf] dWo sfn;Dd cfOk'Ubf
klg snf lzIf0f kb\wlt / snfs[ltsf]
;fj{hlgs k|bz{gLdfly o'/f]k]nL /fli6«o
Ps]8]dLx¿sf] s7f]/ lgoGq0f /x]sf]
lyof] . tTsfnLg ;Gbe{df oyf]lrt k|fljlws
70
pTs[i6tf / pko'St ljifo j:t'nfO{ :jLs[t
z}nLdf cª\sg ug]{ snfsf/x¿ dfq
Ps]8]dLsf] s[kfkfq aGy] . k]l/; ;nf]“ ?9LjfbL
lg0ff{osx¿sf] lgoGq0fdf /x]sf] lyof] / ;g\
!*#) sf] bzsb]lv pgLx¿n] k|fljlws ¿kn]
Ps]8]dLsf] dfkb08eGbf lgDg sf]6Lsf /
;fdfGo ljifo j:t'df cfwfl/t
snfs[ltx¿nfO{ lgoldt ¿kdf c:jLs[t ug{
yfn]sf lyP . ztfAbLsf kl5Nnf bzsx¿df
cfP/ k|ultzLn Pjd\ :jtGq snfsf/x¿sf]
Pp6f ;d"xn] ;nf]“sf nflu cfk\mgf sfd
a'´fpg 5f8]sf lyP . oL :jtGq ljrf/wf/fsf
snfsf/x¿n] lgtfGt oyfy{jfbL
b[li6sf]0faf6 clek|]l/t /x]/ gof“ ;fdflhs
r]tgfdf cfwfl/t snfs[ltx¿ /rgf ug{
yfn]sf lyP . oL :jtGq ljrf/wf/fsf
snfsf/x¿ snf eg]sf] ‘cfj/0f/lxt oyfy{’
x'g'k5{ eGg] b[9 wf/0ff /fVy] . pgLx¿sf]
z}nL ‘l/olnHd’ cyf{t\ ‘oyfy{jfb’ sf gfp“af6
ljZj k|l;b\w /x]sf] 5 .
pGgfO;f}F ztfAbLdf Uo':tfe s'a]{ h:tf
oyfy{jfbL snfsf/x¿n] ;dfhsf lgDg tyf
dWod juL{o kfqx¿df cfwfl/t pb\b]Zd"ns
kf]6«]6x¿ /rgf u/]sf lyP . s'a]{n] o'jfj:yfdf
/f]dfG;jfbaf6 k|]l/t eP/ ljljw dgl:ylt /
efjnfO{ cleJoSt ug]{ cfTd lrqx¿ n]v]sf
lyP . csf{ k|mfG;]nL oyfy{jfbL lrqsf/
cf]g/] bf]ldon] cfk\mgf ;dsfnLgx¿sf y'k|}
Sofl/s]r/x¿ n]v]sf lyP .
k|Voft cd]l/sL snfsf/ yf]d; OlsG;
oyfy{jfbsf cgGo cg'ofoLsf ¿kdf
lrlgG5g\ . k/Dk/fut wf/b]lv k[ys vfnsf
kf]6]«6 /rgfx¿sf nflu pgL k|l;b\w /x]sf
5g\ .\ ‘>LdtL Pl8y dfxf]g’ -;g\ !()#_
zLif{ssf] kf]6]«6df pgn] b'Mv / ljiffb h:tf

Edouard Manet. Stéphane Mallarmé, 1876. Oil on canvas, 27.5 X 36 cm. Musée d'Orsay.
c?lrs/ dfgjLo ;+j]unfO{ OdfGbf/Lk"j{s
k|:t't u/]sf lyP .
;g\ !*&) sf] bzs;Dd cfOk'Ubf k|mfG;]nL
snf hut\df oyfy{jfbn] ‘ODk|];lgHd’ cyf{t\
k|efjjfbnfO{ dfu{ k|z:t ul/;s]sf]
lyof] . snfdf :jtGqtf / gjLg wf/k|lt
k|ltab\wtfsf sf/0f oL ‘ODk|];lg:6x¿ Pp6}
;d"xleq uf]naGb /x]sf lyP, clkt' ljifout
?lr tyf z}nL Pjd\ JolStut :jefjsf
b[li6n] pgLx¿ ljljw rl/qsf lyP . cfw'lgs
snfsf] k|f/De dflgg] ODk|];lgHdsf] ar{:j
aL;f}“ ztfAbLsf] k"jf{b\w{;Dd /x]sf] lyof] . o;}
z}nLsf sf/0f cfw'lgs snfsf wf/ dflgg]
pTt/ k|efjjfb, kmjjfb, 3gjfb h:tf
pTt/jtL{ ljljw jfb Pjd\ z}nLx¿sf] pTyfg
15t
h
Anniversary
;Dej ePsf] lyof] .
df]8]nsf nflu vr{ h'6fpg g;Sgfn]
clwsf+z ODk|];lg:6 lrqsf/x¿ k|foM
kl/jf/ / ldqhgx¿nfO{ g} lrq /rgfsf nflu
df]8]nsf ¿kdf k|of]u uy]{ . pgLx¿ ;fd"lxs
jf Psn cfs[ltx¿nfO{ v'nf kl/j]zdf jf
k|sfz cfR5flbt sIfleq lrq0f uy]{ . kftnf
/ rxlsnf /ª\ufª\sg tyf k|:6 t'lnsf3ftx¿
k|o'St oL ODk|];lg:6 kf]6]«6x¿ jf:tjd}
cfTdLo / lrTtfsif{s 5g\ .
Pb\jf/ dfg]nfO{ oyfy{jfb / k|efjjfb larsf
;]t' lrqsf/sf ¿kdf lng] ul/G5 . pgnfO{
pGgfO;f}“ ztfAbLsf] k|mfG;]nL lrqsnfsf]
Oltxf;df tTsfnLg cfw'lgs hLjgnfO{
71

Edgar Degas.The Bellelli Family, c. 1858–1867,
Oil paint. Musée d'Orsay.
lrqdf hLjGt kfg]{ klxnf] lrqsf/sf] >]o lbg]
ul/G5 . dfg]n] cfk\mgf lrqdf cfs[ltx¿nfO{
;/nLs[t u/L 5fofsf] k|efjnfO{ Go"g u/]sf
lyP . pgsf] /ª\ufª\sg kb\wlt hfkfgL
lk|G6x¿af6 k|efljt lyof] . pgsf] ‘:6]kmg]
dfNnfd]{’ -;g\ !*&^_ nfO{ oyfy{jfb /
k|efjjfbsf] ;lDd>0fsf] ;'Gb/ pbfx/0fsf
¿kdf lnOG5 .
Pb\uf b]ufsf] klxrfg k|efjjfbsf ;+:yfks
dWo] Pssf ¿kdf /x]sf] 5, clkt' pgL
‘k|efjjfb’ zAbsf 3f]/ lj/f]wL lyP / cfk"mnfO{
‘l/oln:6’ cyf{t\ ‘oyfy{jfbL’ eGg ?rfp“y] .
pgL ;zSt 8«fk\m6\;Dofg lyP . pgsf kf]6«]6
/rgfx¿ kfqsf dgf]ut bzf tyf dfgjLo
Psfª\uLkgsf] ;zSt lrq0fsf ¿kdf k|l;b\w
5g\ . pgL snfdf j|mflGtsf/L kl/jt{gsf
kIfkftL lyP, tyflk snfsf ljlzi6
k/Dk/fut cfbz{k|lt lgi7f /fVy] . ctM
sltko snfljb\x¿n] b]ufnfO{ ‘cfw'lgs
hLjgsf zf:qLo lrqsf/’ sf] ;+1f lbPsf
5g\ . ‘a]Nn]nL kl/jf/’ -;g\ !*%*–!*^&_
df pgn] Ps csf{k|lt c;Gt'i6 kl/jf/sf
;b:ox¿nfO{ cleJoSt u/]sf 5g\ . of] lrq
pgsf pTs[i6 kf]6«]6 /rgfx¿dWo] ulgG5 .
72
d]/L s];]6 cd]l/sfsf] k]lG;neflgofsL lyOg\,
tyflk hLjgsf] clwsf+z ;do k|mfG;df
latfPsL lyOg\ . pgL b]ufsf lgs6td ldq
lyOg\ . b]ufs} k|f]T;fxg kfP/ pgn]
ODk|];lg:6x¿sf] ;d"xdf k|j]z u/]sL
lyOg\ . s];]6n] k|foM dlxnfx¿sf] ;fdflhs
Pjd\ lghL hLjg / afnaflnsf;“u pgLx¿sf]
;fldKonfO{ cfk\mgf lrqx¿df cleJoSt
u/]sL lyOg\ . lko/]–cUo':t /]Gjf/\ ODk|];lg:6
lyP, clkt' pgsf sfdx¿df gj
zf:qLotfjfb / /f]dfG;jfbsf] dgf]/d ;lDd>0f
b[Zodfg x'G5 . pgsf sfddf clgof]lht t/
ljlzi6 /ª ;ª\ult Pjd\ hLjGt k|sfz
b[li6uf]r/ x'G5g\ . at{ df]l/hf]n] klg d]/L
s];]6n] h:t} ;dfhsf ;De|fGt dlxnfx¿nfO{
s]Gb| agfO{ sfd u/]sL lyOg\ .
;g\ !**) sf] bzssf] dWo sfn;Dd
cfOk'Ubf ODk|];lgHdn] dha't h/f
ufl8;s]sf] lyof] eg] o;} ;dob]lv kf]:6
ODk|];lgHd cyf{t\ pTt/ k|efjjfb / c¿ gof“
snf cleofgx¿ j|mdzM b]vfkg{
yfln;s]sf lyP . snfsf If]qdf
b]vfk/]sf oL gof“ wf/x¿n] k/Dk/fnfO{ ´g\
r'gf}tL lbg yfn]sf lyP . kf}n uf]Uj“ /
leG;]G6 efg uf] b'j} pTt/ k|efjjfbL lrqsf/
lyP . pgLx¿n] k/Dk/feGbf k[ys /ª
ljGof; t/ efj ;Dk|]if0fsf b[li6n] lgs} ;zSt
kf]6«]6x¿ agfPsf lyP . efg uf]n] cfk\mgf]
hLjg sfndf cg]sf}“ cfTdlrq agfPsf
lyP . ;g\ !**^ b]lv !**( sf] cjlwdf
dfq pgn] cfk"m :jod\nfO{ rfln; kN6eGbf
a9L lrqfª\sg u/]sf lyP . tLdWo] s'g}df
bf/L;lxt, s'g}df bf/L/lxt / s'g}df sfgdf
k6\6L af“w]sf cflb ljljw :j¿kx¿sf] bz{g
x'G5 . ;g\ !**( df n]lvPsf] efg uf]sf] cfT-
 15t
h
Anniversary

dlrqdf ;Lldt /ªdfq k|of]u ul/Psf ljwfsf] cfudgn] ljifo j:t'nfO{ b'?:t Pjd\
5g\ . ´6\6 x]bf{ o; lrqdf df]gf]j|mf]d k|efj oyfy{k/s lrqfª\sg ug]{ k/Dk/fb]lv
b[li6uf]r/ x'G5 . ;Dk"0f{ lrqdf lkmsf lgnf] /lxcfPsf] snfsf/sf] l;ksf] dxTTjnfO{
xl/of] /ªsf] k|wfGo /x]sf 5g\ . pgsf cjd"Nog ug{ yfn]sf] lyof] . k/Gt' o;
clwsf+z cfTdlrqdf h:t} o;df klg lrq r'gf}tLaf6 xtf]T;flxt x'g'sf abnf
kfqn] bz{stk{m l;wf gx]/L cGt st} yf]d; OlsG; / P8u b]uf h:tf lrqsf/x¿n]
x]l//x]sf] k|tLt x'G5 / pbf; Pjd\ Psf]xf]/f] lrqsf/x¿n] kmf]6f]u|fkmLaf6 b]vfpg g;lsg]
;f]rdUg cj:yfdf b]lvG5g\ . jf To;n] eGbf c´ df}lns Pjd\ snfTds
9ª\usf] k|:t'lttk{m Wofg s]lGb|t ug{ yfn]sf
cToGt k|efjzfnL pTt/ k|efjjfbL lyP . kmntM pgLx¿ j}olSts ?lr / r]tgfaf6
lrqsf/x¿sf kª\lStdf cfF/L b] t'n'h a9L lgb]{lzt /xg yfn]sf lyP / pgLx¿df
nf]q]s klg k5{g\ . pgn] cfk"mn] lgs6;“u ljifo j:t' / lzNk ljlw b'j} b[li6n] :jR5Gb
b]v]sf, ;ª\ut u/]sf ;fdflhs :t/, jftfj/0f 9ª\un] sfd ug]{ k|j[lTtn] h/f uf8\g yfn]sf]
tyf cfk"m k|foM uO/xg] 7fp“x¿ Pjd\ Toxf“ lyof] . To; tfsf /ª\uLg kmf]6f]u|fkmLsf] ljsf;
e]l6g] kfqx¿nfO{ cfTdLotfk"j{s oyfy{ ¿kdf eOg;s]sf] kl/k|]Iodf lrqsf/Ldf /ª\ufª\sg
lrq0f u/]sf 5g\ . kb\wlt ;DaGwL ljljw k|of]utk{m lrqsf/x¿
o;} ztfAbLsf lrqsf/ hf]g l;ª\u/ ;fh]{G6sf] k|f]T;flxt ePsf lyP .
k|efjjfb / pTt/ k|efjjfbk|lt s'g} df]x
lyPg . pgn] oyfy{jfbL z}nLnfO{ k5\ofP/
;zSt /ª\ufsg k|of]u u/L clt ;'Gb/ Psn /
;fd"lxs kf]6«]6x¿ agfPsf lyP . pgnfO{ efg
8fOsaf6 cf/De ePsf] la|l6; kf]6«]6
k/Dk/fsf clGtd dxTTjk"0f{ snfsf/sf ¿kdf
lnOG5 .
cd]l/sfdf hGd]/ cGt/f{li6«o Voflt
sdfPsf h]D; caf]6 Dofslgn x\lj:n/n]
s]xL ;j{yf leGg vfnsf kf]6]6 /rgf
u/]sf lyP . v}/f] / sfnf]df ;+/rgf ul/Psf]
‘snfsf/sL dftf’ -;g\ !*&!_ zLif{ssf]
pgsf] lrq lgs} k|l;b\w /x]sf] 5 . x\lj:n/
cfk\mgf sfddf cfsf/ / /ªsf] nok"0f{
;+/rgfnfO{ dxTTj lbGy] .
;g\ !*$) sf] bzsb]lv kmf]6f]u|fkmL k|ljlwdf
;'wf/;“u} o;sf] pkof]u Pjd\ nf]slk|otfn] Henri Matisse. Portrait of Madame Matisse
(The green line), 1905. Oil on canvas, Statens
Jofkstf lng yfn]sf] lyof] . kmf]6f]u|fkmL Museum for Kunst, Copenhagen, Denmark.

73
Gustav Klimt, Portrait of Adele Bloch-Bauer I (The Woman in Gold), 1907. Oil, silver, and gold on
canvas, 138 cm x 138 cm. Neue Galerie, New York.
la;f}“ ztfAbL
l/g];f“ sfnb]lv rNb} cfPsf snf k/Dk/fk|lt
lju|xsf] j|md pGgfO;f}F ztfAbLsf]
pTt/fb\w{b]lv g} ;'? eO;s]sf] lyof] .
la;f}F ztfAbLdf cfP/ o; j|mdn] emg}
Jofkstf lnPsf] lyof] . o; ztfAbLdf
cfw'lgs snfn] 7'nf] km8\sf] dfg'{sf]
k[i7e"lddf b'O{ cf]6f ljZj o'b\wsf] qf;bL, b|'t
74
ultdf eO/x]sf] ;x/Ls/0f tyf
cf}b\of]uLs/0fsf sf/0f ;fdflhs d"No /
dfGotfdf cfPsf] kl/jt{g /x]sf] dfGg
;lsG5 . jf:tjdf cfw'lgs snfsf] cleofg
lj:tf/} / ts{ab\w 9ª\uaf6 j|mdzM cufl8
a9\b} uPsf] lyof] . snfdf cfw'lgstf
j|mflGtsf/L lyPg, a? ljsf;jfbL lyof] .
la;f}F ztfAbLsf] k|f/De;Fu} kf]6«]6 snf gofF
lbzftk{m pGd'v x'g yfn]sf] lyof] .
 15t
h
Anniversary

cf]6\6f] l8S; / DofS; a]sdgn]

cleJo~hgfjfbL pNn]vgLo kf]6«]6x¿ n]v]sf
lyP . a]sdgn] pRr sf]6Lsf s]xL
cleJo~hgfjfbL cfTd lrqx¿ n]v]sf lyP .
cfd]b]of] df]lbofgLn] cfk\mgf nDafsf/
df}lns z}nLdf cg]sf}F /f]df~rs kf]6«]6x¿
n]v]sf lyP . cfk\mgf tL /rgfx¿df pgn]
ckl/lrt dfG5], afn aflnsf, ;8s afnfx¿,
sfdsfhL dlxnfx¿ cflbnfO{ df]8nsf ¿kdf
k|of]u u/]sf lyP . df]bLn] pgLx¿nfO{ cfk\mgf
cToGt} /f]rs z}nLn] o'St /]vfª\sg / dfw'o{
/ª ljGof;åf/f cd/ agfOlbPsf lyP .
tfdf/f 8] n]lDksfn] ‘cf6{ 8]sf]’ o'unfO{
Max Beckmann. Self Portrait with Champagne
Glass, 1919. Oil on canvas, 65 cm x 55.5 cm.
k|ltlglwTj ub}{ ;kmn kf]6«]6x¿ n]v]sf lyP .
;g\ !(@) / !(#) bzssf cd]l/sL l/oln:6
kmjjfbL snfsf/ cfF/L dflt;n] k|s[ltk/:t :s'nnfO{ /a6{ x]g/L / hh{ a]nf]h lrlgG5g\ .
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xl/of] h:tf ljz'b\w /ªx¿ k|of]u ub}{ cgf}7f
t/ k|efjzfnL kf]6«]6x¿ l;h{gf u/]sf lyP .
;]hfgsf] ?lr kf]6«]6df ;"Id cª\sgsf abnf
;/nLs[t cfsf/df lyof] . cl:6«ofsf Uo':tfe
lSnDK6n] afOh]G6fOg snfsf 9fFrfdf ;'gf}nf
/ª k|of]u ub}{ ‘;'j0f{ dlxnf’ h:tf
snfTdstfn] cf]tk|f]t kf]6«]6 l;h{gf u/]sf
lyP . :k]lg; snfsf/ kfAnf] lksf;f]n]
cfk\mgf k|]ldsfx¿nfO{ So'la:6 -3gjfbL_ lrq
/rgfx¿df ptf/]sf lyP . pgsf oL
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;'Gb/ / ;+j]uk"0f{ l8:6f];{gsf ¿kdf lnOG5 .
‘PS;k|];lg:6’ cyf{t\ ‘cleJo~hgfjfbL’
lrqsf/x¿n] o;eGbf cufl8 gb]lvPsf
dgf]j}1flgs cWoogdf cfwfl/t cb\e"t kf]6«]6
l;h{gf u/]sf lyP . hd{g snfsf/x¿
Tamara de Lempicka. Portrait of Ira P, 1930.

75
Amedeo Modigliani. Reclining Nude, 1917. Oil on canvas. The Metropolitan Museum of Art, New
York.

Francis Bacon. Three Studies for a Portrait of Henrietta Moraes, 1963.

DofS; cg]{:6sf] ‘;a} ldqhg;Fu}’ a9\bf] e'msfjsf] kl/0ffd:j¿k ;g\ !($) /

-;g\ !(@@_ zLif{ssf] lrqnfO{ ljz'b\w
cfw'lgs kf]6«]6sf] pbfx/0fsf ¿kdf lng
;lsG5 .
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/ cfs[ltd"ns kf]6]6 k]lG6ªsf k/Dk/fnfO{
hLljt /fVgdf /l;ofnL snfsf/x¿ O;fs
a|f]8\:sL, lgsfnfO{ k]mlrg, ca|fd clv{kf]e
cflbsf] dxTTjk"0f{ of]ubfg /x]sf] 5 . cd"t{
snf -PA;6«ofS6 cf6{_ / cfs[ltljxLg snf
-gg lkmu/]l6e cf6{_ k|lt snfsf/x¿sf]
76
!(%) sf] bzsdf cfP/ /l;ofnfO{ 5f8]/
o'/f]k / cd]l/sfdf kf]6«]6 k]lG6ª ljwf ;':tfpg
yfn]sf] lyof] . k/Gt' o; ;Gbe{df cd]l/sL
oyfy{jfbL lrqsf/ PG8«o' ljynfO{ ckjfb
dfGg ;lsG5 . ;g\ !(&!–!(*% sf] cjlwdf
‘x]Nuf’ zLif{sdf pgn] x]Nuf 6]:6f]k{m gfpFsL
dlxnfsf @$& cf]6f lrq n]v]sf lyP . oL
lrqx¿ ljljw kl/j]zdf s'g} ;j:q / s'g}
ljj:q /x]sf 5g\ . Ps} hgf snfsf/n] Pp6}
kfqsf] olt w]/} ;ª\Vofdf ;fob} c¿
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Andrew Wyeth. Helga, 1981. Drybrush and/or watercolour on paper.

77

Lucian Freud. Reflection (self portrait), 1985.
Oil on canvas.
snfsf/n] n]v]sf 5g\ .
;g\ !(^) / !(&) sf] bzsdf cª\u|]h
snfsf/x¿ n'l;og k|mfo8 / k|mflG;; a]sgsf
sf/0f kf]6«]6 ljwfsf] k'ghf{u/0f ePsf] dfGg
;lsG5 . oL b'j}n] lgs} k|efjzfnL kf]6«]6x¿
l;h{gf u/]sf lyP . a]sgsf kf]6«]6x¿ ltgdf
b[Zodfg ljeT;k"0f{ u'0fsf nflu rlr{t 5g\ .
n'l;og k|mfo8sf kf]6]«6x¿df cToGt} 7f];
;+/rgf, ;an t'lnsf3ftx¿ / kfqx¿sf]
dd{:kzL{ dgf]bzfsf] bz{g x'G5 .
PG8L jf/xf]n, cn]S; sf6\h, rs Snf]h
cflb k|e[lt ;dsfnLg cd]l/sL
snfsf/x¿n] cfk\mgf /rgfx¿df dfgj
d'xf/nfO{ s]Gb| agfP/ sfd u/]sf lyP .
kmf]6f]u|fkmL cfs[ltdf cfwfl/t a[xt\ cfsf/ /
pu| oyfy{jfbL -xfOk/ l/oflnl:6s_ kf]6«]6x¿
rs Snf]hsf ljz]iftf dflgG5 . h]dL ljyn]
78
Jamie Wyeth. Portrait of Arnold
Schwarzenegger, 1977. Oil on canvas.
cfk\mgf lktf PG8«o' ljysf] oyfy{jfbL
k/Dk/fnfO{ g} cg';/0f ub}{ cb\of]kfGt a]hf]8
kf]6]«6x¿ l;h{gf ul//x]sf 5g\ . pgsf ljifo
j:t'df /fi6«kltb]lv lnP/ ;fdfGo ;'Fu'/;Dd
;d]l6Psf 5g\ .
;Gbe{ ;"rL
Adams, Laurie Schneider. A History of Western
Art. 3rd ed. New York: McGraw-Hill, 2001.
Cunningham, Lawrence S. and Reich, John J.
Culture and Values: A Survey of the
Humanities. 6th ed. USA: Thomson Learning
Inc, 2006.
David Piper, The Illustrated Library of Art.
Portland House, New York, 1986.
Gombrich, E. H. The Story of Art.
London: Phaidon Press Ltd., rev. ed. 2000.
Gordon C. Aymar, The Art of Portrait Painting.
Chilton Book Co., Philadelphia, 1967,
Gowing, Sir Lawrence (Ed.). A Biographical
Dictionary of Artists. Revised ed. Oxfordshire,
England: Andromeda Oxford Ltd. 2002.
Gowing, Sir Lawrence (Ed.). A History of Art.
Rev. ed. Oxfordshire, England: Andromeda
Oxford Ltd. 1995.
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Hale, J. R. (Ed.). A concise Encyclopedia of the

Italian Renaissance. New York: Oxford
University Press, 1982.

John, Hope-Hennessy. The Portrait in the

Renaissance. Bollingen Foundation, New York,
1966.

Patridge, Loren. The Art of Renaissance Rome.

New York: Harry N. Abrams, 1996.

Piper, David. The Illustrated History of Art.

London: Octopus Publishing Group Ltd, 1981.

Robin Simon, The Portrait in Britain and America.

G. K. Hall and Co., Boston, 1987.

Stokstad, Marilyn. Art History: A View of the

West. Volume One and Volume Two. 3rd ed.
New Jersey: Pearson Education, Inc. 2008.

Woodall, Joanna. Portraiture: Facing the Subject.

Manchester University Press, Manchester, 1997.
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gjLGb|dfg /fhe08f/L lrq l;h{gfsf

cltl/St l;h{gf sn]h ckm kmfOg
cf6{;\df snf Oltxf; ljifo cWofkg u5{g\
/ snfaf/] n]V5g\ klg . pgL lgs} nfdf]
;dob]lv lghfdtL ;]jf cGtu{t kf7\oj|md
ljsf; s]Gb|, ;fgf]l7dLdf sfo{/t 5g\ .
pgLåf/f lnlvt ‘kfZrfTo snf M ;ª\lIfKt
Oltxf; -klxnf] efu_’ k|sflzt
eO;s]sf] 5 eg] o;} k':tssf] bf];|f] efu
k|sfzf]Gd'v 5 .

navindrarajbhandari@yahoo.com

79
Art & Heritage: An Ancient
Image at our Doorstep
Dr Poonam Rajya Laxmi Rana
For those interested in art,
architectures, ancient temples and
monumental remains, Nepal is
an open museum. At every nook
and corner there are temples with
unique art/ artistic creations to make
outsiders wonder as to how they were
crafted?
This Chaturmurti image is at the
Rastriya Nach Ghar, Jamal, which
lies in the heart of the city. Chatur
is four, and ‘murti’ means image or
icon. It means four images in one
sculpture. Since many centuries, the
sculptors of Nepal have been making
Fig 1. The Chaturmurti Image, Rastriya Nach
Ghar, 3rd Century A.D.
80
Chaturmurtis and it continues to this
day. This image belongs to the 3rd
century AD. It has been sculptured
from a single piece of rock that has
been withstanding sun, wind, rain,
hail, fog, frost. Most of its features
have been fragmented and withered
with time. Yet its grandeur and
uniqueness can be identified despite
erosion and fragmentation. This
unique piece of Chaturmurti image,
does not exist anywhere else, but in
Nepal.
The first image is of Brahma (the
creator), standing on the lotus
Pedestal who is regarded as the
source of knowledge and his consort
Saraswati is ‘knowledge’ itself. On its
right is the image of Shiva
(Fig 2), and towards its right is the
image of Vishnu (Fig 3). In between
Brahma and Vishnu is the image
of Shakti (Fig 4).This Chaturmurti
image rests on a single‘Jalahari’ water
–vessel shaped as pedestal. Some
important characteristic feature of
this image is that it is made of single
sandy rock.
Among the Hindus the ‘THREE
TRINITY’ or ‘TRIMURTI’ holds an
important position, however, in
this image; Brahma is given more
importance than the others. Vasudeva
Saran Agrawal views that Brahma
worship existed in India during
Mathura and Kushan period. The icon
of Brahma was depicted with four
heads therefore known as (Chatur-
anana), four face, (chatur-mukha),
 15t
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cloth tied around his waist. On his

neck he wears a single beaded ‘mala’
or necklace. He is shown with a
keyura or armlet, bala or wristlet,
karana kundala or earring; and is
shown holding ‘akshayamala’ or
prayer beads on his right hand,
and left hand he is shown with
‘kamandalu’ or water pot. This is the
oldest Brahma image of Nepal. It has
a broad shoulder and chest and the
shape of the lotus petal are similar to
the Mathura style of India. Like any
other ancient images of Nepal this
image also does not depict ‘upavita’
or the sacred thread. This is one of
the features that distinguish ancient
images with the new images.

On the right side of Brahma image is

the icon of Shiva shown standing on
a small ‘padapitha’ or the pedestal.
He is depicted with four hands, on
his ears he wears a kundala (earring),
kanthahara (necklace), bala (wristlet).
Fig 2. Siva image of Chaturmurti He is also shown with a dhoti or
antariya or a cloth tied around his
eight eared (asta-karna). In his hands
he holds four Vedas, or he may hold
the Veda in one hand and in other
various accessories such as ‘jap mala’
or prayer beads, ‘kamandalu or water
pot. He is usually bearded, which
symbolizes maturity; and his vehicle
is a swan or goose that signifies
knowledge. He is always depicted
on the lotus springing from Lord
Vishnu’s navel.

This image at the Rastriya Nachghar

is depicted in ‘samabhanga mudra’
with legs slightly apart, placed
upon a lotus flower. Lord Brahma
is depicted with four heads that
signifies 4 directions. This image
depicts only three heads with ‘jata’
or raised headdress, some portion
of this images is eroded. Brahma is
shown wearing a dhoti or a simple Fig 3. Vishnu image Chaturmurti

81
Fig 4. Shakti Image
waist that comes up to his knee. He is
depicted with four hands holding ‘jal-
patra’ water-pot or kamandalu, trisul
or trident and one hand in varadha
mudra or symbol of blessing.This is
also one of the oldest image of Shiva
in Nepalese art.
On the right side of Siva is the image
of Lord Vishnu the ‘saviour’. This
image is in ‘samabhanga mudra with
legs slightly apart. It is highly eroded.
The face, hand and other frontal
portions are highly eroded. He is
depicted wearing kundala, (earring),
necklace, antariya or dhoti or cloth
tied around the waist, it is similar
to that of Lord Brahma’s image. He
is depicted with four hands holding
samkha (conch shell), charka (discus),
gadha (mace) and one hand in
varadha mudra (symbol of blessing).
82
Chaturmurti, Epatol, Sakhu, 8th-9th century
A.D.
On the right side of Siva is the image
of Shakti, This image is one of the
most artistic creation of its time. This
image shows that the sculptors had
surpassed excellence. The image
depicts a lovely female figure with
smiling face. She stands on a small
pedestal in a samabhanga posture.
She is shown wearing kundal
(earring), necklace, ‘kalli’ or anklet
and dhoti a cloth tied around the
waist that reaches up to the feet. Like
other ancient images of her period
her hair-style is similar to Chyasalhiti
Gajalaxmi. .
Another Chaturmurti image was
made 500 years later in the town of
Epatol Sankhu, some 12 miles away
from Kathmandu. This image belongs
to 8th 9th century AD. This image
has Brahma with a single head and
 15t
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Vishnu with Samkha (conch), Chakra

(discus), Gadha (mace), and Padma
(lotus) .In between them is the image
of Ardhanareswara (Hermaphrodite)
showing union of Siva & Shakti,
prior to this century image of
Ardhanareswara had not been made.
This image is constructed around a
huge ‘Shiva linga’ placed on a square
shaped ‘jalahari’ (water-vessel shaped
pedestal).

Both these Chaturmurti differ in

style. The Chaturmurti at Epatol,
has the look of ChanguNarayana
Viswaroopa’ image. This image is
more refined. All this shows that as
Dr. Poonam Rajya Laxmi Rana
time passed, art, artistic creations also
underwent refinement. Despite what Dr. Poonam Rajya Laxmi Rana
maybe, the “Chaturmurti” image at is an Associate Professor in the
Rastriya Nach Ghar near Jamal is a Dept of Nepalese History Culture
unique piece of ancient art which has & Archaeology, Tribhuvan
its own grandeur and style. University, Kirtipur, Kathmandu,
Nepal.

She holds Masters Degree in

Sociology and Environment &
Ecology and Doctorate in Nepalese
History Culture & Archaeology.
She is also a graduate in Fine Arts.
She has conducted Solo Exhibition
twice.

She is also involved in teaching

A Levels, AS Levels & O Levels
Sociology & Enviromental
Management. And Nepal studies.
Her articles have been published
in both national & International
magazines.

She has participated in various

National & International Seminars
& Conferences. She has won
International Scholarship to
Deutschland for her story
and has been twice short listed for
Asian Scholarship.

poonamrlrana3@gmail.com

83
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84
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15t
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Anniversary
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85

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elgG5 . jf:tjdf ctLt / cgfut u|xnfO{
ljifd u|xsf] k|sf/ dfGg ;lsG5 . o;sf]
k|of]u k|foM ufog, jfbg tyf g[Todf rdTsf/
k}bf ug{ cyjf ;dsf] e|d /fVgsf nflu
ul/G5 . ;dsf] kl5 / cl3 gSsnL ;d
b]vfpg] :yfgnfO{ ctLt / cgfut elgG5 .
o;sf] k|of]u ;fwgfåf/f dfq ;Dej x'G5 .
hftL
blIf0fL ;ª\uLtdf hftL eGgfn] ljefusf]
dfqfsf] ;ª\Vofsf] af]w eGg] x'G5 . sgf{6s
;ª\uLtdf ;ft tfnnfO{ d'Vo
dflgPsf] 5 — w|'j, d7, ¿ks, emDk, lqk'6,
c7 / Ps . k|To]s tfnsf] kf“r kf“r hftL
x'G5g\, h:t} M rt>, lt>, ld>, v08 /
;ª\sL0f{ . n3'sf] dfqfdf kl/jt{g ugf{n]
hftLsf] pTklTt x'G5 . cyf{t\ rt> hftLdf
n3' rf/ dfqfsf], lt> hftLdf tLg dfqfsf],
86
ld>df ;ft dfqfsf], v08df kf“r dfqfsf] /
;ª\sL0f{df n3' gf} dfqfsf] x'G5 . o; k|sf/
sgf{6s kb\wltsf] tfndf n3'sf] dfqfdf
kl/jt{g ugf{n] & X % = #% tfnsf] /rgf
aG5 . lxGb':tfgL ;ª\uLtdf hftLsf] cy{ :ki6
5}g . sgf{6s ;ª\uLtsf] cfwf/cg';f/ ;dfg
;ª\Vofsf] dfqfsf ljefu ePsf] tfn,
h:t}M ltgtfn / sx?jf rt:> hftLsf] bfb/f
/ Ps tfn lt:> hftLsf] emktfn v08
hftLsf], e'md/f / ?ks ld> hftLsf] tyf
wdf/ tfn ;ª\sL0f{ hftLsf] tfn xf] .
snf
jfbg z}nL cyjf ljlwnfO{ snf elgG5 .
tanfdf xft /fVg] tl/sf, a}7ssf] cf;g,
ljleGg af]nsf] lgsf; cyf{t\ lgsfNg]
tl/sf cflbsf] pkof]usf ;fy;fy} cfk\mgf]
sf}znk"0f{ cfsif{s jfbg cflbsf] pkof]u g}
snfcGtu{t k5{ . snfsf cfwf/df g} ljleGg
5 3/fgfsf] ljsf; / hGd ePsf] 5 .
no
;dosf] ultnfO{ no elgG5 . ufog, jfbg, /
g[Todf cfwfl/t ;dfg nosf] rfn cyjf
a/fa/ ;dosf] ult g} no xf] . no w]/}
k|sf/sf x'G5g\, tyflk ;fwf/0f b[li6af6
;ª\uLtsf lgldTt nonfO{ ltg efudf
ljefhg ul/Psf] 5, h:t} M
ljnlDjt no M l9nf] ultsf] rfn jf no g}
ljnlDat no xf] .
dWo no M g l9nf] g rf“8f] cyf{t\ h;sf] ult
dWo xf];\, To;nfO{ dWo no elgG5 .
b|'t no M h'g no b|'t ult cyjf l56f] 5,
To;nfO{ g} b|'t no dflgG5 .
 15t
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Anniversary

otL
;ª\uLtdf ;do gfKgsf nflu /Llt cyjf
tl/sfsf] cfjZostf k5{ . o;nfO{ olt
elgG5 . nosf] ljleGg ¿kdf k|of]usf] lgod
g} otL xf] . ljnlDat, dWo / b|'t nosf] d[bª\uf otL M d[bª\usf] h:tf] cfs/f ePsf]
;+of]uaf6 ljleGg ¿kdf ag]sf] otLsf ljleGg cyf{t\ d'v 5f]6f], lardf k'ms]/ / cGTodf 5f]6f]
cfs[ltsf] kl/sNkgf ul/Psf] 5 . tfn ePsf] nodf cjl:yt af]n /rgfnfO{ g}
zf:qdf ultsf] k|of]unfO{ ltg nodf lgab\w d[bª\uf otL elgG5 . k|f/De / cGTodf b|'t no,
u/]/ ahfpg] lgodnfO{ g} otL elgG5 . otL lardf dWo no ePsf] /rgf g} d[bª\uf otL
kfFr k|sf/sf 5g\ M xf] .
;dfotL M otLsf ltg cf]6} ¿k cyjf no
Pp6} jf ;dfg /xG5 jf k|f/Deb]lv cGTo;Dd
Pp6} ultsf] no g} x'G5 eg] Tof] ;dfotL xf] .
o;sf] cfs[lt o:tf] x'G5 M

:qf]tfutf otL M otLsf] ult k|f/Deb]lv
ljnlDat, dWo / b|'t /xG5 eg] To; nodf
ePsf] cfs[lt cyjf ¿knfO{ :qf]tfutf otL
elgG5 . gbLsf] ;|f]taf6 kfgL au] h:tf] u/L
To; ultsf] cfwf/df ag]/ rNg] af]n ;d"xnfO{
:qf]tfutf eG5g\ .
lkkLlnsf otL M otLsf] cfsf/ 8d?sf] h:tf]
ePsf] cyf{t\ k|f/De / cGTodf ljnlDat
no t/ aLrdf b|'t no ePsf] af]n /rgf g}
lkkLlnsf otL xf] .

uf]k'R5f otL M h'g otLsf] ult ;'?b]lv b|'t,

dWo / ljnlDat /xG5, To; cfsf/ af]n
/rgf g} uf]k'R5f otL xf] . o;sf] cfs[lt
ufO{sf] k'R5/ h:tf] /xG5 .
87
k|:tf/
k|frLg ;dodf tfnnfO{ ljleGg tl/sfåf/f
lj:tfl/t ug]{ ul/GYof] . To;df tfnsf] d"n
lj|mof, h:t} M dfu{, snf, dfqf, cª\u, otL ;a}
k|efljt x'GYof] / k"/} sfn k|df0fnfO{ b]vfP/
cnu cnu ¿kdf cª\unfO{ hf]8\g]
ul/GYof] . oxL ljljw cª\u sNkgfsf] gfd
g} k|:t/ xf] . rt'/ª\u k|:tf/ / if8fª\u k|:tf/
o;sf b'O{ ljlw x'g\ . jt{dfg ;dodf k|:tf/sf]
kl/efiff o; k|sf/ ul/G5 — s'g} klg j:t'nfO{
lj:tf/ ug{ jf k}mnfpgsf nflu ckgfOg] lgod
g} k|:tf/ xf] . ;ª\uLtdf k|:tf/sf] :yfg gu]Gb|k|;fb Gof}kfg]
clws dxTTjk"0f{ 5, h:t} M :j/ k|:tf/, no
k|:tf/, sfobf k|:tf/, /]nf k|:tf/, 7]sf k|:tf/ gu]Gb|k|;fb Gof}kfg] s'zn tanf
cflb . jfbssf cltl/St ufossf
¿kdf klg ;'kl/lrt 5g\ . ;ª\uLt
;Gbe{ ;"rL M ljifodf :gftsf]Tt/ u/]sf
!= >Ljf:tj, cfrfo{ lu/LzrGb| . tfn Gof}kfg]n] g]kfnnufot
ef/tdf cfof]lht ljljw
kl/ro, efu ! . b'aL k|sfzg, ;g\ @)!!,
;fª\uLlts sfo{j|mdx¿df
Onfxafb .
cfk\mgf] k|:t'lt lbO;s]sf
@= ofbj, k|f= aL= Pn= . tanf k|sfz, 5g\ . ljleGg ;fª\uLlts ;ª\3
efu ! . ;ª\uLt sfof{no, xfy/;, ;+:yfx¿;Fu cfab\w /x]sf Gof}kfg]
;g\ @))&, Onfxafb . xfn kb\dsGof SofDk; , l;h{gf
sn]h ckm kmfOg cf6{;\ / g]kfn
#= zdf{, eujtz/0f . tfn k|sfz . ;ª\uLt Do'lhs ;]G6/df cWofkg/t 5g\ .
sfof{no, xfy/;, ;g\ @))@, p= k|=
xfy/; . npn.music2070@gmail.com

$= jlzi7, kl08t ;Togf/fo0f . tfn

dft{08 . ;ª\uLt sfof{no, xfy/;,
;g\ @))!, p= k|= xfy/; .
%= e6\6, dfwjk|;fb zdf{ . a|x\dgfb ;ª\uLt .
k}/jL k|sfzg, ;g\ @)!^, sf7df8f}F .

88

Poetry on Visual Art
Jitendra Man Rajbhandari
"You know, Phaedrus that is the strange
thing about writing, which makes it truly
correspond to painting. The painter's
products stand before us as though they
were alive, but if you question them, they
maintain a most majestic silence. It is
the same with written words; they seem
to talk to you as if they were intelligent,
but if you ask them anything about what
they say, from a desire to be instructed,
they go on telling you just the same thing
forever"
(From: Plato’s Phaedrus 275 d )
The affinity between a literary
work and a visual art has long
been a favourite issue for academic
discourse among scholars, critics
and philosophers alike. Both a work
of literature and a visual art, being
the powerful modes of human
expression, represent biased or
unbiased perception of their creators.
No matter which form of expression
they are, creativity and innovation
are the underlying ingredients of
any artistic output. A writer always
intends to play a game of selection
and combination with the words
and texts while an artist puts effort
to display figures and patterns with
colours and shapes. The end purpose
of the both creators is to create an
‘image’ in the mind and sight of their
respective audience and readers. The
same is true in matters of poetry and
art. For centuries, art has inspired
poets and poetry has inspired artists.
Leonardo da Vinci rightly puts it
when he says, “Painting is poetry
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that is seen rather than felt, and
poetry is painting that is felt rather
than seen.” Many poetic works have
been composed with inspiration of
paintings and sculptures confirming
the fact that poetry and visual art
can create a powerful combination.
This has given a birth to the genre
called ‘Ekphrastic Poetry.’ The word
Ekphrasis comes from the Greek
language meaning description. It
was applied to the skill of describing
a thing with vivid detail. Oxford
Dictionary of Literary Terms defines
Ekphrasis as “a verbal description
of non-verbal work of art, real or
imagined, usually a painting or
sculpture.” In such poems the poet
ventures to amplify and expand the
meaning of a painting or sculpture,
through the imaginative act of
narrating and reflecting the visual art.
Alfred Corn in his essay on the history
of ekphrastic verse writes, “once the
ambition of producing a complete
and accurate description is put aside,
a poem can provide a new aspects
for a work of visual art.” This article
intends to take a look on some of the
representative ekphrastic poems from
different literary era through this
light.
One of the earliest examples of
ekphrastic verse can be discovered
in Homer’s Illiad where we can
find an elaborate description of
decorated shield of Achilles fashioned
by Hephaestus, the Greek god of
blacksmiths, craftsmen, artisans, and
sculptors. The shield depicted images
89
of the earth, sky, sea, sun, moon, and
stars, pictures of two cities, a wedding
celebration, a murder trial, an
advancing army, domestic and wild
beasts, a war, a field full of plowmen,
a vineyard, a meadow, and dancing
boys and girls.
And first Hephaestus makes a great and
massive shield,
blazoning well wrought emblems all
across its surface,
………
And he forged on the shield two noble
cities filled
with mortal men, with weddings and
wedding feast in one
………
And he forged the Ocean River’s mighty
power girdling
round the outmost rim of the welded
indestructible shield.
(The Illiad, Book 18, lines 558-707)
Inspired by the same work, later
W.H. Auden wrote The Shield of
Achilles in 1952. However, in Auden’s
work we find Hephaestus’s grand
images replaced by apocalyptic ones:
barbed wire and bare fields, rape and
murder, bureaucrats and sentries.
A decorated shield of Achilles
90
She looked over his shoulder For vines
and olive trees,
Marble well-governed cities
And ships upon untamed seas,
But there on the shining metal
His hands had put instead
An artificial wilderness
And a sky like lead.
………
Barbed wire enclosed an arbitrary spot
Where bored officials lounged (one
cracked a joke)
And sentries sweated for the day was hot:
A crowd of ordinary decent folk
Watched from without and neither moved
nor spokeAs three pale figures were led
forth and bound To three posts driven
upright in the ground.
(The Shield of Achilles, lines 1-8 and
31-37)
John Keats’s Ode to Grecian Urn
is yet another celebrated poem in
this genre. The poem offers a vivid
description of a pottery from ancient
Greek civilization and contemplates
on the timelessness of art:
Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our
rhyme: What leaf-fring'd legend haunts
about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What
maidens loth?
What mad pursuit? What struggle to
escape? What pipes and timbrels? What
wild ecstasy?
……
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou
say'st, "Beauty is truth, truth beauty,—
that is all Ye know on earth, and all ye
need to know."

A sketch of Grecian urn by Keats
(Ode to Grecian Urn, lines 1-9 and
46- 50)
One of the groundbreaking poems of
ekphrastic genre is the American poet
Edwin Markham’s The Man with the
Hoe, published in 1899.The poem,
based on the painting of the French
artist Jean – Francois Millet, triggered
a national debate on labour rights in
the USA. It portrays a labour leaning
upon his hoe, over burdened by his
work. The image of the man with hoe
became a symbol of the agricultural
labours and raised a question on
societal role in the working condition
of farm workers. The poem goes on:
Bowed by the weight of centuries he leans
Upon his hoe and gazes on the ground,
The emptiness of ages in his face,
And on his back the burden of the world.
Who made him dead to rapture and
despair,
15t
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A thing that grieves not and that never
hopes.
Stolid and stunned, a brother to the ox?
Who loosened and let down this brutal
jaw?
Whose was the hand that slanted back this
brow?
Whose breath blew out the light within
this brain?
Both the poem and the painting are
perhaps the best testimony of the
powerful impact that art and verse
can leave in the society.Interestingly,
a single work of visual art that offered
a creative stimulation to two different
poets is a 1558 painting by a Dutch
artist Pieter Brueghel. His masterpiece
Landscape with the Fall of Icarus is
the painting on which W. H. Auden’s
Musée des Beaux Arts and William
Carlos Williams’ Landscape with
the Fall of Icarus are based. Both
the poems revolve around the old
master’s depiction of the tragic Greek
myth of Icarus who flew too close to
the sun with wax wings and fell into
the sea to his death.
The painting focuses more on the
landscape rather than the portrayal of
Icarus’ fall. The men in this picture are
working; one ploughing his fields, one
tending his flock, and the other man
is most likely fishing. In the painting
they do not look bothered by anything
going on around them, and are
especially not paying any particular
attention to Icarus. It seems that the
workers give Icarus no attention as if
Icarus’ drowning is unimportant in
the world.
Auden’s poem Musée des Beaux
Art, first published in 1939, opens up
with a "miraculous birth", and ends
with "the tragedy" of a death. Auden
91
Jean-François Millet. The Man with the Hoe, 1860-1862. Oil on canvas, 81.9 x 100.3 cm
praises the painters, like Brueghel,
who understood the nature of
suffering and humanity’s indifference
to it. The theme in the poem is apathy
of the world to human suffering:
In Breughel's Icarus, for instance: how
everything turns away
Quite leisurely from the disaster; the
ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important
failure; the sun shone
As it had to on the white legs
disappearing into the green
Water, and the expensive delicate ship
that must have seen
Something amazing, a boy falling out of
the sky,
92
Had somewhere to get to and sailed
calmly on.
(Musée des Beaux Arts, line 14-21)
Later in 1960, William Carlos Williams
also narrates the same story about the
fall of Icarus with many contextual
details. In his poem with the same
title as Brueghel’s masterpiece,
Williams expreses his wonder on how
an individual’s pain and tragedy go
unnoticed sometimes. In the very
outset of the poem, he creates a vivid
image of the surrounding landscape.
The death of Icarus took place in
spring when the year was emerging
in all its pageantry. Everywhere in
the surrounding there was a thrill of
spring. A farmer was tilling his land
 15t
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Anniversary

Peter Bruegel the Elder. Landscape with the Fall of Icarus, c. 1554-55.Oil on panel. 74 x 112 cm.

and seashore was full of activity. the edge of the sea

Meanwhile, the heat of the sun made concerned
the wax wings of Icarus melt. Icarus with itself
fell into the sea with a splash. No one
noticed Icarus drowning in the sea. sweating in the sun
The ploughman goes on ploughing that melted
and the ship keeps on sailing. The the wings’ wax
event passed ‘unsignificantly’ and
‘unnoticed.’ The world which Icarus unsignificantly
falls to is so “concerned with itself” off the coast
that it feels indifferent about his there was
tragedy:
a splash quite unnoticed
According to Brueghel this was
when Icarus fell Icarus drowning
it was spring
(Landscape with the Fall of Icarus,
a farmer was ploughing lines 1- 21 )
his field
the whole pageantry The twentieth century confessional
poet Anne Sexton and the nineteenth
of the year was century Dutch painter Vincent van
awake tingling Gogh had many things in common.
near Both of them struggled with mental

93
breakdown and ultimately committed
suicide to end their life. The Starry
Night was the masterpiece that Van
Gogh actually painted while he was
at an asylum in 1889, thirteen months
before his death. The painting depicts
the enchanting night sky in blues
and blacks brimming with whirling
clouds, bright yellow- white stars
and bright crescent moon against a
silent village below. A cypress trees
seems to connect earth and sky in the
foreground. Taking the inspiration
from this great work, Anne Sexton
composed a poem on the same title
in 1961. The poem reflects a sense
of isolation and hostility amidst the
movement of stars. To Sexton, the
central moon image in the painting
appears as a great dragon that will
suck up into its being. The dark tree
Vincent van Gogh. Starry Night, Oil on canvas.
94
at the foreground is described as
“black haired” who “slips/ up like a
drowned woman into the hot sky.”
She repeatedly says, “This is how/ I
want to die.” Clearly, Sexton sees the
reflection of her own death wish in
the Van Gogh’s painting:
The town does not exist
except where one black-haired tree slips
up like a drowned woman into the hot sky.
The town is silent. The night boils with
eleven stars.
Oh starry night! This is how
I want to die.
It moves. They are all alive.
Even the moon bulges in its orange irons
to push children, like a god, from its eye.
The old unseen serpent swallows up the
stars.
Oh starry starry night! This is how
I want to die:
 15t
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Anniversary

into that rushing beast of the night, Greenberg, Jan. Heart to Heart: New
sucked up by that great dragon, to split Poem Inspired by Twentieth- Century
from my life with no flag, American Art. Scholastic, 2002.
no belly,
no cry. Homer. Illiad. Trans. Robert Fraglest.
Penguin, 1990.
(The Starry Night, lines 1- 18)
Plato. Phaedrus. Trans. Christopher
Thus, this brief study on some of the Rowe. Penguin, 1995.
representative poems on ekphrastic
genre makes it clear that the pairing Williams, Carlos William. Collected
of visual art and literary art leaves Poems 1939 -1962. Vol. II. New
a perennial impression on the both Directions Publishing Corps. 1962.
viewers and readers’ mind. Poetry
and art often consist of multiple layers
of meanings and interpretations.
Just as the artwork gives a new
dimension to the poetry, the poem
too gives a new dimension to the art
work. Jan Greenberg, the author of
Heart to Heart; New Poems Inspired
by Twentieth century American Art
reaffirms the ‘power of art to inspire
language’ and says, “what the poet
sees in art and puts into words can
transform an image ….extending
what is often an immediate response
into something more lasting and
reflecting.” After all, as Plutarch has
said, “Painting is silent poetry and
poetry is painting that speaks”.

Works Cited: Jitendra Man Rajbhandari

Baldick, Chris. Oxford Dictionary of Jitendra Man Rajbhandari

Literary Terms. OUP, 2008.
Corn, Alfred. “Notes on Ekphrasis.”
Academy of American Poets.
Accessed 1 Sep. 2016.
“Ekphrasis: Poetry Confronting
Art.” Academy of American Poets.
Accessed 28 Aug. 2016.
Ferguson, Margaret, Salter, et al. The
Norton Anthology of Poetry: 5th ed.:
Norton, 2005
is an Associate Professor
of English in Tribhuvan
University. He has been
teaching English Language
and Literature for about
22 years. Presently, he is
associated with Saraswati
Multiple Campus as the Head
of the English Department.

95
… Of memories and
realization …
saroj bajracharya
Art is about looking for someone that
you think you know, in an invisible
crowd. This invisible crowd has its
own characteristics… and people
around think that you are building
those characteristics or imagining
them. But it is not only imagination;
it actually exists because you exist.
Therefore, that invisible crowd that
reflects outside is in fact inside of
you and vice versa i.e. who you are
looking for is also looking for you.
The day you find each other is the day
you become an artist; then onward, no
second person has to verify that you
are an artist.
I met Puran Khadka, one of the most
self-contemplative persons I have
had the pleasure to know, around
twenty years ago in an exhibition.
Perhaps, it was Sirjana Art Gallery in
1997 and I think the exhibition was
by artist Shyam Lal Shrestha. Times
and situations were quite different
back then. The resources were limited
but those resources were used to
the fullest. In those days, it was not
about conventional approach to art;
rather it was about maintaining a
sense of immortality through art.
The paintings by Shyam L. Shrestha
dealt with the ethnic Newar culture of
Nepal and even though he depicted
the custom rather than the meaning of
the culture; his canvases did provoke
a sense of creative curiosity to the
onlookers; largely due to the blend
between western painting technique
and eastern ways of life. Very few
artists blended the two back in those
96
days like Shrestha did. After viewing
the exhibits, Puran Khadka and I went
to a nearby tea shop and conversed
about art and its contagious
attributions in society.
In later days, I became a constant
visitor to Puran Khadka’s Studio at
NAFA, Naxal. One conversation in
particular, I remember was about
pain and its implications on human
beings. Pain causes misery because it
ignites anger; not pain but the anger
in the long run leads us to misery.
However, in modern times, we even
borrow pain from others; not to share
their affliction but to have soft corner
towards us from the surroundings by
displaying that we are also suffering.
Puran Khadka agreed that true pain
has a capacity to make one angry.
But borrowed pain makes us coward
because it stops us from facing real
situation and provokes us to escape
from burdening issues. And Puran
Khadka attained these wisdoms from
unhindered contemplations and self-
conversations.
Occasionally, my visit to his studio
used to coincide with another legend
of an artist Uttam Nepali. He was the
academician of Nepal Association of
Fine Arts back then. He spoke very
little yet few words were enough
to put across his contemplations. In
later years, I heard much about his
political involvement and its relation
to Nepali Art; which is an entirely
different spectrum for a life of the
artist. As a painter, he is a dynamic

Shyam Lal Shrestha. Women at Tap. Oil on canvas. 2016.
and contemplative abstract artist. His
works are abstract, not only technique
wise but in terms of content as well.
Uttam Nepali is twenty years elder to
Puran Khadka and represents the first
generation of modern artists in Nepal;
whereas Puran Khadka belongs to the
second.
Uttam Nepali painted from the
mind. Once, he mentioned to me that
emotions need to be intellectualized
before being articulated. This process
is even more important to artists, as
emotions fuel and intellect motivates
them. His abstract canvas appears
like a fluid which constantly seems
changing its appearance. There is
another instance; he told me that in
order to sense a writer in you, first
and foremost you have to know how
lifeless words are. Then this feeling
has to be transformed in realizing
15t
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how heavy and active words can
be, and then you have to be able to
sponge out the heaviness of words by
assembling them into your sentence…
then you would have given your
portion of life and experience to your
chosen words. The same go with
motifs; metaphors and colors that
make a good painting... Nothing is
easy…after understanding that it’s
not easy, then you get accustomed to
it and it won’t be a burden to you…
the journey would be joyful.
Those days still feels like yesterday;
but years have gone by. There are
ordinary Tuesdays and then there
is this one particular Tuesday of 5th
of July 2016. This is the day when I
received the news that Puran Khadka
just left the world. It was only the past
Sunday that we met at his apartment.
After strolling for a while we had tea,
97
98
 15t
h
Anniversary

Puran Khadka.
The Wholeness.
Acrylic on canvas, 2016

99
Uttam Nepali. Untitled. Acrylic on canvas. 2000.
his favorite habit. He spoke about
how difficult it is to maintain creative
understanding and keep on practicing
art. He spoke of his struggle and how
he had realized the sense of ‘I’ which
goes beyond the temporal self or the
material concept of me and mine.
Therefore, his colors and forms were
transforming into minimal, cutting off
all the cacophonies that distracts. And
also by listening to one subtle whisper
that takes an enormous concentration
and patience to find out. His red,
grey, black and white color scheme
100
has become the innate nature now.
Few days ago, as I was thinking about
Puran Khadka’s works, suddenly
memories of Uttam Nepali popped
up in my mind; perhaps, because
they both are world class abstract
painters. A year back, I abruptly met
Uttam Nepali outside of a temple in
my neighborhood. A man, who once
was commanding, now had sunken
with age. We had met multiple
times; spoke and argued over
our opinions but now he couldn’t
recognize me. I slowly walked back
 15t
h
Anniversary

home after my brief Namaste to him.

And I thought what did these great
men achieve?........They achieved
immortality……because even after
all of us are long gone and memories
are perished; the vibes of realization
that they have nurtured will not only
remain but will subtly take care of
the coming generation also. With all
these thoughts swirling in my mind,
for a spur of a moment, I found
myself in the corridors of Sirjana Art
Gallery twenty years ago. Back then
it had not yet been converted into a
college. The most prime gallery in
Nepal, it welcomed all the leading
creative minds in Nepali art. And
in that corridor the voices of Puran
Khadka and Uttam Nepali spoke to
Saroj Bajracharya
me. Perhaps, those voices were my
own; echoes of the conversations that Saroj Bajracharya is an
we had. And these self-conversations artist, a writer and a
and contemplations have given me a curator. He has been active
sense of unification, even if they are in art for more than two
not here or even with their memory decades. He has been actively
loss, we are all one and absolute. This involved in many facets of
is when the crowd perished and I as art that include painting,
a whole appear. And this is exactly writing, teaching, curating,
when my sense bow down to Puran organizing and coordinating
art events and exhibitions.
Khadka and Uttam Nepali…
various solo exhibitions,
group shows and 2 books
titled Future of History and
A Concise Introduction to
Nepali Modern Sculpture
to his credit.

vazra100@gmail.com

101
nId0f e'h]n . gf/fo0faxfb'/ l;+xsf] JolStlrq, ;g\ @)!@ . hn/ª .

102

snf n]vgdf gf/fo0faxfb'/ l;+xsf] of]ubfg
nId0f e'h]n
g]kfnL lrqsnfsf If]qdf o; ljifoaf/] snd
rnfpg], cWoog cg';Gwfg ug]{ Pjd\ ;Gt'lnt
9ª\un] ;dLIff u/L oyf]lrt dfu{lgb]{z ug]{
n]vs tyf ;dLIfsx¿ Hofb} sd 5g\ . o;
k|;ª\udf la;{g} gx'g] JolStTj x'g\ — :juL{o
gf/fo0faxfb'/ l;+x . g]kfnL snf /
snfsf/x¿ tyf ljb]zL snf z}nL Pjd\
snfsf/x¿sf af/]df g]kfnL kf7sx¿nfO{
hfgsf/L lbg] ;Gbe{df pgsf] ct'ngLo of]
ubfg /x]sf] 5 . k/Gt' la8Dagfsf] s'/f —
pgsf] JolStTj / s[ltTjsf af/]df jt{dfg
k':tf cgle1 k|foM 5 . olt w]/} of]ubfg
k'¥ofPsf JolStTjsf af/]df a]jf:tf ul/Fbf
:jod\ l;+xsf] klxrfg ctLtsf] ue{df x/fpnf
eGg] 8/ ePsf] 5 . o; lsl;dsf k|j[lTtn]
ubf{ g]kfnL snf n]vg Pjd\ ;dLIffsf]
If]qdf jt{dfgdf lj|mofzLn JolStx¿ /
eljiodf cfpg] n]vsx¿ lg?T;flxt x'g]
cj:yf gcfpnf eGg ;lsFb}g .
g]kfnL snf n]vg tyf ;dLIffnufot cGo
ljleGg If]qdf gf/fo0faxfb'/ l;+xn] k'¥ofPsf]
of]ubfgaf/] rrf{ ug'{eGbf klxn] pgsf]
JolStut hLjgsf] af/]df s]xL pNn]v ug'{
;fGble{s xf]nf . gf/fo0faxfb'/ l;+xsf] hGd
lj= ;+= !(*& ;fn, kmfu'g @$ ut], zlgaf/sf
lbg sf7df8f}Fsf] 7d]ndf ePsf] xf] .
;fTosLaxfb'/ l;+x / tf/fb]jL l;+xsf kfFr
;GtfgdWo] pgL dflxnf] 5f]/f lyP .
gf/fo0faxfb'/ l;+xnfO{ cIf/ lrgfpg] sfd
15t
h
Anniversary
pgsf] dfjnL xh'/a''af r]tjL/ yfkfaf6
3/}df ePsf] xf] . To;kl5 sf7df8f}Fsf] dxfjL/
OlG:6Ro'6af6 k|fylds txdf cWoog cf/De
u/]sf l;+xsf] :s'n] lzIff af/f lhNnfsf]
jL/u~hdf ePsf] xf] . ;g !($$ df l;+xsf]
;kl/jf/ agf/;tk{m nfu]sf lyP . agf/;df
pgn] lyof] ;f]lkmsn ;f];fO6Laf6 Dofl6«S;
kf;, l8= P= le= sn]haf6 cfO{= P= / ;g
!(%# df la= Pr= o'= af6 la= P= pTtL0f{
u/]sf lyP . pgsf bfh' s0f{dfg l;+xn] eg]
lrqsnf ljifod cWoog u/]sf lyP .
l;+x kl/jf/sf] agf/; a;fO dbgk'/fdf kf08]
xf}nLsf] k'/fgf] 3/df lyof] . ;f]xL 3/sf]
e'OFtnfdf Pp6f lrq ;ª\u|xfno lyof] . ToxfF
a]nf a]nfdf snf k|bz{gL eO/xGYof] . Ps hgf
aª\ufnL snfsf/ klg l5d]sdf 8]/f u/L a:g]
x'gfn] ToxfF snfsf/x¿sf] cfjthfjt Pjd\
snf ;DaGwL ultljlwx¿ eO/xGYof] . To;
snfdo jftfj/0fsf] k|efj la:tf/}
gf/fo0faxfb'/ l;+xdf klg kb}{ hfg' :jfefljs
lyof] . cem :jod\ cfˆg} bfh' lrqsnfsf
ljb\ofyL{ x'gfn] pgn] lrqsnfnfO{ glhsaf6
x]g]{ a'‰g] cj;/ k|fKt u/]sf lyP . o;} j|mddf
bfh' s0f{dfg l;+x ef/t snf ejg;Fu ;Dab\w
x'g k'u]sf lyP . Tolta]nf gf/fo0faxfb'/ l;+x
la= P= df cWoog/t lyP . km';{bsf] ;dodf
l;+x klg bfh';Fu} pSt snf ejgdf g} ;do
latfpg] uy]{ . snf ejgdf ef/tsf :yflkt
lrqsf/x¿ / pgLx¿sf] snf /rgfaf/]
103
5nkmn x'g] uYof]{ . o;/L rf}tkmL{ snfdo
jftfj/0fsf k|efjn] ubf{ snfk|lt pgsf]
e'msfj a9\g uPsf] lyof] .
la= P= pTtL0f{ u/]kl5 lj= ;+= @)!) ;fndf
l;+x g]kfn kms]{sf lyP . pgn] Onfd
lhNnfsf] dfOkf/df cjl:yt s/kmf]s
ljb\of dlGb/df k9fpg yfn]sf lyP . To;
a]nfsf pgsf ljb\ofyL{ l6sfk|;fb zdf{ -xfn
cª\u|]hL ljifosf pkk|fWofks_ sf cg';f/
l;+x :s'ndf 5bfF lrq sf]g{ l;kfn' lyP . ;fy}
ljb\ofyL{x¿nfO{ klg lrq agfpg
clek|]l/t uy]{ . csf{ ljb\ofyL{{ b'uf{gfy zdf{
-uf]/vfkqsf k"j{ ;x;Dkfbs tyf g]kfn
6]nLlehgsf k"j{ dxfk|aGws_ sf]
egfOcg';f/ klg pgL /fd|f] lrq agfpFy] .
pgsf cg';f/ xfn;Dd klg :j= l;+xn]
agfPsf ;/:jtLsf] lrq s/kmf]s ljb\of
dlGb/df cb\ofjlw 5 . g]kfnL, lxGbL / cª\u|]
hL efiffdf pgsf] /fd|f] bvn lyof] . lj= ;+=
@)!# ;fndf s/kmf]s :s'nsf] cWofkg sfo{
5f8]sf lyP .
Onfd 5f]8]kl5 gf/fo0faxfb'/ l;+x /f}tx6
lhNnfsf] ;b/d'sfd uf}/tk{m nfu]sf lyP .
pgsf 5f]/f c?0f l;+xsf cg';f/ sl/a Ps
jif{ ToxLFsf] s'g} :yfgLo :s'ndf cWofkg
u/L a;]sf lyP . /f}tx6df g} lj= ;+= @)!$
;fn c;f/ @) ut] ;/f]rb]jL cof{n;Fu pgsf]
ljjfx ePsf] lyof] . ljjfxkZrft\ cfk\mgf]
kl/jf/;lxt pgL sf7df8f}Ftk{m nfu]sf lyP .
lj= ;+= @)!% ;fnb]lv pgL uf]/vfkqdf
cf}krfl/s ¿kdf ;Dab\w ePsf lyP .
agf/;df 5bfF ;flxTo tyf snfsf] pgdf
ulx/f] k|efj k/]sf] lyof] . To;}n] pgL
uf]/vfkqdf k|j]z ugf{;fy snf
;flxTonfO{ ljz]if :yfg lbPsf lyP .
104
uf]/vfkqsf] ;x;Dkfbs, k|wfg
;Dkfbsb]lv …dw'ks{Ú sf] k|wfg ;Dkfbssf]
lhDd]jf/L ;DxfNb} hLjgsf] clGtd If0f;Dd
sfo{/t /x]sf lyP . lj= ;+= @)$$ ;fn, ebf}
@ ut], dª\unaf/sf lbg %* jif{sf] pd]/df o;
;+;f/af6 ef}lts ¿kdf pgn] labf lnPsf
lyP . hLjgsf] clGtd cj:yfdf pgL cfˆgf]
kl/jf/ -b'O{ 5f]/f, ltg 5f]/L / >LdtL_ sf ;fy
d}tLb]jLdf 8]/f u/L a:y] .
g]kfnL snf ljsf;df gf/fo0faxfb'/ l;+xsf]
pNn]vgLo of]ubfg /x]sf] 5 . snfk|ltsf] ?lr
Pjd\ cg'/fusf sf/0f hLjg lhpg] j|mddf
ljljw If]qdf ;+nUg /xFbf klg pgn] snfnfO{
ljz]if dxTTj lbPsf lyP . :s'ndf cWofkg
ubf{ xf];\ jf uf]/vfkq ;+:yfgsf] kqsf/ Pjd\
;Dkfbssf] e"ldsf lgjf{x ubf{ xf];\, pgn]
snfnfO{ ;bf s]Gb|ljGb'df /fv]sf] kfOG5 .
;flxTo /rgf ubf{ klg pgsf] d"n ljifo tyf
z}nLdf lrqsnfsf] emns kfOG5 . pgsf]
;flxToLs /rgf k9\bf klg lrqsf] cjnf]sg
u/]sf] cg'e"lt x'G5 .
g]kfnL snf / bz{slarsf] b'/L sd ug'{df
pgsf] k|d'v b]g /x]sf] 5 . Toltdfq xf]Og,
g]kfnL snfsf/x¿nfO{ ;df;fdlos tyf
cfw'lgs lrqsnfsf] kl/j]zdf cl3 a9\g
k|]l/t ug{df pgn] dxTTjk"0f{ e"ldsf
lgjf{x u/]sf lyP . pgsf lrqsnf ;DaGwL
k':tssf ¿kdf 5flkPsf s[ltx¿ cfh
g]kfnL lrqsnfsf Oltxf;df sf];]9'ª\uf
;fljt ePsf] 5 . o;sf cltl/St pgn]
ljleGg snf ;ª\u7g / ;+:yfx¿;Fu ;Dab\w
eO{ snf ljsf;df lg/Gt/ xf};nf k|bfg u/]sf
lyP .

snfsf/ ldqx¿;Fu jftf{nfk ub}{ gf/fo0fab'/ l;+x -lgnf] 3]/fleq_, lj= ;+= @)#$
‘l:sj–&!’ / ‘o'j–snfsf/ ;d"x -ofu_’
h:tf snfsf/x¿sf] ;d"x / ;+:yfnfO{ cufl8
a9fpgdf pgsf] klg dxTTjk"0f{ b]g /x]sf] 5 .
ofusf t pgL k|d'v ;Nnfxsf/ g} lyP . pgn]
‘g]kfn nlntsf ;+:yf -gfkmf_’ sf]
;Nnfxsf/sf ¿kdf klg sfd u/]sf lyP . pgL
JolStut ¿kdf snfsf/x¿nfO{ vf]hL vf]hL
e]6 uy]{ . pgLx¿sf af/] cvaf/ / klqsfdf
n]Vy] . pgL kfZrfTo snfsf uxg cWootf
lyP / To; ;DaGwL n]v, lgaGw cflb
n]lv/xGy] . pgsf] n]vg z}nL klg uha pDbf
lyof] — Ps kN6 k9\g ;'? u/]kl5 5f8\g} dg
gnfUg] vfnsf] .
gf/fo0faxfb'/ l;+xn] pgn] uf]/vfkqdf
k|j]z ug'{ cufl8b]lv g} kfpg'eGbf klxn] b]lvg}
snfsf ;DaGwdf n]Vg ;'? ul/;s]sf lyP .
uf]/vfkq ;+:yfgdf /x]kl5 pgn] cf}krfl/s
tyf cflwsf/Ls ¿kdf snf n]vgnfO{
15t
h
Anniversary
:yfloTj lbPsf lyP . n]vgsf] pgsf] of] j|md
hLjgko{Gt sfod /x]sf] lyof] . pgsf sltko
n]vfOx¿ k'm6s/ /rgfsf ¿kdf k|sflzt eP,
sltko k':ts ¿kdf k|sflzt eP eg] sltko
ck|sflzt g} /x] . pgsf] k|sflzt s[ltx¿sf
oxfF ;ª\lIfKt ¿kdf rrf{ ug]{ hdsf]{ ul/Psf]
5M
g]kfnL lrqsf/, lj= ;+= @)@&
k|:t't s[lt gf/fo0faxfb'/ l;+xsf] snf
;DaGwL klxnf] k':ts xf] . ;femf k|sfzgåf/f
k|sflzt o; k':tssf] klxnf] ;+:s/0f lj= ;+=
@)@& ;fnd k|sflzt ePsf] xf] . of] k':ts
uf]/vfkqdf k|sflzt n]vx¿sf] ;ª\slnt
:j¿k xf] . pSt n]vx¿ …wg~hoÚ sf gfddf
n]lvPsf lyP . n]vss} egfOcg';f/ pgsf]
of] s[lt cfnf]rgfTds geO{ kl/ro u|Gysf
¿kdf k|:t't ul/Psf] 5 . o;df pgL cToGt
105
;r]t b]lvG5g\ . ;d;fdlos lrqsnfsf]
cToGt} k|f/lDes cj:yf ePsfn] em6\6
cfnf]rgf ;xg g;Sg] b]v]/ pgn] o;f]
u/]sf x'g\ . tyflk k|:t't k':tsdf pgn] g]kfnL
lrqsf/ tyf pgLx¿sf s[ltx¿sf] ;DaGwdf
cToGt} ;"Id / ;r]t 9ª\un] ljZn]if0f
u/]sf 5g\ . o; k':tsdf tTsfnLg ;Gbe{df
g]kfnL snfsf If]qdf lj|mofzLn la; hgf
g]kfnL lrqsf/x¿ / ltgsf s[ltsf af/]df
o; k':tsdf rrf{ ul/Psf] 5 . o; k':tsdf
j|mdzM rGb|dfg l;+x df:s] -hGd M O= ;+=
!())_, t]haxfb'/ lrqsf/ -hGd M O= ;+=
!())_, afns[i0f ;d -hGd M O= ;+= !()#_,
s]zj b'jf8L -hGd M O= ;+= !(@!_ cd/
lrqsf/ -hGd M O= ;+= !(@@_, n}gl;+x
afª\b]n -hGd M O= ;+= !(@#_, sflnbf;
>]i7 -hGd M O= ;+= !(@$_, s0f{dfg l;+x,
lbnaxfb'/ lrqsf/ -hGd M O= ;+= !(@*_,
lx/0oWjh hf]zL -hGd M O= ;+= !(#$_,
pTtd g]kfnL -hGd M O= ;+= !(#&_, nId0f
>]i7 -hGd M O= ;+= !(#*_, /fdfgGb hf]zL
-hGd M O= ;+=!(#*_ 6]sjL/ d'lvof -hGd
M O= ;+= !(#*_, u]x]Gb|dfg cdfTo -hGd M
O= ;+= !(#(_, dg'hafa' ld> -hGd M O= ;+=
!(#(, lzn'Kof/L -hGd M O= ;+= !($@_,
zzLljj|md zfx -hGd M O= ;+= !($@_ ljho
yfkf -hGd M O= ;+= !($#_ / k|ldnf lu/L
-hGd M O= ;+= !($^_ ;dflji6 5g\ .
snf Ps cg'e"lt, Ps lrGtg, lj= ;+=
@)#@
kfZrfTo snf Oltxf;sf] o'ufGtsf/L df]8df
To; avtsf snfsf/x¿n] u/]sf ;ª\3if{sf
ufyfx¿nfO{ cToGt /f]rs lsl;dn]
;flxlTos z}nLdf n]lvPsf] of] k':ts l;+xsf]
snf ;DaGwL bf];|f] s[lt xf] . o;sf] klxnf]
106
;+:s/0f lj= ;+= @)#@ ;fndf ;femf
k|sfzgaf6 ePsf] lyof] . of] k':ts klg
‘;+od’, ‘snfsf/’, ‘k|ult’, ‘cleJolSt’ /
‘dw'ks{’ df k|sflzt n]vx¿ -clGtd n]vafx]
s_ sf] ;ª\slnt :j¿k xf] . l;+xsf] of] k':ts
jf:tjd} snfnfO{ ;flxTodf cleJoSt ul/
Psf] pTs[i6 s[lt /x]sf] . s'n b; cf]6f
n]vx¿sf] ;ª\ufnf] o; k':tssf] clGtd
n]v …Ps kf6f] /ftf], csf]{ kf6f] lgnf] clgÚ df
n]vsn] /ªsf af/] cToGt} ;"Id 9ª\n] o;sf]
k|fljlws / dgf]j}1flgs k|efjaf/] ljZn]if0f
u/]sf 5g\ .
pSt n]vsf] Ps c+z —
xl/of] ===.
Pp6f dfWolds /ª xl/of] .
kx]Fnf] + lgnf] = xl/of]
kx]Fnf] – lgnf]sf] ld>0f xl/of] .
zLtnbfoL /ª xl/of] === Zofdnsf] b\of]ts,
pj{/tfsf] k|tLs xl/of] .
;d;fdlos g]kfnL lrqsnfsf] Oltxf;
k|:t't k':ts g]kfnL snfsf] Oltxf;df snf
hut\sf] cfwf/ :tDe ag]/ /x]sf]
5 . o; k':tsf cfwf/df ;d;fdlos
g]kfnL lrqsnfnfO{ ljutb]lv jt{dfg;Dd
lgofNg ;lsG5 . of] k':ts l;+xsf] t];|f] s[lt
xf], clkt' ;d;fdlos g]kfnL lrqsnfsf]
Oltxf;sf b[li6n] ;jf{lws dxTTjk"0f{
dflgG5 . lj= ;+= @)## ;fndf k|sflzt of]
k':ts tTsfnLg g]kfn /fhsLo
k|1f–k|lti7fgaf6 k|sflzt ePsf] xf] .
k':tsdf ;d;fdlos g]kfnL lrqsnfsf]

Oltxf;nfO{ ljleGg sfn v08 tyf
cg'v08df ljefhg u/L a'‰g ;lhnf] x'g]
u/L k|:t't ul/Psf] 5 . cfheGbf rf/ bzs
cufl8 of] k':ts gn]lvPsf] eP sltko g]
kfnL snfsf/x¿sf] klxrfg To;} x/fP/ hfg]
lyof] . jt{dfgdf :yflkt sltko
lrqsf/x¿sf] klxrfgnfO{ :yflkt u/fpgdf
l;+xsf] o; k':tssf] pNn]Vo e"ldsf /x]sf] 5
eg]df cltzof]lSt gxf]nf .
o; k':tsdf n]vsn] oyf;Dej ;To
tYo kTtf nufpg] k|oTg u/]sf 5g\ . o;sf]
HjnGt pbfx/0fsf ¿kdf ;d;fdlos g]kfnL
lrqsnfsf ;a}eGbf cu|h lrqsf/ /fhdfg
l;+xsf af/]df pgn] u/]sf vf]h
cg';GwfgnfO{ lng ;lsG5 . /fhdfg l;+xsf
af/]df xfn cfP/ k'li6 ePsf] 5 . Tolt a]nf
g} pgn] /fhdfg l;+xsf af/]df kof{Kt cfwf/
Pjd\ ts{ k|:t't ul/;s]sf lyP . Oltxf;sf]
ut{df x/fO;s]sf lrqsf/sf af/]df
vf]hLb]lv lnP/ pgL kl5sf w]/} snfsf/sf]
klxrfg sfod ug{df pgsf] ct'ngLo of]ubfg
/x]sf] 5 . o;af6 k|:t't k':ts tof/ ubf{ pgn]
u/]sf uxg cWoog tyf vf]h cg'dfg ug{
;lsG5 .
k/Dk/fut tyf cfw'lgs lrqsnf
of] k':ts ltg hgf n]vsx¿ dgjh| jh|frfo{,
pTtd g]kfnL / gf/fo0faxfb'/ l;+xn] ;+o'St
¿kdf n]v]sf x'g\ . g]kfn nlntsnf ;+:yf
-gfkmf_ åf/f cfof]lht …g]kfnL k/Dk/fsf
lrqsnf d"lt{snfÚ ljifos b'O{ lbg] snf
uf]i7Ldf sfo{kqsf] ¿kdf k|:t't ul/Psf]
lyof] . k/Dk/fut g]kfnL snf sf af/]df
snfljb\ dgah| ah|frfo{n], g]kfnL cfw'lgs
snfsf ljifodf snfsf/ pTtd g]kfnLn] /
15t
h
Anniversary
g]kfndf cfw'lgs snfsf] k[i7e"ldsf
;DaGwdf snf n]vs tyf ;dfnf]rs
gf/fo0faxfb'/ l;+xn] n]v]sf x'g\ . ;+o'St
¿kdf n]lvPsf] o; k':tsdf l;+xs} k|:t'lt
cln lj:t[t b]lvG5 . o;df pgn] g]kfndf
slxn] / s;/L cfw'lgs snfsf] k|j]z eof],
tTsfnLg ;Gbe{df o;sf] cj:yf / k|efjsf
af/]df ts{;ª\ut 9ª\un] k|:t't u/]sf
5g\ . o;sf cltl/St g]kfndf lrqsnfsf]
ljsf;df ePsf k|of;, cj/f]w / yk
ug'{kg]{ sfo{sf] af/]df klg cf}FNofpg pgL
r's]sf 5}gg\ . o;df pgn] tTsfnLg g]kfn
/fhsLo k|1f—k|lti7fgdf lrqsnf
ljifonfO{ ;flxTosf] t'ngfdf dxTTj glbOPsf]
af/] cfkTtL hgfPsf 5g\ . o;af6 ;flxTosf/
x'Fbf x'Fb} klg snf If]qk|lt pgL slt ;+j]bgzLn
lyP eGg] k|dfl0ft x'G5 .
z[ª\vnfxLg z[ª\vnfx¿
of] k':ts l;+xsf] lgaGw ;ª\u|x xf] . o;df
;dflji6 lgaGwx¿ k9\bf of] s[lt snf /
;flxTosf] ;ª\ud e}mF k|tLt x'G5 . pgsf hLjg
ef]ufOsf ;f/ cleJolSt e}mF nfUg] of] s[lt
pgsf] lgwgkZrft\ k|sfzg ePsf] xf] .
k':tssf] Ps c+z —
d[To' slt s7f]/ x'G5 . d[To';Fu cfFvf h'wfpg
slt sl7g x'G5 . w]/} eof] d}n] d[To';Fu cfFvf
h'wfO/fv]sf] .
-gf/fo0faxfb'/ l;+x . lrGTo÷clrGTo .
z[ª\vnfxLg z[ª\vnfx¿ . k[i7 ^( . lj= ;+=
@)$$ . ;femf k|sfzg ._
lj= ;+= @)$$ ;fndf ;femf k|sfzgåf/f
k|sflzt of] k':ts pgsf] rf}yf] k':ts cfsf/
107
ofuåf/f cfof]lht snfsf/x¿sf] jgef]h sfo{j|md, uf]bfj/L, lj= ;+= @)#% -kx]Fnf] 3]/fleq gf/fo0faxfb'/ l;+x
sf] s[lt xf] . o;df ljifo j:t' / 36gfj|mdx¿
z[ª\vnfab\w 5}gg\ . pgsf] / cfd dflg;sf]
hLjg h:t} . t/ klg Ps csf{df ;DalGwt
eg] 5g\ . To;}n] o; k':tssf] zLif{s rog
/rgf ;'xfpFbf] 5 . ;flxTo /rgfdf klg
lrqsnf If]qs} zAbfjnL / snfTds z}nLdf
36gfqmd tyf ljifo j:t'x¿nfO{ k|:t't
ul/Psf] kfOG5 .
k':tssf] Ps c+z —
sfnLu08sLsf] tL/df ;fFem ;f]xf]l/P/ cfPsf]
5 . kNnf] tL/df s]xL pbf; pbf; cfs[lt
5g\ . dfG5] x'g\ tL . ltgsf wldnf lrq 5g\
clxn] .
-gf/fo0faxfb'/ l;+x . sljtf÷lrq÷sljtf
. z[ª\vnfxLg z[ª\vnfx¿ . k[i7 & . lj= ;+=
@)$$ . ;femf k|sfzg ._
108
gf/fo0faxfb'/ l;+xåf/f lnlvt s'n rf}w cf]6f
lgaGwx¿sf] o; ;Fufnf]nfO{ ;dsfnLg g]kfnL
;flxTosf If]qdf a]hf]8 s[ltsf ¿kdf
d"Nofª\sg ul/G5 . o; lgjGw ;ª\u|xaf/]
;dLIfs k|df]b k|wfg / lgaGwsf/ o'j/fh
gofF3/]sf l6Kk0fL pNn]v ug'{ ;dLrLg x'G5 .
gf/fo0faxfb'/ l;+xsf rf}w cf]6f cfTdk/s
lgaGwsf] ;ª\u|x z[ª\vnfxLg z[ª\vnfx¿df
/x]sf lgaGwsf cfwf/df xfdL pgnfO{ cd"t{
n]vg kb\wltk|lt cg'/St lgaGwsf/ eGg
;S5f}F . ;f] ;ª\u|xsf lgaGwx¿ ;a} cfw'lgs
cd"t{ lrqx¿ em}+ nfU5g\ .
-k|df]b k|wfg . nlntsnf å}dfl;s . jif{ @,
k"0ff{ª\s !!, lj= ;+= @)^# . lgaGwsf/sf
¿kdf gf/fo0faxfb'/ l;+x . k[i7 !$, !%_

z[ª\vnfx¿sf] 6'6km'6 / 6'6km'6x¿sf]
z[ª\vnfdf gf/fo0faxfb'/ l;+xsf] n]vsLo
/km\tf/ bf}8]sf] b]lvG5 . lghfTdstfnfO{ efj
af]wsf] t/ntfdf 3fn3'n gkf/L k'mnsf kqkq
h:tf] l;h{gfdf v/fv/L /fVg] lzNksf wgL
k|tLt x'G5g\ .
-o'j/fh gofF3/] . cfs[lt . g]kfn /fhsLo
k|1f–k|lti7fg, snf sf}zn ljefu . jif{ !,
cª\s !, @)%& . k[i7 $#_
k|1f k'/:sf/åf/f ;Ddflgt k|ltef
of] k':ts lj= ;+= @)!^ ;fn b]lv lj= ;+=
@)#* ;fn ;Dddf g]kfnsf ljleGg If]qsf
k|fl1s k|ltefx¿nfO{ ;Ddfg ul/Psf]
36gfx¿sf] P]ltxfl;s b:tfj]h xf] . o;sf]
n]vg sfo{ ltg hgf n]vsx¿ gf/fo0faxfb'/
l;+x, /fdz/0f bgf{n / s'df/w/ zdf{ 1fgLaf6
ePsf] xf] . b]znfO{ k|fl1s k|ltefx¿n]
nufPsf] u'0f / /fi6«n] sb/ :j¿k u/]sf]
;Ddfgn P]ltxfl;s b:tfa]hsf ¿kdf /xf];\
eGg] x]t'n] o; k':tssf] k|sfzg ePsf] xf] .
of] k':ts g]kfn /fhsLo k|1f–k|lti7fgsf]
/ht pT;jsf cj;/df k|sfzg ePsf] xf] .
o; k':tsdf ;dflji6 ljleGg k|1f k'/:sf/
åf/f ;Ddflgt k|ltefx¿ dWo] OGb| /fHo
nIdL k|1f k'/:sf/ kfpg] lrqsf/, d"lt{sf/ /
lzNksf/x¿ kf/;dl0f /l~htsf/, rGb|dfg
l;+x df:s], l;b\lwd'lg zfSo, cd/ lrqsf/,
dfl0fsdfg lrqsf/, a'b\w/Tg jh|frfo{ /
zzLljj|md zfxsf ljifodf gf/fo0faxfb'/
l;+xn] n]v]sf x'g\ .
cGo n]v /rgfx¿
gf/fo0faxfb'/ l;+xsf k':ts cfsf/df
gcfPsf y'k|} n]v /rgfx¿ 5g\ . uf]/vfkqdf
15t
h
Anniversary
;+nUg ePb]lv g} pgsf n]v /rgfx¿ k|sfzg
x'g yfn]sf] x'g\ . pgn] ljleGg pkgfdx¿df
n]v /rgfx¿ n]v]sf 5g\, h:t} M dw'ks{sf]
‘k|;+ujz’ :tDedf ‘wg~ho’, dw'ks{s}
‘afnau}Frf’ :tDedf ‘k|zfGt’ / uf]/vfkqdf
‘/fhx+z’ gfddf n]v]sf 5g\ . snfnufot
cGo ;d;fdlos ljifodfly n]lvPsf pgsf
ccgluGtL n]v /rgfx¿ 5/k:6 cj:yfdf
5g\ . To;nfO{ ;d]6]/ k':ts cfsf/df k|sflzt
ug{ ;lsPsf] v08df g]kfnL snf jfª\do
If]qdf 7'nf] ;xof]u k'Ug hfg]5 .
nId0f e'h]n
nId0f e'h]nsf] klxrfg s'zn lrqsf/ /
d"lt{sf/sf ¿kdf /x]sf] 5 . l;h{gfTds lrq
tyf d"lt{ /rgfsf cltl/St pgn] k|l;b\w
JolStx¿sf s]xL yfg k"0f{ sb / cfjIf
d"lt{x¿ klg /rgf u/]sf 5g\ . dsjfgk'/sf]
bfdgdf /x]sf] :juL{o ¿krGb| lji6sf] k"0f{
sbsf] ;flns pgsf] pNn]vgLo sfdsf
¿kdf lrlgG5 .
xfn pgL l;h{gf sn]h ckm kmfOg cf6{;\;Fu
;Dab\w 5g\ . snf ;DaGwL ljljw
ultljlwx¿df klg pgL lgs} ;lj|mo
/lxcfPsf 5g\ .
109
;ª\uLt Ps ljj]rgf
b'uf{k|;fb vltj8f
;ª\uLt dfgj hLjgsf] g};}lu{s ljifo j:t'
xf] . xf:o, /f]bg ljidofbL lj|mof hGdl;b\w u'0f
eP h:t} ;ª\uLt klg hGd l;b\w u'0f xf] .
x/]s dflg;df ;ª\uLt ;'if'Ktfj:yfdf ljb\odfg
x'G5 . s;}df b]lvg] u/L / s;}df cb[Zo
cj:yfdf . dflg; PSnf] x'Fbf pm
u'gu'gfpg yfN5, rfx] p;nfO{ ;ª\uLt cfcf];\
jf gcfcf];\ .
To:t} caf]w aRrfx¿nfO{ g} x]/f}“, ha p;n]
s'g} ;ª\uLt ufog jfbg ;'G5 jf g[Toflbsf]
b[Zo b]V5, pm klg tfnL ahfpg jf xftuf]8f
xNnfP/ xf];\ cyjf z/L/ dsf{P/ xlNn“b} tfn
/ no;“u r]i6fx¿ bzf{pg yfN5 . Tof] g} pmleq
/x]sf] ;'if'Ktfj:yfsf] ;fª\uLlts cg'e"lt
hfu[t ePsf] xf] .
;ª\uLt ljgfsf] hLjg lg/; x'G5 . ;t\ /
lrt\ sf] k'jf{ c+z eP/ klg cfgGb/lxt x'G5 .
of] t ;b\lrbfgGb :j¿k xf] . elgG5, ;ª\uLt
O{Zj/Lo jf0fL xf], To;}n] t zf:qdf elgPsf]
5, of] a|x\d ¿k xf] . a|x\d cv08 cå}t eP/
klg k/a|x\d gfb a|x\d / zAb a|x\d . oL b'O{
¿k k|tLt x'G5g\ . ToxL zAb / gfb a|x\dnfO{
ulx/f];“u a'‰g ;s]sf] v08df dfq k/a|x\d
k|fKt ub}{ df]If k|flKtsf] ;fwg x'g ;S5, To;}n]
t}tL/Lo pklgifb\df elgPsf] 5 M
zAb a|x\d0fL lgi0fftM k/ a|x\df lwuR5tL .
of] r/fr/ a|x\df08 ;Dk"0f{ gfbdo / nodo
110
5 . gfbaf6 j0f{, j0f{af6 zAb, zAbaf6 jfSo
/ jfSoaf6 efiffsf] pTklTt ePsf] 5 . To:t}
Wjlgaf6 gfb, gfbaf6 >'lt, >'ltaf6 :j/, :j/
af6 ;Kts, ;Ktsaf6 yf6 clg yf6af6
;ª\uLtsf] lgiklTt x'G5 . ToxL ;'if'Kt
cj:yfdf /x]sf] ;ª\uLtnfO{ l;sfOåf/f hflu|t
u/fOG5 . j}1flgs b[li6af6 ;ª\uLt, Wjlg,
cfGbf]ng jf sDkgsf] kl/0ffd xf] . ha b'O{
j:t' jf lk08 cfk;df 7f]lSs“bf jf 3if{0f x'“bf
hf] pTkGg sDkgaf6 Wjlg pTkGg x'G5, ToxL t
cfxt gfb xf] . ;f/ª\ub]jåf/f lj/lrt ;ª\uLt
/Tgfs/ gfds k':tsdf pNn]v ePcg';f/ –
gsf/+ k|f0fgfdfg+ bsf/ dgn+ ljb'Mx' .
hftM k|f0fflUg ;+of]uf t]g gfbf]SlewLot] ..
cyf{t\ ‘g’sf/ ¿kL k|f0f jfo' / ‘b’sf/ ¿kL
clUgsf] ;+of]uaf6 gfbsf] pTklTt ePsf] 5 .
hf] xfd|f] s0f{ /Gb| -sfg_ åf/f u|x0f u/]/ dg
dl:tisn] cg'e"t u5{ . of] a|x\df08df htftt}
Wjlg JofKt 5 . rfx] Tof] ls6 ktª\ufbLsf]
Wjlg xf];\ jf jfo', gbL cyjf kz'kG5L jf
dfgjfbL lj|mofsnfkåf/f pTkGg Wjlg xf];\ .
xfd|f] s0f{sf] ;Lldt >Jo zlStsf sf/0f Tof]
;a} ;'Gg c;Dej x'G5 . To;}n] t e/tåf/f
/lrt ‘gf6\ozf:q’ df elgPsf] 5 –
g gfb]g ljgf uLt+ g gfb]g lagf :j/f .
g gfb]g ljgf >'To+ t:dfGgfbf]Gdo+ hut\ ..
of] a|x\df08sf] ;[li6 ;“u;“u} gfbsf] klg pTklTt

ePsf] jf cl:tTj /x]sf] j}1flgs ts{ 5 .
lsgls of] ;Dk"0f{ vuf]n, e"uf]n, ;f}o{d08n,
;a} ;f}o{ kl/jf/ ;"o{sf c+z x'g\ eg] ha ;"o{
6'lj|mof] ta cjZo g} ljzfn Wjlg pTkGg
eof] . o;/L a|x\df08sf] ;[li6 / Wjlgsf]
cGof]Gofl>t ;DaGw ts{;ª\ut k|tLt x'G5 .
k"jL{o bz{g tyf jfª\dosf ljåfg\x¿n]
;ª\uLtsf] pTklTt ‘ç’ zAbaf6 ePsf]
dfg]sf 5g\ . ç zAb PsfIf/ eP/ klg c, p,
d oL tLg Wjlgsf] ldl>t :j¿k xf] hf] a|x\df,
lji0f', dx]z :j¿k, ;t\ lrb\ cfgGb :j¿k,
lqd"lt{, lqzlSt :j¿k k|0fjfIf/ ç c, p, d
lqgfb a|x\dsf] d]naf6 ç zAb a|x\dsf]
pTklTt ePsf] dflgPsf] 5 . o;/L zAbeGbf
klg klxnf Wjlg jf gfbsf] pTklTt ePsf]
k|dfl0ft x'G5 . ToxL ç zAb j]b sf] klg
lah dGq xf] . To;}n] ç g} of] a|x\df08
;[li6sf] klxnf] zAb dflgPsf] 5 .
To:t} ;ª\uLtsf] csf]{ d"n tTTj ‘no’ xf] .
h;sf sf/0f of] a|x\df08 ;[li6, ultzLn /
;bf Ps¿k rnfodfg 5 . no cyf{t\ rfn,
jf ult ljgf of] a|x\df08sf] sNkgf;Dd klg
c;Dej x'G5 . of] ;[li6df k[YjL, ;"o{, rGb|,
jfo', hn, r/fr/ hut\sf k|f0fL r]tg,
cr]tg ;a} j:t' ;"Idflt ;"Id ¿kdf lg/Gt/
kl/jt{gzLn / ultzLn 5g\ . vuf]n, e"uf]n,
tf/f u|x cflb ;a}sf] cfk\mg} lg/Gt/ / lgoldt
ult / no 5 . hf] yf]/} dfq tndfly jf u8a9
eof] eg] of] a|x\df08df k|no x'G5 . To:t} xfdL
;d:t k|f0fLx¿ klg noab\w 5f}“ cGoyf xfd|f]
hLjg ;Dej x'“b}g .
Zjf;k|Zjf;sf] Ps ;fdfGo no x'G5, To:t}
xfd|f] /St;~rf/sf] klg Ps lgwf{l/t ult
x'G5 . olb oL lj|mofx¿ c;fdfGo ePsf]
15t
h
Anniversary
v08df hLjgsf] cGTo x'G5 . xfd|f] x[bosf]
rfn -9's9'sL_ xf];\ jf xfd|f] lx“8fOsf] Ps
;fdfGo rfn, oL ;a} nodo eP/ g} xfd|f]
hLjg, hut\ clg ;[li6 / a|x\df08sf] cl:tTj
/x]sf] 5 . To;/L g} ;ª\uLtdf klg nosf]
cToGt} d'Vo e"ldsf /x]sf] 5 . h;sf] ljgf
;ª\uLtsf] cl:tTj jf ;f/ /x“b}g . non] :j/,
cIf/ / zAbx¿nfO{ plrt ¿kdf af“Wg], hf]8\g]
/ ;dfof]hg ug]{ sfd u5{ .
o;/L ;ª\uLt cd"t{ ljifo x'“bf x'“b} klg ;d:t
k|f0fL hut\sf nflu k|s[lt k|bTt pTtd pkxf/
xf] eGbf cltzof]lSt gxf]nf .
;ª\uLt dfgj lgld{t ljifo j:t' geP/
dfgjåf/f cfjZostf / Ifdtfcg';f/ kl/
is[t k|fs[lts ljifo xf] . of] t dfgl;s
cGtj{[lTtx¿nfO{ ;/n ¿kdf pb\3f6g ug]{ Ps
;zSt ;fwg xf] . dxfg\ kfZrfTo ;ª\uLtsf/
layf]ljgn] eg]sf 5g\ — æ;ª\uLt t
cfWoflTds / nf}lss hLjg larsf ;+of]hs
xf] .
;ª\uLt dfgjLo ;+j]bgf, efjgf, JoSt,
cJoSt lrTtj[lTtnfO{ cleJoSt ug]{ ;kmn
dfWod xf] . efiff / zAbn] JofVof t ug{
;lsG5 t/ efjsf] ulx/fOnfO{ 5'g ;ª\uLt
cfjZos / ;dy{ x'G5 . To;}n] t elgG5, hxf“
;flxTo / Jofs/0f yfS5g\, Toxf“af6 ;ª\uLt
;'? x'G5 .
;ª\uLt, ;flxTo / snf oL ltg} cf]6f ljwf
Pp6} efjgf¿kL gbLsf d'xfgaf6 k'm6]/ lg:sg]
l;h{gfsf eª\ufn x'g\ . rfx] Tof] ;flxTosf]
zAb ;+of]hg jf efjfTds cleJolStsf
ulx/fO / t/ª\ux¿ x'g\ cyjf ljleGg /ª /
efjgfsf ld>0faf6 kl/slNkt lrqsnf,
d"lt{snf cflbsf zAbxLg JofVof jf cfnfk
111
:j/nx/L / ;/udflbåf/f efjfleJolSt xf];\ .
cGttM ToxL Ps dfgj cGtMs/0f jf
dgdl:tissf] pR5fn /
efjfleJolStsf] k|of; xf] . elgG5, ;flxTo
z/L/ xf] eg] ;ª\uLt k|f0f xf] . To:t} snf
z[ª\uf/ xf] . To;}n] k|f0fdo z/L/df h:tf]
z[ª\uf/sf] zf]ef x'G5, To:t} ;flxTo ;ª\uLt /
snfsf] plrt ;dfud x'g ;s] ;'gdf ;'uGw
eg] e}“m clt pTtd x'G5 . To;}n] t
rf0fSodl0fn] cfk\mgf] gLltzf:qdf n]v]sf
5g\ –
;flxTo, ;ª\uLt, snf ljxLg
;fIfft\ kz' k'R5 ljiff0fxLg .
vfbGg lq0f+ gr hLjdfg
tt\ efub]x+ kz'eLg{/f0ff+ ..
snf ;flxTo / ;ª\uLtk|lt ?lr gx'g] jf dg
gk/fpg] JolSt dfgj xf]Og, Tof] 3f“; gvfg]
g/kz' xf] h;sf] l;ª / k'R5/ b'j} x'“b}g . To;}n]
To:tf] dfgj b'n{e} xf]nf h;nfO{ snf ;flxTo
/ ;ª\uLtk|lt cfsif{0f / ?lr gxf];\ . ;ª\uLt
ljgfsf] hLjg ck"0f{, cw'/f] / lg/; x'G5 eGbf
cltzof]lSt gxf]nf .
;ª\uLtdf Ps ckf/ / cnf}lss zlSt x'G5
eGg] s'/f xfdLnfO{ ljlbt} 5 . xfdLn]
ls+jbGtLx¿ ;'g]sf jf k9]sf 5f}“, csa/sf]
b/af/df tfg;]gn] bLks /fu ufp“bf To;
/fu ufogsf k|efjn] b/af/df cfuf] nfu]sf] /
cGTodf tfg;]gs} ;'k'qL ;/:jtLn] d]3 /fusf]
ufogåf/f Tof] clUg ;dg u/]sf] syfaf6
;ª\uLtsf] zlStsf af/]df cfsng ug{
;lsG5 . To:t} tfg;]gsf klg u'? :jfdL>L
xl/bf;hL dxf/fhåf/f cfk\mgf] /fu ufogåf/f
j[Gbfjgdf af“s] ljxf/L nfn eujfg\ k|s6
112
x'g'ePsf] ls+jbGtLn] klg o;nfO{
k|:6\ofp“5 . To:t} ;k{ klj|mg] ;k]/fn] klg
cfk\mgf] lag ahfP/ ;k{nfO{ cfkm\gf] jzdf
/fv]/ grfO/fv]sf] b[Zo htftt} b]Vg
kfOG5 . hª\undf xl/0fsf] l;sf/ ug]{
l;sf/Lx¿n] klg d'/nL ahfP/ xl/0f n6\7 k/]/
rg{ 5f8]/ plePsf] df}sf 5f]kL l;sf/
ug]{ u/]sf] xfdLn] ;'g]sf 5f}“ . ;ª\uLtsf]
zlStsf] ljifosf] af/]df klZrdL d'n'sx¿df
klg ;do ;dodf vf]h, cg';Gwfg / cGj]if0f
ePsf] / eO/x]sf] s'/f xfdLn] k|z:t ;'g]sf /
kqklqsfdf k9]sf 5f}“ . h:t} ;ª\uLt ahfP/
ufO{sf] b'w lgsfNbf b'w w]/} lbg] xf];\ cyjf
;ª\uLt ahfO/xg] 7fp“df k"mnx¿ klg /fd|f]
k'mn]sf cyjf df}/Ln] w]/} dx nufPsf] cflb
vf]hx¿ eO;s]sf 5g\ . h]xf];\, ;ª\uLtdf
Ps cb[Zo, cnf}lss zlSt lgxLt x'G5 eGg]
s'/f k|dfl0ft eO;s]sf] 5 . cfhef]ln t
;ª\uLt pkrf/ kb\wltsf] ¿kdf klg k|of]u
eO/x]sf] 5 / o; ljifodf yk c¿
cg';Gwfg x'g] j|md hf/L 5 . ;ª\uLtn] dfgj
dg dl:tisdf s;/L ulx/f] k|efj kf5{ eGg]
s'/fsf] vf]h eO/x]sf] cj:yf 5 . ;ª\uLtdf
8'a]sf] dflg; zfGt, wL/ / uDeL/ :jefjsf]
x'g' o;sf] k|df0f xf] . pko'{St pbfx/0fx¿af6
of] k|dfl0ft x'G5, ;ª\uLtåf/f g s]jn dfgjÙ
kz', kG5L, ls6ktª\u, af]6 la?jf cflb klg
dgdf]xs zlStaf6 k|efljt x'G5g\ .
 15t
h
Anniversary

;Gbe{ u|Gy;"rL
!= j]bJof;, t}tl/o pklgifb -k'gMd'b|0f_,
uLtf k|];, uf]/vk'/
@= cfrfo{ e/t, gf6\ozf:q -k'gMd'b|0f_,
;ª\uLt sfof{no xfy/;
#= cfrfo{ rf0fSo, rf0fSogLlt -k'gMd'b|0f_,
uLtfk|];, uf]/vk'/
$= ;f/ª\ub]j, ;ª\uLt /Tgfs/ -k'gMd'b|0f_,
;ª\uLt sfof{no xfy/;
%= ld>, 8f= nfndl0f, ef/tLo ;ª\uLt,
ef/tLo 1fglk7 ljZjljb\ofno k|sfzg b'uf{k|;fb vltj8f

b'uf{k|;fb vltj8f s'zn afF;'/L

jfbssf ¿kdf klg ;'kl/lrt 5g\ .
jgf/; lxGb' ljZjljb\ofnoaf6
;ª\uLt ljifodf :gftsf]Tt/ u/]sf
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durga4flute@gmail.com

113
Music Therapy
- Dr. Niranjan Bhandari
The present day and age is
characterized by an abundance
of economic and social problems
of various kinds. An increase in
materialism has inflicted serious harm
on the physical and psychological
health of people. Lifestyles are
becoming increasingly fast paced and
stressful. This constant stress has a
very damaging effect on the body's
immune system leading to an increase
in al king of diseases and illnesses.
Music is a very powerful tool that
can help in such stress related
problems that may even cause severe
behavioral problems. Not only this,
music has been found effective in
increasing will power, self confidence
and concentration. It has also been
found helpful in very effective in
treating learning disabilities, autism,
mental retardation in children and
Alzheimer’s syndrome in the aged.
How does music help in such a
huge spectrum of ailments? One
of the answers to this question is
that amongst all the fine arts that
include music, painting, architecture,
sculpture and literature. It is only
music that is a 'moving' phenomenon.
The act of creation by the artist and
its appreciation by the listener are
simultaneous, especially in a live
performance. Consequently, its effect
is very profound and highly enhanced
on the human mind as compared to
the other fine arts.
In the Nepal and Indian tradition,
music has been linked to the
114
Absolute. It is considered a very
effective spiritual tool to attain Nada
Brahma. The ancient system of Nada
yoga considers the whole universe
as a formation of vibration. Even the
most basic element of music the swara
traces its name of swa (mening self)
and ranjan (meaning of please). Thus,
the swara itself is that which pleases
by itself the mind of the listener.
The essential pillars on which music
therapy is based as follows:
Power to Inspire: Music has the
power to inspire. It has the power
to excite or to calm down a person.
These are mutually in contrast but
are used in treating different kinds of
ailments.
Sound Vibrations: The sound
vibrations have a definite effect on
the human mind. Even the Vedic
mantras are supposed to be recited
in a particular manner with specific
accents and intonations in order to
produce the right vibrations to make
the mantras effective in producing the
desired results.
Mind waves: the human brain has
different centers that emit different
kinds of energy waves. The waves
emitted are of four types: Beta,
Alpha, Delta and Theta. Music helps
in enhancing the production of the
alpha waves that are believed to be
very good for the mental and physical
health.

Sound waves and man: The human
hear can grasp sound that has a
frequency of 20 to 20,000. Less than
20 vibrations per second cause’s
infrasonic sound which can affect
mental health. More than 20,000
vibrations per second is ultrasonic
sound that is believed to be helpful
in treating several health problems
including fractured bones or injured
ligaments.
Will power: Music helps in
strengthening will power that is
very essential to dealing with health
problems in a patient particular kinds
of music helps in the creation of
endorphins, which are a special kind
of chemical that help in enhancing
op0timism in a patient.
Emotion: It has been found that
different emotions create different
physical changes in the human body.
For example, when a person is angry,
the pulse rate increases, the ears and
eyes may torn red. Nervousness
sometimes leads to sweating and
so on. Music therapy is used so
that certain specific emotions are
generated in order to have the desire
physical effect on the patient.
Music therapy is becoming
increasingly popular in India.
The music therapists use the
categorization of indiavuals based
on the nature principle of Rajsik,
Tamsik and Satvik or the Ayurvedic
principle of vata, pitta and kaph.
Several classical Ragas and used
in music therapy practices. This
depends in the characteristic of the
raga. Today, various commercial
records are available in the market
for the purpose of music therapy
or meditation which can be used
to treat a specific health problem
in on solution with an experienced
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music therapist. It is not essential for
patients to have knowledge of the
ragas or any other genre that is being
used for the purpose of music therapy
to benefit from it. Music therapy
has no side effect if done under the
right guidance and supervision
and is especially effective if used
in combination of other methods of
treatment.
References:
1. sangit chikitsa: bhaskar V. khandekar
published in sangit, Ras, parampara aur
vichar, edited by om prakash chaurasia,
vani prakashan, new delhi.
2. Raga therapy by T.V. Sairam
3. Music therapy The sacrd and the profane
Ed. T. V.
Dr. Niranjan Bhandari
Dr. Niranjan Bhandari, a
master's degree and Ph.D holder
from Banaras Hindu University,
Varanasi, India is a prolific flute
artist.
Recently he has been conferred
with Nepal Vidhya Bhushan
'Ka' by the Rt. Honourable
President of Nepal. Presently he is
associated with Lalit Kala Campus
and Sirjana College of Fine Arts.
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 New Media Art in
Art Education
manish lal shrestha
Art is often isolated in our society.
People rarely realize its importance
and value. I have come across with
different periphery of communities
after the big roar of the nature. More
than nine thousand people have
died, millions homeless, billions
of properties got destroyed and
traumatized the souls of the nation. It
became the national and international
concern just because it hit the
important cities and world heritage
sites of Nepal. Major art and artifacts
got broken and many of our cultural
heritage sites are still in the verge of
ruin. Though people feel the loss, Art
is still not in the priority.
The Kathmandu valley is one and
only valley consists of great numbers
of world heritage sites in the whole
world. Even after a year and the
half the sites are still not being
taken seriously by the government.
Before the earthquake they used
to generate lots of revenues which
could have led the better future of
the nation. I agree upon the facts
that it takes lots of resources and
many skillful artists and artisans
to rebuild such heritage. But as we
look back outside the valley, most
of the area is completely destroyed,
to build the ecological space is not
that big issue for the government but
their progress is still so slow. Most
of the development progress is now
decentralized which I find the positive
aspects of devastation. People from
the communities are going to serve
the communities outside the valley.
116
Even Art is decentralized to the
devastated districts and connecting
whole community together.
Earthquake destroyed many schools
and colleges including art colleges
of Nepal one of them is Sirjana
College of Fine Art. For the whole
year students have been studying
under broken rooms and leaked
tin roofs. Studying and learning
under the destroyed building is
tough. Hopefully new things come
with new thoughts. Earthquake is
an opportunity for all the Nepalese
to grow into new functional ideas.
Conceptual norms could grow
through these circumstances. It is
not trying to destroy the old norms
or conventional practices. There are
possibilities for new thoughts of new
Nepal and new dimensional Art
and cultural heritage. Earthquake in
Nepal brought new possibilities of
contemporary senses. Instead of the
renovating the old we could think
something new to flourish.
New Media Art is introduced in
Nepali Art education in the very
recent times. It was a big challenge to
break all the norms of conventional
practices. Although Sirjana College
of Fine Art is well received by
established artists of Nepal but
somewhere there’s a lack on updating
it. Art has grown up into different
perspective and still the situation is
way back to the realistic ideology.
Students are taught to learn the skills
rather than to create own objectives

Bibek Shrestha. Tornado Shape Spiral. BFA 4th year. 2016.
into reality. Nepal as a whole seem so
influential to the western culture.Our
lesson on new media is to understand
the values of own native ideology
and transform them to create the
futuristic vision. We started with
conceptual practice with an intension
not to define a piece as a painting
or a sculpture. As in the west new
media was started with moving
photographic inventions in the late
19th century. Artists then have been
using photographic and video graphic
tools, computer graphics, light art,
digital art, sound art, internet art and
technologies to express their norms.
In the context of Nepal, the country of
major power cuts and load shedding,
it is difficult to intervene with the
western ideology of using electronic
gadgets as a tools to express inner
views. So to start new media art
is to think with conceptual norms
beyond the conventional approach.
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Assignments are designed with the
individual understanding of the
students. The approach is to bring
their own vision into reality using
different elements and medium than
usual materials. We intend to bring
interactivity, performativity and
spontaneous creative activity to define
new media art.
To cite as an example, it was
an interesting approach by Bob
Benjamin to materialize the native
concept into contemporary presence.
The installation art of concrete
miniature building foundation is
to reflect the tremor of the nation.
Minimalistic approach on his work
could bring dialogue among the
viewers. To create an art, process and
collaboration are important factors
which reflect in his work. To flatten
the chair he was collaborating with
carpenter in his neighborhood that
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Nadim Shakya. Videos on 3D Form. BFA 4th
year. 2016.
shows the communal interlink. It
creates some space for all the viewers
to imagine into their own thought
process. Rabin kaji Shakya created
the work on contemporary issues of
Nepal like load shedding and also
linked with insecurity caused by
the devastating earthquake. Using
helmet as material for the work, unlit
bulbs and wire was to deliver his
concept wisely in the topic insecurity.
Installation on tornado shape spiral
by Bibek Shrestha created some
thought provoking gesture. Yogesh
Awale created the installation of solar
system through bulbs. Some of the
bulbs were colored in black to depict
the pollutions and some plants were
grown in some bulbs. His concept
was to relate environmental issues.
Nadim Shakya projected the videos
118
Rabin Kaji Shakya. Insecurity. BFA 4th year.
2016.
on the 3D form he created on the
wall. It was an image I found it more
associated with technology, computer
graphics, wise use of programming; it
was the transformation of new media
approach.
Despite lots of challenges, we could
run the new media art classes.
Fundamental structure of new media
art should have well – equipped
independent studio for the students.
Since the new media approach
doesn’t confine in limited space, it can
vary according to the situation and
with site specific intervention. New
media art practice has lots of potential
in the future due to the progressive
development of the nation. Social
media can be another space to deliver
the creative and futuristic tendency

Yogesh Awale. Solar System. BFA 4th year.
2016.
Bob Benjamin. A Useless Chair. BFA 4th year.
2016.
of new media art practice. As an
artist we should protect the freedom
of expression through any means
and by any method. Why can’t an
artist talk about the issues, talk about
censorship, talk as an activist and
empower the community through
different means of art?
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Manish Lal Shrestha
Manish Lal Shrestha is
a multi-dimensional visual artist.
Thirteen solo exhibitions, several
workshops and residencies in
Switzerland, France, Pakistan,
Srilanka, India, USA, Holland,
South Korea and Nepal in his
credit, made him well received
visual artist of Nepal.
He has received several awards,
including National Fine Arts
Award in 2011 from Nepal
Academy of Fine Arts. He is
Founder/Executive Director of
Gallery Mcube, Nepal. He is
actively involved in community
art practice to empower
community in remote villages.
He is a faculty of New Media Art
in Sirjana College of Fine Arts.
gallerymcube@gmail.com
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Experiences in
Sirjana college of fine arts
Bob Benjamin

Initially I found myself at a loss trying

to pin down the crucial experiences
and events that have underscored
my six years relationship with Sirjana
College of Fine Arts. I have decided
to do away with all the superfluous
details of life at Sirjana which most
of you will eventually come to
learn as your time here unfolds. So
when we trim this fat down what
remains is the bare essentials, which
I feel comfortable to talk about. The
essential and common experience
we all will share in this case is art.
There are two very indispensible
experiences that everyone will have
during their time in Sirjana which I
experienced too.

First one is a positive one that will not

only help you better yourself as an art
student but will also help you evolve
into a better human being. Another
one is a negative one that holds the
members of Sirjana back; teachers and
students alike, from exploring their
true potential and if it is addressed
honestly will improve this institution
and the services it provides by leaps
and bounds.
Let me begin by giving a short
introduction as to how I got involved
in art and consequently with Sirjana.
I am not one of those people who
started drawing from a young age
or even showed the slightest bit of
interest in art. My introduction to
the visual arts was when I joined
the hobby class provided by Sirjana
college. During this time I was
Bob Benjamin. Limbo. Woodcut Print on nepali
paper, 12” X 9”
going through a phase where I was
experimenting with different things
and I had no idea of what I wanted
as a career. I say experimenting but
to be precise, I took up something
and as soon as my interest waned I
gave it up. This was the extent of my
experimentation with music, writing,
computers, designing, animation, car
repairs and modification and the list
goes on. I tried many things but just
couldn’t bring myself to imagine a
scenario where I saw myself pursuing
a fulfilling lifelong career in any of

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Bob Benjamin. Exercise in Futility, Aquatint on Paper, 9.6” X 7”
the things I was experimenting with.
But with painting that wasn’t the
case. I kept coming back to it. I started
missing my computer classes first to
spend more time at my “hobby art
class”. Then along with my computer
class it was my designing class and
soon followed my animation class. All
these classes seemed inconsequential.
I spent alternate days at the hobby art
class and when I wasn’t there I spent
all my time drawing and looking
up art and reading about art on the
internet. My life took a turn I had not
expected it would take; moreover I
really liked it. This was what I was
searching for.
I realized that I was intrigued by the
process of visual art so much that
nobody had to tell me to work hard
and commit considerable time to it. I
was doing that on my own. Whatever
passion, dedication and commitment
I was putting into it was self initiated
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and it stemmed out of self motivation.
So it was then I decided to give up
everything else including my hobby
art class and enroll in the courses
Sirjana provided. Thus began my
journey.
The irony of art school is that no
one can teach you how to make
art or good art at least. I know that
now having spent six years at this
institution. That being said what can
be taught is the technical aspect of it.
Art schools can only give you tools
and techniques by the use of which
one can unearth and excavate one’s
own truth and make art out of it. As
is the case with learning everything
new we start with the simple and
progress into complex things. The
basic shapes that we practice as a
beginner will be used to decode,
understand and relate visually
something as complex as the human
body. This process of simplifying so
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you can get a better understanding of
the complex organic whole not only
serves one in the arts but also in life
as well. Everything done and taught
in Sirjana College, bears the mark of
this time tested process. This method I
believe will help ease in students into
visual art, a new language, without
intimidating them and helping them
reap the benefits of a method that
puts emphasis on a structured way
of looking at art. Miyamoto Musashi
the Japanese swordsman in his book
“A Book of Five Rings” says “To
know ten thousand things, know one
well”. That one thing that is worth
learning and taught well in Sirjana
is simplifying the process of visual
art. This is one positive experience
I believe everyone who decides to
study in Sirjana College will have.
The most obvious benefit of this
method is that one acquires a working
understanding of the means that Bob Benjamin. Dog Shit. Linoleum Print on
govern successful artistic enterprise. nepali paper, 10.2” X 12”
You learn the rules so to speak. Once
you learn the rules it is much easier to ask ourselves is –“Is every
to break them and once you learn the Sirjana College graduate a visually
structure it is easier to deconstruct literate individual who can actively
it and fit it to your individual need. contribute to the local artistic
Also, my time in the college and many community and the community
hours of self study have made me at large?” Ideally we would want
aware that it isn’t important to break every graduate from the college to
the rules for the sake of breaking be visually literate and an active
the rules. It all depends upon the member of the artistic community.
manner of how we break the rules. If But unfortunately we know for a fact
we as artists and art students don’t that this isn’t the case. No matter
just simply break the rules but strive how well a program is designed it all
to aesthetically break them then we depends upon how it is implemented.
create something worthwhile and The greatest hurdle to the program
enduring. in the college is that students aren’t
given enough responsibility and
The process of simplifying that are never held accountable for
I mentioned above, the full failure of upholding whatever little
comprehension of which no doubt responsibility they have now. The
will produce visually educated and remedy for this, if I may suggest,
aware artists capable of producing should begin with enforcing
stimulating art. When we consider compulsory attendance, weekly and
this fact the question that we have monthly assignments and evaluations

122

Bob Benjamin. Foundation, Cement, Metal Rod, 4” X 4” X 5”
and to make sure the students are
held responsible the ones who fail to
meet with the requirements should be
penalized. We have a culture here in
the college of procrastinating things
and putting things off to the very last
moment possible. This culture gives
facility to students who aren’t serious
about art and come here to pass the
time and at the end of the year submit
in two or three assignments and
pass the exams. This quite frankly is
a disservice to the education that is
provided here, it makes a mockery
of the teachers who everyday take
time out of their day to teach here for
a meager salary and it is offensive to
the students who put in the effort and
commitment to work day and night
to excel in their craft. Additionally, it
devalues the final assessment exam
and the marks obtained in it. Art is an
interactive transaction. How can the
transaction take place when one side
of the involved party isn’t present for
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a considerable amount of the course
time? The recently implemented final
compulsory display is a step towards
correcting this wrong. But it far from
solves the problem. It addresses the
issue but doesn’t quite solve it.
This might seem like a harsh criticism
but it is the truth and I only mention
it here because I want Sirjana to
improve. I won’t the teachers and
students here to have healthy,
fruitful interactions. I also mention
it in the hope that everyone will talk
about it and give it the attention it
deserves; that way it can be dealt with
accordingly. We have to acknowledge
the good along with the bad that is
how progress is made. I have spent
six years in Sirjana and I admit it is
far from perfect but I believe that
everyone involved with Sirjana will
keep improving and evolving inching
it ever closer to its goal of becoming a
haven for artful practices.
123
Finally, I want to say art is a habit. It
should be done daily.

It is like any other profession.

It demands great sacrifice, hard
work, perseverance and patience.
I know this sounds unglamorous
but that is the whole point. You
should be driven to make art to
such an obsessive degree that you
know with unflinching clarity and
absolute confidence that whether
times are good or bad and under any
circumstance you will make art. You
will use it as the primary language to
learn about your surroundings and
express it. This is the most valuable
experience Sirjana College of Fine Bob Benjamin
Arts has helped me cultivate. So make
art when you are happy, make art Bob Benjamin, an alumnai of
when you are sad, make art when you Sirjana College of Fine Arts, is
an enthusiastic art practitioner.
don’t won’t to make art anymore and
His art practices range
when you are done making art make from the conventional to the
some more. unconventional.

Additionally he is interested
in how history of art helps
in shaping and evolving
contemporary art, art in general
and his own practice.

124
 15t
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Hilariously yours,
Kuldip Jang Bahadur Gurung

Kuldip Jang Bahadur Gurung, an alumnai

of Sirjana College of Fine Arts, works
as an illustrtator in the Curriculum
Development Centre, Ministry of
Education. He was awarded with "Nepal
Vidhya Bhusan - Ga" in 2014 for scoring
highest marks in the Faculty of Humanities
and Social Sciences, Tribhuvan University.

125
Established in 2001 in affiliation to Tribhuvan University

founder members

Shashi Shah, artist Batsa Gopal Vaidya, artist Shyam Lal Shrestha, artist Krishna Manandhar, artist

Baikuntha Man Shrestha, Ravindra Jyapoo, artist Takashi Khajita, Prabin K. Shrestha, artist
artist/art activitist social activist

Purna Chandra Boki Late Ujjwol Kundan Jyapoo Sharada Man Shrestha Aruna Shakya, art enthusiast/
Shrestha, art enthusiast artist artist business entrepreneur

126
 15t
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Sharad Ranjit, artist Late Surendra Raj Bhattarai, Maya Manandhar, artist Dhiresh Kumar Dahal,
artist/art writer artist

Purna Ratna Bajracharya, Guatam Kumar Manandhar, Bijay Shrestha, Ashok Kumar Bhadel, artist
artist artist business entrepreneur

Minu Shrestha, artist Uttam Kharel, artist Navindra M. Rajbhandari, Nilam Tamrakar, artist
artist/art writer

Sunil Ranjit, artist Devina Malla, artist Prabha Bhattarai, Poet Jaya Dev Krishna Shrestha,
business entrepreneur/
art enthusiast

127
Rajendra Man Rajbhandari, Rabindra Man Joshi, Ebba Bista, Prasida Khanal,
art enthusiast art enthusiast/ business art enthusiast art enthusiast
entrepreneur

Samriddhi Poudel, general members

art enthusiast

Prof. Dr. Rajesh Gautam, Radheshyam Mulmi, artist Chandra Bhattachan, poet/ Prakash Ratna Shakya,
historian/artist lyricist artist

Chandra Shyam Dongol, Bina Pradhan, vocalist Nanda Kishor Shrestha,

artist business entrepreneur/social
activist

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 15t
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Mahen Mohan Shrestha, Madan Chitrakar, Shanta Kumar Rai, Gangadhar Saroo,
art enthusiast/social activist artist/art writer artist artist

Laxman Bhujel, artist Meenakshi Sharma, Achyut Ram Bhandari, Nagendra Prasad Neupane,
teacher/ art enthusiast tabala artist tabala artist

Samjhana Rajbhandari, Bhawana Manandhar, Saurganga Darshandhari, Roshan Bhandari, artist

artist artist artist

Krishna Gopal Shrestha, Mukesh Shrestha, artist Dheeraj Ram Rajbhandari,

artist engineer/art enthusiast

129
management committee Administrative Staff

Baikuntha Man Shrestha Krishna Manandhar

Chairman Principal
Batsa Gopal Vaidya Navindra Man Rajbhandari
Vice-Chairman Programme Coordinator
Shyam Lal Shrestha Laxman Bhujel
Member Vice-Principal
Ravindra Jyapoo Gautam Manandhar
Member Administration Officer
Sharada Man Shrestha Bandana Manandhar
Member Account Officer
Maya Manandhar Uttam Kharel
Member Day Shift Incharge
Purna Ratna Bajracharya Sharada Man Shrestha
Member Store and Maintenance Incharge
Gautam Manandhar Shanta Bahadur Dangal
Member Exam Assistant
Uttam Prasad Kharel Bhawana Sharma
Member Librarian
Neelam Tamrakar Chiranjivi Dhakal
Member Office Assistant
Sunil Ranjit Dil Bahadur Ghalan
Member Lab Boy
Devina Malla Rita Pujari
Member Genitor
Jaya Dev Krishna Shrestha Ishor Tamang
Member Gardener
Sharad Ranjit
Member
Prakash Ratna Shakya
Member
Dr. Rajesh Gautam
Member
Krishna Manandhar
Member-Secretary

130
 15t
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Faculty Members

Painting Music
K. K. Karmacharya Nhuchhe Bahadur Dongol (Folk
Rhythm Instruments)
Sunil Ranjit
Dunkun Das Chaudhary (Tabala)
Laxman Bhujel Rabin Lal Shresstha (Tabala)
Mukesh Shrestha Durga Prasad Khatiwada (Flute)
Krishna Gopal Shrestha Bishnu Acharya (Vocal)
Roshan Bhandari Shree K. C. (Vocal)
Nagendra Prasad Neupane (Tabala/
Printmaking Folk Music)
Saur Ganga Darshandhari Dr. Niranjan Bhandari (Flute)
Samjhana Rajbhandari Yati Raj Adhikari (Violin)

Graphic Communications Dance

Madan Chitrakar Prof. Honey Shrestha (Kathak)
Radhe Shyam Mulmi Subima Shrestha (Kathak)
Ashok Man Singh Tara Manandhar (Charyaa)
Ganga Dhar Sharoo Sulochana Gopali (Bharat Naatyam)
Abin Shrestha Sushma Koirala (Folk Dance)
Devendra Pandey
Bijaya Maharjan Compulsory Subjects
Meenakshi Khanal (English)
Sculpture Pratibha Pun (Nepali)
Ravindra Jyapoo Ambika Niraula (Nepali)
Sharada Man Shrestha Narmada Sharma Regmi (English)
Prakash Ratna Shakya
Chandra Shyam Dangol

New Media
Manish Lal Shrestha

History of Art
Navindra Man Rajbhandari
Bhawana Manandhar

131
Acknowledgement

Abhi Subedi, Dr. (Essayist/Critic/ Poonam R. L. Rana, Dr.

Linguist/Playright/Poet) (Associate Professor, TU)
Arun Shrestha (Researcher) Prakash Ratna Shakya (Sculptor)
Ashok Man Singh (Painter/Graphic Pramod Pradhan (Critic)
Designer) Pranisha Gurung (BFA 4th year,
Baikuntha Man Shrestha (Chairman, Sirjana College of Fine Arts)
Sirjana College of Fine Arts) Ravindra Jyapoo (Sculptor)
Batsa Gopal Vaidya (Vice Chairman, Roshan Bhandari (Artist)
Sirjana College of Fine Arts)
Roshani Maharjan (Alumnae,
Bibek Shrestha (Alumnae, Sirjana College of Fine Arts)
Sirjana College of Fine Arts)
Saroj Bajracharya (Painter/Writer/Poet)
Bob Benjamin (Alumnae,
Sirjana College of Fine Arts) Shanta Bahadur Dangal (Exam
Assistant, Sirjana College of Fine Arts)
Chiranjivi Dhakal (Office Assistant,
Sirjana College of Fine Arts) Sharada Man Shrestha (Sculptor/
Painter)
Dawa Omu Lama (Designer)
Shashi Bikram Shah (Founder
Dil Bahadur Ghalan (Lab Boy, Principal, Sirjana College of Fine Arts)
Sirjana College of Fine Arts)
Shyam Lal Shrestha (painter)
Dipendra Bajracharya (Photographer)
Sunil Ranjit (Painter)
Durga Prasad Khatiwada (Flute Artist)
Tara Manandhar (Classical Dance
Hari Ram Adhikari (BFA 4th year, Artist)
Sirjana College of Fine Arts)
Uttam Nepali (Painter/Poet)
Harnamadi Art Foundation, Hetauda
Uttam Kharel (Painter)
Honey Shrestha, Prof. (Classical Dance
Artist) Yogesh Awale (Alumnae,
Sirjana College of Fine Arts)
Kuldip Jang Bahadur Gurung
(Alumnae, Sirjana College of Fine Arts) Yuv Raj Nayaghare (Essayist)
Lok Chitrakar (Pauva Artist)
Manish Lal Shrestha (Visual Artist)
Nadim Shakya (Alumnae,
Sirjana College of Fine Arts)
Nagendra Prasad Neupane
(Tabala Artist)
Niranjan Bhandari, Dr. (Flute Artist)
Om khatri (Sculptor)

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