KHWOPA

Monday, December 29, 2008

Banepa


Banepa
Banepa is just outside the valley, 25km east of Kathmandu and 3km before Dhulikhel. There is not much to do here and most people will just pass through. There is a statue of King Tribhuvan in the center of town.

The old part of the town in the northwest side of town has some interesting buildings and squares. There are two Narayan temples in the old town square.

Chandeshwari Temple
This triple-roofed temple is dedicated to the goddess Chandeshwari. The temple has an arched entrance gate. The temple has a Siva linga and images of Ganesh and Nandi. The doorway has a brightly colored image of Parvati killing the Chand demon on top of it. Once a demon named Chand was terrorizing this valley, and Parvati come and killed him. She got the name Chandeshwari or “Lord of Chand.”

On the west wall is a large colorful painting of Bhairab in his destructive mode. The roof struts have carvings of the eight Ashta Matrikas and eight Bhairabs. There is a chariot festival in which Chandeshwari is taken out at the same time as the Nepali New Year (April 13 or 14).

This temple is on the edge of the gorge, about 1km northeast of Banepa. The bathing ghats on the stream near the temple is considered auspicious. To get here is an easy walk on the road through some field and past an old tank.

Monday, December 22, 2008

Facts of Mount Everest

Age of Everest:
Everest was formed about 60 million years ago
Elevation:
29,035 (8850m)-found to be 6' higher in 1999
Name in Nepal:
Sagarmatha (means: goddess of the sky)
In Tibet:
Chomolungma: (means: mother goddess of the universe)
Named after:
Sir George Everest in 1865 ,the British surveyor-general of India. Once known as Peak 15
Location:
Latitude 27° 59' N.....Longitude 86° 56' E It's summit ridge seperates Nepal and Tibet
First Ascent:
May 29,1953 by Sir Edmund Hillary, NZ and Tenzing Norgay, NP, via the South Col Route
First Solo Ascent:
Aug. 20,1980, Reinhold Messner, IT, via the NE Ridge to North Face
First winter Ascent:
Feb. 17,1980 -L.Cichy and K. Wielicki, POL
First Ascent by an American:
May 1,1963, James Whittaker, via the South-Col
Mt. Everest rises a few milimeters each year due to geological forces
Everest Name:
Sir George Everest was the first person to record the height and location of Mt. Everest, this is where Mt."Everest" got its name from(In american language)
First Ascent by a Woman:
May 16,1975, Junko Tabei, JAP, via the South-Col
First Ascent by an American Woman:
Sep.29,1988, Stacey Allison, Portland, OR via the South-East Ridge
First Oxygenless Ascent:
May 8, 1978- Reinhold Messner, IT, and Peter Habeler, AUT, via the South-East Ridge
First woman to reach the summit of Mount Everest from both north & south sides:
Cathy O'Dowd (S.A.) South May 25,1996/North '99
Fastest Ascent from South:
Babu Chhiri Sherpa 34, NP-16 hours and 56 minutes (5-21-2000)
Fastest Ascent (north side):
Hans Kammerlander (IT) May,24,1996, via the standard North Col Ridge Route, 16 hours 45 minutes from base camp
Youngest person:
Temba Tsheri (NP) 15 on May,22,2001
Oldest Person:
Sherman Bull May,25,2001 -64 yrs
First Legally Blind Person:
Erik Weihenmeyer May,25,2001
Most Ascents:
Eleven, 24th May 2000 Appa Sherpa became the first person to climb Everest 11 times-Ten, Ang Rita Sherpa, Babu Chiri Sherpa all ascents were oxygen-less.
Best and Worst Years on Everest:
1993, 129 summitted and eight died (a ratio of 16:1); in 1996, 98 summitted and 15 died (a ratio of 6½:1)
Highest cause cause of death:
Avalanches-about a (2:1) ratio over falls
Country with most deaths on mountain:
Nepal-46
Most dangerous area on mountain:
Khumbu Ice Fall-19 deaths
First ski descent:
Davo Karnicar (Slovenia) 10-7-2000
Last year without ascent:
1974
Last year without ascent:
1977
Corpses remaining on Everest:
about 120
Longest stay on top:
Babu Chiri Sherpa stayed at the summit full 21 hours and a half
Largest team:
In 1975, China tackled Everest with a 410-member team.
Fastest descent:
In 1988, Jean-Marc Boivin of France descended from the top in just 11 minutes, paragliding.
Only climber to climb all 4 sides of Everest:
Kushang Sherpa, now an instructor with Himlayan Mountaineering Institute
First person to hike from sea level to summit, no oxygen.:
11th May 1990,Tim Macartney-Snape, Australian
Largest number to reach the top in one day:
40, on May 10, 1993
First person to summit Everest twice:
Nawang Gombu-Nepal(once with Whitaker in '63,and again two years later in '65)Gombu now works for the Himalayan mountaineering institute
The oldest woman to summit
Anna Czerwinska May 22, 2000.

Syambhunath Stupa

Syambhunath Stupa
Syambhunath Stupa is believed to be a self arisen Stupa, many don't believe that including me initially. Lets read on and see what i have to say about this after gathering much information from persons i know and from locals too. Our compassionate guiding light who was The Very Venerable Khenchen Thrangu Rinpoche praised well enough about this Stupa and we could not resist coming here on our pilgrimage after the Namo Buddha Y2K White Tara Retreat.

Sunday, December 21, 2008

Nagarkot

Nagarkot
Nagarkot, located 32 kilometers east of Kathmandu, is one of the most scenic spots in Bhaktapur district and is renowned for its spectacular sunrise view of the Himalaya when the weather is clear. Visitors often travel to Nagarkot from Kathmandu to spend the night so that they can be there for the breathtaking sunrise. Nagarkot has become famous as one of the best spots to view Mount Everest as well as other snow-topped peaks of the Himalayan range of eastern Nepal. It also offers an excellent view of the Indrawati river valley to the east. With an elevation of 2,195 meters, Nagarkot also offers a panoramic view of the Valley and is described by visitors as a place whose beauty endures year round.

Many visitors prefer to visit Nagarkot in the spring when surrounding valleys break out in a rich kaleidoscope of different coloured flowers. The flowers are beautiful against the serene backdrop of the snow-covered mountains. Ever popular among the tourists are the short treks and picnics which Nagarkot offers. Treks from Nagarkot are unique and delightful. For anyone who wants to have an adventure without exerting much efforts, a hike to Nagarkot's surrounding areas would be a good option. One can traverse short distances on trekking trails and come close to nature's wonders such as the outer of verdant forests, flower-covered meadows and unusual rock formations.




Thursday, December 18, 2008

Lumbini


Who is Buddha?
Buddha can refer to the historical Buddha Shakyamuni or to anyone who has attained full enlightenment. Geshe Kelsang Gyatso explains in Introduction to Buddhism:

In general, 'Buddha' means 'Awakened One', someone who has awakened from the sleep of ignorance and sees things as they really are. A Buddha is a person who is completely free from all faults and mental obstructions. There are many people who have become Buddhas in the past, and many people will become Buddhas in the future….There is nothing that Buddha does not know. Because he has awakened from the sleep of ignorance and has removed all obstructions from his mind, he knows everything of the past, present, and future, directly and simultaneously. Moreover, Buddha has great compassion which is completely impartial, embracing all living beings without discrimination. He benefits all living beings without exception by emanating various forms throughout the universe, and by bestowing his blessings on their minds. Through receiving Buddha's blessings, all being, even the lowliest animals, sometimes develop peaceful and virtuous states of mind. Eventually, through meeting an emanation of Buddha in the form of a Spiritual Guide, everyone will have the opportunity to enter the path to liberation and enlightenment. As the great Buddhist scholar Nagarjuna said, there is no one who has not received help from Buddha.

It is impossible to describe all the good qualities of a Buddha. A Buddha's compassion, wisdom, and power are completely beyond conception. With nothing left to obscure his mind, he sees all phenomena throughout the universe as clearly as he sees a jewel held in the palm of his hand. Through the force of his or her compassion, a Buddha spontaneously does whatever is appropriate to benefit others. He has no need to think about what is the best way to help living beings - he naturally and effortlessly acts in the most beneficial way. Just as the sun does not need to motivate itself to radiate light and heat but does so simply because light and heat are its very nature, so a Buddha does not need to motivate himself to benefit others but does so simply because being beneficial is his very nature.

Like the reflections of the moon that effortlessly appear in any body of still water, a Buddha's emanations spontaneously appear wherever living beings' minds are capable of perceiving them. Buddhas can emanate in any form whatsoever to help living beings. Sometimes they manifest as Buddhists and sometimes as non-Buddhists. They can manifest as women or men, monarchs or tramps, law-abiding citizens or criminals. They can even manifest as animals, as wind or rain, or as mountains or islands. Unless we are a Buddha ourself we cannot possibly say who or what is an emanation of a Buddha.

Of all the ways in which a Buddha helps living beings, the supreme way is by emanation as a Spiritual Guide. Through his or her teachings and immaculate example, an authentic Spiritual Guide leas his or her disciples along the spiritual path to liberation and enlightenment. If we meet a qualified Mahayana Spiritual Guide and put into practice everything he or she teaches, we shall definitely attain full enlightenment and become a Conqueror Buddha. We shall then be in a position to repay the kindness of all living beings by liberating them from the sufferings of samsara and leading them to the supreme bliss of Buddhahood.

History

Pre-history
On the basis of variation in shape, size, polish and their usage of stone tools, the period is divided into traditional three ages.

Paleolithic Age
Pre-historic men used to live in the foothills of the Siwālika ranges in this area. Most of the valleys of this range are formed of the sedimentary rocks of the Miocene and Pleistocene era containing shale, sand and pebble beds. Due to deforestation and landslides the range has no human habitation and is naked at present. River terraces are composed of gravels. Stone tool industries found in the gravels are of considerable importance to the pre-historian. A river cuts away its banks and carries the material along with it upto the sea where it is deposited. But all this depends on the velocity and volume of the flow. Some of the material is left only on the way. In this context, the rivers Koţhi, Ghāgarā, Tināu, Rohiņi, etc. are very important as the pre-historic dwelling sites in the region. In December 1980, a team of scholars from U.S.A. and Nepal, under the leadership of Dr. J.H. Hutchison, of which other members were Dr. James Munthe, Mrs. Dr. K. Munthe, Dr. R.M. West and Mr. Vishnu Dāńgol, T.U., fossil remains of Ramapithecus were found in a place near Butwal on the bank of the river Tināu attached to the rocks cliff. A piece of the upper left jaw which is 1 cm. in width and more than 1 cm. in length is kept in the Natural Museum in Kathmandu. It was dated approximately eleven million years old on the basis of palaeomagnetic dating method. This hominoid finding is own as the oldest in Asia and the second oldest in the world. Its life style and civilization was similar to the Kenyapithecus and Brahmapithecus of Asia. Having been great forest area the pre-historic men used to live by hunting and gathering wild fruits in the neighborhood of Lumbini.

Mesolithic Age The stone tools of the Mesolithic age are found in limited number in Nepal. However, some evidences of this phase have come to light in the region. In course of excavation and exploration to the north-west of Kapilvastu district, Surāhi-nākā area, G.Corvinus, a German scholar, has discovered many prehistoric sites in the beds of the Surāi kholā107. There were workshop sites, camping sites, simple flaking and small activity spots. A lot of plant fossils of leaf impressions, fossilized carbonized wood and leaf material were found in the fine clastic deposits of clay stones and mudstones in the older period. In course of rock-cutting, a large bedding plane of a mudstone was exposed, on which a set of animal footprints of some smaller artiodactyls animals were seen. In course of the examination of these findings a profile column of 5500m. of Siwalik deposits was recorded with all the details of palaeontological and sedimentological data . Palaeontological and magnetostratigraphical studies along the Surāi kholā, north-west of Kapilvastu district, suggests dates on the basis of major lithological units that it is not so different from those found in Pakistan by Johnson, et al. and in western India by Ranga Rao. Above-mentioned evidences reveal that microlithic industries as will as Mesolithic tools had been used by the prehistoric man on the northwest of Lumbini.

Neolithic Age
The Neolithic culture of the Terai region is presented by surface collection. The warmer climates of the sheltered valleys of the Terai region were ideally suited for the habitat of the prehistoric man. The Neolithic culture presents a change. Permanent habitation, start of agricultural activities, animal husbandry, industries of pottery and polished microlithic stone tools were the main features of the Neolithic man. The culture associated with food-production and self-dependence was also developed in the western Terai region of Nepal.

Proto-history
Lumbini was a part of Kapilvastu of the Śākyas in the western Terai region of Nepal. The Śākya kingdom was formed here by the vanished sons and daughters of the Kosala king Okkaka. According to the Divyadana the town of Kapilvastu was situated by the side of Bhāgirathi (Gańges), close to the āshrama of Rishi Kapilmuni. According to the Lalitavistār in course of ages it was organized into a big town as other people came from other sites to dwell in the new settlement. Two theories have been propounded regarding the origin of the tribal name Śākya-the first is based on the name of the sāl forest (Shorea robusta), where Kapila used to live, and the second theory is based upon the legend of the banished sons and daughters who married each other to protect the purity of their blood. The four brothers married to the four younger sisters and appointed the eldest sister as queen mother (Rockhill, 1972:11). When the father of the children came to know about them, it is said, he delightedly exclaimed: "Śākya vata-bho-kumara-parama Śākya-vata-bho kumara" (Aha! smart men indeed, Śākya indeed are the princes, very smart men)'. So the endogamous tribe is known as Śākya. Different sources have incorporated different names of the Śākya kings. According to Lalitavistara, Opura was the first king of Kapilvastu and Suddhodana belonged to this dynasty. He became the king in the seventh generation (descent) after him (Oldenberg, 1971:94-99). Mahāvamsa has mentioned that Ulkamukha was the first king of Kapilvastu and after several generations, Jayasena became the king of Kapilvastu. He was succeeded by his son Simhahanu, father of Suddhodhana. Simhahanu had five sons namely Suddhodana, Dhautodana, Shakradana, Sulkodana and Amŗitodan and two daughters named Amrita and Pramita. Princess Amŗita was married to Prince Suprabuddha of Devadaha, the father of Yasodhār. Mahāvamsa refers that Māyādevĩ and Prajāpati were the daughter of Anjana, Śākya chief of Devadaha (Rockhill, 1972:19-21).

Suffering from leprosy the queen mother, Priya, resided in a cave in the forest, where the king of Varāņāsi, Ram, also resided as he was suffering from the same disease. After sitting under a Kolan (nauclea Cordifalia) tree they got cured and both of them were married. To the east of Kapilvastu they organised the town named Devadaha and procreated the race of Koliyas. It is known as Devadaha, Vyāghrapur, Kolinagara or Rāmagrāma.

The Śākyas of Kapilvastu and the Koliyas of Devadaha had established matrimonial relations in future as well. King Suddhodana of Kapilvastu had married Māyādevĩ and Gautami, the princess of Devadaha. Siddhartha Gautam was born from the womb of Māyādevĩ in Lumbini. Thus, the ancient Buddhist literature reveals that the present study area was inhabited by the Śākyas.

In course of exploration and excavation of the region, a lot of art remains, structural remains as well as habitation depositions are found. In 1964 Deo has discovered a few rammed-up clay walls of plain huts from the low flattish heavily eroded mounds of Baňjarāhi, near Lumbini. Habitation deposits on the opposite bank of the Dāno River has yielded similar evidences indicating that the ancient habitation deposit were bifurcated by the river. According to the excavator it is dated from 700 to 600 BC. The pottery of P.G.W, Red ware and N.B.P. ware are also found in course of excavation from the site (Deo, 1968:3-7). In the sixth century BC, Siddhartha was born in Lumbini garden under a sāl or Aśoka or pipal tree, which is comparable to the Chittalata grove of Indra's paradise in heaven in the Śākya land. Lord Buddha himself had advised the monks and followers from his death bed at Kusinagar to visit the four places, viz. Lumbini, Bodhagayā, Sāranātha and Kusinagar. So, Lumbini remained not only as a pleasure garden, but it also developed as a place of pilgrimage after the birth of Lord Buddha (Führer, 1972:63). Structural remains as well as artifacts found from Lumbini reveal that monks and his followers used to stay here from the beginning of the Buddha's enlightenment. The excavation conducted in 1970-71 has indicated that the earliest human habitation in ancient Lumbini grāma must have started in N.B.P. period (Rijal, 1975-77:30). The site seems to have been occupied from the time of Lord Buddha, i.e. the sixth century BC. The successive human deposite in the southern mound of Lumbini dates from sixth century BC to the Gupta period on the basic of its antiquities.

King Vidudhabha of Kosala had attacked Kapilvastu four times. Buddha saved three times from the attack; but, at last, Buddha did not interfere. During the attack several Śākyas were massacred and stone slabes of the mote hall was washed with their blood. The Śākyas, who saved their lives, fled in different directions, some to Nepāl (Kathmandu), some to Rājgŗiha and Vaiśāli, some to Vedi, some to Pippalivan. Thus, the city of Kapilvastu came to an end during the life time of Buddha, i.e. 500 BC (Upadhyaya, 2018:291).

The Mauryan Period. According to the Kundavadana of Divyavadana, having led King Aśoka in to the Lumbini jungle, the Venerable Upagupta pointed out with his right hand and said, "oh! great king here the Buddha was born ". Thereafter king Aśoka made an offering of one hundred thousand gold coins and established the first pagodas (ceitiya) in the twentieth year of his reign. Thus, the above-mentioned documentary and circumstantial evidences reveal that Lumbini region was absolutely developed as the Buddhist pilgrimage site during the Mauryan period. Mauryan terracotta human and animal figurines, stone sculptures and structural remains, viz. vihār, temple foundation, stūpas and bricks are found here.

Condition After Aśoka. Almost all the habitational sites had been deserted, but the religious complex and some portion of the region had been actively mobilized during the Suńga, Kushāna and the Gupta periods. During these periods terracotta human and animal figurines, stone sculptures, beads, bangles, seals, sealing as well as architectural monuments, viz. vihār, stūpa Buddhist temples and loose bricks are found. Various art remains of the region are assignable, on the basis of comparative study with the Magadha antiquities, to fourth century AD. Accounts of the Chinese Pilgrims. In the fifth century AD Fa-Hien had seen some monks and a few families of the common people living at Kapilvastu. He mentions that "Fifty li to the east of the city (Kapilvastu) is the royal garden called "Lum-min"(Lumbini); it was here the queen entered the bath to wash herself, and, having come out on the northern side, advanced twenty paces, and then holding a branch of the tree in her hand, as she looked to the east, brought fourth the prince. When born he walked seven steps; two dragon kings washed the prince's body , the place where this occurred was afterwards converted into a well, and, here, as likewise at the pool, the water of which came down from above for washing (the child), the priests draw their drinking water (Beal,1983 )."About 80 or 90 li (21.729 or 24.445km.) to the north-east of the Arrow Fountain there were bathing tank, Aśoka flower tree, two stupas, a great stone pillar surmounted with a horse figure on the top and river of oil were seen in Lumbini by Hiuen-Tsiang in the seventh century AD at the birth place of Lord Buddha (Watters,1961:15). Lumbini can be clearly identified with the site near present Bhagawānpur in Rupandehi district. 300 li (81.486km.) to the east of Lumbini, he reached to the ruined town named Lan-mo (Rāmagrāma) where the accounts of these pilgrims are reliable excepting some events mentioned by them. There are a few differences in the details of the descriptions, such as the direction and distance of it; but such discrepancies are very negligible. Lumbini, which is the main key to identify other sites even now, has been identified on the basis of the descriptions available in the Chinese accounts. In addition, the details given in the accounts entitled Shui-Ching- Chu describes Aśoka tree, Siddhartha's birth under the tree, sweet-smelling flowers and Aśoka had shielded the imprint of Siddhartha's feet on long slab of lapis lazuli (Petch, 1950:34-35). With the help of this description it was possible to prove the real position of the conglomerate stone, discovered in the foundation of the old Mayadevi temple in Lumbini (Uesaka, 1997:15).

Early Medieval Period
In the early medieval period the older convention of art began to be replaced by new conceptions in the ninth century AD. After the rise of the Rajput states in different parts of the country colossal creation and cosmic conception was refined in the field of art (Agrawal, 1965:257). A lot of stone sculptures belonging to the Pāla-Sena school of art of eastern India, are found from the surface of the region, and are dated in ninth and tenth century AD. King Ripu Malla, Sańgrāma Malla, Nagarāj's descendant of Karņāli region, had visited and got engraved their inscriptions on the Asokan pillars in Lumbini (Führer, 1972:33). The visit indicates that this region was under the sovereignty of this dynasty and that this region was still widely known as holy place of pilgrimage. In this context various antiquities and monuments reveal that Lumbini was continuously inhabited from the sixth century BC to the fourteenth century AD. The surface collections of the site include some beads of terracotta and semi-precious stones, fragments of iron nails and small bits of bronze objects.

In the fourteenth century AD after the termination of the Nāga dynasty, the region was ruled by Malebom and his successors. During the period of Chaubĩsĩ it was under Tanahu principality of Magar rulers, in the fifteenth-sixteenth century (1489-1517AD). Sikandar Lodi, then Sultan of Delhi, might have conquered the weak Magar kings of Tanahu. In this connection, Lodi Sultan might have destroyed the stone sculptures as well as monuments at Lumbini and Kapilvastu in the process of propagation of Muslim movement in the region (Pradhn, 1979:30-35). A number of stone sculptures are found without leg, hand, nose, mouth, cheek, forehead, shoulder etc. It seems that they were broken by force. Muslim rulers may have been instrumental in this destructive activity in the area as it has been a case in the Northern portion of India in this period. The king of Pālpā had conquered the Magar principality of Tanahu during the period of Mukunda Sen I. After the partition of the Sen kingdom, Vināyaka Sen became the king of the Terai region of Pālpā, the site of the area. Mukunda Sen I had built a seasonal palace Rańga Mahala at Butwal Phūlabāri area. In the reign of Mukunda Sen II [1750-82AD] a conflict arose with the Nawab Vazier of Oudh. But the king of Pālpā had got some terrain lands, to the west of Gaņdakĩ river, on lease due to their friendship with them later. Mahadatta Sen, son of Mukunda Sen, had also received more terrain lands including its peripheral area. The rate of the lease was cheap because it was an unhealthy, unproductive and swampy area. In1801 the British Government of India and Nawab Vazier of Oudh had imposed a treaty under which Gorakhpur, Rohilakhaņd and the area under study became a part of the British rule (Vajracharya and Nepāl, 2014:88). In 1806 Pālpā, including the Terai region, was conquered by the Government of Nepāl. Thus, Nepāl Government became the lessee and the British Government was a lesser of the region.

Modern period After the unification of the region the Government of Nepal had established the administrative Headquarter of the region at Pālpā from where all the disputes were decided and creative activities for the welfare of the people were under taken (Mishra, 1999:129-35). The Terai region of Kapilvastu and Rupandehi, including Butwal area, became the issue of debate between Nepal and British Government of India for suzerainty over it. This led to the Anglo- Nepal war in 1814-1816. At last the Treaty of Sugauli was signed on March 3, 1816, which provided the ownership of the region to the Nepal Government. This region was under the jurisdiction of Butwal, Siurāj and Khajahni districts under the overall charge of the Governor of Pālpā before 1962. In rearrangement of the administrative districts, this area was incorporated in Rupandehi district of the Lumbini zone.

Some monuments and sculptures are also seen in the region built under the dynamic leadership of the Sena kings of Palpa principality. Being far from the capital, a Governor from Kathmandu was appointed for the regional administration during reign of the Rāņās. During all these periods' kings, nobles as well as people of the area had contributed to make artifacts for the purpose of their domestic and religious life, which provide us a glimpse of the social activities of the region.

Changu Narayan


Changu Narayan is a pagoda-style Hindu temple dedicated to Vishnu in his incarnation as Narayan. It is one of the oldest temples in Nepal, but because it is a bit off the beaten track, it is seldom visited by tourists.

History

Originally built in the early 4th century during the Licchavi dynasty, Changu Narayan was rebuilt around 1700 after the temple was destroyed by a fire.

All of the stone carvings in the temple courtyard were done between the 5th and 13th century, which makes this one of the single-greatest concentrations of ancient art in Nepal.

Narayan, or Vishnu, is the preserver of creation of Hinduism. His temple near Changu Village, or Doladri in Sanskrit, is often described as the most ancient temple in the Kathmandu Valley. A legend says that once Vishnu in his act of destroying evil killed a Brahmin priest who had turned to evil. Such an act was considered one of the five most heinous crimes. Vishnu contemplated his deed and wandered here and there on Garuda, the mythical half man, half bird form. When he reached Changu, a hermit by the name of Sudarsana, not recognizing Lord Vishnu, beheaded him. Once beheaded, Vishnu felt regretful of his sin. He said that from then onwards he will live on the hill at Changu, where he was redeemed for his sin, and that everyone who comes to worship him at Changu on the day of the full moon or on Wednesdays will also be exonerated. The nitya puja, ritual worshipping, at Changu Narayan relates to this legend. The Vishnu image here is built of two parts, one of the head and the other of the body so that the beheading rite of Vishnu can be remembered during the puja.

Despite the legendary origin of the temple, Changu Narayan is believed to be built by Haridatta Varma, who was a Licchavi king who ruled around 325 AD several generations before Manadev I. Chronicles say that at that time Haridutta had ordered the building of four hilltop Narayan temples around the Valley. The other temples are Ichangu Narayan, at the West, Sikhara Narayan, and Lokapalasvamin. The inscription on Garuda Dhwaja, a pillar that tells of the victorious Manadev I, erected at the temple in 464 is the oldest inscription to have been discovered in Nepal. The inscription on the pillar is the first solid evidence to prove the establishment of the temple, though it indicates that the temple stood before that time. As it was the costume of the royal families to offer gifts to the temple, Changu Narayan also drew many regal worshippers. However, most of the gifts were in the form of reconstructions of the temple, which was destroyed many times by fires and earthquakes. In 607, King Amsuvarma, who highly regarded Changu Narayan, replaced the old sheath that covered the holy image and gave a large sum of money to the temple. The temple began to crumble into pieces due neglect and was left unrestored until Visva Malla (1548-1560) of Bhaktapur took up the task. Then Gangarani of Kathmandu, grandmother of Pratap Malla, repaired the temple when it was devastated by a fire. In 1694, the temple again needed reconstruction which was offered by Queen Mother Radhiklaksmi of Kathmandu. She also offered other richly gifts like a golden torana for the temple, an amount of gold and silver equal to her own weight, as well as a statue of herself and her son kneeling in front of the temple behind the Garuda Dhwaja of Manadev I. About that time the head of the image of Vishnu was offered by Bhupalendra Malla of Kathmandu when the previous one broke during a puja. Twenty years after the construction by the Queen Mother Radhiklaksmi, the temple again caught fire. This time it was Bhaskar Malla (1700-1722) of Kathmandu who rebuilt the temple and marked its completion by refinishing the roof of the temple.

In Buddhism, Changu Narayan is revered as Boddhisattva Avalokiteswara. They believe that Garuda, the mount of Lord Vishnu, and Takshaka, the king of serpents of the Kathmandu Valley, were engaged in a ferocious battle. When Garuda called upon Lord Vishnu for help, Takshaka was certain of his peril and prayed for Boddhisattva Avalokiteswara. The compassionate Avalokiteswara stopped the battle and brought peace to the adversaries. Vishnu, ashamed of his behavior in the battle offered to be Boddhisattva Avalokiteswara's steed and carried him to Changu and thus created the peculiar icon of Hari hari hari Vahan Lokeswora. At Changu Narayan, Boddhisattva Avalokiteswara is shown separately as a stone sculpture behind the temple while Garudasana Narayan, Vishnu on Garuda, is been the revered image of the temple. There are two other copies of the Garudasana Narayan image in the temple courtyard. One was made in tenth century and other in thirteenth century, which were eventually copied in many Narayan images found around Kathmandu.

The temple now covers at least seventeen hundred years of Nepalese art history. The temple, built around the third century, is decorated by some of the best samples of stone, wood, and metal craft in the Valley. In the words of one tourist guide, "When you look upon Changu Narayan, you observe the complete cultural development of the Valley."

On the struts of the two-tiered Changu Narayan Temple are the ten incarnations in which Narayan destroyed evildoers. A sixth century stone statue shows the cosmic form of Vishnu, while another statue recalls his incarnation as a dwarf when he crushed King Bali. A statue of Vishnu disemboweling Narsingha, a man-lion, is particularly interesting. The Eastern doors are made of bronze, dragons decorate the bells, and devas and griffins look out from the walls and steps. A life-sized statue of Garuda kneels before the temple. The favorite sight of many visitors is the statue of Vishnu sitting astride his steed.

Wednesday, December 17, 2008

Nyatapola Temple

Introduction

Nyatapola temple is a typical example of Nepali temple architecture built in 1702 A.D. (822 N.S.) by the contemporary king of Bhaktapur King Bhupatindra Malla. This early eighteenth century tired temple is situated at the Taumadi Square, south east of Bhaktapur Durbar square. And its beauty is quite unexplainable in words. So much is it's beauty that whoever the people be, will forget to shut his eyes and can't stop oneself to praise its aesthetic beauty. The temple is dedicated to Goddess Siddhilaxmi which represents prosperity and good fortune and also represents the Goddess of war. It is the tallest tiered temple built in pagoda style, which stands on five huge plinths with 5 storied roof and a gold polished brass pinnacle at the top. There is only one 5-tiered temple beside Nyatapola and surely that is not as glorious as this one.



Taumadhi Square

Taumadi Square is a wide open space which is linked by a short pathway to the eastern end of Bhaktapur Durbar Square. The square represents the function of the ancient halves of Bhaktapur. In Robert Levy's words the square is "A neutral ritual centre that affirms the unity of the town". This function becomes most plainly apparent during the festival of Bisket, locally called as "Biska Jatra". When the people of the upper town compete with the lower to drag a towering ritual chariot containing an image of Bhairab out of the square into the streets of their own sector of Bhaktapur. Taumadi is dominated by two temples of unusual grandeur. One is a three storeyed rectangular temple on east side is Bhairabnath-originally built by Jagatjyotir Malla as a single storeyed structure in 1717 BS. Bhupatindra then restored the temple adding two further tiers. After it collapsed in 1934 AD earthquake it was reconstructed by the local people. Bhairab is the ferocious manifestation of Lord Shiva. The next is Nyatapola-the tallest tiered temple of Nepal. Dating back to 1702 AD, it is the most elegant asset of Nepal. The struts, doors, windows, tympanums, attractively carved divine figures has perfectly portrayed the creative tradition of Newar craftsman and medieval art and architecture. The next fabulous example of art and architecture is Tilmadhav Narayan Chowk, situated just in front of Nyatapola and dedicated to Tilmadhav Narayan. A few steps ahead of it, to the south west lies the famous pottery square, and a few steps ahead to upper town Dattatreya Square.

HISTORY AND BACKGROUND

On the ground of evidences and information from different sources like local peoples, history readers and different books, we have come across to the following facts on the history of the temple. According to the local saying and history readers, the site where Nyatapola now stands was a farm land of a local citizen. The temple was constructed and completed in 822 NS Kartik Suddhi Tritiya, Thursday by king Bhupatindra Malla.

RENNOVATION


In the earthquake of 1990 BS the top roof of Nyatapola temple had fallen down which was rennovated later by king Tribhuvan. However the lower steps and roofs faced no damage. This also proves the stability and good work of ancient period. Later in the earthquake of 2045 BS, minute damages had occured but they were negligible.It is the result of good architecture and double layered wall.The latest renovation was done by Bhaktapur Municipality in 1996 AD the rennovation was completed within 9 months using some new and some old materials. Some details are as follows:

Timber used Amount
Old 400 cubic feet
New 1200 cubic feet
Jhingati(New) 50 %
Jhingati(Old) 40 %
Jhingati(From local people) 10 %


KING BHUPATINDRA MALLA


King Bhupatindra Malla was the son of King Jitamitra Malla and Queen Lalmati. He got the throne at the age of 22 after his father's demise in 1696 A.D. He ruled in Bhaktapur for 26 years till 1722 A.D. It is said that he was a good ruler and forward thinker having keen interest and knowledge in art and culture. This fact is verified by the construction of Nyatapola Temple and many more monuments during his regime. Besides that he had also done a remarkable work in the field of literature especially in Maithali literature. He had written many songs, poems and dramas and this shows his versatile nature.


Physical structure of Nyatapola temple

If we go through the name "Nyatapola", it itself describes its physical structure. In local Newari language "nyata" means five-storeyed and "pola" means tiers. So from the name itself it is clear that Nyatapola is a five storeyed temple with the roof of tiers. The base of the Nyatapola temple is rectangular terraced platform of stones and have five stages or folds with steep stone-paved stairway. On each stage, there is a pair of statues of different kinds on either sides of stairway. On the bottom stage, there are statues of two wrestlers of Bhaktapur naming Jaimal and Patta, who were believed to be 10 times stronger than the ordinary citizens, followed by elephants ,lions, griffins and two other deities - Singhini and Baghini . They are believed as door-keepers in charge of paved stairway which do not allow the evil power to enter into the temple. Amusing and interesting at the same time is that the statues are kept in such a way that its strength is 10 times more than that of previous pair. At the top fold is a square chamber enclosed by colonnade of wooden poles and pillars which sustain the lowest and the heaviest roof. Inside which the statue of goddess Siddhilaxmi Bhavani, the superior and most powerful tantric goddess, is errected. The square chamber has gates in all four sides. But the main gate is facing south. Above the main gate, there are beautiful torans which is engraved with the image of Mahish Mardini. The roofs of the temple are covered with special red tiles of similar shape and size. Though clay tiles has low resistance to earthquake it has high stability and very good resistance against insect and rain. Wind bells(ghanti) made of brass are hanging on the rafter of each roof.There are 48, 80, 104, 128 and 168 bells in fifth,fourth,third, second and first roof respectively. Besides that, the floor of each of these storeys is a square entablature of brick which goes on diminishing in size and area until the structure reaches fifth or the uppermost roof with a gold final atop. Each of the roofs is sustained by struts projecting at an angle of 45 degrees from the entablature which rests for support on the pillars of the lower storey. The structure decorated by the graceful carvings and vigorous sculpture which are characteristics of Nepalese architecture and they are 108 in numbers. Besides these four Ganeshes known as Drighu Ganesh is located in all four corners of the temple. But the statue of the north east corner temple has been stolen. These Ganeshes have been established for the protection of the Goddess and the temple. Nyatapola, the temple of terribles as many people call, is an outstanding illustration of medieval art and architecture. And it speaks for how rich we were in the medieval period in the sector of art and architecture. Not only that, it also has the importance from historic, cultural, social and archaeological view. It is also a fantastic site for tourists and is an inspiration for learning architecture techniques for the students like us. Above all it is a pride of Nepal and a jewel of the World. Due to above reasons, Nyatapola temple was listed as one of the world heritage sites in the year 1979 A.D. (2035 B.S).



Social Cultural and Religious aspects of Nyatapola

In Hindu community, temples and God and Goddesses placed have great influence on social, cultural and religious aspects. Nyatapola too from its time of establishment have a strong religious, social and cultural values. According to tales and old traditions, the contemporary king Bhupatindra Malla gave order to construct the temple to have control over the harsh and angry nature of Bhairab (representing power and war) in a tantric way; he enshrined their tantrik Goddess Siddhilaxmi. The Bhairab, whose temple is just in front of the Nyatapola temple, is said to have come to Bhaktapur from Benaras. Bhairab, along with Bhadrakali, is the principal personage of the festival Bisket Jatra of Bhaktapur (celebrated on every new year day of Bikram Sambat). Moreover, some of the Bhaktapur's inhabitants say that just as Tirpurasundari is in the centre of Astamatrika, so is Bhairab (also known as Aakash Bhairab) is the Astabhairab. From another tale Bhairab caused many disasters at that time so to offset and to have control over such a personage which compelled the contemporary king Bhupatindra Malla to take advice from his advisor (mostly astrologers). According to their advice the king built a huge and tall temple of tantrik Goddess Siddhilaxmi. The sanctum level of Nyatapola is in the same height as that of first Gajur of Bhairab temple which means Siddhilaxmi dominating Bhairab. From other beliefs it is also said that the king constructed this temple so high that it can be viewed from his 55-window palace, as the king had a keen interest in constructing temples with a high quality of craftsmanship. There is also an interesting fact that the king himself carried first three bricks along with other workers ,which shows the good relation between king and the citizens. Not only that it was also the desire of king to make the temple and the willing of the people to get rid of the anger of Bhairab. This very fact shows a social need with a religious background. On the auspicious moment of laying the foundation of temple, one jyapu ( peasant) sowed grains of paddy in his field and later on when he tried to pull them out he has to use a spade .This has a link with the stability of foundation as how much the earth was compact there. It is remarkable that the temple didn't fell in the earthquake of 1934 A.D., except the topmost roof had fallen. It was believed that the goddess wasn't allowed to be seen by ordinary people and only Rajopadhya Brahamins had right to enter into the temple and accomplish puja .This tradition is being strictly followed even today. This restriction is made so that the tantrik power of goddess is not revealed to ordinary people. At present, a priest of Karmacharya caste does the daily "Nitya puja" every morning and performs "Aarati" every evening. The main puja is done on two occasions. First on Bhadra Shukla parewa tithi when a goat is sacrificed to goddess and a flag symbolising good luck is placed on its pinnacles. Next on Ashad Sudi 1 when Panchaprachar puja (Tha puja or Tantric puja) is carried out. Unlikely other temples, it doesn't has any Guthi , Jatras or Bhajans.


GODDESS SIDDHILAXMI

Goddess Siddhi Laxmi is the main deity enshrined in the Nyatapola temple. She is believed to be the superior tantric goddess and represents female force and creativity. The statue of Goddess Siddhilaxmi inside the temple is 9 feet tall, carved in black stone. The statue has 9 heads arranged in 3 rows with 5,3,1 heads from bottom to top respectively. The top single head is called Chandi Bhadrakali, the three heads of second row of the statue is called Pratyangira and the third row with five heads is called Siddhilaxmi. She has got eight pairs of hands. There are two statues of Mahakal Bhairab and Masan Bhairab in either sides of Siddhilaxmi. They are supposed to be helpers of Goddess Siddhilaxmi who provide the tantric power to her. The five pairs of statues in the stairway are the guards to protect the goddess and the temple from evil powers. According to local people the Godess also gets the power from Mandala in which Astamatrika are located in eight directions.


MATERIAL AND CONSTRUCTION TECHNOLOGY

The temple was constructed and completed in 822NS Kartik Suddhi Tritiya, Thursday by king B. Malla. The detailed records of expenditure and information on the involved personnel, list and price of materials used for the construction has been preserved in the National Archives office, Babar Mahal. This valuable paper manuscript has been remarkably preserved and only pages from 264(b) are missing. The manuscript is written in the traditional Newari script on yellow Nepalese paper(Nepali Kagaj). Apart from some ink stained pages and a few rat eaten ones the manuscript is in good condition.

Materials

The basic raw materials used in construction of Nyatapola are similar to that of other Nepalese temples. They are wood, bricks, clay mortar (sometimes Surkhi), stone, metal (copper, brass), red oily paving tiles (Telia Int) etc.


TIMBER
In the construction of Nyatapola temple, five different types of timbers are used. They are :
Chap (Michelia champaca)
Sal (Sorea robusta)
Salla (Pinus roxburghii)
Deodar (Cedrus deodara)
Gobresalla (Pinus roxburghii)


STONE

Stones are mainly used in the construction of the guardians (five pairs of large guardians) of the temple on the façade. Among the guardians, the first one Jaimal and Patta are made of monolithic stones called 'Kothka'. These stones were brought from Chobhar. Stones are also used in the steps and at the edges of the plinths. The circum-ambulatory columns also have the stone base. The 'Jalahari' (Water drainage system) on the north (Mandala like) ritual spot on the north-east corner of the third plinth are also made of stones. These stones are brought from village of East Nala, Sanepa, Panauti, Sanga, Dhulikhel, Khadapu and Chaukwalh along with different Toles of Bhaktapur.


BRICKS
Different types of bricks are used in the construction of the temple, general bricks for the load bearing wall, the Telia brick(wedge shaped brick having glazed surface) for the façade. These bricks have mud mortar. From the manuscript , the total number of bricks used were 11,35,850 and Telia Int used are 1,02,364. The sizes of the bricks used in the plinth wall have the dimension 8.5" X 4.5" X 2". These bricks were brought from Thimi, Bode, Nagadesh.

METAL
Metals are mainly used in the construction of pinnacle and wind bells. For small bells:

Metal Approximate Weight(in Dharni)
Main(wax) 24
Kaas 17
Pittal(brass) 31
Iron 13.5

Total

85.5

For big bells:
In various forms 9 dharni of iron are used.

For pinnacle:
The total weight of pinnacle is 40 Dharni. Materials used for the construction are listed below:

Metal Approximate Weight(in Dharni)
Copper 148
Galeko Pittal(Brass) 1
Kacho Pittal 2
Kaash 4(demanded)
Khaposat 3

Total

154


Construction technology

The construction technology used for the Nyatapola temple is very much similar to the other tiered temples of Nepal. From the history the whole construction on an average is done in a very small span of time .


PLAN


The structural plan of high stepped plinths is still unknown . foundation of the temple is unmanifest .It has not been clear that whether the nyatapola temple stands on huge masonary square field with soil or upon a hillock of trodden soil which is circumscribed by stepped plinths of brickwork. The plan is flexible to seismic effect. This seismic resist technology is used at that time of construction or the structural engineers on today want to fit it in the flexible theory of seismic resist. In the 1934 A.D. earthquake, only the upper most roof of the temple fell whereas the Bhairab temple alongside had collapsed wholly .This resist to earthquake can be due to its square symmetrical plan,pyramidal structure and very large foundation with high plinths which reduce liquefication.

WALL


The massive load bearing wall of the temple comprise material of high compressive strength. These walls are covered with another layer of bricks to increase its durability by protecting it against rain, vermin and abrasion and to improve the thermal and moister performance of the wall and also to give an aesthetic look to its appearance. The brick facing are trapezoid in shape and brick adjoins brick edge on the outer face and the mortar is mostly within and so the mud mortar cannot be easily washed away. The mortar constitute yellow clay with "Mass" and "Chaku". The fine lines between the edges of bricks are often scaled with a water proofing agents i.e. a mixture of oil(Tel), resein(Saldup) and red earth(Sindhur).

ENTRANCE
The entrance have massive double door. The door consists of an interior frame(Duchu) and exterior frame(Bha) which are joined together by floor wooden ties(Tas) pinned together with wooden nails(Chukus). There is pediment(Torana) fixed to the upper frame for decoration. Carvings around the door frame, window frame, and in the torana have carvings of tantrik Goddesses and goddesses Siddhilaxmi. Torans are the quality of art and architecture of medieval period. Since Goddess Siddhilaxmi is the Tantrik Goddess and ordinary people are restricted to enter the temple so as to represent the images of Goddess their carvings are on this Torans.

BEAM
The temple has a tied beam (Lakansin).In these tied beams total of 20 vertical wood columns stand such that in each face we see 6 columns with 5 voids between them. The load of the lintel(Nina) is transferred to these columns through a Meth(wooden bracket like capital). The meth is carved as an arch. This column takes the load of the external part of the first roof only. It also gives some space around the wall of the main core of the temple used as "Pradakshina Path"(cloister or circum-ambulatory path) for the worshipers. Over the Meth the beam passes throughout the length of the temple, a small portion of which extends outwards. These exposed surface has been carved with the faces of lion one above the other. Above these beams there is a cornice whose one end has been exposed to the external space and another end has been penerated inside the load bearing wall(9" in average). Above the cornice there rests struts(Tundal) which support the whole load of the roof and transfer it to the load bearing wall. This load bearing wall, of the second floor is smaller in comparison to the wall above the surrounding of the main core. The upper part of the struts supports a long beam over which rafters' extreme end rest. These rafter rest on two such types of beams. These rafters start from 2nd wall which are tied by the wedges(Chukul) which again rest on another wood plank peneterating the wall.

ROOF
There are total of 5 tiered roofs decreasing in dimension from bottom to the top. The first roof covers the third plinth. This first overhanging roof is 49' 6" square in dimension. These roofs protects the wall and wooden components from the external degrading agents. The upper part of 2nd, 3rd, 4th storey are supported by 2nd load bearing wall. The little upper portion of the 1st roof is exposed with bricks of 6 or 7 brick level. Also the 3rd shifted wall where the rafter stands and again the same with the 1st roof structure. In the same way 4th roof has been placed. The uppermost roof is somewhat different. A single ornamented brass pinnacle(195") lies on the centre part of the roof. The 5th shifted wall is the last load bearing wall on the top of the temple. The middle portion of the rafter rests on this 5th shifted wall. All the rafters are concentrated at the centre vertical column over which the pinnacle lies. These rafters have been tied to the straight wood which is again tied to the lower end by the beams and passes through the 5th shifted wall.

SURROUNDINGS

Nyatapola lies in Taumadi square-a wide open space .There is a big platform right in front of Nyatapola known as Taranh Dabu (Big platform). Nyatapola is surrounded by many temples with fabulous art and architecture and traditional houses which added more beauty to Nyatapola. Some of the important places and surroundings are discussed below.

Bhairav Nath Temple


This temple is situated at south east front of Nyatapola with a path to Kwachhan tole between them. It was first built by Jagat Jyotir Malla as a single storeyed rectangular temple, later restored to three storeyed temple with seven metal pinnacles by king Bhupatindra Malla. The main image placed inside the temple is of Bhairab and is a body without the head. In the front wall of ground level of this temple there is a small image of Bhairab known as Nasadyo flanked by a pair of metal statues of guardian lions. Akash Bhairab is regarded as a third representation of Bhairab which can be seen painted on a straw mat hung on the right front wall of first floor. The observer of the temple will never miss the kinkinimala hanging metal border in the upper most roof, there are 56 struts each of which are carved with wooden images of Goddesses which supports the three roofs of temple. The spaces between the struts are packed with lattice screens and some of them on the lower tier are made of gilt copper. The famous Bisket Jatra of Bhaktapur city is dedicated to Bhairabnath in which a chariot is dragged throughout the city. This jatra is held on the new year day of Bikram Sambat. This temple is also a good example of medieval art and architecture.

Café Nyatapola


This is a two storeyed rectangular building originally called as Aisamari Satta. "Aisa Mari" is a special kind of a bread and "Satta" means public rest-house(mainly for travelers). At present it is used as a café for tourists but originally it was constructed by the contemporary king as the rest-house for travelers, a place for performing Bhajans, shelter for far travelers. The struts and wood carvings has added more flavour with the taste of art of that time. The wood carvings on struts are designed beautifully and the wooden bars on both floors have their own beauty and importance.

Narayan Chowk


It is an enclosed complex situated in front of Nyatapola. The main deity enshrined in the main temple is Tilmadhav Narayan, a manifestation of Lord Vishnu. In front of the temple there are two stone pillars with beautifully carved metal shankha and padma on left one and gada and chakra on right one. On the right front of the temple there is a Shiva linga popular as Tileshwor Mahadev and on the right side of the temple there is a stone pillar carved with Baraha Avatar of Narayan. And the pillar stands on a stone tortoise statue. Behind this pillar there is a square shaped platform with Shiva Linga on it and a statue of Saraswati(the Goddess of Knowledge) on its side wall. Near the temple there is a well made for public use. The temple is surrounded by the old traditional residential houses and in this many religious ceremonies take place as Bhajans, Bel-Bivaha etc.

Chaturbrahma Mahabihar


This Buddhist monastery is situated at north west corner of Nyatapola temple known as Chaturbrahma Mahabihar. This Mahabihar is mainly dedicated to Dipankar Buddha. There is a open courtyard in this Bihar surrounded by traditional buildings with wonderful traditional windows, wood carvings resting on struts carved with different divine structures. There is a small stupa in the centre of courtyard and a pillar near it with a small stupa in it. The puja takes place every morning and evening. At present the Mahabihar is under restoration by Bhaktapur Municipality. During our visit some people were performing Bartabhanda ceremony which shows its social importance. More than that the presence of Buddhist monastery in the area dominated by Hindu temples shows the unity of the people of different cast and religions. It also proves that there was no restriction in religion and social gathering since that time and every cast and religion was equally treated.

Traditional houses around Nyatapola


On the beauty of traditional houses, houses around Nyatapola seems to be successful to keep the artistic traditional and cultural taste of Bhaktapur on their own. Since Bhaktapur is dominated by Newars we can obviously get the different taste of Newari art and architecture around Nyatapola Temple too. These houses have fulfilled every aspect of a typical Newari house as low height, lattice windows, attic roof, beautifully carved pillars and windows etc. The main construction materials used are timber, mud mortar, burnt bricks etc. The existence of these traditional houses till today after hundreds of years explains its resistivity against natural disasters, climatic conditions, storms, rain and earthquakes.


Nava Durga



This is one of the excellent temple with excellent monuments and artistic carvings on wood, located near the Dattatreya Squre of Bhaktapur City. The three-storied shrine houses Nava Durga, a combination of the city’s nine protective mother goddesses. The edifice is noted for its elaborately carved windows and doorways. It sees the thickest crowd of devotees during Mohani in October, the greatest festival of Hindus in Nepal, as well as before the rainy monsoon season.


Nava Durga Dance

The Nava Durga Dance is the most energetic and enchanting sacred mask dances, celebrated and performed by the citizens of Bhaktapur City. The dance was named Nava Durga or Nine Durgas Dance, because it is made up of nine Mother Goddesses namely Brahmayani, Maheswori, Kumari, Vaisnavi, Indrayani, Mahakali, Mahalaxmi, Barahi and Tripurasundari. Besides the goddesses, five male gods namely Bhairav, Ganesh, Swet Bhairav, Simha and Dumha, also participate in the Nava Durga Dance.

This Dance, have its own religious thought, which is the story that describe why this dance is performed by the local people of Bhaktapur City. It is believed that Dava Durgas, once used to live in jungle and capture people and then sacrifice them. But A powerful tantric’s Brahmin teacher, who was also caught by the Durgas, managed to escape from them and even became able to control them. Later, the durgas managed to escape by killing the Brahmin’s wife. After this, the Brahmin found them again, in the eastern direction of Bhaktapur, and by then, the Durgas had already lost their secrecy. Keeping the wishes of Durgas, the Brahmin installed them at Gachhen and created the tradition of the public Nava Durga dance performed by the Gathas. The dance was followed by the Malla Kings and it is still practiced by the local people of Bhaktapur City and other cities.

Every year the Nava Durga masks are crematedc and their ashes are thrown into the river in the month of June. A tantric puja is held in the month of July, and then new masks are made in September. On the day of Astami Sukla, which falls in September or October, members of the Gatha caste who will dance next year’s performances undergo certain rituals. On the 10th day of Dasain i.e. Mohani , the masks are handed over to the dancers. The Nava Durga Dance is then performed in each of Bhaktapur’s 24 tols as well as in other places.

Fishing Dance is one of the most interesting part of the dance performance. In this dance, the dancers chase, capture and then symbolically sacrifice boys and young men. After the completion of last dance performance, held in Ikshyu Tol, the southern side of Darbar Square, a sesame seed and rice dish is offered to the dancers. It is believed that the Nava Durga dancers begin to grow weak from this time forward. Later, the Nava Durga dancers circumambulate Bhaktapur on the city’s procession route and then return to their shrine late in the evening.