VCU in Nepal

Never bled before or in her past 

The Malla period artists were renowned for working metals in two different mediums: repousse and bronze-casting. The bronze casting includes the lost wax process, but for larger projects, such as roofs and finials of temples, repousse work was utilised. Repousse is the beating of images from the reverse side of sheet metal. For the Golden Temple, the repousse process was used to make gilt copper overlays for the wooden shrines. 

In Joshi's depiction White Tara is regarded as the Saptalchana or seven-eyed Tara, which give her eyes on the forehead, palms, feet, and either the lotus flower or shoulders. Her right hand will be in the boon conferring posture, and her left in the teaching mudra (hand gesture).

One of the most important Hindu temples that is located on the banks of the Bagmati River. The temple is dedicated to Lord Shiva. In the surrounding area, but still located within the complex, stone platforms are used for cremation. Cremation takes place on the banks of the river, orange clothing is worn by the dead and straw surrounds the corpse. Once the ceremony is final, the clothing and other material goods are put into the Bagmati River.

Children playing and beautiful scenery outside of the Krishna House. 

ChanguNarayan is identified by its location. Narayan means Vishnu, therefore Vishnu at Changu. The temple's inscription dates back as far as 495 A.D. during the Licchavi period. The temple houses many important sculptures and inscriptions, dating from 5th to the 16th centuries. For instance, the 10th century Vishnu depicts him with equal footing, reflecting the hierarchical ranking in society. Another example is Narsimhha Vishnu (half human and half lion form), which illustrates the story of a devout devotee to Vishnu and the trials he went through to prove his loyalty. In summary, the Changu edifice can be seen as the quintessential example of past architectural evolution. These are the photographs I was able to gather with a faulty camera.  

I interviewed Maharjan over his latest collection titled "In Search for Peace," taking inspiration from the Civil War of 1996 in Nepal. The subjects used in this exhibition, monks and the Buddha, reveal the true loving kindness we must embody as sentential beings. 

Here are a few of the photographs I took. 

Surja is the only woman sculptor in Kathmandu. Most women do not follow this career path due to the hardship of giving up a family. Surja learned the craft from her father. While her brother works on some of the details, she produces the final product.  

One of the artists in this studio is Bhairaj Maharjan. These paintings are two of his acrylics on canvas: In Search for Immortality and Wisdom. 

The reclining Vishnu at Budhanilkantha, in short proximity to Park Village Hotel, is frequently compared to a sister statue in Balaju. Vishnu at Budhailkantha depicts him with all of his typical accoutrements: the chakra, conch, discus, and a lotus seed. The lotus seed is a Nepali rendition of the Indian lotus flower. Large nagas surround the body and head of Vishnu. Locals worship him as the preserver of life whose temperament differs from that of the capricious Shiva. 

Our group was able to visit the "illicit" gallery on the top floor of the National Museum. The majority of the artwork were pieces that had been stolen from Nepal and returned at a later date. The technical officer, Shrestha, allowed us to see three separate paintings of nude Nepali women, however, upon closer observation one might notice that their bodies appear European. The artist is unknown and the ethnicity of these women is questionable. I suspect that it was the choice of the artist to depict these women with European bodies and Nepali faces.   

This is one of the more recent, yet to be exhibited works of one of the most most senior female artists in Nepal, Sima Shah.  Her work exemplifies blending of modern style and traditional subject matter.

This Buddah was brought out for a lively festival in Patan.  Locals would come and give offerings of rice, flower, coins, and other things to the image.  This temple was absolutely packed and you had to fight your way to get anywhere around it!  At this specific festival locals travelled to almost 30 temples and shrines around Patan to give offerings.

The 4 hour debate and discussion that took place after Dr. Bangdel, Samina, Nepali artists and myself spoke on globalization and contemporary identity in art was as enriching as it was long.  Someone bring me some momos!

As a non-Hindu I was not granted access within this temple, but it is very interesting to note that what remains visible to the outsider looking in is the hindquarters of the giant bull sculpture within the temple doors.  The fact that a gilded bull's enormous buttocks and testicles were what stood to separate me from a sacred place of worship proved a source of endless amusement to me. Nevertheless, being denied entrance to a place because of who I am was a new and peculiar experience for me -- tough to describe!