PREFACE

Although theory is crucial in any subject, it is actual research that allows us to

visualise the real conservation world. The genuine issues are impossible to
convey conceptually. With site inspections and personal sense of the space, we
may become familiar with the notion of dimensions, components, layout, and so
on. Being part in the recording of some of the sites in the Kathmandu valley has
been a rewarding experience. It helped us see the bright side of things and bad
aspects associated with these sites, as well as define the importance of
monument protection for future generations.

The study discusses the realisation of a feeling of worth in the architectural

dimension. Not only are things preserved, but several facets of interventions are
explored. The study includes an analysis and recommendations. It was
encouraging to discover that social determinism can be implemented to some
extent. To finish the study, a detailed examination of Harisiddhi Temple is
conducted, as well as general documentation of Lagan Thura: Ashoka Stupa
and Char Narayan Temple.

Authors
Renuka Majhi
Salina Awal
Sumit Bhattarai

I
 ACKNOWLEDGEMENT

We would like to convey our heartfelt thanks to the instructor, Ar. Prajwal
Hada, without whose efforts no foundation for this sort of activity would have
been laid. The enormous earthquakes of 2072 and its aftershocks, along with
local people's ignorance and lack of preservation and documentation sensibility,
have had a significant influence on our heritages. The historic architecture and
building techniques are on the point of becoming extinct. This type of
inspection report is unquestionably an excellent concept for broadening pupils'
understanding of traditional architecture and the value of constructed form.
Furthermore, this study might serve as a starting point for people interested in
conducting research on such heritages.

We are grateful to be able to present this report on the topic of "Inspection

Report on Historical Monument (Harisiddhi Temple, Lagan Thura: Ashoka
Stupa, Char Narayan Temple)," in which several aspects of the issue have been
briefly discussed. The major goal of this paper is to present a clear and plain
approach to the topic's history, building technique, and architecture, as well as to
inform general readers about its significance in general.

Last but not least, we'd want to extend our gratitude to all of the authors for the
breadth and variety of thoughts and analyses that went into the creation of this
study. Constructive ideas and comments for improving this project will be
gratefully recognized and greatly appreciated. It is sincerely hoped that this
report will fulfil all of the needs and expectations of those for whom it was
prepared.

II
 ABSTRACT

Nepal has a plethora of palaces, temples, monasteries, and wealthy mansions

erected at various times and in a variety of architectural styles that need to be
researched and preserved. As a result, this report reflects that.

The historical and architectural contexts of three monuments at Lalitpur, are

presented in this article. The following monuments were investigated:
● HARISIDDHI TEMPLE, Lalitpur
● ASHOKA STUPA: LAGAN THURA, Lagankhel, Lalitpur
● CHAR NARAYAN TEMPLE, Inner Patan, Lalitpur

The data is then compared to the current state, and the necessary conservation
procedure is determined.

III
 TABLE OF CONTENTS

PREFACE I

ACKNOWLEDGEMENT II

ABSTRACT III

INTRODUCTION 1

OBJECTIVES 2

METHODOLOGY 3
HARISIDDHI TEMPLE 4
INTRODUCTION 4
HISTORICAL IMPORTANCE 5
MYTHOLOGY: ABOUT GODDESS HARISIDDHI 5
HISTORICAL BACKGROUND OF THE TEMPLE 6
TIMELINE 7
SOCIO-CULTURAL AND RELIGIOUS ASPECTS 8
FESTIVALS 9
HARISIDDHI NAACH 9
AUTHORITY 11
ARCHITECTURAL FEATURES AND SYMBOLISM 11
SPACES AND SURROUNDINGS 11
TEMPLE 12
GROUND FLOOR 13
FIRST FLOOR 13
PLINTH 14
MATERIALS USED 15
CLAY/MUD AND ROCKS 15
WOOD 15
METAL 16
CONSTRUCTION TECHNOLOGY 16
ELEMENTS OF THE TEMPLE 19
UMBRELLA 19
FINIAL 20
RAFTER 20
STRUTS OR TUNALS 21
METAL ROOF 21
TIMBER BEAMS 21
CARVED WINDOWS 22
CARVED DOORS 24
WOODEN POST 24
TORAN 25
PRESENT CONDITION 26
 RECOMMENDATIONS FOR CONSERVATION 27
REPRODUCTION 27
RESTORATION 27
PRESERVATION FROM DETERIORATION 28
REHABILITATION 28
ASHOKA STUPA 29
INTRODUCTION 29
LAGAN THURA - SOUTHERN STUPA 30
HISTORICAL IMPORTANCE 31
CULTURE VALUE 32
INSPECTIONS 33
CURRENT SITUATION 33
APPROACH 33
THE MOUND 34
SURROUNDING 34
MAINTENANCE 35
RECOMMENDATIONS FOR CONSERVATION 36
CHAR NARAYAN TEMPLE 37
INTRODUCTION 37
FEATURES OF CHAR-NARAYAN TEMPLE 38
RESTORATION OF CHAR-NARAYAN TEMPLE 40
STRUCTURAL STRENGTHENING 43

COMPARISON 45

CONCLUSION 46

REFERENCES 47
INTRODUCTION

Architecture is frequently a concrete narrative story, yet it may also be

intangible. Conservation, on the other hand, is the practice of caring for
buildings and places and regulating change in such a manner that their character
and unique importance are preserved. It has a broader connotation,
encompassing the many types of therapy offered to any monument in order to
extend its life. Historic buildings are a one-of-a-kind resource. They are
vulnerable to growth and deterioration. They can't be replaced after they've been
lost. If their unique features are lost, they are difficult to reclaim. Over-attention,
as well as neglect, may wreak havoc on a historic structure's character.
Over-restoration can detract from a building's unique traits by removing details,
materials, and craftsmanship that, while seemingly insignificant, add to the
character and uniqueness of the structure.

Conservation encourages the regeneration of what has been lost or has taken on
a new form. Any location's architecture determines its identity and integrity.
Like a nose, which gives a person their individuality. Architecture preservation
is vital because it aids in the preservation of an area's emotional, functional, and
cultural values while also conserving the building that emits those emotions.
Architecture must constantly exude a sense of uniqueness and authenticity. To
keep it from being too lost, conservation is required to ensure that the
architecture's authenticity, uniqueness, and truth are preserved.

Historical structures are valuable because of their age, configuration, historical

materials, and construction skills, all of which are lost when they are
demolished or improperly rebuilt. As a result, conservation aids in the
preservation of existing structures and the prevention of disintegration. The
careful management of historic materials and adherence of traditional
construction practices, which have been established over hundreds of years to fit
the local environment, are the keys to excellent conservation.

Thus, architecture conservation aids in identifying the importance of structures,

assigning a monetary value to them, and preserving them.

1
OBJECTIVES

The major goal of this study is to save priceless things, such as cultural heritage,
that are so important to our tradition before they lose their identity. The
conservation project is primarily focused on extending the life of the monument
through various treatments. The main notion is to preserve the monument's
originality/authenticity to the maximum degree feasible. The following are its
broad objectives:
● To be aware of the historical context as well as the socio-cultural values.
● To preserve the contemporary narratives.
● To understand the significance of historic monuments and to encourage
conservation.
● To Check for symptoms of degradation or faults in the building and
recording them so that future repair work may be done quickly.
● To promote tourist activities.

The following are the conservation's specific goals:

● For the sake of preserving the building's core character.
● In order to avoid further deterioration.
● Inspecting the complex's current state in terms of conservation and
preservation.
● An assessment of the temple's and neighbouring complexes' level of
conservation is necessary.
● To make immediate, mid-term, and long-term suggestions.
● For restoring the building's character without damaging it.
● For the purpose of replacing the building's main missing aspects.

SCOPE AND LIMITATIONS

● Where real measurements were not attainable, some measurable
documentation was based on picture evidence.
● The paperwork was completed in a short amount of time.
● Some inaccessible locations have not been fully documented.

2
METHODOLOGY

"What a country chooses to save is what a country chooses to say about itself."
-Mollie Beattle
The basic approaches used to acquire data and information for the report may be
divided into two groups:

PRIMARY METHOD:
Formal interviews, questioners, and informal interviews were used to collect
information on the site's history, mythology, and cultures. Visual, topographical,
climatic, and architectural information on the site, on the other hand, was
gathered from broad observation of the site.

SECONDARY METHOD:
Secondary data gathering methods were employed in the report preparation to
locate factual documents concerning the site's historical, administrative, and
meteorological data. Various online publications, journals, and blogs were
consulted in order to learn more about historical myths, renovation history,
administrative rights changes, and government laws affecting the property.

The entire conservation work process is divided into three sections:

● Documentation
● Analysis and
● Proposal

Flow chart of Work schedule

3
ARCHITECTURE CONSERVATION

HARISIDDHI TEMPLE
HARISIDDHI, LALITPUR

Fig 1: Harisiddhi Temple

INTRODUCTION
Harisiddhi temple is one of the oldest temples of Nepal, located in the heart
(lachhi) of Harisiddhi village. Harisiddhi village in Lalitpur district is one of the
popular religious sites of Nepal heading towards modernization maintaining
traditional values of the society. The temple is at the height of about 4,400 ft
from the sea level, whose latitude is 270˚38' north and longitude is 850˚21' east.
About 800m west from the temple, there is a river named Karmanasha
(Kodku). The climate at this place is normal i.e. hot in summer and cold in
winter. The temple is surrounded by the residential area. There is a pond to the
south-east direction of the temple which is believed to be one of the important
holy-ponds i.e. Kunda.

4
HISTORICAL IMPORTANCE

MYTHOLOGY: ABOUT GODDESS HARISIDDHI

In ancient times, it has been believed that there were two giants, who went to
the Kailash Parbat (the place where Lord Shiva lived) and hurt the gate-man,
Nandi. Lord Shiva knew about the incident and remembered the Goddess,
Chandika. The Goddess appeared immediately and killed those 2 giants as per
Lord Shiva had said and is thereafter, worshipped as Harisiddhi. The word
Harisiddhi has been mistakenly used. Actually, it should have been Hara (Shiva)
and Siddhi (Parvati) or Harasiddhi which indicates that half of the body is Shiva
and the remaining half is Parvati; the attribute of Lord Shiva and Parvati.

According to the Hindu econography, the goddess Harisiddhi has 4 hands, each
carrying Damaru, Kamandal, Khadga and Kalash. As the recognition of
Bhairab, Harisiddhi and Kumari, three clay-pots full of water are set in the
temple towards the west direction. The goddess is also known as Tri-Shakti,
Tri-Devi, Maheswori, Ambe Maa, Baishnavi and Jagdamba. According to the
main priest, the goddess Harisiddhi is the creator of the world. She created
Bhairab and Kumari with her miracle power. According to Devi-Puran, though
the goddess is imageless, still with her miracle power, it has been believed that
she possess image and she accepts the public prayers if it is done with
holy-mind and blesses people according to their wish.

Fig 2: Harisiddhi’s Goddess

5
HISTORICAL BACKGROUND OF THE TEMPLE

The origin of this goddess is in Ujjain, India. An Indian emperor Bikramaditya,

who was also the founder of Bikram Sambat, came to Nepal with his beloved
goddess Harisiddhi and established the temple of her in Baneshwor, Nepal. He
then initiated dance of gods and goddesses but was discontinued after some
years. In the Lichchhavi period, (about 745 B.S.), the goddess Harisiddhi was
taken to Harisiddhi village and the dance was again started. The dance was
performed continuously for some years but later got discontinued. During the
reign of King Amar Malla, the famous incantatory (Baidhya) 'Gayojuju' brought
the lost dance and King Yog Narendra Malla provided certain space to continue
it. The famous incantatory, Gayojuju, 'Yogendranand Rajopadhya', has been
believed to be able to talk to gods and goddesses.

He had started the Gurukul school system at his home at that time where his
pupils used to help him in households. One day, one of his pupils went to
Godawari forest to collect some wood. After he reached the top of the
Phulchowki forest, he came across a surprising incident. He hid in the bush as
he continued watching astounding scenes of gods and goddesses coming down
from heaven, performing dance with lovely music and departing. Guru, with
some incantations, then made the gods and goddesses enter into a drinking
vessel (Kamandal), then wrapped the vessel with an enchanted thread and
covered it with the grass. They came down the hill carrying the vessel and taken
near Harsiddhi village place called Sichako (place name) from that the travel
continued to Harsiddhi village place called Nibha (place name of Harisiddhi),
ahead of 100 steps from that place Devi was established. Later the temple for
Harsiddhi goddess was founded there.

6
 Fig 3: Reconstruction Timeline

TIMELINE

Year Activities

745 BS In the Lichhavi period, the goddess Harisiddhi was taken to Harisiddhi village
and the dance was again started.

1517 BS Construction of the temple by king Amar Malla.

1710 BS Revived dance of god by king Pratap Malla.

1724 BS Renovation of temple by king Pratap Malla.

1784 BS Reconstruction of roof by king Jaya Jayanjaya Malla.

1990 BS Affected by earthquake and reconstructed.

2051 BS Renovation: removal of third floor from dhukuti.

2056 BS Renovation: roof renovation.

2072 BS Reconstruction of portion affected by earthquake.

7
SOCIO-CULTURAL AND RELIGIOUS ASPECTS

There are 29 priests appointed for the activities related to the temple and
goddess. These priests are worshipped as God by the villagers. This shows the
villagers’ faith in god in this 21st century. All the villagers are united and they
do most socio-cultural and religious activities in unity. The building named 'Ta:
Chapaa:' which was nearly as old as the temple, has been rebuilt by the
combined effort of all villagers. At present, a building beside the temple, which
is meant for the priests, is also under reconstruction by the joint effort of the
villagers. The important social and cultural activities of the village take place in
front of the temple or at least, start here. Such activities include 'Gai Jatra',
'Matya', 'Indra Jatra Chaychi', 'Salcha pyaakha:', 'Dyo pyaakha: (Harisiddhi
naach)' etc. The temple is more concentrated in the Hindu religion. There are
several idols of Hindu gods and goddesses around the place.

Fig 4: Community building Ta: Chapa Fig 5: Jala Pyakha

The goddess at Harisiddhi temple is said to have three mysterious powers. Four
earthen pitchers are set up to symbolise the animation of the goddess when
invoked. Every 12 year these vessels are replaced in the manner prescribed in
the holy book. It is similar to the ritual of changing the wooden image of Sri
Jagannath Puri every 12 years in India. The goddess is invoked at the top most
floor of the temple. The public are not permitted to have the glimpse of the
goddess except on specific days.

8
FESTIVALS

Festivals celebrated in Kathmandu valley like Machhindranath Jatra, Jani

purnima,Gathemangal, Indra jatra, Gai jatra, Dashain, Thihar, Yomari purnima,
Phagu purnima, and many more are celebrated in full revelry by the locals in the
dabali of temple. The important native social and cultural activities of the
village like Dhala Dhalbwau, salcha pyaakha, Dyo pyaakha are carried out
every year in the temple premise. The temple is more concentrated in the Hindu
religion. There are several idols of Hindu gods and goddesses around the place.

Fig 6: Salcha Pyakha Fig 7: Tradition of priests to swim in Dyo Pukhu

HARISIDDHI NAACH

Harisiddhi dance is believed to be Nepal's first and finest mask dance. King Yog
Narendra Malla provided 310 ropanies of land for daily worshipping and 294
ropanies of land for the festival of every 12 years so that, this beautiful dance
could be continued. The 12 year tradition includes appointment of priests,
colouring of masks, dress making, bringing of holy wood, regaining of divine
power and the establishment of Kalash. It is well known that there is no any

9
vocal and instrumental music and dramatic performance to that of Harisiddhi
Naach.

Fig 8: Jala Pyakha: Harisiddhi Naach

The dance is still fantastic. In the past, the dance used to be performed for three
months continuously. People were not interested or say, they had no time to
watch a long period dance which resulted in a decrease in its value. So, later on
the dance was performed within a day accumulating the main events only. So, at
present, there is difficulty in understanding the nature of the dance. Nowadays,
the dance is performed just two times a year; first is on "Yomari Purnima" and
the second on "Holi (Fagu Purnima)". During this dance the priests dance
continuously for 4-5 hours enacting the scenes from Mahabharata and
Ramayana. This day is the main festival of the local people when close friends
and relatives are invited as guests.

10
AUTHORITY
Authority of the temple belongs to Harisiddhi Bhawani Guthi. The local people
with the guidance of guthi maintain the village and monuments. Every 12 years
29 priests are appointed who serve the goddess and carry out religious activities.
The process of appointment is through kinship. These priests are worshipped as
God by the villagers. This shows the villagers' faith in god in this 21 century.

Fig 9: The 29 Priests

ARCHITECTURAL FEATURES AND SYMBOLISM

SPACES AND SURROUNDINGS

Similar to traditional settlement, Harisiddhi is a compact settlement. It has
narrow roads leading to open space ( chowks, nani, dabali). Each open space
used to have its own purpose. Every open space has at least a temple or water
body or Patis or all of them. The roads are arranged in L shape connecting every
nani, temples and other monuments.
Harisiddhi temple is located at Lachhi, the heart of Harisiddhi settlement.
Adjacent to the temple is Harisiddhi mandir sattal, in front are dabali, Tachapa,
Gora Falcha (bhajan Mandali) and on right is Dyo pukhu.

11
 Fig 10: Harisiddhi’s Complex Plan

TEMPLE

It is a large four tiered temple with five stories. The four tiered roofs are
supported by figure struts which represent the Saptamatrikas and the
Ashtamatrikas. The height of this temple seems to follow ancient instructions,
which prescribes the total height of the temple to be either twice or thrice the
width of the temple (i.e., the external measure of the sanctum room).

Fig 11: Front Elevation (East) Fig 12: Side Elevation (North)

12
GROUND FLOOR
The ground floor is used as a utility; it has wooden posts with torans. It
consists of a store room in addition to a utility room. It has a drainage
system that directs water from the prayer area to the outdoors. The
entrance of the temple is from the golden gateway which too has a torana.
On top of the gate are two carved window frames.

FIRST FLOOR
The main prayer area is on the first floor. The prayer area consisting of
the Goddess is called Garbhagriha. Adjacent to the Garbhagriha, there is
a small utility room. The first floor has a carved window with torana and
smaller carved windows on adjacent sides.

13
PLINTH
The plinth is completely constructed of stones. The stones are carved with
various figures to symbolise their functions. For example, the tie beam
consists of a lion sculpture carved on it which symbolises strength.

Fig 13: Plinth Details

14
MATERIALS USED

CLAY/MUD AND ROCKS

The mostly used material for the construction of this temple is lacustrine clay,
with a touch of stone and metal, as the geology of the Valley provides a variety
of mud and a limited scattering of rocks for building purposes. Clay is the raw
material for making the bricks. Walls are made of bricks laid by the clay mortar.
Minimum amount of mud mortar is used so as to avoid its washing during
monsoon. The support for the bell (Ghanti) has been made of stones. The base
of the temple is also mostly made of stones and rocks.

WOOD
Most of the construction details in the tiered temples that contribute to
developing earthquake resistant properties are a direct contribution of the
woodwork. There is intricate carving work on the pillars, brackets, struts, beam
frames of the peristyles, window and door frames, of symbolic, often coloured
figures. The overall impression is as though sculptural works have been inserted
into the walls rather than forming an integral and critical part of the structural
support. They bear the idols of different gods, goddesses and some other craft
works since it has been believed that only gods and goddesses possess the
power to support the structure. The windows, also made of wood, are in classic
Newari style i.e. Ankhi Jhyal, whereas some are small shaped which are
believed to be a medium for blessings from the god. The wood of Sal tree,
supposed to be better than teak for building purposes, has been used as the basic
skeleton of the roof complex.

Fig 14: Use of wood in making of window, door and struts.

15
METAL
The roofs are made of metals (mixture of copper, zinc and brass). The pataka in
the front is also made of metal (probably copper). It is believed that the gods
and goddesses descend from heaven through the pataka. The pataka is also
believed to be the trunk of Ganesha. Gajurs are also made up of metals where
they have been used as the finishing element. There are altogether 29 pinnacles:
6, 12, 8 and 3 on the first, second, third and top roof respectively. 3 sacred
umbrellas mounted over the 3 pinnacle on the top roof symbolise protectionism
from the religious point of view, metal being the core element. Bells are also
made of bronze which give a symbolic meaning to calling the Gods and project
the prayers of devotees to the God through their diving sound.

Fig 15: Use of metal in making roofs and finial.

CONSTRUCTION TECHNOLOGY
This temple is a four-tiered temple mostly called a pagoda style temple.
However, the term “pagoda” for this type of temple was brought into use by the
foreigners. The "pagodas" of China and Japan are seen to be different from
Nepalese tiered temples.

16
Ronal Bernier showed two major structural differences:
● The constructions of pagodas around the central front which serves as a
structural issue are found in Far East regions but absent in all Nepalese
temples. The main reasons for not using central pillars are: unavailability
of tall woods and disturbances in the religious activities.
● The means of supporting the roofs are different. In Nepal, wooden struts
are used, which slant outwards from the temple building to brace the roof.
The Far Eastern architects use a more complicated system of horizontal
and vertical brackets to solve the weight problem.

Wedges are used in order to allow movements and also allow lightening of
joints which prevent during the action of lateral forces (earthquake energy
absorption). The use of the wedged joint between wooden structural members
and brickwork has given a great amount of flexibility to the structure and a
capacity to absorb energy released in the earthquake action through allowable
movement. The symmetrical plan configuration of the temple gives a balanced
distribution of mass and rigidity and an equal response to waves in any
direction.

Fig 16: Wedge joining joist and planks. Fig 17: Wedge joining purlin and beam.

17
The use and detailing of double frames in the construction of doors and
windows help make the building safer during earthquakes. Since these double
wood frames going all round the opening on both sides of the thick wall not
only help the brick mass distribute tension but also tie the puncture itself to
avoid diagonal cracks.
Ground floor has been made of thick walls which bear more loads and also
prevent earthquakes. Going up, the thickness of the wall is decreased since the
load to be bore by the wall decreases. More structures are made of wood and
also load of Jhingati roof (tiled roof) has been reduced greatly by using copper
sheet roofing not only increased durability but also earthquake resistance.
Temple is constructed with two core walls surrounding the sanctum co which
not only forms an inner circumambulatory but also provides the building up of
the inner wall to form the upper core and to support the upper roofs. The
earthquake endurance of the temples also has a lot to do with the use of timber
wedges (chuku) in joints. This simple innovative detailing of 'joinery' not only
gives great energy absorbing capacity to the building in the event of earthquakes
but also enables the structural joints to be further tightened with small
shrinkages that occurred over time used to develop and detail the tension joinery
for timber elements.

The slanted roofs are used for rain proofing. The

pillars are square prisms, carved, with a bracket
capital and a long extending beam above. The
tundals and timber ring plates and wedges are used
to hold sloping roof tightly to wall in order to avoid
sliding off during quakes. A scientific reason
behind the use of Gajurs is to prevent the temple
from lightning. The construction purpose behind
the wide-base design of the finial is to prevent the

18
ingress of water from the top and thereby protect the vulnerable joint and timber
elements meeting there.

ELEMENTS OF THE TEMPLE

UMBRELLA

3 sacred umbrellas mounted over the 3 pinnacle on the top roof symbolise
protectionism from the religious point of view, metal being the core element. It
is one of the eight most auspicious symbols. It is believed that all deity images
should have a canopy or chhatri over them as an indication of supreme
veneration.

19
FINIAL

Gajurs are the finishing elements made up of metals. There are altogether 29
pinnacles: 6, 12, 8 and 3 on the first, second, third and top roof respectively.
Generally, square plan temples have a single pinnacle and rectangular plan ones
have multiple. So, there are three gajurs instead of one because the overall plan
of the temple is rectangular. The gajurs usually consist of jewel (Chintamani),
kalash (holy water vessel), lotus (Palishwa) and bell (ghantakar). Bell occupies
the largest portion of a pinnacle and is the lowest portion whereas jewel
occupies the smallest portion and is on top.

RAFTER

The roof pitch is made up of small rafters that spring from the corners in a radial
arrangement. At the different levels they are supported on the walls. On the
inner side the rafters are anchored to a tie beam fixed to the walls. And on the
outer side there is a large overhang supported by an eaves beam which is
supported by carved wooden struts.

20
STRUTS OR TUNALS

The highly carved struts support the huge overhanging eaves. Each tier has
differently carved struts with corner strut being the same in all tiers. The corner
strut has dragon carving and the inner struts have asthamatrikas and
saptamatrikas carvings.

METAL ROOF

The metal roofs have hanging metal borders called Kihkimmala (libicha),
meaning “garland of little bells'. They are solid or perforated and are similar to
the cloth hanging banners. The metal hangings have motifs of bell elements,
deity and various floral motifs. Demon figures are sometimes seen on the
borders as the protector of the temple. In this temple the roof has many small
details. The first tier has perforated elaborate and delicate libicha which is
absent in other tiers.

TIMBER BEAMS

Timber is used as a sill beam, as timber is a better tensile member than brick.
The beam is cantilevered by some length to ensure bond strength.

21
CARVED WINDOWS

Heavily carved wooden windows are kept at odd numbers and are axially
symmetrical in between the struts. These double wood frames going all round
the opening on both sides of the thick wall not only help the brick mass
distribute tension but also tie the puncture itself to avoid diagonal cracks. They
are latticed or are finished with vertical blinds containing an image. Different
types of windows found in this temple are:

● These windows are firmly mounted into the

core wall and have no openings in the brick wall
behind the window.

● TIKI JHYA:

These are lattice windows and are the most common window in
traditional architecture. It is located on the second floor. The window
allows light and air to enter the room but does not permit a passerby to
see inside.

22
● GA JHYA:

It is a projecting window located under a roof.

● SAN JHYA:

It is a projecting bay window and the classic Newar window. A typical

Sanjhyā consists of three units and is located in the centre of a facade.
The shutter consists of a lattice and opens upwards.

23
CARVED DOORS

The doors consist of an interior frame (duchu) and exterior frame (bha) which
are joined together by four wooden ties (tas) and pinned together with wooden
nails (chukus). The external frames are inserted into the openings in the walls as
completed units, and are then fixed in place with a frame that accentuates the
horizontal elements. The upper part of the frame acts as a lintel to carry the
upper wall. This is a particularly ingenious system that gives strength to the
frame as well as to the entire wall. The opening becomes an integral component
as well as an aesthetic and decorative element.

WOODEN POST

Wooden Post: Columns in Nepalese temples or complexes are structural

members to transfer load from the upper portion of the temple to its foundation.
Columns in temples are generally square/rectangular in shape, and are oversized
due to carved portions. They are usually made up of wood and can be divided
into three main parts namely:

● Wooden bracket (Meth)

● Wooden post (Tha) and
● Wooden threshold (Lakashin) and Stone base (Elohan)

24
TORAN

The most prominent decorative piece of Newar Architecture is toran. Toran

means torana in Nepali, tora-ana in Sanskrit. Its function is purely to decorate
for the purpose of enhancing the beauty of the windows, doors, gates or a niche
of a divine being like a cap that decorates a man. Another function is to inform
the visitors just looking at the entrance which divine being is enshrined in the
main sanctum of the temple. So to say it is the mirror copy of the main icon of
the temple inside. The common images carved in torana besides the central
deity are:

● Chhepu is a fierce beast placed at the top of torana which is in the attitude
of biting or holding snakes as if attempting to escape. This indicates a
strong sense of dedication to his duty. Holding of snakes, wearing its
necklace and armbands symbolises victory over his arch enemies.
● Makara is a mythical sea monster symbolising a perennial source of life
than a mere decorative piece of art.
● Tortoise representing the holiest river.
● Garuda.

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PRESENT CONDITION

The temple is in good condition at present. It is among the important heritages

our ancestors have left us. So, this temple is of great importance. People are
aware of the importance. The repairing and the maintenance of the temple have
been carried on in a certain interval of time. Though the original colour of the
temple has been changed by the use of modern colours, the heritage is still an
example of good artwork.

However, the impact and use of modern materials during the reconstruction has
somehow deteriorated the originality. People are jointly involved in the
protection of such heritage. Local people (villagers) are making their efforts to
include the place in the list of UNESCO's World Heritage Sites. The
conservational and renovation works are carried out under Harisiddhi Bhawani
Guthi. The guthi conducts various donation programs for collecting funds for
conservation of the temple. Recently, Harisiddhi Municipality has provided a
fund of 25 lakhs for the conservation of the temple.

26
RECOMMENDATIONS FOR CONSERVATION

The temple is regularly renovated so is in good condition. Therefore, much

intervention is not required but some degree of intervention can be carried out to
retain the originality and authenticity of the monument. In order to lengthen its
life, maintain its value and pass it on to the future generation following
procedures are recommended:

REPRODUCTION

It entails copying as extent artifact, in order to replace some missing or decayed

parts, generally decorative to maintain its aesthetic harmony. Main temple is
regularly renovated but the backside of the sattal seems to be neglected. Roof
and walls need to be repaired. The lighting of the temple must be reconsidered
to hide all the wiring. Metal channels should be removed and traditional ways of
security must be opted.

RESTORATION

Objective of restoration is to revive the original

concept or legibility of the object. From
cleaning of the building to documents of all
important artifacts is part of restoration. While
doing it, we need evidence to come back in its
original form. Marble and cement tiling in the
walls and floor of the interior of the temple
must be restored in its original state.

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PRESERVATION FROM DETERIORATION

The inscriptions are fading away. The cleanliness and preservation of these
inscriptions is necessary. Similarly metals of roof, sculpture and bell need to be
cleaned and preserved.

REHABILITATION

The best way of preserving buildings is to keep them in use. Same is the case
for the cultures and values. So, in order to conserve the physical and cultural
values of the temple, the use of the property regularly. Due to the changing
occupational and daily living context, the major challenge is to continue the
cultures like conducting puja, bhajans, traditional dances, jatras, etc. So,
enough allowance to run a family should be allocated for priests in order to
encourage new generations to become one.

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ARCHITECTURE CONSERVATION

ASHOKA STUPA
LAGAN THURA - SOUTHERN STUPA

Fig 18: Lagan Thura: Ashoka Stupa

INTRODUCTION

Patan's most notable feature is its four Ashoka Stupas, which bear witness to an
old architectural legacy. Historians agree that these Stupas were built at the
same time as Patan was founded, around the end of the fourth century AD. It is
reasonable to say that these Stupas were not built in line with Buddhist design
because of their circular base and hemispherical dome. The four stupas of Patan
which mark as cardinal points, providing its celestial coordinates are as:

29
 ● TETA THURA - EASTERN STUPA
● LAGAN THURA - SOUTHERN STUPA
● PUCHO THURA - WESTERN STUPA
● IBAHI THURA - NORTHERN STUPA

Tetra Thura Lagan Thura

Pucho Thura Ibahi Thura

LAGAN THURA - SOUTHERN STUPA

The southern mound of Patan's four stupas is known as Lagan Khel Stupa or
Lagan Thura Stupa. It is the biggest of the four, with a diameter of 47.40 meters
and a height of 11.80 meters. A new building, a small cenotaph, has been built
at the top of the mound. The Tathagata shrines were most likely erected in 1878,
while others were put on the eastern mound around 1846. The Tathagatas were
already in situ on the western Stupa by 1455, according to an inscription.

30
HISTORICAL IMPORTANCE

Emperor Ashoka's visit to Nepal is also linked to the formation of the Patan and
Deo Patan suburbs of Kathmandu, but a more significant relic of his presence is
the legend that his daughter Charumati and her Kshetriya husband, Devpali,
stayed in the valley and founded a vihara that is still recognized by the faithful
and visited by many pilgrims. In August, when the full moon is visible,
Buddhist and Tibetan pilgrims trek around all four stupas in one day.

31
CULTURE VALUE

In Patan, Ashoka constructed five stupas and one in Kirtipur. Since then, the
Kathmandu Valley has been a place of pilgrimage, and while the past and
present relations between Buddhism and Hinduism are one of the most
fascinating and complicated issues that modern religions have to offer, there is
no doubt that, from the perspective of the countries to the north of Nepal, she
continues to maintain centres of merit-giving that no incident in her history has
diminished in any way.

Emperor Ashoka came to the valley because the Master had come before him,
but no one knows what incident or legend in the master's life he wanted to
honour. The five stupas constructed by Ashoka are culturally and historically
significant. It is a significant tribute to his visit to the valley, which sheds light
on the region's purity and holiness.

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INSPECTIONS

CURRENT SITUATION

APPROACH

It may be found on the side of the road between Lagankhel and

Satdobato. The stupa complex is now used by the public as a park and
gathering place. The stupa's use has expanded since the site was opened
to the general public. People may be observed going around and relaxing
around the stupa's periphery.

Park Periphery

People Roaming Around Stupa Landscape

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THE MOUND

Ashokan stupas are distinguished by the earthen mound that symbolizes

the stupa. The Pulchowk Stupa is one of Ashoka's five stupas in
Kathmandu, and it still has the appearance of an Ashokan Stupa.

● One of the few Ashokan mounds that has miraculously

survived.
● The mound's surface is uneven, and grass growth is erratic.

SURROUNDING

The stupa's surrounds are extremely open. No, the encroachment on this

stupa at Lagankhel is distinct from that witnessed at Pulchowk, where

dwellings encroach on the circumambulation space surrounding the stupa,

disrupting the space's quality and purpose.

Lagan Thura (Southern Stupa) Site Surrounding

34
MAINTENANCE

The stupa and its environs are maintained by the community. Diverse
pictures and religious objects are donated by devotees from various
groups to pay homage to the Buddha. Some restoration and additional
work is also done on a regular basis. Consider the following example:

● The Tathagata shrines were probably constructed in 1878, at the

same time as others were placed on the eastern mound in 1846.
● According to an inscription, the Tathagatas were already in position
on the western Stupa by 1455.

Painting Work Restoration of Old Inscription

It was also maintained and renovated in 2054 B.S., as evidenced by the

names of the contributors recorded on the inscription.

35
RECOMMENDATIONS FOR CONSERVATION

I. Trim and groom the mound's surface grass.

II. Create a kiosk so visitors may learn about the stupa's history as well as its
cultural and religious significance.
III. The construction of the Ashokan stupas led to the establishment of Patan.
It must be preserved against future changes and recognized as a living
historical monument.
IV. To preserve the stupa's longevity, a governing council must be established
with rules and processes for future renovations.

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ARCHITECTURE CONSERVATION

CHAR NARAYAN TEMPLE

PATAN DURBAR SQUARE, LALITPUR

Fig 19: Char Narayan Temple

INTRODUCTION

Char Narayan, also called the Jagat Narayan, is perhaps the oldest temple in
Patan Durbar Square. Unlike other temples in the square, it is constructed
primarily of brick. It was built in 1566 to memorialise the father of Purandar
Singh, a nobleman who controlled the Kathmandu area in the late 16th century.
It honours Narayan, one of the Vishnu’s manifestations and demonstrates a
significant and highly-developed expression of Newari architecture.

The temple was completely levelled as a result of the April 2015 earthquake. It
is currently undergoing restoration by the Kathmandu Valley Preservation Trust
(KVPT) and SAIHELPNEPAL with the intention of restoring the site by 2019.

37
FEATURES OF CHAR-NARAYAN TEMPLE

In plan, the temple is laid out as a near-perfect square measuring 6.62 x 6.62
meters with a height of 10.6 meters (in addition to the height of the 2.49-meter
plinth). Its outer walls are faced with three doors on each side, leading to an
ambulatory that surrounds a central cella. A single door on each face of the cella
provides access to the centrally-placed image. Wolfgang Korn suggests the
central image is a linga, whereas Michael Hutt indicates that it houses an image
of Vishwa’s four manifestations. Specially, on the east, Sankarshana holds a
pestle and plow; on the south, Vasudeva wields a club and wheel; to the west,
Pradyumna holds a bow and arrow; and to the north, Aniruddha wields a sword
and shield.

Fig 20: Temple was levelled by the April 2015 earthquake but was rebuilT by KVPT.

Fig 21: One of mid-level window Fig 22: Toran over the main Entrance

38
 Fig 23: Mid and Upper level struts are carved with depictions of Vishnu in various
dancing poses.

The temple was completely leveled as a result of the April 2015 earthquake.
However, due to quick thinking by the Kathmandu Valley Preservation Trust (or
KVPT, which has an office in the same area), security was brought in to oversee
the removal and safeguarding of the site’s architectural fragments. It underwent
restoration by the KVPT, the World Monuments Fund, and additional support
from the United States Embassy, through the Ambassadors Fund for Cultural
Preservation (AFCP). The temple was completely restored as of January 2020.

Fig 24: One of the two east facing lion statues. Fig 25: Main Entrance of Temple.

39
RESTORATION OF CHAR-NARAYAN TEMPLE

The restoration work of Char-Narayan Temple is under rapid progress in almost

the last phase. The Char-Narayan Temple, devoted to lord Vishnu, enshrined a
cylindrical four faced beautiful stone image of Vishnu, representing the art and
architecture of the 17th century was completely collapsed above the plinth level
by a devastating 2015 earthquake.

Fig 26: Restoration progress, 2019 Fig 27: Salvaged pieces of temple which were
integrated in reconstruction.

As reported in a previous report, from the very beginning after the

earthquake, Kathmandu Valley Preservation Trust (KVPT) has been
actively involved in the total activity of restoring the temple in its original
state. Immediately after the earthquake of April 2015, the remaining
elements of Char Narayan were salvaged by the community.” Finding those
pieces and bringing them into a palace courtyard where they could be
protected from looting and monsoon rains was the first step. Next, each
piece had to be identified, labeled, catalogued, assessed, cleaned, and
carefully stored.” Says Liz Newman, Architect for KVPT, who has been
majorly active during the whole process. Fortunately, they had carefully
documented the temple a few years ago in drawings and photos, so they
could use the documents to figure out where each piece belonged.

40
In order to do this work for Char Narayan and other fallen structures, they
established a workshop in the gardens behind the palace and hired
woodcarvers and other staff. As we continue to find further needs for repair
and replacement pieces for the royal palace and the square, we have a
21st-century Royal Workshop ready to go.
Like the other temples in the royal square, Char Narayan is considered
“living heritage” in Nepal. People worship at the temple and hang out there
every day, so there are very real-life safety issues to address along with the
need to be sensitive.
Many of the historic carved timbers are being reused, and highly skilled
local carvers are helping with repairs and details. Sourcing high-quality
timber for replacements is extremely difficult and demands a lot of effort
and resourcefulness, so this is an ongoing discussion and process. Many of
the original bricks are also being reused. The fragility of the traditional mud
mortar makes it a sacrificial material in an earthquake, leaving bricks intact
and making it easier to clean them for reuse.

Fig 28: N-E view after restoration, 2020 Fig 29: S-W view after restoration, 2020

All the damaged wooden carved elements such as columns, windows, door,
Carnes etc. which were salvaged and well documented with detailed
inventory are being properly used with necessary conservation in present
restoration work. Since the foundation of the temple was found unaffected

41
and strong enough in examination, the temple is being erected over the
previous plinth without disturbing the original foundation and plinth.

All the base stones of the doorframe, all four doorways, carved
tympanums, struts of the temple have been reused and fixed as it was in its
existing position. Doorways are installed with maintenance of original
adding some new wood for missing portions. Fine yellow clay is being
used as mortar in the wall as its original state. Sufficiently wooden pillar
and tie-up beam is given. All the new wood used for the temple is Sala
Wood. In Char Narayan temple some new intervention is also carried out
particularly in the outer plinth. Strong Ma-apa (brick) foundation is erected
replacing the loose soil and brickbats filling. All the work is being done
under the close inspection of Department of Archaeology.

Fig 30: Rescued elements of Char Narayan Temple, Photo by KVPT.

42
STRUCTURAL STRENGTHENING
It came to notice that the weak points of the temples and structures that
collapsed, are in the connections between building elements, resulting in a
lack of stiffness to resist the forces incurred during an earthquake. For
example, the brick masonry foundation walls within the plinth at Char
Narayan were found to be very deep, but not connected. There was an inner
ring of foundation walls underneath the temple core extending up to the
higher floors, and an outer ring underneath the exterior ground floor walls.
The lack of connection allowed the walls to move independently underneath
the structure during the earthquake, and their various loads meant they
would move at different frequencies. This differential motion puts a lot of
strain on the building elements, causing the building to essentially pull itself
apart.

Fig 31: Concept drawing for seismic strengthening of the foundation of Char
Narayan originally designed by Rohit Ranjitkar, Nepal Program Director, KVPT.

The new seismic reinforcement scheme for the temple ties the foundations
together so the base moves as one element; adds a small, concealed steel
frame to stiffen the core of the structure; and unobtrusively strengthens

43
building element connections to tie the building together. This creates an
inherently stiffer structure that would move as one large element in an
earthquake. A structure that moves as one, instead of a collection of
independently moving parts, has a much better chance of surviving the next
earthquake intact.

Fig 32: Proportion of Char Narayan Temple Fig 33: Angle made by the temple.

The restoration of the temple is expected to be completed within two years at a

cost of approximately Rs 36.5 million. $100,000 has been provided by The
Embassy of the United States to the KVPT for the reconstruction of the temple.
The restoration of Char Narayan is supported by SAI Heidelberg University,
World Monuments Fund, Embassy of Japan in Nepal and American Embassy,
Nepal.

44
COMPARISON

S. NO. HARISIDDHI TEMPLE CHAR NARAYAN LAGAN THURA:

TEMPLE ASHOKA STUPA

1. Located in Harisiddhi Located in Patan Durbar Located in

village. Square. Lagankhel.

2. It is a Four-Tiered structure. It is a Two-Tiered It is built in Stupa

structure. style.

3. Total height is either Total height is of Total height is about

twice/thrice the width of the about10.6m and addition 11.8m with 47.4
temple. with 2.49m plinth. diameter.

4. Plinth is constructed of Plinth is constructed of The surface mound is

stone. brick. uneven and has
haphazard growth of
grass.

5. Wooden posts with Torans. Wooden posts with Torans. -

6. Struts have Asthamatrikas Struts are carved with -

and Saptamatrikas carving. depictions of Vishnu in
various dancing poses.

7. Intricate carving work on Intricate carving work on -

the pillars, brackets, struts, the pillars, brackets, struts,
beam, frames, windows and beam, frames, windows
doors. and doors.

8. Mostly used material is Mostly used material is -

lacustrine clay with a touch bricks of different types
of stone and metal. like Dach Appa, Ma Appa,
etc.

9. Still in good condition after Highly affected by the Still in good

the 2015 earthquake. 2015 earthquake and condition after the
reconstructed using 2015 earthquake.
salvaged materials.

45
CONCLUSION
In a nutshell, we protect something that is important to us, in this case,
architecture. There is a growing notion of conservation, ranging from materials
to socio-emotional worth. Urbanisation, which has been an issue that has not
been handled well, has resulted in the obsolescence of design and thus their
value. Inadequate awareness of globalisation and a busy social-life are having a
detrimental influence on the things that must be protected. But, as a result of the
earthquake in 2015, we now have the ability to protect and interfere in them as
our pride.

We have learned the value, socio-determinism, and anatomy of the architecture

we own as students. We have an understanding of the methodology, the
approach to record, the concept of authority, and the project's interferences. This
also taught us how to make appropriate recommendations. The value of
architectural conservation, as well as the concept itself, was now practically
experienced.

46
REFERENCES
ICIMOD Nepal [Report] (2015). Traditional Building Inventory Nepal

Dangol, Purushottam. Elements of Nepalese Temple Architecture

Maharjan, Bijju. Harisiddhi Temple.Academia.edu

Sukra, Sagar. Newar architecture. Spacesnepalblog.wordpress.com

Shrestha, Simran. architectural conservation

Maharjan, Dharma Govinda. 2022. January 15, 2022

http://www.buddhistcircuits.com/four-ashokan-stupas-of-patan/

https://www.wondersofnepal.com/ashoka-stupas/

https://www.allnepal.com/tours/four-ashoka-stupas-of-patan-patan-sightseeing-t
our/

http://khushboogujaratki.blogspot.com/2012/

https://www.wmf.org/project/char-narayan-temple

https://cultureincrisis.org/projects/conservation-and-seismic-strengthening-
of-the-16th-century-char-narayan-temple-in-patan-durbar-square

https://dro.dur.ac.uk/19707/1/19707.pdf

http://nra.gov.np/uploads/docs2/upcoming_events/Rabina%20Shilpakar%
20et%20al_Construction%20Technology%20of%20Multi-Tiered%20Tem
ples%20and%20Their%20Rehabilitation%20after%202015%20April%20
Earthquake%20in%20Bhaktapur.pdf

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