Journal

JFAC Vol.
2
September 2017
Journal of
Fine Art Campus
Fine Art Campus Unit

Tribhuvan University Teachers’ Association
Tribhuvan University
JFAC
Journal of Fine Art Campus
Vol. 2 September 2017
A Publication of
Kirtipur, Kathmandu
Editor - in - Chief
Komal Prasad Phuyal
Lecturer in English
Board of Editors
Dr.Yam Prasad Sharma
Lecturer in English
Rena Thapa
Lecturer in English
Deepa Neupane
Teaching Assisant in Nepali
Edition October 2017
Layout Rasmi Khagi

9849684801 | rushme005@gmail.com
Price NRs 150.00
Printed in Nepal
Editorial
This second volume of JFAC (Journal of Fine Art Campus)

has been published after an interval of two years: the great earthquake
almost paralyzed the research activities in the Campus as the building
was completely demolished. However, the earthquake could not
shatter our spirit to come up with new studies and findings! Finally,
we have found our way into this publication.
In comparison to the first volume of JFAC, this volume is
furnished with papers which show positive changes in the standard of
research. The coverage of almost all the department and the concern
in each field of study presented in the papers excite us to explore new
methods to cope up with the problems of life and art at the same
time. Significantly, we have been able to include the research works
of scholar who is not directly involved in the pedagogic exercise in
the campus in this volume.
Most importantly, the views expressed in the articles are
those of the authors and they represent, in no ways, official opinion
of the Campus Unit of Tribhuvan University Teachers’ Association
and the editors of JAFC.
Komal Prasad Phuyal
Editor -in-Chief
Contents
Art: An Act without Excitement
- Komal Prasad Phuyal, PhD 1
Music Educational Institutions in Nepal: 1951 onwards
- Ramesh Pokharel 10
Existential Angst in B.P. Koirala’s Narendra Dai
- Rena Thapa 20
Prajnaparamita Manuscript Illuminations: Visual Narration
of Human Values
- Dr. Yam Prasad Sharma 29
Affect of Shame and Humanity: Reading of Sa’adat
Hasan Manto’s stories ‘Open It!’ and ‘Cold Meat’
- Gokarna Dulal 42
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List of Contributors 71
Journal of Fine Art Campus Vol. 2 (September 2017)
Art: An Act without Excitement*

-Komal Prasad Phuyal, PhD
Abstract
Time exists independently in the state of frozen form, preserving

its horrors in the space. An empty space with frozen form of empty
time marks the absence of consciousness. I call this state the ultimate
state of excitement where time and space both merge together into a
single entity, erasing all the sense of dynamic aspects of life. Since any
form of sense (as a process of meaning generation) lies beyond any
possibility in this state, only excitement rules there! For me, excitement
as a technical vocabulary refers to the complete annihilation of the
sense of both time and space. In such state of the cosmic existence,
consciousness happens as act without excitement.
The absolute in creative process functions in the form of

cosmic sleep that prevents in the fundamental contours the essence
of time and space into a single being. We very validly understand
excitement as the most primitive drive as such. The horror of this
* This paper was initially presented on the inaugural session of "Art : Creation and
Exhibition for Development", jointly organized by National Planning Commission
and Fine Art Campus in Kathmandu on July 9, 2017. I acknowledge the invaluable
feedback of scholars and artists in the discussion. This revision has attempted its
best to seriously respond to the key concerns raised during the discussion.
1
singular existence marks the rule of sheer excitement which forms

itself as the sole force in the universe that ever denies domesticating
the time and transforming into place space. Everything sleeps in
eternity in this state of being. Amid the prevalence of universal
excitement lies the utter union of both time and space, resulting
in complete ignorance and thus absolute bliss. As consciousness
makes its manifestation through a material form, time splits
from space. At this moment, it becomes necessary to present a
functional understanding regarding consciousness as such. It is
that which knows itself, makes sense of itself in relation to the
world and the world to itself, and thus projects itself in quest of
understanding the meaning emanating from and surrounding
it. When the power of realizing itself is generated in materials,
consciousness happens in domain of the absolute rule of time
and space. In this sense, time is born as consciousness generates
movement in physical material. The birth of consciousness marks
the divorce of time from space.
The break in the nexus of time-space is produced as a

great moment in the development of consciousness in specific
in that this rupture commences transformation of both space
and time independently. The cosmic absolute form now turns
into a comprehensive entity that gives a form and experience to
consciousness. The patterns that life tends to grow in specific ways
begin to tear apart the absolute authority of the cosmic sleep of
space, whereby leading into formation of place. The transformation
of space into place shows a remarkable shift in the formation of
consciousness, for the later penetrates through the rigidity of the
2
former and domesticates the domain under excitement in order

to bring space under the control of the consciousness. This is the
first endeavor of the consciousness towards formation of meaning
through geographical positioning. The concept of ‘place’ is born after
meaning is attached to space to break its absolute authority in the
frozen state.
Consciousness brings time into being and intervenes into its

development in a chronological order. Essentially, time gets divided
into three basic phases: the gone, the now, and the coming. The past
functions as the depot of the experiences consciousness encounters
in the world. The world as it appears to the consciousness begins to
be recorded and stored in the past. Out of this record of the past is
born the idea of tradition that chronologically weaves all the three
phases together. For instance, Heidegger argues:
‘Time’ has long functioned as an ontological –or rather an

ontical –criterion for naively discriminating various realms
of entities. A distinction is made between ‘temporal’ entities
(natural processes and historical happenings) and ‘non-
temporal’ entities (spatial and numerical relationships).
We are accustomed to contrasting the ‘timeless’ meaning
of propositions with the ‘temporal’ course of propositional
assertions. (39)
The cosmic sense of time paves way to local taming whereby

resulting in the local chronology of a particular society, race, and
people. As the point of view is always set through/in the present,
the gone and the coming are determined accordingly. If one stops
3
in present, assuming that now is the final moment of life, the revival
of the excitement takes place, for such hindrance in the movement
of time genuinely goes against the nature of consciousness and the
birth of division in the nexus of space and time in the frozen state.
The gone and the coming can also be termed as the real and
the unreal respectively. The present or the now reveals itself as the site
from which to observe the real and the unreal. The real all the time is
materialized in the now and the unreal is thus always systematically
derived and projected from the real arriving at the now. The movement
of the consciousness gets manifest in concrete gesture when and
only when the dynamism of the real is acknowledged for and the
possibility of such dynamism is further assumed into the unreal space.
Thus, both the real and the unreal collectively oppose the power of
the present that establishes and maintains affinity with the absolute
form during the perfect union of time and space. In fact, the present
pays no respect to the linear movement of time and the assumed
possibility of furthering such dynamism inherent in the nature of time
as realized through the concept of ‘future.’ The great notion of absolute
sleep lies deeply embedded in the very concept of the now. As the
quest of consciousness is ever directed towards creation of a unique
set of patterns, order and markers of identification, the real and the
unreal presume and invent the concept of ‘reasoning,’ ‘discipline,’ and
‘rule.’ This derivation helps comprehend the nature of the world and
formation of ideas about the world.
The temporal dynamics of consciousness first of all gets

realized in the concept of historicality, for past recognizes a pattern
4
of experiences that is revealed to consciousness before ‘now.’ At

this moment, a question arises here: how does consciousness
make sense of time? Since consciousness is intricately related
to the conceptualization of time, it becomes necessary for us to
accept consciousness as both outside and inside element of time.
Viewed thus, consciousness is both source and product of time;
and it evolves as both outside cause and inside effect of time. The
compartmentalization of time in relation to consciousness helps
formulate a frame of analysis of both time and consciousness.
The real forms a body of knowledge by analyzing and

scrutinizing the known path that the consciousness has adopted in
its travel from the origin to now. The ever-shifting now unfolds in
a linear way, making it possible for consciousness to see the things
that have occurred earlier than this moment. Frederik Nietzsche
argues that there lies a particular structure in the evolution of things
and the cyclic nature of history puts consciousness in a position to
see things eternally recurring. On the other hand, Michel Foucault
contends that history demands that it be approached genealogically,
for multiple origins exist for a single event to take place in a particular
time and place. Foucault writes, “This history assumed that human
societies all follow the same evolutionary curve, going from the
simplest forms to the most complex. The evolution did not vary from
one society to another except in the speed of transformations” (420).
The cyclic vision of history is rejected in genealogical reading of
history, time, and development of consciousness. Still, Nietzschean
understanding and division of sense of time becomes instrumental in
shaping our vision of both consciousness and time. He proposes that
5
there are three modes of approaching time: historical, ahistorical,

and supra-historical. Historical mode of approaching time secludes
people from the present and the future, imprisoning them in the
cells of history while only the present pleasures and excitement of
the moment turn into the guiding principles of time in ahistorical
mode of comprehension of time. He presents that Germany of his
time required supr-historical perspective that pierces through the
past and the present in order to understand the future and serve life.
To Nietzsche, the sense of time has to serve the cause of life.
Under the nexus of the real and the unreal, time connects the
concrete and the projected/expected reality through now. Emphasis
on only one of the points disturbs the equilibrium in understanding of
time in that the absolute sleep lying in now can neither be completely
ignored nor wholeheartedly accepted as the attribute of time. The
ethos of a particular time is best reflected through the analysis of
consciousness as both the source and target in the unfolding process
of time as such. Thus, the consciousness necessarily demands that
the modes of logical reasoning be incorporated in developing and
devising the perception of the spirit of time.
The best work of art reflects the ethos of the contemporaneity,

establishing firm grasp in a particular form of tradition. The creative
process visualizes unique pattern in configuration of consciousness,
whereby resulting in formation of both time and its spirit. The
primitive excitement that prevails through time and space in
absolutely frozen state in form of inactivity emerges in work of art
when an artist envisions only the present moment as the foundation
6
for her creative endeavor. Genuine work draws inspiration as

naturally as life inhibits pulse in human body.
A serious mind keeps herself busy in the workshop, refining

the vision of the spirit of her time and the consciousness that promotes
her time and gets promoted by the time. The historical foundation of
her vision that seeks expression through words (in verbal arts), gesture
and body movement (in dance), colors (in painting), and the like
requires the consciousness to explore a unique pattern in meaning and
the form of expression. Art demands rigorous exercise of reasoning in
placement of issue and choice of the mode of expression. A thoughtful
soul, artist works through a host of possibilities to sort out the best and
not-yet-expressed mode to present the comprehension of her time and
her own unique position that helps her stand out in the mass.
As soon as the vision appears in a genius, the process of

refinement begins. Through reworking and reassessment, the picture
grows into a polished structure that was well-thought, planned, and
designed. A stagnant perception of time roots itself in now, asserting
its own arrogance of ahistoricality. This mode promotes denial of
existence of the real and the unreal temporal dimension, thereby
imposing an embargo upon the historical roots of consciousness and
the possible future course of the development in the growth of ethos
of the contemporaneity. The excitement alone promotes the present
only, devaluing the hidden possible manifestations that are assumed
in unreal temporal extension of time.
In absence of excitement, our mind seeks to explore a variety

of novel approaches to invent methods of reasoning. A mastermind
7
invents a view of time through extraordinary perception of the

contemporary ethos in the development of consciousness as both
cause and effect of time, for she can derive her understanding of the
past while she keeps herself at the present point and projects this
perception so that it can set a course of action in the future. For
instance, Salvador Dali’s The Persistence of Memory (1931) presents
the spirit of his time: the melting clocks represent the contemporary
consciousness of his time. The strange perceptions of the changes
present in the Western society mark the spirit of the age. The
pampered time in the Western history had actually spoiled itself after
the World War I. Some of the traits were manifest through the Great
Economic Depression, internal maladjustment in society, impending
World War II, and the like. Dali effectively presents the spirit of the
age in a very rational way in that he encodes the themes in color in
such a way that weaves the past, present and future together.
As a masterpiece in Nepali novel, Madan Mani Dixit’s

Mādhavi (2039 B.S.) draws on the social world through a mythical
narrative from the Mahabharat. The pre-Vedic social world that
appears in the text tells the story of Gālav and Mādhavi in love with
each other. In the meantime, they struggle to bring about a different
form of social organization by abolishing slavery as a social institution
so as to commence a new age of agriculture. First of all, both the
agent s of change understand ethos of age, discipline, structure of the
society is changing (Mādhavi 96).The story of the past parallels the
contemporary situation in the high time of the Panchayat rule in Nepal
in the 1980s. Secondly, what Dixit terms by “yugshandhi” (8) refers to
the point of confluence of two ages where the former crumbles away to
8
give way to the coming one that is also heavily backed up by the social
imagination produced by its participants. The fall of the age of slavery
marks the advent of the age of agriculture. The absence of freedom,
equality and democratic participation of people in the polity becomes
the core theme of the text, heralding a new course of action for Nepali
consciousness to appear in the 1990s.
Best works of art signal at both the bygone and the upcoming,
grasping the inner pattern in the consciousness of contemporary time.
The excitement that promotes the absolute form of nullity enhances
the presence of ignorance as the only rule. The perfect coupling of
time and space in the frozen form does not allow emergence of any
type of alternative possibilities in logical reasoning. The absence of
time sees no consciousness at all. The work of art that does not grasp
the ethos of contemporaneity dies at its birth, for art promotes the
consciousness which derives itself from time and in turn sets a new
course for upcoming time. Excitement in art goes against the essential
ethos of artistic creation: in fact, art is an act without excitement.
Works Cited
Dali, Salvatore. The Persistence of Memory. 1931.
Dixit, Madan Mani. Mādhavi. 4th ed. Pulchwok: Sajha, 2064 B. S.
Foucault, Michel. “Return to History.” Essential Works of Michel Foucault

1954-1984. Ed. James D. Faubion. Vol. 2. New York: The New
Press, 1998. 419-432.
Heidegger, Martin. Being and Time. Trans. John Macquarrie and Edward
Robinson. Oxford: Blackwell, 2001.
9
Music Educational Institutions in Nepal: 1951

Onwards
-Ramesh Pokharel
Abstract
Systematic music education is very important for the social development

of any country. Music education is a field of study associated with
the teaching and learning of music. It is specially related to cultural
and religious values and it has been used as a useful medium of
communication and education. A good system of music education helps
a country develop economically and culturally. It creates opportunities
for various jobs. In several countries of the world, music education
has been given a proper base in the national educational policy. It is
compulsorily prescribed in the curriculum of school and college. Nepal
developed this concept only after 1951 as part of programmed policy
of the nation.
Key words
Classical Music: Raaga based Music which is learned in a structured
Darbar: The Royal Court
Gurukul: An abode or a traditional retreat where a guru teaches his

students.
10
Pandit: Honorary title given to an expert.
Ustaad: Guru, Expert, honorary title given to a learned musician.

A title of the expert of Classical music addressed to both Hindu and
Muslim Musicians in Nepal.
Methods and Materials
The study is based on secondary sources of data that collected

from various sources like books, thesis, journals and articles. Analysis
of the information is made in qualitative approaches.
Introduction
After the first proclamation of Democracy in 1951, Nepalese

society felt great urge of modern music education. As there was no
university in Nepal at the time, many foreign educated musicians
took initiatives to establish private institutions to teach music. After
the fall of Rana rulers, King Mahendra and later on King Birendra
played important role to popularize classical music through Radio
and Durbar Concerts. Today many music companies and educational
institutions are growing and Nepali musicians are living with music
as their profession.
The very first formal music education started in Nepal with

the establishment of the Padma Kanya High School in Kathmandu
where music maestro Pt. Ganga Dutta Parajuli had been involved as
the first classical music teacher since 1947 (Tuladhar 1979, p.75-76).
The credit of today’s expanded form of music education in Nepal
goes to this school. In Padma Kanya School, Ganga Dutta Parajuli
had served for fourteen years since 1947 to 1961. He was a multi-
11
talented classical singer and classical dancer, too. He used to sing

Dhrupad, Khyal, Tappa, Thumri, Tarana and also composed these
genres in Nepali language. He had learned classical music from many
Indian musicians like Sitaram Mishra of Baidhnath Dham (music
teacher of Rana Chandra Shumsher’s Palace, Kathmandu), Ustad
Mitthu Khan of Patna, Rajjav Ali Khan of Dewas, Haidar Khan and
Ganesh Biswanath Marnerkar of Mumbai, and also learnt Kathak
dance from Bindadin Maharaj of Lucknow. Later Parajuli also taught
classical music in Madan Memorial Girls High School at Kathmandu
since 1960 to1968 and also taught in Nari Jyan Mandir School at
Kathmandu for three years (Panday& others 1977, p.28-29).
In 1955, the first professional Music School and College

Nepal Sangeet Mahavidyalaya was opened under the Nepal Music
Council in Kathmandu with the kind privileges of King Mahendra
on the request of a veteran classical musician Pt. Yajya Raj Sharma.
Sharma took a great initiative to promote classical music education
in Nepal with the opening of this College. He took the lessons of
classical music from many prominent musicians of India like Ustaad
Belayat Hussain Khan of Mumbai, Ustaad Phaiyaz Khan of Baroda,
Pt. Krishna Rao Shankar of Gwaliyar. This music college was affiliated
to Prayag Sangeet Samiti, Allahabad, India. The college was granted
twenty thousand Nepali Rupees per year by the government of Nepal
(Mukarung, 2014, p. 826). In the beginning, the college music classes
in the evening shift in the small building of Rajguru Pt. Bhogendra
Rajjyu at Dillibazar, Kathmandu. The college was active in teaching
music education only for years in Kathmandu valley but in 1975, it
closed due to financial crisis (Acharya, 1999, p. 140-41). It produced
12
around 32 music graduates (Panday&others 1977, p.47). Nepal was

fortunate enough to have a king like His Majesty King Mahendra, a
great lover of music and arts who established Royal Nepal Academy
and appointed many contemporary veteran musicians as lifetime
members of the academy in 1957. King Mahendra also announced
National Awards such as, Sangeet Shiromani, Badhya Shiromani,
Sangeet Praveen for the veteran classical musicians Pt. Yanjya Raj
Sharma, Ustaad Ganesh Lal Shrestha and Nararaj Dhakal respectively.
During the reign of King Mahendra, another reputed national award
Indra Rajya Laxmi Puraskar was accorded to classical musicians like
Ustaad Ganesh Lal Shrestha in 1959, Pt. Krishna Chandra Regmi
in 1964, Nara Raj Dhakal in 1967 (Panday &others 1977, p.160-61).
In the history of Nepal, King Mahendra is known as the most

liberal king for his keen interest in music and arts. He was the first king
who approved music education for common people. People started
music education either in government institutions or with private
tutors or Guru. During his rule in 1959, for the purpose of cultural
exchange program and music education and performance of drama
Rastriya Nachghar which is later renamed as Sanskritik Sansthan or
Cultural Corporation of Nepal in 1972 (sanskritiksansthan.org.np).
The Nepal Academy earlier known as Royal Nepal Academy

established in 1957 is a national institution aiming at promoting the
languages, literature, culture, philosophy and social sciences of Nepal.
Both Sanskritik Sansthan and Royal Nepal Academy have jointly
started to organize many formal and informal ways of cultural exchange
programmes throughout the nation and outside the country. These
13
two institutions also started to provide music trainings for common

people by introducing six-month and one-year music courses. At
present the Government of Nepal has built a separate Nepal Academy
of Music and Drama similar to Royal Nepal Academy in 2010 with
the aim to preserve, promote and develop the vast intangible cultural
heritage of Nepal that is enriched with multi-language culture (www.
namuda.org.np). Besides Tribhuvan University these institutions are
playing great roles in popularizing music education in Nepal. Many
private institutions have opened for music education. In 1957, Ratna
Rajya Laxmi Kala Kiran, a private institute of music was established
in Kathmandu by a veteran musician Krishnaman Dangol. Similarly
with the aim of developing and promoting the Nepalese Music
Kalakunj institute was established in 1963 by some acclaimed Nepali
musicians like Bachchu Kailash, Kiran Kharel, Narayan Gopal, Ratna
Shamsher Thapa, Ram Sharan Darnal, Pushpa Nepali, Tara Devi,
Narayan Prasad Sharma, Krishnaman Dangol, Bhupi Serchan, Suman
Kumar Nepali, Shreedhar Khanal, Shushil Shamsher Jabara etc.. King
Mahendra donated 20 thousand Rupees to the institute (Mukarung,
2014, p. 819).
In recent decades, many private music institutions affiliated

with Prayag Sangeet Samiti of Allahabad have grown up throughout
the Country which are successfully enriching the tradition of music
in Nepal by providing basic education to the students. To name some
of these institutions are Om Annapurna Sangeet Pariwar at Pokhara,
(1977), Academy of Performing at Bagbazar, Kathmandu (1989),
Sadhana Kala Kendra at Putallisadak, Kathmandu (1990), Omi Kala
Kendra at Putalisadak, Kathmandu (1991), Sargam Sangeet Vidyalaya
14
at Dharan in Sunsari (1991), Sangeet Sadhana Mahavidyalaya at

Itahari in Sunsari (1993), Kirateswar Sangeetashram at Pashupati
area Kathmandu (1983), Doremi Sangeet Pathshala at Jamal in
Kathmandu (1995), Gandharva Sangeet Prasikshan Kendra at
Asan in Kathmandu (1994), Bageswari Sangeetalaya at Butbal in
Rupandehi (1998), Manju Shree Sangeet Maha Vidyalaya at Kalimati
in Kathmandu (1990), Mridanga Bhajan Guthi at Tabahal in Lalitpur
(According to the Guthi members, it has been running for last 1500
years but was registered in 1995) (Mukarung, 2014 p.831), Swar
Sangam Sangeetalaya at Biratnagar in Morang (2001), Anurag
Sangeet Vidyalaya Kathmandu (2001), Sur Sangeet Vidyalaya at
Bagbazar in Kathmandu (2003), Gurukul Sangeet Pathshala at
Bagbazar in Kathmandu (2003), Badhya Siromani Gharana School
in Lalitpur, Shree Krishna Gurukul Sangeet Pathshala at Banasthali
in Kathmandu (2004), Shree Sangeet Pathshala at Kalikasthan in
Kathmandu (2009), Pt. Satya Narayan Chaudhary smriti Pratishthan
in Lalitpur (2006), Sangeet Pathshala, Lalitpur (2011), Atul Memorial
Music gurukul at Tinkune in Kathmandu, Shushila Art Academy
in Kathmandu, Naad sangeet Pathshala in Kathmandu (2007),
Kapan Sangeet Sarobar In Kathmandu (2005), Kapan Tabla School
in Kathmandu (2009), Aarambha Sangeet Pathshala at Bhotahiti,
Kathmandu, Sharada sangeetalaya, Sayapatri Sangeet Prashikshan
Kendra, Tribeni Sangeetalaya, Gurukul Sangeet Prashikshan Kendra
at Pokhara, Aaroha sangeet Pathshala, Jhapa etc. Nepal government
has included Music as an optional subject in the music curriculum
of Secondary School Level. Yet most of the schools have not
implemented the curriculum properly (Acharya, 1997, p.142).
15
Tribhuvan University was established in 1959 as the first

national institution of higher education in Nepal. It started Music
education in 1960. At present the university is running a Central
Department of Fine Arts that is also providing music education.
The university also has three constituent Colleges i.e. Padma Kanya
Multiple Campus, Lalitkala Campus and Ratna Rajya Laxmi Multiple
Campus and one affiliated Sirjana College of Fine Arts under the
Faculty of Humanities and Social Sciences that are providing formal
music education.
Kalanidhi Indira Sangeet Mahavidyalaya
At the time of the establishment the college was known as

Kalanidhi Sangeet Mahavidyalaya which was renamed as Kalanidhi
Indira Sangeet Mahavidhylaya in 1993 (Gopali, 2013, P.118).
Kalanidhi Indira Sangeet Mahavidya is the oldest non-governmental
and non-profit making institute in Nepal that is dedicated to the
development of Classical Music and to produce competent music
artists. In 1963, with the aim of producing music professionals
some music interested people from Kathmandu’s Jhochhen Tole
established Kalanidhi Sangeet Mahavidhyalaya. In the beginning, the
classes were held in Bal Sikshya Sadan at Jhochhen in Kathmandu
and later on in a small room of Lalitkala Campus at Bhotahiti. Later
on when some problems arouse for running classes in these places,
Russian Cultural Centre situated at Thahiti, Kathmandu was selected
for holding classes. The establishment of this college marks the
beginning of the institutional development of Music education in
16
Nepal. The College is acknowledged and accredited by Bhat Khande

Sangeet Vidyalaya of Lucknow (India) and later on by Prayag
Sanggeet Samiti of Allahabad (India).
Kathmandu University
With the objective to produce competent musicians

and ethnomusicologists for preserving the endangered musical
traditions of Nepal, Kathmandu University opened the Department
of Music in August 1996 at Bhaktapur near Kathmandu. At present
the Department is functioning “as a centre for the documentation
and teaching of Nepalese musical traditions” (Wegner, 2004,
p.236). The Department is situated beside a 19th century temple
called Shivalaya built by the great grandfather of the renowned
Dhaubhadel family.
Nepal Sangeet Vidyalaya
Nepal Sangeet Vidhyalaya is known as Nepal Music Centre.

It was established in the year 2006 by Music Nepal (a reputed
private music production company of Nepal) in its own building
at Pingalasthan in Kathmandu. With the aim of providing formal
music education from the primary level onwards it was established
with due permission from Ministry of Education, Government of
Nepal. This school took significant steps in preparing the music
curriculum proposed by the Ministry of Education.
Conclusion
It can safely be concluded that music educational institutions

in Nepal have been developed after the first proclamation of the
17
Democracy in 1951. Radio Nepal was established in the same year

and the formal way of teaching and publishing of music started.
Music as well as all kinds of formal education were banned for
common people during the Rana regime and no musical activities
were performed by the citizens at that time. Those who were closed
to the Rana family and the palace were supposed to learn classical
music from the Pundit/Ustad of the Palace. With the establishment
of Nepal Sangeet Mahavidyala in 1956 the journey of opening Music
educational institutions in Nepal was started.
References
Acharya, S. R. (1997). Sangeetamrit prathamahuti. Kathmandu:

Sangeetamrit prakashan Samiti.
Acharya, S. R. (1999). Sangeetamrit prathamahuti. Kathmandu:

Sangeetamrit Prakashan.
Gopali, D.B. (2013). Nepali sangeet ma kalanidhi ko bhumika. Kalanidhi

swarna mahotsav smarika 2070: Lalitpur, Kalanidhi Indira
sangeet Mahavidyalaya.
Mukarung, B. (2014). Nepali sangeet ko abhilekh. Kathmandu: Palpa

Books.
NMC. (2015). About NMC. Retrieved November 4, 2015, from nmc@

nepalmusiccenter.com
Pandey&others (1977). Sangeetanjali.Kathmandu: Shree Pandey,

Raktakali
Tuladhar, B. R. (1979). Sangeet sadhan part-I&II. Kathmandu:
18
Curriculum Development Committee, Tribhuvan

University.
Wegner, G.M. (2004) Documenting Nepalese Musical Traditions in

Anthony Seeger and Shubha Chaudhuri, eds. Archiving for
the Future: Global Perspectives on Audiovisual Archives in
the 21st Century. Calcutta: Seagull Books
19
Existential Angst in B.P. Koirala’s

Narendra Dai
-Rena Thapa
Bisheshwor Prasad Koirala has a special niche in the

convention of Nepali novel. His literary personality is reflected
predominantly on his novels. Novel values and ideologies are his
basic and chief motive. He intends to exhibit that existential angst is
inseparable part of human beings who strive throughout their life for
a single glimpse of unwarranted happiness. It is through the conscious
mind, activities and language Koirala fathoms the unconscious part
of his characters. They are battered by libido, who sometimes gain
and sometimes lose, sometimes humiliated and most of the time
victimized by conflict within them. He is successful in showing the
paradoxes and complexities of human life in his works. He propounds
that things that make human life so mysterious and marvelous are
all the paradoxes and conundrums that humans encounter. Yadav
Prasad Lamichhane states that Koirala emphasizes on the motto that
a person is psycho-physical and spiritual happiness is the ultimate
desire of human being (330). The story of Narendra Dai achieves
tragic resonance as all the chief characters meet their end with death,
Narendra out of consumption, Gauri on the massive earth quake
of 1990 BS and Muneria accepts virtual death. The story is set on
familial and social backdrop. It has stretched the cherishing world
20
of narrator’s childhood with poignant simplicity to the maturity of

boyhood as his innocent and biased intelligibility is replaced by total
understanding of intricacies of human life.
Narendra Dai is a triangular love story of chief characters

Nerendra, Gauri, and Muneria. Koirala has handled past and present
with fineness through which the themes of love, spite, betrayal,
hatred and guilt are weaved. Readers are pulled deep inside the
narrative through the description of landscape, sensory imageries
and flora of Koshi bank in eastern Terai settlement. The novel depicts
the varied stages of human emotions, human psyche and human
actions accordingly. Narendra, the protagonist represents the free
will of individual who rebels against the conventional obligations.
His underlined psyche is more guided by his sensual desire that he
finds Muneria, the maid servant many times attractive than his wife
Gauri. The omniscient narrator is one of the characters and the whole
story moves around the family circle chiefly on Narendra, Gauri ,
and Muneria. The two chief female characters, Gauri and Muneria
gain the height in love and sacrifice for Narendra. Narrator’s effort
to perceive both women characters, sometimes fail when they say
to him “you don’t understand”. The setting of the story centrally
locates the pastoral retreat on the bank of Koshi river of eastern
Terai. Description of narrators childhood romping and playing
furtively around the village is quite pictereseque. However the
external physical scenario of flood in Koshi is the image to conform
the deterioration and distraction in the life of these main characters.
The narrator creates binary oppositions from the very beginning of
the story. Muneria and Gauri stand in opposition of each other. The
21
play of dualism in different aspects is as prevalent in the story as “A

very basic mental operation consists in the creation of opposites. . .
classification in terms of such oppositions, in which the opposites are
related to each other because they express either the presence or the
absence of one and the same thing”(Bertens 62).
The chief female characters, Gauri and Muneria are pictured

in the hues of multiple layers of binary oppositions by the narrator.
The play of dichotomies appearing in the beginning of the story when
the narrator is a playful child finally is blurred. Narrator’s evaluation
of Narendra and Muneria, whom he dislikes changes till the end
of the novel. He never likes them while his total sympathy goes to
Gauri. Koirala has employed a flash back technique; “it seemed
Narendra, Gauri and Muneria faked a sketch of triangle on the heap
of sand on Koshi bank. Destiny puffed to move the sand and the
triangle vanished. The heap of sand still exist peeping the conflictless
voidness”(Koirala 64). The narrator himself as a character has been
confidant and patient listener of both female characters. It’s a love
story more of Gauri and Muneria who have sacrificed for a single
male figure, Narendra.
Narendra falls outside the warm circumferencs of family

and the only reason for it is his neglect and indifference to his wife.
He views that his masculinity should not be justified in terms of his
relation with Gauri, who does not exist at all for him. However he
strongly yearns to be with Muneria wherever possible. Gauri lacks
all the physical attraction of femininity that Narendra as a male
expects. She becomes a butt of other women’s mockery in the family
22
that “she lacks what Muneria owes”. The binary of presence and
absence of sensual appeal in Muneria and Gauri respectively, plays
an important role to pull Narendra towards Muneria. She proves to
be a complete embodiment of sensual counterpart for Narendra.
On the other hand narrator identifies Gauri as fair, beautiful, clean,
genteel and good woman whereas he dislikes Muneria as dark, dirty,
bad, and ugly seductress in the beginning.
Gauri’s tidy maintenance of her body, her room, and her

attirements does not coincide with her suppressed desires for nuptial
bliss. Her conclusion that she has been the victim of the “sin undone”
after Narendra decides to abandon home, makes narrator confused
on the paradoxes of life. Narendra’s deviation can be reattributed to
Gauri’s unblossomed person. Narendra could not find a complete
womanhood on Gauri to gratify his corporeal desire. Gauri’s saint
like attitude and immature body proved to be a asexual dummy
for Narendra. The letter Gauri writes to Narendra which he never
acquires, reflects her desires, her love and acceptance to be an
abandoned wife. The suicidal thought which she wisely discards
thinking as Narendra’s insult shows that she is not devoid of the
power of mind. Gauri combines both the body and the mind. Her
person is focused as her being as passionate to an ascetic lover. Her
devotion is never limited to extreme feelings and emotions but to a
level of epistemic concentration. She has equated her nuptial tie with
Narendra with shiva prapti(divine acquisition). She accomplishes
her life without his presence as virtually dead. She packs up lord
Krishna’s statue being dedicated in nurturing her husband. She does
not discard her shringar(makeover) even after Narendra’s death as
23
she claims that he resides inside her; she has assimilated him within
her. Such intensity is not achieved only by loving the person or
object but by concentrating on the object or person of desire. Gauri
enacts such intensity of insight as a lover. She is focused and single-
minded, devoted to Narendra. Her prolonged longing even during
the moments of crisis of losing him to Muneria seems to be a kind of
ascetic one. She performs multiple feminine roles as a mother, lover,
and provider towards the latter half of Narendra’s life.
Muneria’s love is more idealized as she claims that Narendra’s

obsession for her and his love is like a crown of victory. When she
elopes with him both of them are stigmatized as social transgressor.
She stands in opposition of Gauri but they never encounter each other,
nor do they find each other a rival. The mundane squabble between
them is too far. No one outweighs anyone. Both the women have no
qualms against each other. Gauri writes in her letter “she has her own
place in their house as she belongs to the family”(Koirala 58). Instead
of that, Muneria never thinks of Gauri. When asked by narrator she
says “why should I?” as her impulsions drive her to posses Narendra
completely as her own. Narendra’s love promotes her to a position
of queen from a low house-maid. The momentary interchanges of
playful romances grow to a strong bond between them. Narendra’s
chivalry is cherished and revered by Muneria. It was the biology that
initially pulled both of them to each other. These playful moments
are treasured as ecstatic bliss by her. As Muneria unfolds herself to
the narrator her description illuminates the “darker spot” where she
was put before. She frequently says, “You don’t understand, babu”
which has worked as a motif in the novel. This emphasizes that the
24
narrator is gradually feeling the pulse of her experience, insight,

perception, and judgment. She is never focused and sought out
figure by the society. Gauri stands in plateau of social sphere however
Muneria is a minimal, a forgotten and insignificant creature in
social spectrum. Though society demeans her act as debauchery she
realizes that Narendra had promoted her to grand feminine goddess
complementing her as primitive man and woman.
Narendra’s frail body and deteriorated health drives him to

seek Gauri’s love and nurture at her warm household which she has
protected for him. Narendra’s quest of happiness, self-determination
and individualism has been smothered. His helpless condition,
a man dying in the sanctuary of a person whom he had neglected
the most, Gauri’s mental derangement, and Muneria’s virtual death
in the novel reflect “the anguish, and alienation . . .suffering and
death, lonliness and dread, guilt, conflict, spiritual emptiness and
ontological insecurity, the void of absolute values or Universal
contexts, the sense of cosmic absurdity, the frailty of human reason,
the tragic impasse of the human condition”(Tarnas 389). Narendra’s
humiliation and Muneria’s compromise to marry an old jeweler
in Varanasi are the evidences of contingency. They have chosen
to encounter the reality of life that is the meaninglessness of the
struggle. Narendra has been driven to a terrestrial nightmare and a
seemingly irresolvable predicament.
Narendra’s willful rebellion against the social hierarchy seems

to be founded in the assertion of the flesh. He seems to be enslaved
to the passion of carnal desire. He is seeking the pleasure, “human
25
innately sought goal” to which all other values are subordinated.

Hence he fails to gain the highest pleasure whether of soul or body,
that is “static pleasure”, instead he could grab only short term pleasure
of stimulation. Narendra is striving to accumulate such pleasures and
thus needlessly becomes vulnerable to fortune. His latter condition
shows that man is no longer free to determine his life simply by
virtue of rational will. It’s not only because circumstances beyond
his control presented themselves, but also he was unconsciously
constrained by ignorance and emotional conditioning. He could not
identify that bodily pleasures become more secure if one adopts a
simple life style which satisfies natural and necessary desires with
the support of likeminded friends. Narendra never attempts to
identify these figures inside the comfort zone of family. He defies the
social values and family discipline. He spits his resentment against
his father, mother, and other members whenever they remind him
of his social transgression. His initial thoughts and actions have
become inescapable chains imprisoning him into a state of wretched
alienation. He is so bound by vanity and pride, so desirous of imposing
his will on others (Gauri and family members), that paradoxically he
becomes incapable of transforming himself by his own power.
Gauri’s condition becomes more pathetic. The Gauri’s

condition reveals the irony when she adopts an unromantic, curt and
dry life as a widow while her husband is alive whereas she refuses
to accept widowhood after he dies. She is crushed, strangled and
expelled in a state of extreme confusion and anxiety. She survives the
incoherent situation of profound traumatic intensity. Gauri who is
utterly abhorred in the beginning by the person whom she worships
26
finally acquires him but in a frail and viable dieable condition. There
seems no demarcation between her pain and pleasure, her life and
death, her matter and soul. Gauri is an ideal figure, blameless, and
pure who welcomes him to her secured household. His arrival as
a prodigal son rejuvenates Gauri’s home. Her concentration and
dedication somehow outweighs her previous ordeal of prolonged
solitary life. However Gauri is ignorant that she is meeting a fate as
Albert Camus said of, “irremedial exile. . . divorce between man and
his life. . . truly constitutes the feeling of absurdity”(Abrams 1).
Narendra’s tragedy can be reattributed to the dispositions

of Dionysus, as Friedrich Neitzsche has explained, a state where
individual forgets himself completely; the self- control, self-
knowledge, moderation, in short the due respect and observance of
the social, psychological and physical limits(Habib 510). Similarly,
Muneria’s act is like a blind movement out of impulsions toward the
individuation from the collective social hierarchy. Her happiness
and days of romance end after Narendra catches consumption.
After he returns home she falls to a state of existential isolation
and absurdity. Finally she marries an old jeweler and refuses to
recognize the narrator, who once had been her confidant. She faces
relentless impersonality of alien world, the mechanized mass society,
a soulless cosmos. Narrator’s questions on life, on significance of
struggle and hassle in life, credibility of happiness are met by his
own effort to forge the meaning and value in a context devoid
of significance where individuals are caught bewilderingly in
problematic environment. He grasps human conditions as an irony,
a self parody and a dark paradox. The image “the sand lifted by wind
27
subsides again across Koshi” (Koirala 64) suggests that nothing can
be predicted about human life except its flip side and that is “death”.
Hence human beings continue to struggle in the hope of attaining
something like the characters in Narendra Dai drifting to reconcile
with contingencies of their life and paradoxically that something is
slippery and delusive.
References
Bertens Hans, Literary Theory(The Basics). New York: Routledge, 2003.

Camus Albert, as quoted in M. H. Abrams. A glossary of Literary Terms.
6th ed. Banglore: Prismbooks, 1993.
Koirala Bisheshwor Prasad, Narendra Dai. Lalitpur: Sajha
Prakashan,2067 BS.
Neitzsche Friedrich, as quoted in M.A.R. Habib. History of Literary
Criticism and Theory. U.K. Blackwell Publishing, 2008.
Tarnas Richard, The Passion of Western Mind. London: Random
House, 1993.Lamichhane Yadav Prasad and Gita Lamichhane,
Nepali Story-Novel, Theory and Intterpretation. Kathmandu:
Bidhyrthi Pustak Bhandar, 2069 BS.

28
Prajnaparamita Manuscript Illuminations:

Visual Narration of Human Values
- Dr. Yam Prasad Sharma

Prajnaparamita manuscript illuminations narrate various

scenes from Buddha's life, images of goddess Prajnaparamita,
panchabuddhas and various bodhisattvas. The narrative scenes
from Buddha's life include Buddha's nativity, walking seven steps
after Buddha’s birth, standing on the pyramid of lotuses, Buddha’s
welcome by Indra and Brahma, meditation under the bodhi tree, Mara
(demon)'s temptation, disturbance and attack upon the meditating
Buddha, the miraculous activity of Muchalinda, naga (divine snake),
offering honey to meditating Buddha by monkey, Buddha visiting
his mother after his enlightenment and taming mad elephant. These
scenes tell the story of Buddha's life. The visual stories are allegorical.
The presented figures and ideas stand for other persons, ideas and
concepts. These visual narratives explore human values, teach moral
lessons and communicate social messages. Such themes are conveyed
using unique art form including flat colors, distinct contours and use
of light (not shade).
The earliest existing Nepali painting ever found is in

Prajnaparamita manuscript (1015 A.D), the Buddhist religious text.
Manuscripts are hand-written religious texts which were copied
29
and distributed to monasteries, religious people and devotees,

for the printing press and paper were not available at that time.
The manuscripts are illuminated with miniature paintings. Such
paintings are also found on the wooden covers of the manuscripts.
Early manuscripts were written on palm leaves that were brought
from India. The palm leaves were loosely tied together by using
strings, and generally protected by wooden boards as front and
back covers. Later paper was used in place of palm leaves after
the thirteenth century. However, the structure and shape of the
manuscripts resemble to palm leaf manuscripts.
Figures and paintings are generally at the centre of the page and
the texts on the both sides of the visual frame. The borders of the painting
are embellished and decorated with floral designs and geometric
shapes. Nevertheless, in some manuscripts, the pictures were created at
the sides with the verbal texts at the centre. In few manuscripts, there
are pictures on one side of the page and texts on the other. However,
all the Prajnaparamita manuscripts are not illuminated. There are
also such manuscripts which do not have figures and visual images.
Sometimes, paintings are created only on the manuscript covers but
not in the text inside. The artists used home- made colors to paint the
figure. The names of the artists of these artworks are not known. The
texts tell the mythical stories. The paintings not only support the verbal
text but also enhance the aesthetic quality of the work and motivate the
readers to go through the text.
The narrative scene of Buddha's nativity has symbolic,

mystical and magical elements. In the painting, Buddha comes out
30
from Maya Devi's hip. She is holding the branches of a tree for the
support, and her body is bent or curved in the shape of ‘S’ giving a
sense of elegence. While baby Buddha is emerging, his head is up.
As soon as he is born, he takes his first seven steps and stands on the
pyramid of lotus flowers. Buddha appears tall even at his birth. The
presentation of his tall figure and the seven steps are mystical and
magical images. Such strange and unusual images and events are not
found in normal human life. The pictures create divine ambience.
The spiritual world goes beyond our reasoning. The focus is on faith.
Buddha's first seven steps and his standing on the pyramid

of lotuses are the symbols of his spiritual journey from this mundane
world to the stage of nirvana. The movement is from the birth to
the enlightenment. The symbolic journey of Buddha makes us aware
about our own way of life. Lotus is the symbol of enlightenment and
our awakened consciousness. The theory of kundalini (the dormant
coiled snake within us) also mentions that the head, mind or
consciousness of enlightened person is covered by thousand petaled
lotus, the apex or the final step of kundalini. Thus, the divine beings
are represented as standing or seated on the lotus flower.
After the birth, when Buddha stands on the pyramid of

lotus flowers, he is welcomed by Brahma and Indra, the Hindu gods.
The presence of Brahma with a basket of grains and Indra with a
fish, in the nativity scene, suggests the religions harmony between
Hinduism and Buddhism in the work of art. Grains and fish are
auspicious omens in Hindu culture. The birth of Buddha is celebrated
by the Hindus. The composition also can be related to other two
31
significances. The Hinduism assimilates any new philosophical idea

or divinities within itself. Buddhism is welcomed by Hinduism. On
the other hand, Buddha is depicted at the top of hierarchy in the
composition.
The scene of offering honey to Buddha by a monkey is

didactic narrative. Buddha is meditating for long time. Naturally, he
needs food. The monkey understands this. In this presentation, the
monkey offers honey to Buddha. It is an act of altruism and kindness.
After sometimes, it happens to fall into a well. We expect that the
monkey will descend down to the depth of the well. Contrary to
this, the monkey ascends up toward the sky. The monkey’s form is
transformed into a divine being. Due to its act of piety, the monkey is
released from its suffering and animal state. The monkey in the form
of godlike figure flies to the heaven by a cloud. This allegorical visual
narrative teaches human values about helping others and its reward.
This is also one of the teachings of Buddha. The artwork makes us
aware that benevolence, altruism and the service toward others is the
way of ideal life.
Next composition in Prajnaparamita manuscript narrates

the story of Mara’s temptation of meditating Buddha. While Buddha
is meditating sitting alone under the Bodhi tree, Mara (the demon)
sends his daughters to disturb him. Mara’s daughters attempt to lure
Buddha by dancing naked around him. Buddha is not disturbed.
Then, Mara’s army blow conch-shell at Buddha’s ears. This attempt
of the demons to disturb is also failed. Next, fire breathing demons
attempt to burn and eat Buddha but they cannot because of the
32
divine power of Buddha. In this difficult condition, Buddha remains

in Bhumisparsamudra (the gesture of touching the earth). The
earth is his witness, and he is asking her to protect him. This is also
allegorical narration of human condition. When we are on the way
to some great work, there are many obstacles. If we are truthful
and determined, nothing can tempt us, lure us and disturb us like
Buddha. The painting is didactic and related to our life though there
are supernatural elements.
The scene of miracle of Muchalinda tells the story of Buddha’s

protection by the snake. The sky is turbulent. There is lightning and
storm. Buddha is meditating under the tree. As the storm falls,
Muchalinda (snake) stands behind Buddha and spreads its hood
over him for protection. The painting communicates the idea that
even the nature and beasts protect us if we are in right direction.
The composition related to mad elephant depicts the divine

power of kindness and nonviolence. The elephant is creating havoc
in the human settlement. However, it kneels down when it comes in
front of Buddha because of his compassion. Because of our cowardice,
we sense enmity even in gentle and harmless animals. We do not know
our love and compassion melts even the beasts. The painting has eco-
critical sense that there are similarities between human and animals.
Another composition again shows religious harmony and

the respect for parents. After his meditation and enlightenment,
Buddha directly goes to heaven to visit his mother. He had left his
home, luxury and relatives seeking for wisdom and nirvana. The love
of mother takes him even to heaven. When he descends down to
33
earth from heaven, he is escorted by Hindu gods. This also depicts the
harmonious relationship between the Hindu and the Buddhist beliefs.
Prajnaparamita manuscripts also depict goddess

Prajnaparamita, panchabuddhas (five Buddhas) and different
bodhisattavas. On the cover of the twelfth century Prajnaparamita
manuscript, the goddess Prajnaparamita and her six female
companions are presented in various postures and gestures
(mudras). The figures and images bring forth various narratives.
Prajnaparamita is seated on lotus flower. She has four hands. Two
hands are in dharmachakra mudra (gesture of turning the wheel
of law). The upper right hand holds the mala (rosary) whereas the
upper left hand holds a book. The book in her hand symbolizes the
wisdom. Vase, conch-shells and lamps around are also coherent
with the idea of wisdom. A vase full of jala symbolizes primeval
water, the source of all creations. Likewise, it also symbolizes amrita
(the nectar or the elixir of immortality). The vase full of water is
"an auspicious sign and symbolizes plenty" (Lydia Aran 230). The
goddess Prajnaparamita is considered to have been full of wisdom
and knowledge.
Lamps are also the symbols of enlightenment and wisdom.

The connotations of lamp and vase are coherent to each other. They
reinforce the same theme. According to Min Bahadur Shakya, conch-
shell is the symbol of the "Buddha’s speech" through which wisdom
and enlightenment can be achieved (29). Goddess Prajnaparamita is
at the centre. Three of her six female companions are positioned on
the left hand side, and other three goddesses are on the right. One of
34
the goddesses holds a sword in her hand. The sword is symbolic, for
it is believed that it "cuts through the darkness of the ignorance of all
sentient beings" (25). Next goddess sits in varada mudra, the gesture
of conferring boon. The divine being is fulfilling the wishes of her
devotees. A goddess sits in dhyana mudra, gesture of meditation,
the search for knowledge and truth. The other one sits in namaskara
mudra, gesture of adoration, greeting and respecting others.
On the other wooden cover of the same twelfth century

Prajnaparamita manuscript, the image of Buddha is flanked by three
bodhisattavas. The painting is based on the Buddhist mythology of
Mahayana (the great vehicle). The concept of bodhisattava is related
to Mahayana Buddhism. Mahayana Buddhism is in contrast to
Therabadha. According to Therabadha, Buddha is a "great teacher
and leader but not a god" and “his tremendous success was due
to the fact that his experience of enlightenment was potentially
reproducible by anyone” (Aran 47). If anyone wants to achieve
the status of Buddha, one should go through similar stages and
experiences. The followers of Therabadha do not worship idols of
the Buddha because it is believed “impossible to represent him once
he had passed into Nirvana, a state of being inconceivable in human”
(47).
On the other hand, according to Mahayana, nirvana is

possible for every human being “not only by their own endeavor but
also through the vicarious suffering of a new deity, the bodhisattava,
an intermediary between the passive Buddha and the suffering
humans” (49). Bodhisattavas, the enlightened ones help the other
35
people. They need not suffer like Buddha himself. Ernst and Rose
Leonore Waldschmidt explain the concept of bodhisattava:
Bodhisattvas, ‘Being of Enlightenment’, who are potential
Buddhas or Buddhas designate. These blessed beings have
come within reach of their goal, the rank of a Buddha,
having travelled the way that leads through the ten stages
(bhumi) of supreme virtue and perfection; they have,
however, abstained from taking the final step to deliverance
and extinction in order to stand by those who have remained
behind on earth, their former companions in suffering, to
help them in their troubles and guide to them along the
right path. These Bodhisattavas thus have the function of
helpers to those who belong to this branch of the Buddhist
religion-like the saints. (29)
The enlightened ones (Bodhisattavas) function as the link between
Buddha and the ordinary human beings whose quest is nirvana.
Vajrapani, Ratnapani, Avalokitesvara, Visvapani, Samantabhadra
and Manjusri are the examples of bodhisattavas. On the cover
of the twelfth century Prajnaparamita manuscript, Buddha is
seated in dharmachakra mudra, the gesture of teaching the law.
There are also the above mentioned six bodhisattavas seated in
dharmachakra mudra. They are also holding a lotus flowers. The
compositions are based on the myth of Mahayana Buddhism. The
paintings communicate the sense that the enlightened teachers
make our spiritual journey easier.
In these narrative compositions in Prajnaparamita

manuscripts, the curves are flowing and serpentine. The figures are
36
sinuous, flexible and round. The texture is luminous. Such formal

aspects make the human figures lively and youthful. Rajatananda
Das Gupta writes about the stylistic qualities of these paintings:
The lines move in continuous flowing cures and successfully
model the masses and volumes within the given contour.
Human figures are full, sinuous and rounded while
draughtsmanship attains the height in the decorative
motifs. Some landscape is also attempted by arranging
stylized plantain trees at uniform distances. (10)
According to Amita Ray, the lines in these compositions of
manuscripts are “rounded and sweeping and color has almost a
modeling effect” (49). In addition to conveying ideas, these narrative
paintings provide aesthetic pleasure due to such formal properties.
In Prajnaparamita manuscript paintings, we can also trace some
external influences. Ajanta wall paintings and the manuscript
paintings of Pala period in India influence these manuscript
illuminations to some extent. The paintings in Ajanta caves also
narrate the nativity of the Buddha and tell the stories from his
life. Buddhist art developed under the Pala dynasty in Bengal and
Bihar from eighth to twelfth century (Aran 127). The pilgrims and
merchants visited India and brought these influences into Nepali
art. Nevertheless, Nepali artists filtered the foreign influences and
attempted to create their own “distinct style” (Pal 154). The local
context and individual choice made the Nepali paintings different.
In spite of the Indian influences in Prajnaparamita

manuscript paintings, there are differences between Indian and
Nepali manuscript paintings. In eastern Indian manuscript paintings
37
the tone of colors is bright but in Nepali Prajnaparamita manuscript

illuminations, it is soft. About these two schools of painting,
Pratapaditya Pal writes:
Difference between two Schools of painting is perceptible
in the tonality of colors. Because the pigments are prepared
with different ingredients in the two areas, the colors differ
considerably both in the intensity of their brightness as well
as in their texture. The reds in the Eastern Indian manuscripts
tend to be brighter and more like vermilion, while in the
Nepali Manuscripts the reds are deeper and posses crimson
tinge. Similarly, the yellow has a stronger tonality in the
Eastern Indian manuscripts as compared to the softer hue
preferred by the Nepali artists. (42)
According to Lain Singh Bangdel, the lines in Nepali Prajnaparamita
manuscript paintings are more rhythmic, and colors are friendly
and delicate but in the eastern Indian manuscript paintings, the lines
are thicker and colors are overused (Prachin Nepali 23). Bangdel
further writes:
Eastern Indian illuminated manuscripts are brighter in
colour than their Nepalese counterparts. The figures are
sharply tilted and the outlines and contours are hard against
the background. The outlines of visage, eyes, nose are
sharp and they are reminiscent of early Gujrati miniatures.
In contrast, the very treatment of colours in Nepalese
manuscripts is sober but executed with great delicacy.
Linear tones of figures are also harmonious. (“Nepalese
Painting” 29)
38
Nepali artists used home-made colors in different styles. They created

landscape including mountains in the background of the narrative
scenes. The human figures are painted giving the touch of locality
(Pashupati Kumar Dwivedi 31). Due to such features, the visual
narratives not only become informative but also provide aesthetic
pleasure.
After the seventeenth century, Mughal-Rajput styles of

painting influence Nepali Prajnaparamita manuscript illustrations.
The refugee artists came to Nepal from India after Muslim invasions.
Mughal artists used the art of Islamic “calligraphy” in line drawing
(E. B. Havell 212-13). The drawing is “embellished with discreet
touches of gold” and subtle gradations of color create “delicate
finish” and “gem-like combination” (217-18). Mughal paintings
are decorated with floral patterns” (216). The human figures are
generally portrayed in profile. These features of Mughal paintings
have influenced the narrative scenes of Prajnaparamita manuscript
illuminations.
We can also trace the influence of Rajput paintings in

narrative illustrations of Prajnaparamita manuscript. Rajput
painting developed in Rajasthan and Punjab from the sixteenth
to the nineteenth century. These paintings generally narrate the
love stories of divine figures. They are two-dimensional, simple
and musical. Ananda Coomaraswamy states, “Rajput painting is
essentially an aristocratic folk art” (qtd. in Heinrich Zimmer 386).
The love of Krishna and Radha is the main subject matter of the
paintings. Rajput artists also focused on the idea that “each system
39
of sound must have its inevitable visual aspect”, and created “poetical
paintings personifying the moods or sentiments of the thirty-six
ragas or traditional musical scales” (387). Such features of Rajput
paintings appear in later Prajnaparamita manuscript illuminations.
But, the setting, body of the figures and facial feature are always
related to Nepali soil. These visual narratives explore the universal
human values love, and human’s attachment toward music and
poetry.
Nepal and India have been closely related both

geographically and culturally. Due to the cross-flow of pilgrims,
artists and businessmen, Indian influences came to Nepal. The palm
leaves for writing manuscripts also came from India. The paintings
in Prajnaparamita manuscripts tell the stories about Buddha's life
including his birth from Maya Devi, his first seven steps, standing
on the pile of lotuses, reception by Hindu gods Brahma with a basket
of grains and Indra with a fish, Mara’s temptation and attack over
Buddha, miracle of Muchalinda and taming of mad elephant. The
paintings also present various bodhisattavas and symbols. The visual
narratives are didactic. On the surface, we see magical and mystical
elements but under the surface, the events are related to human
conditions and values. Compassion, kindness, altruism, harmony
and tolerance are the key concepts that have been conveyed in these
visual narratives.
Works Cited
Aran, Lydia. The Art of Nepal: A Guide to the Masterpieces of Sculptures,
Painting and Woodcarving. Kathmandu: Sahayogi, 1978.
40
Bangdel, Lain Singh. "Nepalese Painting." Nepal: The Himalayan

Kingdom. Kathmandu: Ministry of Communication,
Department of Information, 1982. 27-31.
Bangdel, Lain Singh. Prachin Nepali Chitrakala. Kathmandu: Royal
Nepal Academy, 1977.
Dwivedi, Pashupati Kumar. Miniature Paintings of National Museum
Kathmandu. Kathmandu: National Museum, 1982.
Gupta, Rajatananda Das. Nepalese Miniatures. Baranasi: Bharatiya
Vidya Prakashan, 1968.
Havell, E. B. Indian Sculpture and Painting. New Delhi: Cosmo
Publication, 1980.
Pal, Pratapaditya. The Arts of Nepal Part II. Leiden: Tuta Sub Aegide
Allas, 1978.
Ray, Amita. Arts of Nepal. New Delhi: Indian Council for Cultural
Relations, 1973.
Waldschmidt, Ernst and Rose Leonore. Nepal: Art Treasures from the
Himalayas. Calcutta: Oxford & IBH Publishing Co., 1967.
Zimmer, Heinrich. The Art of Indian Asia: Its Mythology and
Transformation Vol. I. New York: Bollingen Foundation, 1960.
41
Affect of Shame and Humanity: Reading of

Sa’adat Hasan Manto’s stories ‘Open It!’ and
‘Cold Meat’
- Gokarna Dulal
Abstract
This paper seeks to study affect of shame that Sa’adhat Hasan

Manto (1912-1955) Indo-Pakistani short story writer, playwright
and author, is trying to evoke in his short stories ‘Open It’ and ‘Cold
Meat’. Being grieved by the loss of lives in 1947-partition violence of
India, in these stories, he dissects the reality of the time and exposes the
naked human instinct. This paper reads the stories applying the theory
of shame to study its contagiousness and explores the effect of shame
induced character on reader and reflects the humanitarian point of
view of Manto as he had been charged many times for not being realist
writer but just promoter of obscenity in his writings, though he always
proved himself as innocent. The purpose of this study is to give light on
the constructiveness of the communication of the shame as an emotion
along with the very short discussion of guilt. Finally this paper asserts
that, in these stories, Manto makes the shame as public property.
Sa’adat Hasan Manto mirrors 1947 partition violence

of India in the stories ‘Open It!’ and ‘Cold Meat’. It is one of the
unforgettable historical atrocities of the twentieth century that
took the lives of at least one million civilians, Hindu and Muslim.
42
Hundreds of thousands children were lost and abandoned; women

were raped and abducted. As a humanist writer, Manto elicits
human pathos through the representation of such brutalities in his
narratives. Piercing into the deep- human- soul, he unmasks the
opportunistic, greedy and satanic human instinct. Either the rape of
Sakina by her own clan members or the attempt of rape to the dead
body by Isher Singh in ‘Open it’ and ‘Cold Meat’ respectively signifies
that the partition violence is not the result of clash between the two
opposite religious beliefs—Hindu and Muslim—but the loss of
humanity. Without delving into the conflict between these opposite
beliefs, this paper discusses that these stories propagate the shame
of the perpetrators to readers for the sake of perseverance of the
humanity.
Shame as a desire to escape from the look of the other

refers to the subject’s self realization of being bad. It impairs the self
esteem of the wrong doer and makes him/her feel unfit in front of
audience, society. In the words of Ruth Leys, a professor of Johns
Hopkins University, shame lives on the eyelids (126). In fact, the
ashamed subject undergoes betrayal both bodily and verbally due
to the fear of being exposed, thus results into the eyelids down.
Putting it differently shame is the sense of hide and disappear from
the surveillance of onlookers to let ashamed feeling breakout form
the prison of the self.
This sense of escape results due to the feeling of I am bad,

so it leads to the dramatization to cloth the shame. Now the subject
lives with double standard and feels as if s/he is the actor in the stage
43
and keeps on performing the awkward behavior. “A person feeling

shame will exercise his/her capacity of self awareness, and s/he will
do so dramatically (qtd in Leys. 128). It is completely the stage of self
consciousness which focuses on the sense of hide from the eyes of
the other, through the passivity, silence and denial.
The concept of the other refers to the understanding of the

Ideal Norms which a person possesses from the society and the culture
where the good and the evil are praised and prosecuted respectively.
As shame is the realization of I am wrong/bad, Brene Brown, an
American researcher on Shame, in a celebrated program, TED talks,
argues that shame is highly correlated with addiction, depression,
violence, aggression, bullying, suicide, and eating disorder, thus
very unlikely to cause constructive behavior (Listening to Shame).
However, the very sense of I am bad is a comparison of there is
good. The realization of this binary between bad and good makes a
wrong doer hide the face. Thus, the other is a widely-assumed - good
practice or belief in a certain community.
Then, how does shame comes into communication and

contributes positive impact is the important point that we need
to put into consideration. As we know despite some differences
like age and gender, we share commonality with the ashamed,
both biological and cultural, while witnessing the event or going
through the narration. At this moment the onlooker realizes the
difficulty of being exposed being shameful and this is what Brwon,
calls connection. She believes connection as the heart of human
experience and opines, “we are pretty sure that the only people
44
who don’t experience shame are people who have no capacity for
connection or empathy (Listening to Shame).” In this regard, shame
retains the character of contagiousness and can’t be separate from
empathy. You lack empathy equals no communication of shame.
Similarly, Eve Kosofsky Sedgwick, an American scholar

on shame, points out the identity transforming potential of shame
contagiousness. Ruth leys puts her opinion saying “you can’t feel
guilty for another’s actions (or fantasies), you can be changed by
shame of another, not because you share the other’s shame but
because you don’t: what you share, is vulnerability of shame-
induced identity transforming experience that is all your own.”(152)
Pointing out, witnessing the shame is it’s propagation on the
onlooker; this argument mainly focuses on why one feels ashamed
after observing the shame of the other. It is due to the assimilation of
the vulnerability, state of being at harm, by the witness as his or her
personal of the misfortune the shame induced subject undergoes.
In this prospect shame is not only the private hoard rather public
accumulation which everyone in certain community shares. The
source for shame differs person to person and society to society.
The loss of job, body image, inability to carry out the assigned task,
sex or even common cold and cough may result into shame. It is
the secrets that intensify the shame. Hence, failure to maintain
the expectations of the surrounding and the situation makes one
ashamed.
Likewise, in narrativization too, shame transmits from

the characters to the readers because it is not the shame of the
45
perpetrator that the readers share rather just the experience of the
shame-induced character. Leys observes that:
Shame theory displaces the focus of attention from action
to the self by insisting that even if shame can be connected
to action… shame is an attribute of personhood before the
subject has done anything, or because he is incapable of
acting meaningfully. (131)
It echoes that shame should be studied prior to guilt and is
independently meaningful and one can have the feelings of guilt
and shame at a time. The failure of subject to act accordingly in
the situation sometimes gives both feelings- I am wrong and I did
wrong- for example, in the forced witness of public prosecution
of the innocent. Nevertheless the readers don’t share the guilt
because guilty is prosecuted, thus it doesn’t contain vulnerability as
it is already harm. Unlike guilt, shame possesses the possibility of
vulnerability, where redemption and repair is possible; thence shame
induced identity experience is contagiousness of shame as it is always
safer to imagine not being in harm.
Now reading the stories with this theoretical insight reveals
that the evocation of the shame in the narrations brings the positive
impact for the better tomorrow. Manto does not believe that the
political decision to divide colonial India into two separate states
is only the reason for 1947 violence. In fact man can be happy in
each other’s happiness, not by tormenting other. Neither power and
wealth nor subjugation and greed are the essence of harmonious
living. The tolerance of the coexistence of each other, love for all
and fraternity is what makes the humanity. But the rampart of hate
46
and greed caused the misery, the subcontinent witnessed genocide.

Therefore, the greed and the animalistic instinct of humans’ which
Manto thinks should be modulated for the good society. He believes
that human wickedness, however pervasive and terrible cannot kill
the sense of humanity. Thus, his characters have the realization of
shame for their evil deeds and which he wants to his readers to have
to make them aware and control their evil character.
The affect of shame in the story ‘Cold Meat’, though, is

primarily the shame of Isher Singh, who involves in six days of
continuous looting and murder and attempts to rape the dead
woman; it does not have impact to him only. His inability to look
at the face of Kulwant Kaur, his mistress and “his eyes searching for
understanding and help from her” (205), “his look for “some pity in
the familiar face of Kulwant” (205), his “pale appearance” (206) and
“lack of life in his tone” (206), “huffing and puffing, a layer of cold
sweat covering his forehead” (208), as a reader, make us realize the
reflection of shame in his body as a perpetrator. Neither we share the
rape he commits nor his shame rather we feel his shame as ours as an
emotion because of its universal nature and our sense of ‘connection’.
Since we all have shame, we realize form Isher is his shame induced
identity experience. We feel him very prone to vulnerable stage of
fear, blame and disconnection. Aquela Shaheen and Raiz Quader
examing critically argues that Manto “has created countless such
characters that cause, ‘self discovery’ for the reader, who identifies
himself with them” (225). Indeed, the self of Isher Singh is the self
of all the readers who feel that shame induced body as of their own
because of the sense of connection.
47
The communication of the shame of Isher Singh into our

mind and body doesn’t easily let us to outbreak the Ideal Norms
because we are the witness of his suffering through shame as a
punishment for wrong doing. Praising Manto’s apolitical writings
which are solely committed for the sake of humanity what Shaheen
and Quader write about him is that “he has expressed the bitter
facts of his age. He has tried his level best to control and normalize
the beastly emotions in man. He has put a new and novel angle
of thought before the people while converting the evil into good”
(229). As a humanist writer he is much shocked by the loss of
humanity among the people. Loot, plundering and murder have
made Isher Singh so shameful that Manto wants to make his
readers too.
In ‘Open It!’ the rape of Sakina, a Muslim girl, by her own

clan members suggests the loss of humanitarian feeling during
partition. Though, it has been argued that one of the logics of
partition was that Hindu and Muslim couldn’t live together, “Manto
… concludes that it is neither religious zeal nor piety but human
greed and man’s astonishing capacity for bestiality that had brought
the subcontinent to such sorry past” (Jalal 137). It is very suggestive
to the fact that animalistic instinct, greed and opportunistic thought
led to such brutal butchery of Sakina. Had there been humanly
feeling or religious faith, obviously such massacre would not have
occurred during partition.
Unlike Cold Meat, Open It! does not explore the affect
of violence on the perpetrators/social workers in their utterance
48
that they pretend neither ashamed nor guilty. When Sirajuddin,

Sakina’s father, asks the social workers that if they have any idea
about the whereabouts of his daughter. They reply “we will we will”
(202). Manto takes us to the real shock at the end of the story when
Sakina lowers her shalwar as a response to open the window by the
doctor in the camp. The doctor’s request was not to Sakina rather to
her father. It proves that she had been raped by the social workers.
It is very ironical that those who were expected to rescue, made
her the victim of their wild instinct. With this shock Manto not
only attempts to expose the bestiality that men possess but to make
them realize the shame. The doctor’s outbreak into “a cold sweat”
(203) suggests his realization of the shame being a male and so
does the transmission of shame to the readers as well.
To conclude, in a broader sense, as a humanist writer,

Manto’s politics is to expose the private shame into public sphere
for the sake of perseverance of the humanity. Either it is the shame
of Isher Singh or of the doctor’s, it has direct correspondence with
the perpetrators of the violence in particular and all the human
beings in general. The 1947 event was one of the unfortunate events
of Indian subcontinent which reflects the loss of humanitarian
values. It is not the end of bestiality; it goes up as long as there
are human beings. The urgency of every time is to culture the
society. So anticipating the better humanistic values for tomorrow,
Manto makes the shame of the perpetrators, who were directly or
indirectly involved in violence, public with the sharp blade of his
pen and the powerful spectacle.
49
Works Cited
Jalal, Ayesha. "He Wrote What He Saw and Took No Sides." Pakistani
Literature 01 (2012): 136-140.
Leys, Ruth. "Shame Now." From Shame to Guilt. Princeton: Princeton
University Press, 2007. 123-156.
Manto, Sa'adat Hasan. "Cold Meat." Black margins. New Delhi: Oxford
Manto, Saadhat Hasan. "Open It!" Black margins. New Delhi: Oxford
Shaheen, Aqeela and Riaz Qadeer. "The Influence of Manto and
Maupassant on Social Life." Pak.J. Commer. Soc. Sci. 6 (1)
(2012): 222-229.
TED. “Listening to Shame/Brene Brown.” Online video clip. You Tube.
You Tube, 16 March, 2012. Web. 1 September, 2017.
50
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51
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52
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53
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gj lgdf{0fsf] Ifdtf g/fVg] ljWj+;L ultljlwaf6 /fi6«, /fli6«otf / g]kfnLTjsf]
jf:tljs cl:tTjdf cfFr k'¥ofpg cys k|of/ ub}{5g\ . -;+s6u|;6 nf]ssnf
/ ;dsflng k'g – 8f= /fds'df/ ef}sfhL_ jt{dfg cfw'lgs g]kfnL lrqsnfdf
/fli6«o snfTds k/Dk/fsf] rfl/lqs ljz]iftfx? k|ltljlDat ePsf] kfOb}g –
pgn] eg]sf 5g\ .
g]kfnL lrqsf/x? lbUe|d cj:yfaf6 u'h|g]qmd hf/L g} /xg] ;+s]t
b]lvPsf] 5 . snf If]qdf /x]sf cj/f]wx?nfO{ ;'wf/ ug]{ kIfdf lrqsf/x?
gb]lvg'n] g]kfnL snf If]q lk5l8g] cj:yfaf6 d'Qm x'g g;Sg] b]lvG5 .
54
dfOt3/ pkGof;sf] ;+lIfKt cWoog

– bLkf Gof}kfg]
!= k[i7e'ld
g]kfnL pkGof;sf] If]qdf ;fdflhs oyfy{sf] wf/f lnP/ b]vf kg]{ n}g
l;+x af·b]nsf] hGd lj=;= !(*) df ePsf] lyof]  . ;flxTosf/ / lrqsf/ ?kdf
Vofltk|fKt af·b]n g]kfn /fhlso k|1f k|lti7fgsf s'nklt klg ePsf lyP .
Pp6f bIf lrqsf/sf] JolQmTj / Pp6f l;4x:t ;flxTosf/sf] JolQmTjaf6 g}
af·b]nsf] JolQmTj lgdf{0f ePsf] 5 . pgL Pp6f xftdf zlQmzfnL snd /
csf]{ xftdf ;'Gb/ s'lrsf lnP/ g]kfnL sfJo–snfsf If]qdf k|j]z u/]sf x'g .
pgL eG5g–æs'rL ;dfpFbf–;dfpFb} yfs]sf] e]nf snd ;dfP/ cfkm\gf] cd'No
;donfO{ ;flxTo ;fwgfdf nufpg' d]/f] p2]Zo xf] .Æ -@)^#M@*!_
pgn] d'n's aflx/ -@))$_ af6 pkGof; n]vgdf k|j]z u/]sf x'g .
To;kl5 pgsf ædfOt3/Æ -@))&_ nª\u8fsf] ;fyL -@))*_ / /]Zj|fG6/ -@)#@_
pkGof;x? k|sfl;t ePsf 5g . o'/f]k]nL snf / ;flxTodf cWofog u/]sf
af·b]nn] pkGof;, lrqsnf nufPt ofqf, ;+:s/0f hLjgsf] snf ljifofs
lgjGw h:tf cflb ljifodf klg snd rnfPsf b]lvG5g\  . o:tf ax'd'lv k|ltefsf
wlg af·b]nsf] @)%( ;fndf b]xfGt eof] .
dfOt3/ -@))%_ pkGof; ;fdflhs eGbf al9 dfgl;s oyfy{afbL
5 . o;df k|ofKt sf?l0fstf e]l6G5 . o;nn] g]kfnL pkGof;sf If]qdf
n3' cfolds snfk"0f{ pkGof;sf] z'ef/Ee u/]sf] 5 . o;df n]vssf] Wofg
k|efjafbsf] :yfkgf tkm{ cfslif{t ePsf] 5 . - u}/] @)^#M @*@_
dfOt3/ pkGof;sf] p2]Zo g]kfnL ;dfhdf gf/Lx?sf] cWof/f] kIfsf]
lrq0f ug'{xf] . k'?ifk|wfg ;dfhdf gf/Lx? clgR5f a; hGd lnG5g . cg]s
55
;fdflhs s'/Lltx?sf sf/0f lk8fsf 7Ss/x? vfFbf vfFbf pgLx?sf] hLjg

l5of–l5of eO{ ;dfKt x'G5 . o:tf] ;dfhdf dlxnfn] :jflwg xf]Og k/flwg
eP/ afRg' k5{ . gf/Lsf olx b'Mvdo hLjgnfO{ af·b]nn] pkgof;df ;d]6]sf
5g\ .
@= ljleGg b[li6sf]0faf6 pkGof;sf] ljZn]if0f

@=! ;+/rgf
k|:t't dfOt3/ pkGof;n] k|d'v kfq ;fgLsf] dgf]bzfnfO{ cf}+NofpFb}
g]kfNfL ;dfhdf gf/Lsf] jf:tljs cj:yf, ;dfhn] rfx]sf] gf/Lk|ltsf] cfb{z /
Tolx ;dfhn] rfx]sf] cfb{zsf sf/0f ef]Ug'k/]sf kL8fx?nO{ oxfF b]Vg ;lsG5 .
o; pkGof;sf] ;+/rgfnfO{ x]bf{ nfdf]5f]6f] u/]/ ;q v08df ljeflht eP/ k"0f{
ePsf] 5 . o; pkGof;sf] klxnf] kl/R5]bdf kl/j]zsf] kl/ro lbFb} ;'j]bf/
anlj/ v8\sfaf6 pkGof;sf] ;'?jft ePsf] 5 . anjL/ v8\sfsf] 3/sf]
;]/f]km]/f]df g} pkGof;sf] cGTo ePsf] b]lvG5 . anjL/ v8\sf ;'j]bf/, ;'j]bfgL{,
;fgL, ;fgLsL/ cfdfnfO{ o; pkGof;sf dlGrt kfq x'g To;} ul/ pkGof;df
k/]jfx? cdfgljo kfqsf] ?kdf b]vf k/]sf 5g. ;fgLsf nf]Ug], ;f;' ;;'/f, gGb
b]j/, l5d]sL hGtL h:tf kfqx? uf}0f 5g . pkGof;sf] zLif{s ;fy{s blvG5
eg] kfq Pj+ kl/j]zsf] ;fy} efiffz}nLsf] k|of]u kfq cg';f/ plrt ?kdf k|of]u
ePsf] 5 .
@=@ syfgs
dfOt3/ pkGof;sf] ;'?jft ;'j]bf/ anjL/ v8\sf eGg] kfqn] pkGof;
k9\g nfu]af6 ePsf] 5 . o; pkGof;df ;'j]bf/ pRr ju{sf] JolQmsf] ?kdf
k|:t't ePsf] b]lvG5 . xl/ ;'j]bf/ anjL/ / ;'j]bfgL{sf PSnf] 5f]/f]sf] ?kdf
b]lvG5 .;fgL / xl/ jfNosfnsf] ;fyL x'g . ;fgL / xl/ xl/sf] 3/df v]n]sf],
;'j]bf/n] ufnLu/]sf], ;'j]bfgL{n] cfkm\gf 5f]/Lsf rfxf ;fgLaf6 kfpg vf]h]sf
s'/fx? pkGof;df k|:t't ul/Psf] 5 . ;fgL / xl/ ;w} ;Fu} v]N5g, bz}df klg
56
;fgL cfkm\gf] 3/df l6sf ;Sg] ljlQs} xl/sf] 3/df l6sf yfKg hfG5]  . PSsf;L
;fgLsf] kl/jf/n] a;fO{ ;g]{ lgwf] u5{ xl/sf] kl/jf/ ;Fu}sf] 3lgi6tf, ;'j]bfgL{n]
;fgL leq vf]h]sf] 5f]/Lsf] df]x ;j} afbn ag]/ cfsfzdf d8fl/g k'U5g .
;'j]bfgL{nfO{ ;fgL;Fu lj5f]l8g] OR5f x'b}Fg / lrgf] :j?k ;fgLnfO{ ;n cf]8fO{
lbP/ kl5 e]6\g cfpg] cfu|x u5]{  . olts} ;do ljTb} hfG5 . xl/ / ;fgL cfkm\gf]
cfkm\gf] tl/sfaf6 hLjg ljtfpgyfN5g .t]x| aiff{sf] cGt/fn kl5 PSsf;L ;fgL
/ /Tgf ;f]lx k'/fg} 7fpFdf anjL/sf] 3/df k'U5g . >fj0f dlxgfsf] clj/n
aif{n] b'j} lgy|'Ss} leh]sf] x'G5g . w]/} ;do kl5sf] e]6n] ;'j]bfgL{ / /Tgfsf
cg'xf/df b]lvPsf /]vfsf w;f{x? h'g s'g} lrqsf/n] lrqsf]/] h:tf lyP eg]
xl/ / ;fgL of}jg /;n] el/Psf lyP . /Tgf nf]Ug]sf] ;f]sdf kl/ ;fxf/fsf]
vf]hLdf hjfg 5f/LnfO{ lnP/ k'/fg} ;DjGw vf]Hb} ;'j]bf/ sxfF k'Ubf ;'j]bf/sf]
klg :ju{ Kf|:yfg eO;s]sf] yfxf x'G5 . To;kl5 ;'j]bfgL{ / /Tgf lbbL alxgL
h:tf] ;DaGw ul/ ;'j]bfgL{sf] 3/df /Tgfsf cfdf 5f]/L a:g yfN5g\ . Tolx
3/nfO{ cfkm\gf] dfG5g . afNosfnsf ldNg] ;fyL xl/ / ;fgLsf] k'g e]6 x'G5 .
plgx? klg bfh'alxgLsf ;DaGwdf l6s]/ / aflwP/ a:g afWo x'G5g . pgLx?
b'j}n] cfkm'nfO{ efOalxgLsf] bfo/fdf b]vfpg] sf]l;; u5{g t/ cGt/dgdf eg]
Ps csf]{ ljgf cfkm' ck'/f] x'g] cg'e'lt u5{g .;dfhsf] d'No / dfGotfnfO{
dWogh/ ul/ x/L / ;fgL s[ltd bfh'alxgLsf] bfo/fdf afFlbg afWo x'G5g x/Ln]
bfh'sf] st{Jo lgefpg] k|of; u5{ .
;fgL klg x/L dfyL cfkm\gf] clwsf/ htfpg ;dfhn] g:jLsfg]{ x'gfn]
hj/ h:tL ljx] ug{ / nf]Ug]sf] 3/df hfg /fhL x'G5] . x/Lsf] dgdf ;fgLnfO{
ljbf ubf{ c;fWo lk8f eP klg c?sf] cufl8 xfF;]/ ;fgLnfO{ ljbf u5{ . ;fgL
u?·uf] dg lnO{ nfUg]sf] 3/ hfG5] t/ ToxfF g nf]Ug]nfO{ dfoFf lbg ;S5]
g /dfpgg} . hj/h:tLsf] ;DjGw p;nfO{ dgdf kmnfdsf] ef/L af]s] h:tf]
x'G5 .p;sf ;do lk8} lk8f laT5g . cJoQm k|]d h'g ;dfhn] :jLsfg{ ;Sb}g
To:tf] k|]dsf] cGwsf/df ?dNnLPsL] ;fgLsf] csf]{ rf]6 yklG5 h'g 3/df ;f}tf
lelqG5] . nf]Ug] g} af]em eO;s]sf] cj:yfdf ;f}tf cgL ;f;' ;;'/fn] s6fPsf]
57
a'xf{tg oL ;j} s'/fx?nfO{ ;xg g;sL ;fgL dfOt hfG5]  . dfOtdf cfdf l;ls:t
lj/fdL eO{ d[To' x'G5 . afa' u'dfO;s]sL ;fgLsf] cfdfsf] d[To'n] emg} kL8f
yK5 . nf]Ug]nfO{ cfkm\gf] 7fGg g;Sg]n] nfUg]af6 klg 6fl8PsL ;fgL xl/s} 3/df
a:g rfxG5] . g]kfnL ;dfhsf] dfGotf h'g ljjflxt gf/L dfOt a:g gx'g] kf]Os}
3/df a:g' kg]{ eGg] k|rngn] ;fgnfO{ ;'j]bfgL{n] nfUg]sf] 3/df k'¥ofO{lbg] s'/f
xl/;Fu ;Nnfx u5]{ . xl/sf] cGt/dgn] ;fgLnfO{ p;sf] nf]Ug]sf] 3/df k7fpg]
OR5f geP/ cfkm' ;Fu} /fVg] OR5f eP klg p;n] of] s'/f JoQm ug{ ;Sb}g .
;dfhsf] bfo/fdf cfkm'nfO{ /fVb} ;fgLnfO{ k7fpg] lgwf] u5{ . ;fgL dgdg} w]/}
lklN;G5] / cfTdxTof ug]{ OR5f afsL k'ndf k'U5] h'g k'ndf aiff}{+ klxn] x/L ;Fu
ltxf/sf] lemlndLnL aQL x]g{ uPsL lyO . ;f] k'ndf k'u]kl5 p;nfO{ ToxfFsf
xfjsf s0fs0fn] lrg]sf] cg'le'lt x'G5 . xl/;Fusf] cJoQm k|]d tfhf jg]/ p;sf]
z/L/nfO{ phf{lbG5 / afRg] OR5f hfU5 To;kl5 ToxfFaf6 kmls{P/ hfG5] /
ef]nL kN6 ;Nnfx u/L nf]Ug]sf] 3/ kmls{g] tof/L u5]{+ . cfFvfaf6 clj/n
cfF;' aufpFb} xl/nfO{ gkms{g] jfrf u/L ;fgL cfkm\gf] af6f] nfU5] . olQs}df of]
pkGo;sf] syfgssf] cGTo x'G5 .
#= rl/q lrq0f
s_ ;fgL
;fgL o; pkGof;sL k|d'v gf/L rl/q xf] . o;s} ;]/f]km]/f]df
pkGof;sf] cGTo ePsf] 5 . ;fgL afa'cfdfsL PSnL ;GtfgsL ?kdf afa'cfdfsL
b]lvPsf] 5 . ?kn] /fd|L, dfofFsL vfgL, g/d , nhfn' :jfefsL rl/q ePsL
;fgL afNosfndf bflh{ln·df xl/sf] kl/jf/;Fu glhs eP/ v]n]sL /dfPsL
x'G5] . To;kl5 a;fO{ ;g]{ qmddf afa'cfdf ;Fu} Onfd k'U5] . Onfddf t]x|aif{
ljtfP kl5 PSsf;L ;fgLsf] afa'sf] d[To'n] ;fxf/fsf] vf]hLdf xl/sf] 3/df
cfdf;Fu kms{G5] . afNosfnsf ;fyL xl/ / ;fgL b'j} hjfg e};s]sf x'G5g .
b'j}df a}+; rl9;s]sf] x'G5 . xl/nfO{ b]Vbf ;fgLsf dgdf t/· p7\5 afNosfndf
58
;Fu} v]n]sf] x/L;Fu af]Ng nfh nfU5 PsfGtdf x]/L/xg dg nfU5 . xl/nfO{
b]Vbf ;fgLsf] dgdf 5'6\6} t/· pTkGg x'G5 cg'xf/ /ftf] x'G5 . p;n] s;};Fu
klg cfkm\gf dgsf s'/fx? JoQm ug{ ;lSbg / cfkm\g} dgdf u'D;fP/ /fV5] .
;dfhsf] cufl8 bfh'sf] bhf{ lnPsf] xl/nfO{ ;fgLn] cGt/ dgn] rfxG5]  . p;sf
x/]s lqmofsnfk dg k/fp5] / b]Vbf nhfpF5] ;dfhsf cufl8 alxgLsf] bhf{
kfPsL ;fgLn] x/L;Fu nIdL k'Fhfsf] aQLsf] /dfOnf] x]g{ hfg] df}sf kfpF5] .
x/Ln] xft ;dft]/ 3'dfPsf tL /xdfOnf ;do nfO{ p;n] clj:d/l0fo agfpF5]
cfgGbcg'e'tL lnG5]  . ;fgLsf] 3/df ljx]sf] s'/f rN5 t/ p;nfO{ ljx] ug]{ OR5f
x'Fb}g . OR5f ljk/Lt p;sf] ljx] x'G5 . xl/nfO{ x[bodf /fv]sL ;fgLn] nfUg]nfO{
dg lbg ;lSbFg / p;sf] nfUg];Fusf] ;DjGw lau|g uO ;f}tf a]xf]g{ afWo x'G5] .
nf]Ug]sf] 3/ kl/jf/ ;j} ;fgLnfO{ af]em nfU5 / ;w}sf nflu a:g elg dfOt
ogsL xl/sf] 3/df kms{G5] . cfdfsf] klg d[To' x'G5 . cfkm\gf cfdfa'jf u'dfPsL
nf]Ug]sL aGg g;s]sL xl/nfO{ kfpg g;s]sL ;fgL cGTodf cfTdxTof ug]{ OR5f
u5]{ / xl/;Fusf] cJoQm k]|dn] afRg] OR5f hfU5 / km]/L cfkm\gf] ;+3if{df kms{G5]  .
o;/L ;fgLsf] e'dLsf pkGof;df ;j{q b]lvG5 . pm g]kfnL ;dfhsL
k|ltlglw gf/L kfq xf] . xfd|f] ;dfhn] gf/LnfO{ lgod / cg'zf;gsf] bfo/fdf
/fv]sf] 5 . h;n] p;sf] dgsf OR5f rfxgfx? a'em\g] / ;Demg] k|of; ub}{g
;fdflhs aGbg Psftkm{ x'G5 eg] :jtGq ?kdf :jefljs tl/sfn] knfpg]
k|]d csf{tkm{ . k|]dnfO{ ;dfhsf] cfb{zdf cfx'tL lbP/ ;dfhn] rfx]sf] cfbz{df
cfkm'nfO{ x'Dg'kg]{ l:yltsf] rl/q ;fgLsf] e'ldsfn] cf]u6]sf] 5 .
v_ x/L
o; pkGof;sf] gfossf] ?kdf xl/ b]vfk/]sf] 5 . cfbz{ rl/q
af]s]sf] xl/ ;fgLsf] afNosfnsf] ;fyL xf] . ;dosf] rqm;Fu} ;fgL k|lt knfPsf]
k|]dnfO{ xl/n] klg JoQm ug{g;ls cfkm\gf] dgsf] s'g} s'gfdf n'sfP/ ;fgLnfO{
alxgLsf] ?kdf ckgfpg afWo x'G5 . bfh'sf] st{Jo lgef{x ub}{ ;fgLNffO{ sGofbfg
u5{ / cfkm' bfh'sf] ?kdf a:b5 . cfkm\gf] dgsf] leqL s'gfdf k|]dsf] Hjfnf kfn]
59
klg ;fdflhs aGbgn] To; Hjfn nfO{ lgefO bfh'sf] st{Jo lgef{x ub{5 . xl/
/ ;fgLsf] of] s'/fsfgL af6 k|i6 x'G5 –æ;fg' 3/ uPkl5 :qLsf] wd{ xf], kf]Osf]
;]jf ug'{ , gf]s/ rfs/nfO{ c/fpg', l;sfpg' . ;f;'nfO{ cfdf h:tf] ;Demg\',
glrg];Dd kf] ;f;'n] a'xf/Lsf] k/LIff lnG5g . ;f;'–;;'/f l/emfpg ;s] cfkm\g}
5f]/f 5f/L h:t} u5{g .Æ -k[i7 $$_ o;/L xl/ o; ckGof;df cfb{z k'?if
rl/qsf] e'ldsfdf b]lvPsf] 5 . dgsf OR5fx?nfO{ bjfP/ ;dflhs kl/aGbdf
aflwP/ ;fglhs cfb{zdf lx8\g] k'?if kfq xl/ ;t\ kfq xf] .
u_ ;'j]bfgL{ / /Tgf
o; pkGof;df b]vf k/]sf ;'a]bfgL{ / /Tgf >Ldfg ljt]/ a];fx/f ag]sf
g]kfnL gf/Lx?sf k|ltlglw kfq x'g . h'g ;Gtfg df]xdf cGwf ag]sf ddtfsf
vfgL ePsf cfdf x'g . ;Gtfg g} ;DkQL ;Demg] cfb{z kfqsf ?kdf ;'j]bfgL{
/ /Tgf b]vfk/]sf 5g . xfd|f] g]kfnL ;dfhsf nf]Ug]n] sdfpg] / ;Dk"0f{ Jojxf/
wfGg] k/Dk/f 5 . nf]Ug]sf] cf>ddf :jf:gL / ;Gtfg a:g] u5{g . ha nf]Ug]sf]
csfndf lgwg x'G5 tj :jf:gLnfO{ ;Gtfg kfNg] / ;d:ofn] ;tfpF5 . /Tgfn]
nf]Ug]sf] d[To' kl5 3/ 5f]l8 ;'j]bfgL{sf] cf>ddf cfpF5] eg] ;'j]bfgL{n] nf]Ug]sf]
d[To'n] 5]f/f]n] k9\g gkfPsf] s'/f JoQm u5]{ . o;/L g]kfnL ;dfhdf nf]Ug]sf]
cg'kl:ytL jf d[To'n] :jf:gLnfO{ k|ToIf ?kdf ef]Ug'kg]{ kL8fnfO{ oyfy{ ?kdf
Kf|:t't ul/Psf] 5 .
3_ cGokfqx?
;fgLsf] nf]Ug] ;f;', ;;'/f, GfGb, b]j/, l5d]sL h:tf kfqx?sf] e'ldsf
klg oxfF b]lvG5 . ;fgLsf] nf]Ug] hf] :jf:gLsf] dfof gkfP/ csL{ :jf:gL Nofpg]
jf ax'aLjfx ug]{ k'?if kfqsf] ?kdf b]lvG5 eGg] ;f;', ;;'/f, gGb, b]j/, klg
a'xftg s6fpg] kfqsf ?kdf b]lvPsf] kfOG5 . a'xf/L eg]sf 3/df sfd ug{
cfpg] lgMz'Ns v]tfnf x'g . h;sf] d'No ltg'{ kb}{g eGg] dgf]a[tL af]s]sf] g]kfNfL
;dfhsf] emNsf] ;fgLsf] 3/sf] kl/jf/Ls cj:yfn] b]vfpF5 .
60
$= kof{j/0f
o; pkGof;sf] kof{j/0f bfh{ln·sf] u|fld0f kl/j]znfO{ lng ;lsG5 .
/fhjfl8 ufpFsf] ;]/f]km]/f]df of] pkGof;sf] ;+/rgf ePsf] 5 . bfh{ln· ;x/
3'dlkm/sf] leS6f]l/of kmN; h:tf 7fpFx?sf] pNn]v ePsf] 5 . To;} ul/ ;fgLsf]
kl/jf/ a;fO{ uPsf] Onfdsf] klg JofVof ePsf] kfOG5 . >fj0f dlxgsf] em/L
df3 dlxgsf] 6x6x 3fd bz}+ ltxf/ sf] df};d h:tf s'/f x? kof{j/0fsf] ?kdf
cfPsf 5g . of] pkGof;df ;'vdf k|s[tL xfF;]sf] b'Mvdf k|s[tL /f]Psf] b]vfO{Psf]
5 . h:t} Pp6} a]bgfn] tyf Pp6} ;Gtfkn] 5f]k]sf] /x]5 . b'j}sf] lhjg cfsfzdf
Pp6} sfnf] d]3 cfP/ lhGbuLsf] ;'v / cfzf phf8 kf/]sf] /x]5 / To;}n] b'Jf}sf
cfFvf /;fP Pp6} b'Mvsf] afbnaf6 c>'aiff{ embYof]{ t/ ;'j]bfgL{nfO{ Pp6f s'/f
b]Vbf crDd nfUYof] –æs'Ol/d08n nfu]/ 5f]k]sf kxf8 a:tL j/k/sf ufpF3/
?vkft ;j} pHofnf] eP/ ToxfF rxlsnf] 3fd nfu] h:tf] nfUof] clg cfkm'n]
dfem]/ /fv]sf 3/sf efF8fklg ;j} pHofnf] eP/ stf stf 6Ns]h:tf] nfUof] .
Æ -k[i7 !^_ bz}+ ltxf/df l6sf nufpg] ltxf/df nIdL k'hf ug]{ ljx]df hGtL hfg]
5f]/L cGdfpg] h:tf k|rngsf] pNn]v klg oxfF kfOG5  . To;} ul/ lbg b'MvLnfO{
cf>d lbO ;xof]usf] efjgf b]vfPsf] s'/f klg oxfF b]vfOPsf] 5 .
%= efiff z}nL
o; pkGof;sf] efiff z}nL, ;/n, ;xh, ;/; Pjd\ k|jfxdio ePsf]
kfOG5 . kfq cg'?ksf] efiff z}nLsf] k|of]u ul/Psf] pQm pkGof;df g]kfnL
;dfhdf x'g] juL{o :yfg / cf]xf]bf cg'?ksf] efiffsf] k|of]u ul/Psf] 5 .;fdflhs
dfGotf / dof{bf cg'?k efiff rog ul/Psf] kfOG5 . o;df kfqsf ?kdf cGo
kfqx?sf] k|of]u ePsfn] t[tLo k'?iffTds z}nLsf] k|of]u ePsf] kfOG5 . 7'nfnfO{
cfb/ ul/Psf] 5 eg] ;fgfnfO{ dfof tF ltdL sf] k|of]u ul/Psf] 5 . dgdf c?s}
ct[Kkt k|]d af]s]sf JolQmn] ;fdflhs aGwgdf afFlwP/ c? ;Fu ljx] ul/ ef}lts
zl// ;'lDkP klg pm dfgl;s ?kdf nf]Ug]sf] aGg g;Sg] s'/f u/L oxfF o;/L
JoQm ul/Psf] 5 –æ ;j} eGbf dnfO{ t ;flxFnL Kof/L 5 . ;j} sfddf p;}n]
61
;3fpF5] pxL cl3 ;b{5] . d htf uof] pm klg pTf} d]/f] k'R5/ eg]klg x'G5 . d
cfpg nfu]sf] a]nf dl;t} cfpF5' elg stf stf /f]O{ . ;f;'n] /f]lslbPsf] ePt
s;f] ug]{ lyO s'GgL . d]/f] ;fy nfu]/ cfPsL . a8L, anfO{ t p;}sf] dfq] dfofF
nfU5 . Æ -k[i7 $%,%%_
pkGof;sf] cfbL b]lv cGTo ;DDfg} b'Mv kfPsf kfq k|lt efj ljxf]n
t'Nofpg] efiffsf] k|of]u ePsf] 5 . /Tgfsf] efiffdf kb;ªultsf] ljrng ul/
af]lng] bflh{ln· efiffsf] k|of]u 5 . ;+jfbfTds / j0f{gf|Tds b'j} z}nLsf] k|of]u
ePsf] o; pkGof;df ljDj k|ltssf] klg oy]i7 k|of]u ePsf] 5 . cfnªsfl/s
efifsf] k|of]u s't'xn hGo 36gfsf] cfof]hgf klg blvG5 . hLjgsf] 5Gb eª\u
eof], cfzfsf] lbof]df t]n ;'Sof], clg cfhGd / Jofyfsf] lr/:dk/0fLo 5fn
x[bodf cªsLt eof] .-k[i7 %*_
^= p2]Zo
ædfOt3/Æ pkGof; lglZrt pb]Zosf ;fy kf7s ;fd' k]; ePsf]
b]lvG5 . g]kfnL ;dfh, wd{, /LtL / ;+:s[tL n] dfgj hLjgnfO{ s;/L d'bf{ t'No
agfpF5 eGg] s'/f o;df b]vfO{Psf] 5 . dgdf /x]sf OR5f rfxgf / efjgfnfO{
;dfhsf] lgtL / lgoddf afFlwP/ b]vfjl6 ;DaGw lgjfpg' kg]{ afWotfnfO{
oxfF pNn]v ul/Psf] 5 . xfd|f] g]kfnL ;dfhdf gf/Lx? eg]sf ;xglzn st{Jo
k/fo0f kltnfO{ eujfg 7fGg] vfnsf x'g'k5{ eGg] dfGotf 5 . plgx?nfO{
afNosfn b]lvg} nf]Ug]sf] 3/df l/Hg leHg l;sfOG5 . To;}sf] nflu tflnd
lbOG5 . c?sf] kl/jf/nfO{ cfkm\gf] dfGg nufOG5 . cfkm\gf] kl/jf/nfO{ lj;{g
l;sfOG5 . gfd uf]q / y/ ;j} kl/j{tg ul/G5 dfgf} gofF hGd eof] . ;j}
clwsf/af6 alGrt ul/G5 dfgf} p;sf] hGd s]jn s;}sf] u'nfdLsf] nflu ePsf]
xf] . o;l/ bf];|f] bhf{sf] ?kdf /flvPsf gf/Lx?sf cfGtl/s / jfXo ;+3if{nfO{
oxfF b]vfpg vf]lhPsf] 5 . clwsf/ eGg] s'/f s:f} ;Fu c+h'nL yfk]/ k|fKt ug{
;lsb}g To;sf] nflu n8\g ;Sg' k5{ . cfkm}n] cfkm}nfO{ df/]/ ;dfh;Fu gf6lso
62
hLjg ljtfpg' eGbf dHhfn] v'n]/ ;dfhnfO{ :jtGqtf k"j{s hLjg lhpg
lbg' k5{ eGg] s'/f l;sfpg' k5{ . gf/L s;}sf nflu bfl; xf]Ogg\ a? /fi6« /
;dfhsfcg'ofoL x'g eGg] s'/f klg of] ;dfhn] yfxfkfpg' k5{, eGg] s'/f of]
pkGof;af6 k|i6 x'G5 .
&= lgis{if
xfd|f] g]kfnL ;dfh / ;+s[tL h;n] ;fdfhLs lgodx? tf]s]sf] 5 . h'g
lgod pNnª3g ug'{ eg]sf] wd{ lj?4, k'/} ;dfhsf] lj?4 nfUg] eGGf] a'lemG5 .
oxfF dfgljo ;dj]bgfsf] jf:tf u/]sf] kfO{b}g h;n] ubf{ dflg;x? dfgl;s ?kdf
k|tfl8t x'G5g eGg] s'/f of] pkGof;df b]vfpg vf]lhPsf] 5 . cfkm\gf] OR5f
cg';f/ afFRg gkfpFbf / vf]s|f] vf]n cf]8\g' kbf{ slt dflg;x?sf] lhjg ajf{b
x'G5 eGg] s'/f of] pkGof;df kfpg ;lsG5 . To:t} dfof k|]d eGg] s'/f s'Gf}
of]hgf cfj:otf cg'zf/ pTkGg x'Fb}gg\ . dgaf6 plAhPsf] k|]d / k|]dn] lbPsf]
Ps ld7f; k'0f{ knsf] ;Demgf cfF6 / lxDdt lbg] u5{ eGg] s'/f ;ª\s]t lbg
vf]h]sf] 5 .
;Gbe{ ;fdfu|L
u}/], OZj/L k|;fb - @)^# _, cfw'lgs g]kfnL cfVofg, pkGof;sf/ n}gl;+x af·b]nsf]
cf}kGofl;s k|j[lt, sf7df8f}+ M lIflth k|sfzg .
9'·fgf, nfjGo / tf/fb]jL sfkm\n] - @)^$_ P]lR5s g]kfnL sIff !! g]kfnL uB, efiff /
;flxTo, sf7df8f}+ M h'lk6/ k||sfzg .
k|wfg, s[i0frGb| l;+x -@)%^ _, g]kfnL pkGof; / pkGof;sf/, nlntk"/ M ;femf k|sfzg .
af·b]n, n}gl;+x -@)%^_, dfOt3/ - df}nLs pkGof;__ sf7df8f}+ M /Tg k':ts e08f/ .
/fO{, rGb|axfb'/ -@)%^_, g]kfnL pkGof;sf cwf/x?, nlntk'/ M ;femf k|sfzg .

63
;+uLtsf] pTklQ tyf ljsf; / g]kfn M Ps ;Gbe{

– k/z'/fd kf}8]n
k|ydtM ;+uLt zAb …uLtÚ zAbdf æ;d\Æ pk;u{ nfu]/ ag]sf] xf], h;sf]
cy{ x'G5 uLt ;lxtsf] s[ofx?sf] k|:t'tLs/0f ;+uLt xf]  . >[i6Lsf ljleGg kIfx?
dWo] ;+uLt klg Ps k|d'v kIf xf] . ;[li6sf] ;+/rgf, ;~rfng tyf ;+xf/ ;a}
kIfdf ;+uLtn] k|ToIf–ck|ToIf ?kdf k|efj kfb}{ cfPsf] 5 .
Oltxf; vf]tNg]] xf] eg] / kf}/f0fLs syfx? lgofNg] xf] eg] ;[li6 /
;+uLt b'jn} fO{ h'DNofxf eGg km/s gdfg] klg x'G5 lsgsL ;[li6stf{ -a|Dxf_ tyf
1fgsL ;fd|f1L;/:jtL klg ;+uLtsf k|dv ' ;ft Zj/ -;f, /], u, d, k, w, lg_
;Fu;Fu} cjtl/t x'ge ' Psf] JofVof kf}/fl0fs u|Gyx?df kfpg ;lsG5 . dxfb]jsf]
tf08j g[To, 8d?sf] cfljisf/, dxfb]jåf/f k~r/fu! -e}/j, lx8f]n, d]3, bLks
/ >L_ sf] /rgf, a|Dxfsf] s/tfn jfbg, ;/:jtLsf] lj0f jfbg, lji0f' tyf
lzjk"q u0f]zsf] d[bu+ jfbg, gf/bd'lgsf] Pstf/], cK;/fx?sf] dgdf]lxgL g[To
cflbn] ;[li6sfndf ;+uLtsf] ;j{Jofkstf k'i6L ub{5g\ .
;Too'u kl5 q]tf o'udf /fIf;–/fh /fj0fsf] ;/f]b jfbg, ufog
snfdf lgk'0f{ njs'z aGw' cflb /x] eg] åfk/o'udf j+zLw/ >Ls[i0f, ;+uLt
ef]uL b]j]Gb|, s07 ;+uLt tyf lj0ff jfbgsf 1ftf ch{g', g[To u'? >L :tf]s
-s[i0fsf g[To u'?_ cflb pNn]vlgo x'g\ . To;} u/L slno'usf] k'jf{wb]lv g} klg
ljleGg ;+uLtfg'/fuL–eQmx? slj/bf;, ;'/bf;, dL/fjfO{, t'n;Lbf;, tfg;]g,
j}h'jfj/f, cflbsf] gfd dggof]Uo 5g\ .
! ≠ e/tsf] ;·Lt l;2fGt
64
O;f k"j{ $)) lt/ /lrt jfNdLsLsf] /fdfo0fdf jfNdLsLsf] dtfg';f/

>L /fdaf6 wg'if tf]8]kl5 cfsfzdf b]j–b]jLx?n] b'Gb'eL jfbg@ u/]sf lyP
eg] b]jL tyf ;vLx? g[To tyf d+unufgdf dUg lyP . :d/0f xf];\ jfNdLlsn]
/fdfo0f nueu O{;fk"j{ $)) df n]v]sf s'/f O{ltxf;df kfOG5 . o;/L wfld{s
JofVofg?df ;+uLtsf] pTklQ ljleGg b]j–b]jLx?af6 ePsf] pNn]v ePklg
xfnsf] ef}lts hutsf zf:qsf/x?sf syg eg] s]lx leGg /x]sf] 5 .
s]lx zf:qsf/x?sf] syg cg';f/ do"/, rfqs, jfv|f, sfu, sf]OnL,
Eofu'tf] / xfQLsf# Zj/af6 qmdzM ;f, /], u, d, k, w, lg :j/ pTklQ
ePsf] xf] . To;} u/L klZrld ljåfg k|mfo8sf cg';f/ afnsn] ?jfO{, af]nfO{,
v]nfO{, xF;fO{ cflb dgf]j}1flgs k|s[ofaf6 l;s] em}+ ;+uLt klg dgf]j}1flgs
k|s[ofsf cfwf/df dflg;åf/f pTklQ ePsf] xf]  . ljåfg kfOyfuf]/;sf dtfg';f/
dflg;nfO{ ;j{k|yd if8h–k~rd -;f–k_sf] s0f{lk|o :j/sf] cg'ej eof] /
qmdzM c? afFsL Zj/ Cife, ufGwf/, dWod, w}jt, lgiffb -/], u, d, w, lg_
x?sf] ljsfz eof] . Ps kmf/;L ljåfgn] æd';Lsf/Æ gfdsf] k+IfLsf] Zj/af6
;+uLtsf ;ft Zj/x? pTklQ ePsf] pNn]v u/]sf 5g\ . d]/f] ljrf/df ;+uLt
dfgj ;Eotfsf] z'?jft;Fu} r/0fut ?kdf pTklQ, ljsfz, k|rf/, k|;f/ x'Fb}
cfPsf] xf]  . dflg;nfO{ ;'/lIft /xg cf>d -3/_ sk8f cflbsf] pTklQ dflg;s}
cfjZostfn] hGdfP h:t} ;+uLt klg dfgjLo cfjZostfaf6 >[lht ct'nlgo
j:t' xf] . o;/L ;+uLtsf] pTklQsf ljifodf h] h:tf] ts{–ljts{ kfOP tfklg
k"jL{o Oltxf;sf/x?n] eg] ;+uLtsf] Oltxf; sfnnfO{$ $ k|d'v sfndf ljefhg
u/]sf 5g\ .
s_ clt–k|flrg sfn
;[li6sfnb]lv g} ;+uLtsf] pTklQ ePsf] dflgP tfklg @))) O{zfk'j{
@ ≠ >L /fdrl/tdfg; rf}kfO-@^@,uLt k|];
# ≠ ;·Lt bk{0f– k bfdf]b/ ld>,:nf]s !&)-!&!
$ ≠ ef/tLo ;·Ltsf O{ltxf;,:j 8f= 7fs'/ hob]j l;+x
65
b]vL !))) O;fk'j{ ;Ddsf] o'unfO{ Oltxf;sf/x?n] ;+uLtsf] clt–k|flrg sfnsf

;+1f lbPsf 5g\ . Plzof dxfb]zsf] ef/t v08 dxflåkdf Tolta]nf g} a|fDx0f,
If]qL, j}Zo, z'b| u/L ju{ ljefhg e};s]sf] lyof] . TolQ a]nf a|fDx0fx? g} cGo
ju{x?sf] nflu ;+uLt tyf 1fgbftfsf ?kdf ;+ul7t lyP . To; ;dodf ;f+uLlts
s[ofsnfkdf :qL–k'?if b'j}sf] ;xeflutf x'g] u/]sf] s'/f Oltxf;df pNn]v 5 .
Ps ljåfgsf] egfO{df j}lbs sfn jf clt–k|flrg sfndf dflg;x?sf] ;+uLtk|ltsf]
nufj cToGt} lyof] . k"jL{o Oltxf;sf/x?sf] dtdf dxfef/tsf] o'4 sd–;]–
sd !%)) b]lv !!)) O;fk"j{df ePsf] cg'dfg 5 . o; sfndf pNn]Vo ;+uLt
kf/+utx?df >L s[i0f, :tf]s, ch'{g, uGwj{, lsGg/ cflb dflgG5g\ .
v_ k|flrg sfn
j}l4s sfnsf] ;dflKt nuQ}sf] o'unfO{ zf:qsf/x?n] k|flrg sfnsf]
;+1f lbPsf 5g\, o; sfn O;fk"j{ !))) b]lv nueu O:jL ;g\ *)) ;Dd /Xof]  .
Oltxf;sf/x?sf] dtfg';f/ uf}td a'4sf] hLjgsfn O;fk"j{ %^# b]lv $*#
;Dd /Xof] . o;} cjlwdf Ps k6s uf}td a'4sf] hGdf]T;jdf %)) afhfx?sf]
j[Gbjfbg -;d'x jfbg_ ePsf] lyof] . pgsf] hLjgsfndf ;+uLt1x?nfO{ ljz]if
dfg k|bfg ul/GYof] eg] af}4 u'Daf, dlGb/ cflb b]jfnox?df cf/fwgfsf] nflu
snfsf/x? lgo'Qm ul/ plrt sfo{qmd, ;Ddfg tyf kfl/>lds lbOGYof] . To;
;dosf k|l;2 ljZjljb\\ofno gfnGbf / laqmdlznf h:tf ljZj-lj4\ofnox?df
;l·tsf 5'§} ;+sfo lyP .^ lnR5ljsflng–ls/fFtsflng ljleGg d7–dlGb/sf
åf/, 6'F8fnx?df ;+uLtdf tNnLg b]lvg] b]jL–b]jtf tyf d"lt{–cfs[ltx?n] g]kfndf
j;f]jf;sfn b]lv g} ;+uLtsf] k|efj ePsf] s'/f j0f{g ub{5g\ . uf]kfn j+z
tyf dlxifkfn j+zLsf] zf;gsfndf wd{sd{sf] al9 k|rf/–k|;f/ ePsf]af6
klg ;+uLtsf] cl:tTj tTsflng ;dodf JofKt lyof] eGg ;lsG5 . tTsflng
/fhfx?sf] ljnf;Lkgn] /fhfx?sf] ;+uLtk|ltsf] nufj k|i6 x'G5 .
% ≠ ;·Lt ljzf/b, a;Gt, k]h-@)
^ ≠ snflgwL q}dfl;s-a;-(, c+s-!,
66
u_ dWosfn
o; sfn sl/a *)) b]lv sl/a !@)) O:jL;Dd /Xof] . tTsflng
;dodf /fhf tyf /fHox?lar lvrftfgL cflbsf sf/0fn] o'4d} s]lGb|t /Xof] .
7'nf /fHox? ;–;fgf /fHox?df ljeflht eP . ;Qfl;g zlQmzfnL zf;sx?sf]
ljnf;Lkgn] b/af/leq ;+uLtnfO{ k|f]T;fxg lbg yflnof] . To;a]nf l5d]sL
/fHox?af6 ;+uLt1x? lemsfO{ ljleGg sfo{qmdx? ;~rfng u/Lg] ul/GYof]
eg] zf;sx? :jo+ ;+uLtsf] lzIff lng] / lng nufpg] klg ub{y] . jf:t'snf,
d'lt{snf, lrqsnf, g[Tosnf, clego, ;flxTo, wd{;+:s[lt cflbsf] ljsfzdf
dNn /fhfx?sf ljz]if of]ubfg /x]sf] 5 .& hol:ylt dNnåf/f lgld{t /fd
dlGb/, s'De]Zj/, pGdQ e}/j, tn]h'–ejfgL, %% ‰ofn] b/af/, s[i0fdlGb/
cflb nufot r}To, ljxf/ cflb b]jfno tyf b/af/x?df s'FlbPsf snfx? klg
tTsflng zf;sx?n] ;+uLtk|lt b]vfPsf] efjgfsf] Wof]ts xf] . sf7df8f}+sf
clGtd /fhf ho k|sfz dNn t uGwj{ ljwfdf kf/+ut lyP eGg] Oltxf;af6 k|i6
x'G5 . To;} u/L k|tfk dNn klg ;+uLt / snfsf kf/vL lyP . l;l4 g/l;+x
dNnn] sflt{s gfrsf] rng rnfP eg] tTsflng ;dob]lv k|rngdf cfO/x]sf
ljleGg ;f+uLlts kj{, gfrx? cfh;Dd klg rln/x]sf 5g\ . ef/lto Oltxf;
qmddf ljz]if u/L ojg sfn -;g\ ^$&–;g\ !@()_, vLnhL o'u -;g\ !@()–;g\
!#@)_ cld/ v';/f]sf] hLjgsfn, t'uns o'u, d'un sfn -;g\ !%@%–;g\ !&$)_
csj/ sfn -;g\ !%^)–;g\ !^)%_, c+u|]hsf] k|f/De sfn cflb ;+uLtsf pNn]Vo
cjlw dflgG5g\ eg] g]kfndf lnR5aL zf;gsfnsf]* s/La s/La ^#) aif{nfO{
-nueu & cf} ztfAbL b]vL !$ cf} ztfAbL_ nlntsnfsf] :j0f{o'u dflgG5 .
3_ cfw'lgs sfn
;g\ !*)) eGbf otfsf] ;dofjlwnfO{ Oltxf;sf/x?n] cfw'lgs sfnsf]
>]0fLdf ljeQm u/]sf 5g\ . o; sfndf ;+uLt Ps 5'§} ljwfsf] ?kdf :yflkt
& ≠ ;ltzrGb| /]UdL,k]h-@^
67
eof] . ljz]if u/L ef/tdf ;+uLtsf] nf]slk|otf clws /Xof] . ef/tsf hok'/
g/]z( -;g\ !&&!–;g\ !*)$_ n] ;+uLtnfO{ zf:qf]Qm Joj:yf ug{ æ;+uLt ;f/Æ
gfds u|Gy /rgf u/fP eg] ljåfgåo k+= lji0f' gf/fo0f ef/tv08 tyf k+= lji0f'
bLuDa/ kn'is/sf] of]ubfg xfn;Dd g} k|z;+ f of]Uo /lx cfPsf] 5 . jxfFx?n]
;+uLtnfO{ lnlkj4 ug{ 5'§f5'§} lnlksf] ljsfz ug'{ eof] . xfn eg] ef/tv08]
lnlk cToflws k|rlnt /lx cfPsf] 5 . o; sfndf ljleGg ;+uLt ljBfno
v'Ng'n] ;+uLtsf] cToflws k|rf/ eof] . ;–;fgf /fHox?sf] Plss/0f tyf :jtGq
/fHo :yfkgfn] ;+uLtsf] huhuL cGt/f{li6«o ?kdf km}lnof] . /fhg}lts hfu/0f,
b]zelQm, hg r]tgfd"ns sfo{x?df ;d]t ;+uLtsf] oy]i6 k|of]u eof] . ljleGg
vf]h cg';Gwfg ul/of] eg] ;~rf/ dfWodsf] ljsfzn] ;+uLtdf x/]s ljwfx?
-k|sf/x?_ k|sfzdf cfP . ;+uLtsf] lzIff ;j{;n' e eof] . ;+uLtnfO{ zf]efn+st[
ul/of]  . ;–;fgf /fHo PsLs/0f kZrft\ ljleGg JolQmx?nfO{ ;+uLt lzIff lbnfpg
ef/lto ;+uLt1 g]kfndf af]nfpg] k|rng /Xof] . ;+uLtdf OR5f /fVg] wgf9\ox?
snfsf/ lgo'Qm ug],{ ljb]zdf uO{ ;+uLt 1fgfh{g ug]{ ub{y ] . g]kfndf /f0ff sfndf
;+uLtn] b/af/L k|>o kfof] eg] /fhf lqe'jg k:rft eg] g]kfnL tyf zf:qLo
;l·t hg hgdf nf]slk|o x'bF } cfO/x]sf] cj:yf 5 . cfw'lgs sflng k|dv ' g]kfnL
;+uLt kf/+utx?df jvtlj/ a'9flkwL{ -;g\ !*%&–!(@)_, ;'rt] l;+x k|wfg -;g\
!)
!*%*–!(@)_, p= phL/ t08'sf/ -;g\ !*^$–!(#$, p= gfgsld> -;g\ !*&)–

!(%$_, p= gGbnfn >]i7 -;g\ !*&&–!($(_, k|f=] jfnfk|;fb zdf{, p= ab|L -;g\
!())–!(^!_, Ps/fh zd;]/, ;+uLt l;/f]d0fL o1/fh zdf{, >LdtL d]njf b]jL,
ldq;]g, p= r]tgfy zdf{ cflb x'g \ . tTsflng /f0ff zf;gsf] cGt tyf k|hftGqsf]
z'?jftsfndf ;+uLtnfO{ hg hfu/0f sfo{df Hofbft/ pkof]u ul/of] . ;g\ !(%)
df /]l8of] g]kfnsf] :yfkgfn] ubf{ ;+uLt b]zleqsf k|To]s ufpF–ufpFsf uf]7, s/];f,
sfGnf, cfnL–cfnLdf u'~hfodfg x'g yfNof] .
* ≠ g]kfnsf] O{ltxf; afa'/fd cfrfo{

( ≠ ef/tLo ;·Ltsf O{ltxf;,:j 8f= 7fs'/ hob]j l;+x
!) ≠ g]kfnL ;·Lt ;fws– /fd z/0f bgf{n
68
b]zsf] Psdfq ljZjljBfno lqe'jg ljZjljBfnon cGtu{t la ; @)!&

b]vL kßsGof ax'dv ' L SofDk;, @)#) b]vL /Tg/fHo SofDk; / @)## b]vL
nlntsnf SofDk;df eg] la ; @)^^-^& af6 ;l·tdf :gftsf]Q/ txsf] k7g-
kf7g ;'? eof]  . To;}ul/ cGo ;+3–;+:yf JolQmx?n] klg ;+uLtsf] lzIff lbg k|f/De
u/] . ljleGg u'?s'n, ;+uLt ;d"x, Sna, vnM, ehg u[x cflbsf] :yfkgf eP .
@))& sf] k|hftGqsf] pbo;Fu} ;+uLtnfO{ nf]slk|otf lbg] ;+uLtsf/x? d'VotM p=
u0f]z nfn >]i7, sfnL k|;fb zdf{, hgfb{g ;d, gftLsfhL, /Tgbf;, wd{/fh
yfkf, o1/fh zdf{, g//fh 9sfn, zDe" k|;fb ld>, ;fDab]j zdf{, p= gf/fo0f
t08'sf/, tf/fb]jL, gf/fo0f uf]kfn, uf]kfn of]~hg cfbL /xg'eof] eg] g]kfndf
u0ftGq k:rft cDa/ u'?·, c?0f yfkf,s'df/ a:g]t, u0f]z /l;s, c?0ff nfdf,
bLk >]i7, k|sfz >]i7, c?0f yfkf,kmQ]dfg, lzjz+s/, xf]dgfy pkfWofo, ejgfy
pkfWofo, wg a uf]kfnL, pdf yfkf, df]xg ;'Gb/ >]i7, df]xg k|;fb hf]zL, 8f w|a' z
]
/]UdL, :j ct'n uf}td , 1fg'/fwf uf]vf{nL, tf/f la/ t'nfw/, e/t g]kfnL, ;+uLtf
k|wfg, /ljg nfn >]i7, cRo't/fd e08f/L, k|d] rGb| cf]em}of, 8Gsgbf; rf}w/L
nufot w]/} snfsf/x? /x]sf 5g\ . To;}ul/ Psflt/ ;fdflhs ;:yfx? snflgwL
;+uLt dxflaBfno, gf/fo0f ;+uLt k|lt:7fg -xfn-ct'n :d[lt u'?s'n_, ls/ft]Zj/
;l·tf>fd, ondfof, gf/fo0f:yfg-gf/fo0flx6L , kz'kltgfy snf k|lti7fg, skg
;l·t ;/f]j/ , g]kfn ;l·t laBfno, u'?s'n ;+uLt s]Gb|-kf]v/f , /fddlGb/
;l·t alQ;k'tnL h:tf ;:yfx?n] lgoldt ?kdf zf:qLo ;l·tsf] sfo{qmdx?sf]
cfof]hgf ub}{ g]kfndf zf:qLo ;l·tsf] ;Dab{g k|ab{g / lasf;df dxTjk"0f{ e"ldsf
lgaf{x ul//x]sf 5g eg] csf]lt\{ / cGo AolQmut ;l·t k|lzIf0f s]Gb|x?n] cf-cfÇgf
ta/n] ;+uLtnfO{ utL lbg] sfd ul//x]sf 5g . xfnsf] k/Lk|I] odf xfd|f] b]zdf
klZrdL ;+uLtsf] jfx'Notf ePsf] sf/0f ldl>t ls;Ldsf] ;+uLt b]lvPsf] 5 .
/]l8of] l6 le tyf cGo k|flalws/lnlvt ;~rf/ dfWodx?sf] ljsf;n] ;+uLtnfO{
cem nf]slk|otf k|bfg u/]sf] b]lvG5 tyfkL ;l·tsf] kl/df0ffTds tyf u'0ffTds
kIfx?nfO{ plrt ta/n] cWoog cg';Gwfg ug{' cfhsf] cfjZostf xf] .
69
70
List of Contributors
1. Komal Prasad Phuyal, PhD
Dr. Phuyal is a Lecturer in English in Fine Art Campus, Tribhuvan

University. An active poet and critic, he is involved in translation of
literary texts from English to Nepali and Nepali to English. He specializes
in South Asian and Nepali modernity. He is currently working in
dynamics of transmodernity in South Asia. He can be contacted at
ephuyal@gmail.com.
2. Ramesh Pokharel
Mr. Pokharel is currently working as Campus Chief at Fine Art Campus,

Tribhuvan University. A Lecturer in Music in Tribhuvan University and
research scholar in Banaras Hindu University in India, he is currently
researching on music pedagogy. He can be contacted at pokharelbhu@
gmail.com.
3. Rena Thapa
Ms. Thapa is a Lecturer in English in Fine Art Campus, Tribhuvan

University. Her research interests lie in gender, empowerment, and
analysis of repressive forces both in person and society. She can be
contacted at renabha75@gmail.com.
4. Dr. Yam Prasad Sharma
Dr. Sharma is currently working as Assistant Campus Chief at Fine Art
71
Campus, Tribhuvan University. A Lecturer in English and an avid art

critic, he specializes in Visual Art. He is currently involved in critique of
contemporary art in Nepal. He can be contacted at yamprasadsharma@
gmail.com.
5. Gokarna Dulal
Mr. Dulal is a Lecturer in English at Khwopa College, Dekocha,

Bhaktapur. He is currently researching on the effects of colonialism
in the subjectivity in post-colonial societies. He can be contacted at
dulalgokarna2014@gmail.com.
6. Bipin Ghimire
Mr. Ghimire is Associate Professor of Painting in Fine Art Campus,

Tribhuvan University. A dedicated art educator and former Campus
Chief at Fine Art Campus, he has inspired many artists. He can be
contacted at bipin.ghimire57@gmail.com.
7. Deepa Neupane
Ms. Neupane is a Teaching Assistant in Nepali Department in Fine

Art Campus, Tribhuvan University. A passionate Nepali teacher and
researcher, she is interested in modern Nepali fictions.
8. Parashuram Paudel
Mr. Paudel is a Lecturer in Tabala in Fine Art Campus, Tribhuvan

University. A dedicated music educator and music scholar, he is keenly
interested in the classical aspects of music and music pedagogy.
72
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JFAC Vol.

Fine Art Campus Unit

Vol. 2 September 2017

Edition October 2017

Layout Rasmi Khagi

Price NRs 150.00

This second volume of JFAC (Journal of Fine Art Campus)

g]kfnL lrqsf/x?sf] ;f]rfOdf cfw'lgssnf

Art: An Act without Excitement*

Time exists independently in the state of frozen form, preserving

The absolute in creative process functions in the form of

singular existence marks the rule of sheer excitement which forms

The break in the nexus of time-space is produced as a

former and domesticates the domain under excitement in order

Consciousness brings time into being and intervenes into its

‘Time’ has long functioned as an ontological –or rather an

The cosmic sense of time paves way to local taming whereby

The temporal dynamics of consciousness first of all gets

of experiences that is revealed to consciousness before ‘now.’ At

The real forms a body of knowledge by analyzing and

there are three modes of approaching time: historical, ahistorical,

The best work of art reflects the ethos of the contemporaneity,

for her creative endeavor. Genuine work draws inspiration as

A serious mind keeps herself busy in the workshop, refining

As soon as the vision appears in a genius, the process of

In absence of excitement, our mind seeks to explore a variety

invents a view of time through extraordinary perception of the

As a masterpiece in Nepali novel, Madan Mani Dixit’s

Dali, Salvatore. The Persistence of Memory. 1931.

Dixit, Madan Mani. Mādhavi. 4th ed. Pulchwok: Sajha, 2064 B. S.

Foucault, Michel. “Return to History.” Essential Works of Michel Foucault

Music Educational Institutions in Nepal: 1951

Systematic music education is very important for the social development

Classical Music: Raaga based Music which is learned in a structured

Darbar: The Royal Court

Gurukul: An abode or a traditional retreat where a guru teaches his

Pandit: Honorary title given to an expert.

Ustaad: Guru, Expert, honorary title given to a learned musician.

Methods and Materials

The study is based on secondary sources of data that collected

After the first proclamation of Democracy in 1951, Nepalese

The very first formal music education started in Nepal with

talented classical singer and classical dancer, too. He used to sing

In 1955, the first professional Music School and College

around 32 music graduates (Panday&others 1977, p.47). Nepal was

In the history of Nepal, King Mahendra is known as the most

The Nepal Academy earlier known as Royal Nepal Academy

two institutions also started to provide music trainings for common

In recent decades, many private music institutions affiliated

at Dharan in Sunsari (1991), Sangeet Sadhana Mahavidyalaya at

Tribhuvan University was established in 1959 as the first

Kalanidhi Indira Sangeet Mahavidyalaya

At the time of the establishment the college was known as

Nepal. The College is acknowledged and accredited by Bhat Khande

With the objective to produce competent musicians

Nepal Sangeet Vidyalaya

Nepal Sangeet Vidhyalaya is known as Nepal Music Centre.

It can safely be concluded that music educational institutions

Democracy in 1951. Radio Nepal was established in the same year

Acharya, S. R. (1997). Sangeetamrit prathamahuti. Kathmandu:

Acharya, S. R. (1999). Sangeetamrit prathamahuti. Kathmandu:

Gopali, D.B. (2013). Nepali sangeet ma kalanidhi ko bhumika. Kalanidhi

Mukarung, B. (2014). Nepali sangeet ko abhilekh. Kathmandu: Palpa