Ask Me About Nepal
  • Home
  • Content
  • Stories
  • Guides
  • Gallery
  • About Us
  • Contact
ArtistCultureHandcrafts

Maa:Yu Means Mothers

Where Women and Woodblocks Reign

by Louisa Kamal
written by Louisa Kamal

Recently I found myself sitting with three generations of Newari ladies in a small, cosy room in Tahachal, on the opposite side of the Vishnumati River to Basantapur and Durbar Square. The three ladies in question were Meera Shakya, a reserved but charming woman of sixty years old who allowed her personable grown-up daughter, Samasty Shakya, to do most of the talking while nursing her eight-month-old and extremely sweet-natured daughter, Smitasya Meera Shakya, on her lap.

They and their enterprise, Maa: Yu Creative Creation, had recently been forced to move to Tahachal from Patan due to a road improvement scheme, keeping only a small showroom in Mangal Bazaar, not far from Patan Dhoka. As a result, they were still dealing with a host of related problems.

“Shifting our location has been disastrous on so many levels,” Samasty explains. “I didn’t foresee that our employees would not move with us. We are having to find totally new people. And, on a practical level, everything has had to be relocated and put in place.”

I had first become aware of Maa:Yu less than a year previously when a sponsored post appeared in my Facebook feed just as I was feeling the need for some lightweight bed linen to make the hot nights prior to the onset of the Monsoon more bearable. I contacted them and went to visit their premises.

The name Maa:Yu—maa and yu respectively meaning ‘mother’ and ‘of’ in Newari, and therefore, perhaps, a plural possessive or even ‘maternal’—encapsulates the eternal feminine, the wisdom and creativity of the Mother.

“When we were searching for a name for our new enterprise, we first thought of using mamma’s name, Meera,” Samasty explains, “but then we did not want to put all the focus on her. The emphasis had to be on ‘mothers’ in the plural so that all our workers could feel involved.”

Three generations: Meera, Samasty and Smitasya Meera.

Meera, who suffered a cerebral haemorrhage in 2013 resulting in her having to initiate various lifestyle changes, smiles gently as she listens, showing a degree of deference to and pride in her educated and erudite daughter. She has been a designer for around forty years, well before the birth of Samasty. For many years, she was one of seven partners in Rainbow Crafts, doing much the same work as she does with Maa:Yu today. Their products were good: it was the lack of organizational and promotional skills and expertise that meant that the enterprise could not expand and resulted in its slow disintegration.

Of course, I was eager to ask about the meaning of Maa:Yu’s distinctive logo, the bright red circle split top to bottom by a curious, curvaceous black line.

“The logo embodies our two mothers,” Samasty explains. “The plain red bindi symbolizes my birth mother, whereas the black design is a special, really artistic bindi which another mother-figure in my life applies to her forehead every day.”

She went on to relate how, although she was born and raised in Kathmandu—right there in Tahachal—as a student, she and her friends would always socialize in neighbouring Patan. It was there that the owner of Café Aamu, Archana Tamang Lama, became a second mother-figure in her life as well as an advisor and mentor.

“She is also a women’s activist,” Samasty explains, “and somehow there was a connection between us right away. We picture her as a mother as she is very caring. Just like family. Even now she always gets enthusiastic and encourages us when we show her some new idea or design.”

The reference to women’s rights brought me back to my initial impression of women’s power as represented in the three-generational grouping in front of me. Maa:Yu was nothing if not a women’s—indeed mothers’—empowerment enterprise, so I questioned how that fitted into Nepal’s male-dominated society, in which men go out to work and socialize while women stay home.

“My scenario was a little different,” Samasty states. “I was raised by a single mom after my father left when I was three. So she has been everything to me… my mother, my father, and my friend.”

She went on to explain that she only realised the truth of Nepal’s male-dominated image when went to work in social development.  “In one village in Rasuwa, there were almost no men. The men lived either out of the village or even out of Nepal. I was so shocked to see that. The women had three or four kids and then did everything at home. The few men that were there could be seen playing cards or carom board.

“Women in Nepal do not have their own identity,” Samasty goes on to say. “Before marriage, they are bound to their father and mother, after marriage to their husband and kids. They do not have friends or have opportunities to attend friends’ gatherings.

“Maa:Yu is actually continuing [my social development work] on a different basis. Many of the women who work with us do leave the house. But they just go from home to office, then from office to home.  They do not have another life. The scenario is changing gradually, but it will take time,” she adds.

Intricate Om woodblock.

“Since we shifted our base to here in Kathmandu the women who used to come to work for us in Patan don’t come any more. It is only a half-hour walk away, ten minutes by vehicle, but they prevaricate. It is outside their area, their comfort zone, so they discontinued working. It isn’t that their husbands don’t allow them, the problem is their own mental block. I was stunned when I learnt this. They are still young, not even forty, but they imagine themselves getting lost in faraway Kathmandu! Even at that age, they are still rooted in the past. I actually pity them and do my best to encourage them.”

It seemed the right moment to drop the name of Samasty’s husband, Siddhartha Shakya, who was my original point of contact at Maa:Yu on my first visit to their former premises in Patan, just a stone’s throw away from Durbar Square. He is primarily responsible for the day-to-day running of Maa:Yu, especially since the birth of their daughter.

“When I first met Siddhartha, who was working for Samsung, I did not tell him about my close connection with the traditional art of woodblocks and printing or about my dreams. Even though I was a community development worker with. NGOs and INGOs, I always wanted to continue mamma’s legacy. However, one day Siddhartha came across some of my notebooks and read all about this. His reaction was, ‘What a super plan! Let’s do this!’”

Maa:Yu Creative Creation was formally registered in 2018 but at first operated on an extremely small scale. Then, slowly but surely, as COVID came then faded, the owners decided to devote more time to developing the fledgling company.

Samasty is totally realistic about why the women work for them. “Women are focused on their family. Nobody is working here because it is their passion, or they want to work. They work because they have some financial difficulties at home. Or they are bored and want to get out,” adding with more than a touch of pride, “Nobody is like mamma.  Her work is her passion.  She never says, ‘I have to do it’. She loves to do it!’

Maa:Yu’s products almost all depend on the use of woodblocks, the creation of which is outsourced to tried and trusted artisans. Contrary to my preconception, the mother and daughter team explained that no special kind of wood is used for the blocks:  it is the woodcarver who makes the choice, dependent on the size and the design. Maa:Yu has a collection of hundreds of blocks, mostly traditional designs, some older than Samasty herself but still in use, with a few customized blocks made in accordance with the client’s specifications. The woodblocks are handled with care: a block can break if it is dropped and strikes the concrete floor with force, but that is seldom allowed to happen. The cost of creating a woodblock varies according to size, detail and so on, starting from around 2000nrp for a small, basic block. But as Maa:Yu’s collection proves, a beautiful block is forever!

Meera Shakya holds one of Maa:Yu’s oldest woodblocks.

“In my childhood I always had block-printed bed-sheets, curtain and so on. It was my world! In Pashupati there used to be so many block printers,” Samasty recalls. “I remember seeing them when I was a child. They were super-fast! They did not have to measure or anything. I was really fascinated by them. It was only afterwards that I fully understood that what they were doing and what mamma was doing was the same thing.”

The ‘partners’ of the woodblocks are the colours which are used to print the design onto the fabric—or indeed natural lokta paper, handmade from the bark of the shrub Daphne.

“In the past we used kerosene-based paint,” Meera reminisces. “Bad smell and bad for health!” she states categorically. “I used to have severe headaches at that time.”

“Actually I used to like that smell,” Samasty admits, “because of its association with mamma and childhood.”

The change to acid-free pigments that could be mixed with water was made about fifteen years ago when health-conscious Meera was looking for an eco-friendly option.

As with other jobs, the task of woodblock printing was traditionally allocated to a particular caste or ethnic group. In the context of the Newari caste system, it was the Ranjitkar (aka Ranjit or Chhipaa) caste that was assigned to the dying of cloth or other colour-related activities, including woodblock printing. Was that still the case, I wondered?

“A little,” Meera responds, “but many have moved on. Indian people have migrated to Nepal and they do anything and everything so the once restricted legacy of traditional work has become more open.”

Traditionally woodblock printing was done in dark colours. “Red was a dark red, crimson. Blue had to be navy blue. Then of course there was black,” Samasty explains.  “But we started to innovate, to create new colours, like light pink and so on. At first, we got very negative comments about this. But there is a need for change.”

Today woodblock printed fabrics and goods are increasingly rare. It is a painstaking process and, if the block slips, then that whole piece has to be discarded.  All too often screen-printed fabrics are now being passed off to the undiscerning customer as block-printed.

This made me curious about Maa:Yu’s own customer-base.

“It consists mainly of foreigners, both ex-pats living in Nepal and those overseas,” Samasty explains. “Our products are a little bit costly because, as a handicraft, there are so many time-consuming and intricate steps involved.  As a result, the cost automatically becomes high. On average, one of our block-printed bed-sheets costs 2500nrp.  In the market you can get a bed-sheet of the same size for as cheap as 500nrp. Sadly, Nepalese do not look for quality. They look for a low cost. This means that it is difficult for us to expand.”

Do Nepalis not appreciate the art, the quality, I wondered?

Meera believes that the cost versus quality equation is starting to shift in Nepal. “Some Nepalis like natural products, handmade items, handicrafts,” she maintains.

To create a Nepali client-base involves not only a swing from cheap ‘Made in China’ products to those which are high in terms of both quality and price: it also involves overcoming a serious block in the Nepali psyche which equates imperfections or flaws with ‘damage’.

The normally busy sewing machine stands idle at break time.

“When you visited Maa:Yu for the first time and ordered some bed-linen, we told you that it was hand-printed and there would be flaws,” Samasty recalls, rather to my amazement.  “To this day I remember your response: ‘That’s the beauty of handiwork.’ But many Nepalese don’t understand that. They will reject it as ‘damaged’.

“I think we can gradually overcome this,” she continues. “In fact, I am very positive, as people here in Nepal are gradually coming to appreciate the imperfections of handmade products.”

I wondered if Samasty and Siddhartha had any regrets about giving up their previous jobs in order to first establish and then expand Maa:Yu.

“Not at all,” Samasty replies. “When we used to work for others technically it was a nine-to-five job but often phone calls would come at all hours and there was no satisfaction. Right now, we do not have so many customers but we are satisfied. We have time for family and friends. We have flexibility and freedom. I am grateful for the support and encouragement of Siddhartha, without which I don’t think I could possibly have quit my ‘normal’ job.” She goes on to add, “I am proud of what we are doing. So many people who see the importance of handicrafts, even Nepalis, say that we have to continue, that we must not stop. And this keeps our hopes alive.”

I wondered how Samasty saw the future of Maa:Yu and if she had any ambitions for the enterprise.

“What I see is that we can have so many women working with—not for—us. They also have their vision which we can help them to achieve. That will mean that they are not totally dependent on their spouse, or their family, for income. They can earn on their own. And what I dream of is to take Maa:Yu to the level so that all Nepalese will know of us. I do not dream of international fame, simply that everyone in Nepal will be aware of us and equate the name of Maa:Yu Creative Creation with woodblock printing.”

As for who was going to continue with the creative lineage established by Meera, Samasty explains with a smile, “I am lucky that I met Siddhartha. He is equally creative. Often the three of us combine our ideas and something emerges. So maybe it will be us… and next the baby!” she adds, bouncing Smitasya Meera on her knee.

Samasty’s final words were, interestingly, not about Maa:Yu but the role of women in Nepal. “We have to bring women to the forefront. I feel so sad to hear a woman say that something is not suitable for her when they have restricted comfort zones.  There should not be any such boundaries. And men have a part to play in this. Increasing awareness of this issue by men would result in greater support for and encouragement of their wives and partners’ wishes to be more independent.  I hope that more husbands can take a pro-active role in this, just like Siddhartha.”

I made my farewells and left the house in Tahachal very much aware that we had been discussing issues that are crucial to the future of Nepal: the need for traditional handicrafts to be preserved and made accessible to new generations; for Nepalis themselves to more fully appreciate their value and beauty; and, perhaps most important of all, for a basic change not only in the role of women in Nepali society but in women’s own perceptions of themselves and their potential.

Paint tank in which the colour is mixed ready for printing.

Visit Maa:Yu Creative Creation’s website to learn more about their products.

A dying art of NepalHand block Printed bed leninMaa: Yu Creative CreationMaa:Yu Creative CreationMaa:Yu Means MothersNepali HandicraftWood block printing is dying art
0 comment
0
FacebookTwitterPinterestEmail
Louisa Kamal

Louisa Kamal, a native of the UK and an MA in English literature, has spent over half of her life in Asia. She currently resides in Nepal with her partner and rescue dog, Maya, spending her time writing, taking photographs and trekking.

previous post
Bada Kaji Amar Singh Thapa
next post
National Emblems of Nepal

You may also like

Sama Chakheva

Guru Nanak Jayanti

Father Moran and Nepal’s Jesuits

Ekadasi Tithi

Chhat Parba

Rock n’ Roll Yetis

The Five Days of Yamapanchak

Tihar/Deepawali

Gaiety of Spirit: The Sherpa People of the...

Fulpati

Leave a Comment Cancel Reply

Save my name, email, and website in this browser for the next time I comment.

Related Posts

  • Sama Chakheva

  • Guru Nanak Jayanti

  • Father Moran and Nepal’s Jesuits

  • Ekadasi Tithi

  • Chhat Parba

  • Rock n’ Roll Yetis




askmeaboutnepal

Sama Chakeva clay sculptures by Mira Devi Dutta, B Sama Chakeva clay sculptures by Mira Devi Dutta, Bijay Kumar Dutta, and Priyanka Karna at Kathmandu Triennale (photo1-4). Taragaon Museum, Hyatt, Kathmandu.

A girl carrying a basket full of clay idols for the Sama Chakeva by Sulav Shrestha @sulav.photo 

Tharu girls of Terahaut village in Saptari immersing clay idols on the last day of the Sama Chakheva Festival. By  @sankuchy

Sama Chakeva, a revered festival deeply embedded in the folk traditions of Mithila, unfolds its enchanting rituals in Kartik (Nov/Dec) on the eve of the Chhat Festival. The festivities commence in harmony with the migratory journey of birds, descending from the Himalayas to the southern plains of Nepal. Rooted in the rich tapestry of Puranic lore, this celebration, adorned with folk theater and melodious songs, venerates the profound bond between brothers and sisters.

As the sun dips below the horizon, young, unmarried girls gather near the ghats of Chhath, bearing baskets adorned with idols of Sama and Chakeva, alongside oil lamps, kohl, and everyday clay-made essentials. In the ambient glow of the night, they immerse themselves in the timeless melodies of traditional songs, engaging in rituals that transcend generations. 

On this sacred occasion, the river becomes a sanctifying space as young girls take a symbolic dip, purifying their spirits. The idols of Sama and Chakeva, witnesses to the festival's entirety, are tenderly immersed in the flowing waters, marking the conclusion of this deeply cherished celebration.
-
-
-
-
#askmeaboutnepal #samachakehwa #tharu #mithila #hindufestival #claysculpt #claydolls #folklore #folktales #instragrammable #siblinglove #nepalnow #photooftheday #celebration #tharuculture #mithilaculture #naturallynepal
Sikhs of Nepalgunj take on streets performing vari Sikhs of Nepalgunj take on streets performing various dances and activities, an expression of their cultural heritage on the occasion of the Guru Nanak Jayanti. Nepalgunj

Photos by RGB NIHAL RGB Camerography 

In addition to the dance, other cultural activities such as kirtan (devotional singing), recitation of hymns from the Guru Granth Sahib (the holy scripture of Sikhism), and langar (community meal) are also integral parts of the Guru Nanak Jayanti celebration in Nepalgunj. These activities not only strengthen the bonds within the Sikh community but also promote unity and understanding among people of different faiths in the region.

The celebration of Guru Nanak Jayanti in Nepalgunj is a testament to the diversity and richness of Sikh culture, and the dance performances play a vital role in preserving and showcasing this cultural heritage. Through these vibrant and expressive dances, the Sikhs in Nepalgunj convey not only their devotion to Guru Nanak Dev Ji but also their commitment to fostering a sense of community, joy, and cultural pride.

Read more on: https://askmeaboutnepal.com/guru-nanak-jayanti/
-
-
-
-
#askmeaboutnepal #gurunanak #SikhCommunity #sikhdance #nepalnow #learnabundantly #learnaboutnepal #aboutnepal #nepalnow #nepalifeed #happeningtoday #naturallynepal #sikhhistory
Sikhs of Nepalgunj dressed in vibrant and traditio Sikhs of Nepalgunj dressed in vibrant and traditional attire, come together to perform dances as a form of devotion and expression of their cultural heritage on the occasion of the Guru Nanak Jayanti.

Photos by RGB NIHAL RGB Camerography 

Guru Nanak Jayanti, also known as Gurpurab, is a sacred and joyous occasion celebrated by Sikhs around the world to commemorate the birth anniversary of Guru Nanak Dev Ji, the founder of Sikhism. The celebration is marked by various religious and cultural events, including prayers, processions, and cultural performances. In Nepalgunj, a city in Nepal with a significant Sikh population, the celebration of Guru Nanak Jayanti is a vibrant and culturally rich affair.

The Sikh dance during Guru Nanak Jayanti is often characterized by energetic and rhythmic movements, reflecting the joy and reverence felt by the community. The dance is not just a physical expression but also a spiritual one, as it is performed with a deep sense of devotion and gratitude towards Guru Nanak Dev Ji. The beats of traditional Sikh music, including the sounds of the dhol (drum) and other traditional instruments, add to the festive atmosphere.

These dances often take place in gurdwaras (Sikh temples) and spill out into the streets during processions. The streets of Nepalgunj come alive with the colorful attire of the dancers, the sound of music, and the rhythmic movements that captivate onlookers. The dance is a way for the Sikh community to share their joy and celebrate the teachings of Guru Nanak Dev Ji with the larger community.
-
-
-
-
#askmeaboutnepal #gurunanak #SikhCommunity #sikhdance #nepalnow #learnabundantly #learnaboutnepal #aboutnepal #nepalnow #nepalifeed #happeningtoday #naturallynepal #sikhhistory
Shey Phoksundo Lake, at an elevation of 3,611 mete Shey Phoksundo Lake, at an elevation of 3,611 meters (11,849 feet), casts its spell in the remote reaches of the Dolpa district. Cradled by snow-capped peaks, it's a haven where tranquility dances on the ripples of crystal-clear waters. by @pratiigyaa 

The heart-shaped lake nestles within the Shey Phoksundo National Park. A pristine alpine lake renowned for its captivating beauty and tranquil aura located in the remote Dolpa region of Nepal is the deepest lake in the country, plunging to a depth of about 145 meters (475 feet). The lake's turquoise waters contrast with the rugged terrain, creating a visual symphony that beckons adventurers seeking an off-the-beaten-path experience.

The Dolpa region is home to the Dolpo people, who have preserved their unique culture and traditions for centuries. Trekkers have the opportunity to engage with these communities, visit ancient monasteries like Shey Gompa, and witness the nomadic lifestyle of the locals. Embarking on a trek to Shey Phoksundo Lake is not just a physical journey but a spiritual and cultural odyssey, where every step tells a story etched in the folds of the majestic Himalayas. 
-
-
-
-
#askmeaboutnepal #SheyPhoksundoTrek #SheyPhoksundolake #SheyPhoksundo #phoksundo #AdventureAwaits #NepalExploration #dolpo #trekkininnepal #lakesofnepal #landscapephotography #phonephotography #ilovenature
Stone Statue of Buddha at Kumbheshwar Dhungedhara Stone Statue of Buddha at Kumbheshwar Dhungedhara (stone spout) in Lalitpur.

In Lumbini's sacred grove, after giving birth to Prince Siddhartha Gautam, Queen Maya Devi passed away. Following Siddhartha Gautam's attainment of enlightenment and his emergence as Lord Buddha, he intended to teach the path of righteousness for the welfare and happiness of the multitude. However, the opportunity to impart the teachings of dharma to Queen Maya Devi did not arise.

In this context, Buddha, on one occasion, went to the Tushita heaven and, by manifesting himself, bestowed the teachings of dharma upon Queen Maya Devi in the city of Sankasya. This event is depicted in this sculpture, where Buddha's statue is shown with a raised umbrella, symbolizing the presentation of those teachings.

This sculpture belongs to the early medieval period and is a unique representation not found elsewhere in Nepal. Therefore, it stands as an invaluable cultural heritage of Nepal, emphasizing the importance of its recognition and preservation.

Text and Photo by Dr. Jagaman Gurung,
-
-
-
-
#askmeaboutnepal #stonestaue #buddhaquotes  #buddha  #stonework #oldstatues  #stoneage #lichhavi  #buddhisminnepal #buddhismquotes #buddhateachings  #stoneart #stonearchitecture #stoneartlover #sculpture #historyofnepal  #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram #learnaboutnepal  #photoscapeofthemonth #canonshooter
It is the auspicious occasion of Kartik Shukla Pak It is the auspicious occasion of Kartik Shukla Paksha Hari Bodhini Ekadashi, today, also known as Thulo Ekadashi. May the blessings of Lord Budhanilkantha Narayan make your days prosperous!

Photo by Pritam Thapa, Priti Thapa

Hari Bodhini Ekadashi is considered the most significant and prominent among the twenty-four Ekadashis observed throughout the year. It is referred to as Thulo Ekadashi due to its importance. In Hinduism, Ekadashi is observed as a day for worshiping Lord Vishnu. According to the legends, Lord Vishnu is said to have awakened from his cosmic slumber in the Ksheer Sagar (ocean of milk) on the day of Ashadha Shukla Ekadashi. Hence, this day is also known as Hari Bodhini Ekadashi.

It is believed that observing a fast and engaging in prayers on this day brings immense spiritual merit and blessings.
-
-
-
-
#askmeaboutnepal #thuliekadashi #haribodhiniekadashi #ekadashitithi #culture #hinduculture #hindutradition #hinduismnepal #budhanilkantha #narayan #vishnu #stoneart #stoneartlover #stonearchitecture #learnaboutnepal #hindugod #hindudeity
The protestants mobilized by Durga Prasai and Mahe The protestants mobilized by Durga Prasai and Mahesh Basnet parade to participate in the massive demonstration scheduled today 7 Mangshir 2080 (November 23 2023)

Video @iamsoosaanshrestha
The Asiatic wild dog (Cuon alpinus), also known as The Asiatic wild dog (Cuon alpinus), also known as the dhole or Indian wild dog are pursuit pack hunters that run down their prey, including domestic livestock, over long distances. 
Photo by Siddarth Machado via Flickr (CC BY-NC 2.0).

The dhole, the only surviving member of its genus, once roamed large swaths of Asia, from Afghanistan in the west to Laos in the east, and Russia in the north to India in the south. Today, it’s limited to fragmented habitats in Nepal, Bangladesh, Bhutan, Cambodia, China, India, Indonesia, Laos, Malaysia, Myanmar and Thailand. Its presence remains uncertain in Pakistan and the Korean Peninsula.

There are many unknowns about the animal, according to an assessment by the IUCN, the global wildlife conservation authority. The global population is estimated at no more than about 2,200 mature animals, and maybe as low as about 950, with a declining trend. In Nepal, there are an estimated 250-750 dholes, mature and otherwise.

Dholes unlike tigers and leopards, Nepal’s better-known predators, are pursuit pack hunters that run down their prey, including domestic livestock, over long distances.

Read the new post by Abhaya Raj Joshi:
https://askmeaboutnepal.com/on-nepals-day-to-honor-dogs-wild-canines-face-mounting-threats/
-
-
-
#askmeaboutnepal #dhole #asiaticwilddogs #indianwilddog #predator #wildanimallife #wildlifeofnepal #doglife #wilddogwednesday #picoftheday #photofotheday #tbt #asianphotography #nepalnow
Om Gam Ganapataye Namah: Sorah Hattey Ganesh, Lor Om Gam Ganapataye Namah:

Sorah Hattey Ganesh, Lord Ganesh with sixteen hands is housed in a one-storey Gambuj (dome-style) temple at Bhotahity, the main market area in the heart of ​​Kathmandu. This elephant-headed god’s temple was established by the Malla king Pratap Malla, carved as one of it’s finest during his regime. After the King built Bishnu Tirtha, which is now called Rani Pokhari (The Queen’s Pond), he divined the Bishnu Tirtha by Tantric powers to install four deities on the four corners of the pond. The western corner is Ganesh Pond.

This idol of Ganesh with sixteen hands is rare in Nepal depicts him in a Tantric form. He is seen with his wife Riddhi on his left hence he is also called Riddhi Ganesh. According to some religious text, Ganesh is Bhramachari or unmarried and according to others He is married to Riddhi (Prosperity) and Siddi (Spiritual Power), His two powers.

They are alternatively also known as Karnakeshari and Suvarna Keshari, and have been worshiped separately by Newars, Kathamandu natives. These names are almost lost from the vernacular, but still used in Harisiddhi dance, the first mask dance of the country to venerate the Goddess Durga. She is Tri-Shakti, the embodiment of the feminine force, the divine mother, the energy that gives us all life.  It is said that Pratap Malla lost his life while witnessing the Harisiddhi dance in 1731 B.S.
-
-
-
-
#askmeaboutnepal #ganesh #ganapatayenamah #ganeshji  #ganeshutsav  #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram #learnaboutnepal #hinduismfacts #hinduismforlife
"Wasya Dya", The God of Tooth Pain at Bangemuda, K "Wasya Dya", The God of Tooth Pain at Bangemuda, Kathmandu, Nepal.

Photo1 by Gerd Eichmann

In Bangemuda, Kathmandu stands an unusual wooden deity known as the "Teeth God". It is a local belief that affixing a coin to this divine idol can bring relief from toothaches. This practice has given the area its name, Kilagal. Over time, the wooden idol has become obscured by a substantial layer of coins, making it challenging to discern its original surface. 

Despite the pervasive influence of technology in our lives today, the age-old tradition of nailing coins to seek solace from toothaches persists, drawing hundreds of devotees who ardently worship the Teeth God as a testament to the rich amalgamation of Nepali art and culture.
-
-
-
-
#askmeaboutnepal #kilagal #toothache #dental #learnaboutnepal #reportagephotography #photostory #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram  #AsianPhotographyMagazine #AsianPhotography #photoscapeofthemonth #lightroom #canon90d #canonphotography #thingstoseeinnepal #cultureshock
"Chhat Puja" is a significant Hindu festival that "Chhat Puja" is a significant Hindu festival that used to be celebrated in Southern Nepal but now almost all over the country except the high Himalayas.

Chhath Puja is dedicated to the worship of the Sun God and Chhati Mai. The festival usually falls six days after Tihar, during the month of Kartika (Oct/Nov), but this year in Mangshir (Nov/Dec), and is celebrated with great enthusiasm and devotion.

During Chhath Puja, devotees, especially women, observe a rigorous fast and perform various rituals near a water body, such as a river or a pond. The rituals include taking a holy dip, offering prayers to the rising and setting sun, and preparing special offerings like Thekua and Rasiao (a type of sweet). 

Photos from Social Media.

Read more at https://askmeaboutnepal.com/chhath/
-
-
-
-
#askmeaboutnepal #chhatparba #chatparba #chattimai #chhatimaiya #mithila #terai #festivalofterai #chhat #southernnepal #festivalofnepal #traditionofnepal #sungod #universe #sun
The Last Natural Haven: Taudaha hosts diverse lotu The Last Natural Haven: Taudaha hosts diverse lotus flowers and water chestnut varieties, nurturing a complex ecosystem teeming with amphibians, reptiles, birds, and fish.

Taudaha, once an emerald oasis nestled amid lush fields in the southwest corner of the Kathmandu Valley, holds immense religious, cultural, and ecological importance. Spanning 463 hectares, it was the largest pond in the Bagmati watershed, home to diverse lotus flowers, water chestnuts, amphibians, reptiles, birds, and fish, including migratory species.

Over the years (examining data from 2014-2020), Taudaha has welcomed an average of 307 to 423 migratory birds annually. While the overall number has remained relatively stable, a worrying trend has emerged in the decreasing variety of species. Species like the Common Teal, the Great Cormorant, and the Mallard have seen a decline in their numbers over time.
-
-
-
-
#savethewetlands #anyhowindrabachau 
#askmeaboutnepal #Taudaha #winterbird #studybirds #bridsstudy #cormorant #migratorybirds #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram #learnaboutnepal  #AsianPhotographyMagazine #AsianPhotography #photoscapeofthemonth #lightroom #canon90d #canonphotography #thingstoseeinnepal
White Water Rafting in Bhote Koshi River. Known a White Water Rafting in Bhote Koshi River.

Known as one of the best white-water rafting destinations in the world, the Bhote Koshi River originates from the Tibetan plateau, cascading down through narrow gorges and rocky terrains, providing an ideal playground for rafting enthusiasts.

Rafting in the Bhote Koshi River offers an exhilarating and adrenaline-pumping adventure amidst the stunning landscapes of Nepal and is not for the faint-hearted. The river offers challenging rapids ranging from Grade III to V, making it a thrilling experience for both beginners and seasoned rafters taking you through powerful waves, steep drops, and intense rapids, offering an adrenaline rush at every turn. The river's fast-paced flow demands teamwork, precise paddling, and quick decision-making, creating an unforgettable and exciting rafting experience. 

There are numerous rafting operators in the region that offer guided trips along the Bhote Koshi River, ensuring safety measures and expert guidance for an enjoyable experience. 
-
-
-
-
#askmeaboutnepal #rafting #whitewaterrafting #raftinginnepal #bhotekoshi #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram #learnaboutnepal  #AsianPhotographyMagazine #AsianPhotography #photoscapeofthemonth #lightroom #canon90d #canonphotography #thingstoseeinnepal
Every 🐕 its day and today is definitely that d Every 🐕  its day and today is definitely that day for all canines of Nepal. #kukurtihar

#askmeaboutnepal #tihar #tiharspecial❤️
देश परदेश मा बस्नुहुने शम्पुर्ण जनमा तिहारकाे पावन अवसरमा मङ्गलमय शुभकामना !! जय नेपाल 🇳🇵
Two sisters selling Amriso Brooms, a must-have ite Two sisters selling Amriso Brooms, a must-have item at any Nepali house. Khandbari Haatbazaar, Sankhuwasabha

In addition to jewelry and utensils, people also purchase brooms on Dhanteras, a day believed to bring luck. Dhanteras falls on the first day of Tihar, the festival of lights that occurs within a fortnight of Dashain, however it falls one day prior to it this year.

Acquiring a broom is thought to retain Goddess Lakshmi (the main goddess of Tihar)  in one's home, ensuring prosperity and happiness while eliminating debts. Brooms are essential for maintaining cleanliness in households, and their use is believed to attract the blessings of Goddess Lakshmi. Thus, buying brooms on Dhanteras is considered auspicious, enhancing the significance of this important Hindu festival that marks the beginning of Diwali celebrations.
-
-
-
-
#askmeaboutnepal #Dhanteras #tihar #deepawali #diwali #FestivalOfLights #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnonfacebook #learnaboutnepal
A Pair of Griffins Guard the two of the four Templ A Pair of Griffins Guard the two of the four Temple doors of Changu Narayan, Bhaktapur

The first two photos have Griffins, (legendary creature) with the body of Garuda, a mythical bird that is a stride of Lord Vishnu, and the last two with the body of a lion and the head of wings of an eagle.

Changu Narayan Temple is a pagoda-style Hindu temple dedicated to Vishnu in his incarnation as Narayan. It was originally built around the 4C, but the present temple was rebuilt in 1702 after it was destroyed by fire. It is situated on a ridge at 1541m overlooking the Kathmandu Valley, about 22 km to the east of Kathmandu and 6 km north of Bhaktapur. Though the temple is quite beautiful, especially the doors and front facade, Changu Narayan is not known for its temple but for the stone statues, bas-relief carvings, and inscriptions that are scattered around the temple courtyard, created between the 5th and 13th centuries.
-
-
-
-
-
-
-
-
-
#askmeaboutnepal #Changunarayan #stoneinscription #stonewriting #stoneage #lichhavi #hindudeity #stoneart #stonearchitecture #stoneartlover #sculpture #historyofnepal #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram #learnaboutnepal #photoscapeofthemonth #nikon #nikonphotography
Paani Ghatta, the only water mill in Gati Village Paani Ghatta, the only water mill in Gati Village nestles inside this bamboo hut with a tin-sheet roof. It is run by a father-son duo belonging to the Newar community. Sindhupalchok.

In Gati like many other villages of Nepal, the Paani Ghatta serves as a vital water mill particularly to grind corn. This ingenious mechanism operates by channeling water from a river nearby through a robust pipe, which in turn impels the blades of a rotating wheel (turbine). Positioned directly above the turbine is a grinding stone that crushes the corn kernels steadily funneled from a sizable drum suspended from the ceiling of a windmill hut.

A wooden bird, affixed to the lower opening of the drum, tactfully guides the grains into the grinder, ensuring a steady and efficient milling process. This age-old technology attests to the village's resourcefulness and uses traditional methods to harness the power of water to meet the essential needs of the community, especially during the monsoon harvest.
-
-
-
-
#askmeaboutnepal #corn #cornfield #newar #watermill #panighatta #paanighatta #villagelife #agriculturelife #ilovevillage #scienceisfun #reportagephotography #photooftheday #picoftheday #naturallynepal #visitnepal #reportagespotlight #worldphotopress #learnoninstagram #learnaboutnepal #AsianPhotographyMagazine #AsianPhotography #photoscapeofthemonth #lightroom #canon90d #canonphotography #thingstoseeinnepal
Load More Follow on Instagram

@2023 - All Rights Reserved. Ask Me About Nepal.

Ask Me About Nepal
  • Home
  • Content
  • Stories
  • Guides
  • Gallery
  • About Us
  • Contact
© 2021 All Rights Reserved | Shared by Tainguyenwordpress