inspect report on conservation

7/30/2019 inspect report on Conservation

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ACKNOWLEDGEMENT

I would like to express my gratitude to the municipality of Bhaktapur and architectural

department for the data and information provided about present status and conservation of

the monuments of the Bhaktapur.

Writing this paper has been a unique experience altogether. Many helpful hands are involved to

support me for preparing this report. Firstly I would like convey my most grateful thanks to

both my teachers Prof. Dr. Jib Raj Pokhrel and Ar.Prajwol Hada of Pulchwok Campus who has

immensely contributed their time and labor to guide me for the preparation of this report.

Without their guidance and valuable suggestions, it would have been extremely difficult to

bring it to fruition.

I would like to pay my sincere thanks to my parents and friends for their kind cooperation andencouragement. I also owe an indebt to all reputed authors whose writings have invaluable

material for the enrichment of my research paper in all possible ways.
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A r e p o r t o n I n s p e c t i o n | 1

1.CONSERVATION:Monuments can be architectural works, works of monumental sculpture and painting, elements

or structures of an archaeological nature, inscriptions, cave dwellings and combinations of

features, which are of outstanding universal value from the point of view of history, art or

science. To conserve (conservare) means to keep, to preserve. Thus the basic attitude of

preservation corns most purely to expression in conservation: to conserve is the supreme

preservation principle. Together with stabilization and safeguarding measures, conservation

work that protects the fabric of a monument and prevents its further loss should therefore

have absolute priority over all other measures. Conservation of monuments can be defined as

the physical remains of human activity of the past, cultural heritage, tangible or intangible,

movable or immovable, have played important roles in the formation of social memory and

cultural identity.

The primary objective of conservation is to protect monuments from loss and damage.

Conservators accomplish this through both preventive and remedial types of intervention. In sodoing, conservation embraces the technical means by which heritage may be studied,

displayed, and made accessible to the public. In this way, the conservation of archaeological

sites or monument is like other heritage conservation. Implicit in conservations objectives is

the basic requirement to remove or mitigate the causes of deterioration. For archaeological

sites, this has a direct and immediate effect on visual legibility and indirectly conditions our

perceptions and notions of authenticity. Among the repertoire of conservation techniques

applied to archaeological sites are structural stabilization, reconstruction, reburial, protective

shelters, and a myriad of fabric-based conservation methods.

In the conservation of monuments, we are consistently faced with challenges on three fronts:

Physical condition: Behavior of materials and structural systems, deterioration causesand mechanisms, possible interventions, long-term efficacy of treatments, etc.

Management context: Availability and use of resources, including funds, trainedpersonnel and technology; political and legislatives mandates and conditions; land use

issues, etc.

Cultural significance and social values: Why an object or place is meaningful, to whom,for whom it is conserved, the impact of interventions on how it is understood or

perceived, etc

Places of cultural significances enrich peoples lives, often providing a deep and inspirationa l

sense of connection to community and landscape, to the past and to lived experiences, they are

historical records that are important as tangible expressions of Nepalese identity. Places of

cultural significances reflect the diversity of our communities, telling us about whom we are

and the past that has formed us and Nepalese landscapes. They are irreplaceable and precious.

These places of cultural and religious significance must be conserved for present and future

generation.

Literally conservation can be defined as the prevention against the loss, damage or destruction

of important structures or masterpieces. It can significantly be categorized as of Historic,
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Architectural and Socio-Cultural importance. The causes of possible damages may be natural or

human action. Thus, conservation is the action taken against the decay of the object retaining

its original state.

The phenomenon through which the material, historical, and design integrity of mankind's built

heritage are prolonged through carefully planned interventions can be termed as architecturalconservation. Conservation carries a wider meaning and embraces the various kinds of

treatment that are given to any monument to lengthen its life. The spinal concept of

conservation is to retain the originality of the monument to the greatest possible extent.

Architecture conservation is important because it helps to preserve the emotional values,

functional values and cultural values of an area while preserving the structure that emanates

those vibes. Architecture always has to give out an aura of originality and authenticity. To

prevent it from getting too lost conservation is needed, so that, authenticity, originality and

truth of an architecture gets to remain intact.

Conservation thus helps to retain the existing state of buildings and prevent decay. Thisultimately freezes the expertise of the craftsmen of the previous years in terms of the visible

marvels and in the process passes on the informations to the future generations. Architecture

conservation helps to identify the importance of buildings and conserve them.

a. Conservation principles- Conservation and management.

Places of cultural should be conserved. The aim of conservation is to retain the

cultural significance of a place. Conservation is an integral part of good management

of places of cultural significance. Places of cultural significance should be

safeguarded and not put at risk or left in a vulnerable state.

- Cautious approach.Conservation is based on respect for the existing fabric, use, association and

meanings. It requires a cautious approach of changing as much as necessary but as

little possible. Changes to a place should not distort the physical or other evidence it

provides, not be based on conjecture.

- Knowledge, skill and techniques.Conservation should make use of all the knowledge, skills and disciplines which can

contribute to the study and care if the place.

Traditional techniques and materials are preferred for the conservation of significantfabric. In some circumstances modern techniques and materials which offer

substantial conservation benefits may be appropriate.

- Values.Conservation of a place should identify and take into consideration all aspect of

culture and natural significance without unwarranted emphasis on any one value at

the expense of other.

- Use.


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Where the use of a place is of cultural significance it should be retain. A place should

have compatible use.

- Location.The physical location of a place is part of its cultural significance. A building, work or

other component of a place should remain in its historical location. Relocation isgenerally unacceptable unless this is the sole practical means of ensuring its survival.

b. The different level of interventions.For any conservation work, some degree of intervention is should be done. With

intervention, some value of cultural property is lost. But for the sake of preservation of

the object, intervention can not be avoided, thus the degree of intervention should be

the minimum. The condition of the building after intervention should be documented. It

should not prejudice future intervention and should be in harmony with the aesthetic,

historical and physical integrity of the cultural property. The techniques used are

dependent upon the condition of the climate which the cultural property is likely to be

subjected and amount of decay caused by this at the existing state. The degrees of

intervention are as follows:

- PreventionIt entails the protecting the cultural property from further decay by controlling the

internal environment, thus preventing the agents of decay and damage from

becoming active.

- PreservationIt is act of applying majors necessary to sustain the existing form, integrity and

material of historic property.

- ConsolidationIt is physical addition or application of adhesive or supportive materials into the

actual fabric of the monument to ensure its continued durability and structural

integrity.

- RestorationIt is the act or process of accurately depiciting the form, features and character of

the property through repair, alteration and addition while preserving those portions

which conveys its historical, cultural or architectural values.

- ReproductionReproduction entrails copying an extant artifacts, often in order to replace some

missing or decayed parts, generally decorative, to maintain its aesthetic harmony.

- ReconstructionIt is the act of process of depicting by means of new construction, the form, features

and detailing of non surviving building for replicating its appearance at a specific

time period.


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2.CONSERVATION IN CONTEXT OF NEPALKathmandu valley was one of the early nominations to the World Heritage List. At the time the

nomination files were substantial than today and there were no formal evaluations of the

properties by the Advisory Bodies. However, the outstanding universal value was justified in the

nomination file and has been assessed by ICOMOS in its numerous reports.

The outstanding universal value of the property is related to the artistic and aesthetic

achievements in the religious monuments and royal cities, and to the traditional Nepalese

architecture, which has become vulnerable due to irreversible change.

Since the property was inscribed on the World Heritage List in 1979, various sites have been

subject to change, resulting from demolition of existing traditional-type buildings and the

construction of new in reinforced concrete. Many of those new buildings are not finished as

some taxes are only paid after the completion of building. Such changes have occurred

particularly in the surroundings of the listed monuments, while the principles of monuments

have not been directly affected.

T he state of conservation of Kathmandu Valley has been regularly an item in the agenda of the

World Heritage Committee meetings ever since 1992 and the property was inscribed on the List

of World Heritage in Danger in 2003. States of conservation reports have been prepared, of

which the latest from 15 19 March 2005 by ICOMOS and World Heritage Centre. The state

party provided a State of Conservation Report in December 2005.

Generally speaking, the state of conservation of the main monuments has not deteriorated.

Nevertheless, in several cases their surroundings have been altered loosing much of their

integrity.

The conservation and restoration movement

Main text from: Neils Gutchow, Conservation in Nepal A review of practice. The Sublima

Pagoda, 2003, Page 11-25. Titles are as follows:

a. Early conservation practice by Department of Archeology, (1956 1970)b. The first bilateral project:

Restoration of the Pujari Math in Bhaktapur, (1971 1972)

c. The Bhaktapur Development Project, (1971 1986)d. Department of Archeology projects in the 1970s.e. Reconstruction of the Cyasilin Mandap in Bhaktapur, (1987 1990)f. New foreign initiatives in the 1990s.


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3.INSPECTION:An organized examination or formal evaluation or formal evaluation exercise that determines

the quality and correctness with procedure of measurements, tests and detailed study in

realtes to an object or activity. It is one of the important tools that requires for the conservation

of monuments or architecture in order to provide or collect the information of extent of

deterioration of a monuments so as to identify the kind of intervention to be done for

conservation. It includes the minute details that are looked into and recorded.

Thats why inspection is an important stage in conservation and should be carried out

technically and with precision. An inspection is always done from north and proceeding in

clockwise fashion paying due attention to all elements, even the minute areas.

3.1. OBJECTIVES OF THE INSPECTION REPORT: The character of architectural monuments as a historical record should be preserved. Buildings and areas of architectural and historical interests should be protected. Old

buildings are recognized as an important asset-both in cultural and economic sense.

Conservation should be means to preserve traditional local skills and create newemployment.

Cultural activities should be kept alive. The interaction between tourism and conservation should be made beneficial, avoiding

both negative impacts from tourism as well as a mere conservation of the prevailing

backwardness.

Ancient buildings should be given an active role in contemporary society. Aware of the present condition of the temples by studying its historic records, religious

and cultural value of the monuments.

The traditional buildings and structures handed down to us through history with allmodification for functional and aesthetic reasons are source of knowledge for us. Such

structures give information about our ancestors their religious, their achievement, their

technological knowledge and their knowledge of materials.

Focuses and identify the architectural elements of historic monuments for theirconservation stating its importance.

To chose different degree of intervention of architectural monuments. The conservation of the traditional architectural element here will require revival of

traditional materials. Traditional skills and traditional techniques. These are nearly in the

state of the loss due to the stoppage of the construction of such elements. To revitalize

architectural elements conservation is needed.


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Aware of the importance of historic monuments to the local or public people ofsurrounding and town and local authority.

Accumulation of explanatory data, research data and current condition aboutmonuments and local people

The program formulation for the conservation of each possible intervention.

3.2. METHODOLOGYData collection procedures depend upon ones study and data will collect fro m different

sources. Here I have used both primary and secondary data.

Primary dataData observed & collected directly from first hand experience is called primary data.

These data are collected by the method of interviews, observation, case studies, visual

inspection, and inscription.

Secondary data:The secondary sources of data collections are those that have been used from published

on used by someone previously. These data are collected with the help of publication or

magazines, newspaper, governmental, non-governmental agencies, etc.


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MAHALAXMI (B/B-18)

Name of monument and chief deity: Mahalaxmi

Other objects of architectural value: Bells, sattal,torana, guilted copper roof.

Types and style: Two storey temple, pagoda

Location: Khalacchen Tole

Earlier date of conservation: 2065 B.S.

Materials used: Iron called collapsible door

Portion of monuments needing to be repaired: none but patiof north side

General remarks:

Daily puja is done by priest called Achaju. According to locality,

initially it was a forest where the death body is burnt out which

has still marks of stone in front of this temple. Again they state

that they have own festivals called lingo, however this was not

done at present context.

Double roof structure dedicated to Vishnus spouse, who is widely worshipped in this locality.

The temple is located in an open open courtyard and is

surrounded by patis, sattal, single-floored structures, sunken

hitis. Sattal on east side is being restored by the aid of Bhaktapur

Municipality. The temple is supported by four pillars at the

corners. The carved doorway with a torana leads to the sanctum.

Both roofs are supported by figure struts which depict

Astamatrikas. There are number of sculptures and an old votive

Chaitya in the neighborhood. New two images was kept in 2014 B.S. and 2045 B.S.The main

festival of this temple is done in Baisakh. This festival is also related to Mahakali.

Notifications:

It is kept under the eye of people appointed by locality. Misused of land owned by this god for the provisions of celebrating festivals. Less attention by Mahalxmi dyochhen.


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MAHAKALI (C/B-17)

Name of monument and chief deity: Mahakali

Other objects of architectural value: Bells, torana,guilted copper ganesh

Types and style: open shrine

Location: Byasi Tole

Records of monument: inscriptions of 1661,1623


Portion of monuments needing to be repaired: none

General remarks:

According to Swasthani, after the death of Satidevi,

Mahadev was in very unconscious and dilemma because she

was his most lovely wife. Mahadev carried her death body

and he went around different places keeping his wife on his

shoulder. On such situation, different god and goddess went

to Bishnu solving those problems and he decided to allow

her body to decay out by falling down her different bodyparts. In this way mahakali pith is formed from the body

parts of Satidevi.

This is an open shrine constructed beneath some trees on

the small island hills. There are stone torona and a row of

lamps arched over a group of stones. The goddess is

worshiped on these stones without icons, fallowing the

Tantric tradition. Behind them is a stone pillar with a double

edged Khadga held vertically. This became popular in the late

medieval period as a symbol of Kali. There are different goddess around this main shrine.The

inscription reads, PratapaMalla, 1661. The priest is an Achaju.

Different spaces are artificially created such as pati and terraces to accommodate the visitors.

This temple is very famous and popular in this locality where it is one of the places to visit in

Navarat in vijaya dashami. Bhajan is done in everyday.

Notifications:

Retaining wall is very weak


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BALAKHU(C/B-13)

Name of monument and chief deity: Balakhu

Ganesh, Ganesh

Other objects of architectural value: Bells,

torana, guilted copper roof, jharu, pati, sattal

Types and style: two storied temple, pagoda

Location: Balakhu, Bhaktapur

Earlier date of conservation: 2068 B.S.


Portion of monuments needing to be repaired: none but jahru,

pati and its dyochhen

General remarks:

The priest is an Achaju and the temple observes its main festival

during Bisket. This small, plain, double- storey shrine is located at

the open corner of a narrow lane. The sanctum is open but

covered by a roof supported by two pillars. There is a narrow

torana between the first and second roofs. The figure of the struts depicts the Asthamatrikas.

There is a belief that if any materials or personal goods are lost, if one comes here and

worships, the goods are found back. Hence a

large number of people come and pay their

homage here. It is already in the state of

conservation, so no conservation works are to

be done here and it is in good position. It has

its DyoChhen on the North side of the temple.

Ganesh, the elephant headed god of wisdom

and success is the defender and remover of

obstacles and has to be propitiated first before

offering worship to other gods. He is the son of

Shiva and Parvati. He is extremely popular in

the Kathmandu valley and his image is found everywhere. This

Balakhu Ganesh temple is next to the Jana JyotiPustakalaya. Legend


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says that if somebody lost anything then he or she can get it back by worshipping the Balakhu

Ganesh.

Jahru is a water reservoir or spigot fountain consisting by

a substructure of a stone masonary and covered by a head

structure sometimes resembling a massive shrine roof.

The stone trough is externally carved and filled with, one

or more stoppers, a small breast-like bump to fit the

spigot tap and is fitted a little lower than a mans height to

make easy to drink from. The substructure has a stone

idol of Bhagiratha directly below the tap.

Notifications:

No attention on preservation of Jharu Restoration of pati on north, east and west side is necessary.


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CHUMA GANESH(C/B-

15)

Name of monument and chief deity: Chuma

Ganesh, Ganesh

Other objects of architectural value: Bells,

torana, guilted copper roof, pati

Types and style: two storied temple, pagoda

Location: Chochhen Tole

records: 1649, 1696 and 1740


Portion of monuments needing to be repaired: none

General remarks:

The temple is related to mouse as its name suggests. In Newari,

Chu means mouse. Different people have different conception on

how this temple was constructed. There is a legend that one day

a rat and a mouse was having a fight and during that time lord

Ganesh came to help the mouse and to thank him this temple

was constructed. Another belief is that during the fight, the soil o

the place was taken out and during that time the idol of the

temple was found in there. And hence the temple was

constructed. The place where the soil was taken out in now a

pond which is actually some distance away from the temple at

present.

It is also said that Chuma ganesh is related to events about origin

of Bhaktapur. At that time Bhaktapur was a forest where a

poisonous nakes lived. So people were very scared to live and

cultivate there. So Chuma Ganesh acts about activities of mouse

and cat fighting with each other. On seeing by king Suryabansi, he

followed them and disappeared. Then he found Chuma ganesh

and pleaded him to keep the habitat in this forest. King decided


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and killed the snakes and put it into the top of trees which is termed as Lingo.

According to local belief, worshipping at this temple spares a person trouble with rats in the

house. It may also help in recovering lost property. Its main festival is during Bisket and

Indrajatra. The priest is a Jyapu. Surrounding the temple is,

Dhyo Chen in the East, BhajanSattal in the West, ByasiTole onNorth and residence on South.This temple have also an own festival organized in the Bisket

Jatra of Bhaktapur. Also there is a set of lamps around the

temples called cakahmata where people wish their desire

through lighting the lamps all around the temple.

There is a pati near the temple where different activities can

be seen till today used as shop in morning, discussion within

aged group in evening and gathering of aged group forBhajan in night.

Notifications:

Buildings surrounding is changing Proper waste management

Kumari depicts in Chuma ganesh Dyochhen

Cornices with 18 and 19 layers of moulded and decorated

bricks(baapa)

Pasukajhya with three openings


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TRIPURASUNDARI PITH (C/B-14)

Name of monument and chief deity:

Tripurasundari

Other objects of architectural value:

Bells, torana, pati


Location: Tulachhen Tole

Materials used: Iron railing

Portion of monuments needing to be repaired: pati infront

of this pith

General remarks:

It is the seat of a Tripurasundari deity in a non-iconic

representation with iconic representation of the same deity

called Dyochhen. It consists of nothing but a simple stone or

a row of stones in the open shrine which is a large, semi-

circular niche in a wall. The thick stone torans shows the

Kalamakara head chewing snakes which forms the arch.

Below the torans are a number of rounded stones. Thesestones are the object of worship for they embody the spirit

of Tripura Sundari. There is also a large stone trident.

An agam house is attached to the shrine. It has a curved

doorway, windows and figure struts. There is a small

pagoda style temple in the roof. The house is built in a

spacious courtyard. In the vicinity are several medieval

sculptures of the Hindu gods. The priest is an Achaju. The

shrines festival takes place on the 4th day of BisketJatra.Surrounding the pith are TripurSundariDyo Chen in the East,

water conduit and stone temple constructed by

BhupatindraMalla in the west, BhajanSattal in the North and Jagannath temple in the South.


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Some features of Tripurasundari Dyochhen

RECTANGULAR in shape NO CIRCUMAMBULATION Modeled after residential building

(similar to basic Newar houses now)

Ground floor: entrance Dalan

(for parking of Khat), store and stairs

First floor: Hall and Agam (Bed room)

Second floor: Feast Hall (Living room)

Attic floor: Kitchen and Daily worship room (similar use in residences)

Notifications:

Restoration of pati just infront of this pith is required Surrounding environments covered with waste and vegetation


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DURGAMANDIR

(A/B-7)


Durga

Other objects of architectural value:

inscriptions, carved columns, pinnacle

Types and style: Shikhara

Location: Durbar Square

Portion of monuments needing to be repaired: Pinnacle

General remarks:

Durga temple which was built by king Prakash Malla. It is

said that this is Bhaktapurs answer to the Krishna Mandir

in Patan, and it follows similar Indian Architrectural rules.

Note the smythical beasts bursting out from the sides of

the shikhara and the detailed carvings of multi-armed

deities in the false windows on the second level. The

temple is made almost entirely of brick and terracotta.

There is a small amount of stone used in its portico pillars

and wood in the horizontal beams. The sikhara style is tall

and curvilinear. There are four doorways leading to the

pillars. These porches are unusual. Each has a shrine niche

above. The temple belongs to Durga,

Shiva spouse.

Notifications:


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Growth of vegetation on surface of temple Maintainance of plinth structure

RAMMANDIR(C/B-52)


Tripurasundari

Other objects of architectural value: Bells, torana,

pati


Location: Tulachhen Tole


Portion of monuments needing to be repaired: pati infront of

this pith

General remarks:

This temple is located in a courtyard containing many other

subsidiary shrines. On the south is a building used by the priest

to live in. The temple is still in use. It is in a good state of

conservation. It is generally square in shape tapering pyramid

roof which has resemblances to the South Indian Architecture.

The roof is topped with a row of three Kalashas placed under

an ornamental arch. At the entrance to the shrine is a portico

which has a gilt copper roof in the storey style. There is a porch

with a separate rof around the shrine. The enshrined deities

are twentieth century marble sculptures of Ram, Sita and Lakshman. There are many images of

other Hindu divinities in the courtyard. An inscription tells of the donation of a guthi in 1919 by

Krishnaman Prajapati of Bolachhen Tol. The priest is a Mahanta.

Notifications:

Restoration of surrounding shrines Redevelopment of sattal Less attention through concerned

authority


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KALIGHAT(C/B-62)

Name of monument and chief deity: Kalighat

Other objects of architectural value: Bells, torana,pati, sattal, hiti, Shiva linga

Types and style: Ghat with shrine

Location: Khasakhusung Khola

Construction at: 20th

century

Portion of monuments needing to be repaired: Overall

components of shrine complex

General remarks:

It is located alongside the Khasakhusung khola at outside

the Bhaktapur core town. To the north of ghat there is a

small shrine which contains the images of Lakshmi,

Narayan, Hanuman and shivalingas. Its guthi was

established for the reading of Purana in 1925, and for

worshipping Mahadev and Mahakali in 1942. The chief

priest is a Brahman. There is no exact festival actually

however a festival is performed in Phulpati, Dashain in which many worshippers gathertogether. However many people go to this ghat for futher activities after the death of family

members like 16 saradha. There is establishment of other shiva lingas which were done after

the death of the priest. Priest are buried in that places.

Recently this ghat is in bad condition in which half part of sattal is

demolished where plinth is still remaining. A bell hung in this

ghat is now stolen and inscription is not placed in respective

position. Shivalingas and other items are not in good condition.

Also remaining half part of sattal is no long last to remain ifproper interventions are not done.

Notifications:

Less attention of local authorities. No activities from Guthis No proper waste management

Brahmana:death stone


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Less management of Khasakhusung river

CHANGUNARAYAN

Name of monument and chief deity: Changunarayan

Other objects of architectural value: Bells, torana, pati,

sculptures, inscriptions, ponds

Types and style: Tiered roof style

Location: Changunarayan

Portion of monuments needing to be repaired: Pati infront

of this pith and its surrounding environment

General remarks:


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Legend:A legend says that once Vishnu in his act of destroying evil killed a Brahmin priest who

had turned to evil. Such an act was considered one of the five most heinous crimes.

Vishnu contemplated his deed and wandered here and there on Garuda, the mythical

half man, half bird form. When he reached Changu, a hermit by the name of Sudarsana,

not recognizing Lord Vishnu, beheaded him. Once beheaded, Vishnu felt regretful of hissin. He said that from then onwards he will live on the hill at Changu, where he was

redeemed for his sin, and that everyone who comes to worship him at Changu on the

day of the full moon or on Wednesdays will also be exonerated. The

nitya puja, ritual worshipping, at Changu Narayan relates to this legend.

The Vishnu image here is built of two parts, one of the head and the

other of the body so that the beheading rite of Vishnu can be

remembered during the puja.

Origin of the temple:Changu Narayan is believed to be built by Haridatta Varma, who was a

Licchavi king who ruled around 325 AD several generations before

Manadev I. Chronicles say that at that time Haridutta had ordered the

building of four hilltop Narayan temples around the Valley. The other

temples are Ichangu Narayan, at the West, Sikhara Narayan, and

Lokapalasvamin. The inscription on Garuda Dhwaja, a pillar that tells of

the victorious Manadev I, erected at the temple in 464 is the oldest

inscription to have been discovered in Nepal. The inscription on the

pillar is the first solid evidence to prove the establishment of the temple, though it

indicates that the temple stood before that time. As it was the costume of the royal

families to offer gifts to the temple, Changu Narayan also drew many regal worshippers.

However, most of the gifts were in the form of reconstructions of the temple, which was

destroyed many times by fires and earthquakes. In 607, King Amsuvarma, who highly

regarded Changu Narayan, replaced the old sheath that covered the holy image and

gave a large sum of money to the temple. The temple began to crumble into pieces due

neglect and was left unrestored until Visva Malla (1548-1560) of Bhaktapur took up the

task. Then Gangarani of Kathmandu, grandmother of Pratap Malla, repaired the temple

when it was devastated by a fire. In 1694, the temple again needed reconstruction

which was offered by Queen Mother Radhiklaksmi of Kathmandu. She also offered other

richly gifts like a golden torana for the temple, an amount of gold and silver equal to her

own weight, as well as a statue of herself and her son kneeling in front of the temple

behind the Garuda Dhwaja of Manadev I. About that time the head of the image of

Vishnu was offered by Bhupalendra Malla of Kathmandu when the previous one broke

during a puja. Twenty years after the construction by the Queen Mother Radhiklaksmi,

Lowar Roof Strut

of Cangu Narayan

Temple (Ananta

Vishnu) South Side


23/31


the temple again caught fire. This time it was Bhaskar Malla (1700-1722) of Kathmandu

who rebuilt the temple and marked its completion by refinishing the roof of the temple.

In Buddhism, Changu Narayan is revered as Boddhisattva Avalokiteswara. They believe

that Garuda, the mount of Lord Vishnu, and Takshaka, the king of serpents of the

Kathmandu Valley, were engaged in a ferocious battle. When Garuda called upon LordVishnu for help, Takshaka was certain of his peril and prayed for Boddhisattva

Avalokiteswara. The compassionate Avalokiteswara stopped the battle and brought

peace to the adversaries. Vishnu, ashamed of his behavior in the battle offered to be

Boddhisattva Avalokiteswara's steed and carried him to Changu and thus created the

peculiar icon of Hari hari hari Vahan Lokeswora. At Changu Narayan, Boddhisattva

Avalokiteswara is shown separately as a stone sculpture behind the temple while

Garudasana Narayan, Vishnu on Garuda, is been the revered image of the temple. There

are two other copies of the Garudasana Narayan image in the temple courtyard. One

was made in tenth century and other in thirteenth century, which were eventually

copied in many Narayan images found around Kathmandu.

The temple now covers at least seventeen hundred years of Nepalese art history. The

temple, built around the third century, is decorated by some of the best samples of

stone, wood, and metal craft in the Valley. In the words of one tourist guide, "When you

look upon Changu Narayan, you observe the complete cultural development of the

Valley."

On the struts of the two-tiered Changu Narayan Temple are the ten incarnations in

which Narayan destroyed evildoers. A sixth century stone statue shows the cosmic form

of Vishnu, while another statue recalls his incarnation as a dwarf when he crushed King

Bali. A statue of Vishnu disemboweling Narsingha, a man-lion, is particularly interesting.The Eastern doors are made of bronze, dragons decorate the bells, and devas and

griffins look out from the walls and steps. A life-sized statue of Garuda kneels before the

temple. The favorite sight of many visitors

is the statue of Vishnu sitting astride his

steed.

Cultural value:There are different festivals celebrated by

locality of this temple are Baisakh Krishna

Trayodashi, Baisakh sukla Dwadashi,Aashad sukla Trayodashi, Bhakra Krishna

Astami, Shrawan Sukla Swadashi, Yugodi

Parva, Dashain Parva, Kartid sukla Ekadashi, Marga

sukla Dwadashi, Poush sukla purnima

The Guthi regulates the functions of the temple and

only the Pujaharis with their helpers, the Bhadels, are

corner strut

Lower Roof Strut

of Changu NarayanTemple (Bhairava)


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permitted to enter the inner core. The main festival is Rathyatra, in Baishak, during

which time the Gwalas perform the puja. Another important function, Narayan Puja is

on Kartik Shukla Ekadashi.

Notifications:

Restoration of sattal and others around the courtyard of Changunarayan Maintenances of surrounding aspects like deforestation, extraction of sand on river,

restoration of artificial pond around the hill of Changu Narayan, etc.


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MAHAKALI

DYOCHHEN (B/P-16)

Name of monument and chief deity: Mahakali

Dyochhen, Mahakali

Other objects of architectural value: Torana,

pati, sanjhya, Fucha, struts

Types and style: Three storey, pagoda

Location: Bholachhen Tole


Portion of monuments needing to be repaired: Plinth base, some parts of roof

Earlier date of conservation: 2036 B.S. by Bhaktapur

Development Project [BDP]

Size of monuments:

a. Length: 17.48 mb. Breadth: 7.5 mc.

Height: 3 storey with Fucha

d. Thickness of walls: 0.7 me. Brick size and colour: Old Nepali Brick reddishf. Size of tiles: typical Jhingati tiles

Definition:

It may be incorrect to describe building of this type as temple, because they are called , even in

Newari, Dyochhen, which means gods house. Neverthless, there are considerable numbers of

Dyochhens and many of them are attributed with the same importance by the worshippers

ordinary temples. The dyochhen outwardly resemble dwelling and are very often part ofterraced group of dwelling. They are dedicated to tantric goddesses, such as Mahakali,etc. Their

shrine is always situated in the upper storey, where the main god is brought for several weeks a

year from the main shrines(Pith). The Piths are located normally at the fringes of the

settlement, outside the old settlement boundary.


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Surroundings:

The temple of Mahakali Dyochhen is situated on the east of the main Durbar Square complex of

Bhaktapur just next to the Chuma Ganesh temple, on the left hand side of the road leading tothe complex, i.e. the road joining Byasi tole and Sukuldhoka.

North: There is the pond called Bholachhen pukhu on the northern side of the Mahakali

Dyochhen. Further on northern side after that pond there is a pith of same deity.

At the north east corner is the way to Changu Narayan, Nagarkot and

Kamalvinayak.

South: At the south side is the temple of Yacchen Ganesh. Also on same side on the way

there is pati, dabali along the junction and well just near to it. Apart from this

there is residential building as well.

East: The most Tantric god called Navadurga and Kwathandou square lies on the East.

At the north east corner there is Mahalaxmi temple. Also apart from this temple,

there are residential buildings on the east side just opposite to this dyochhen

with majority of old typical residence.

West: Along the western side there is Chumma Ganesh. This side is fully covered by

residential buildings.

Legends:

According to Swasthani, after the death of Satidevi, Mahadev was in very unconscious and

dilemma because she was his most lovely wife. Mahadev carried her death body and he went

around different places keeping his wife on his shoulder. On such situation, different god and

goddess went to Bishnu solving those problems and he decided to allow her body to decay out

by falling down her different body parts. In this way mahakali pith is formed from the body

parts of Satidevi. After that people establishes the Dyochhen for Mahakali.

Physical Value:

These goddess(Mahakali) enjoy a two fold representative, the non iconic(pith) which is always

present and accessible, iconic which comes down once a year to seek union with their place of

origin, outside the respective non-iconic representation(pith). So such union is made possible

by the people during the festival.

Cultural Value:


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Daily puja is done in every evening and morning by priest Achaju. An communty called Guthis

named Biskaguthi are responsible for performance of cultural activities like festivals. Dapha

bhajan is performed on everyday of the year on the pati at the ground floor of Mahaklai

Dyochhen. It is also said there is legend behind the festival of Mahakali i.e. fighting Mahakali

and Mahalaxmi. According to legend, Yachhen Ganesh was brother of sisters Mahakali andMahahalaxmi. He called her sisters for the feast on occasion of Bisket Jatra. Mahalaxmi went to

Mahakali to call but she was not ready for going to feast. She was late and they went to their

brother but door was closed. Mahalaxmi claimed that closing of door was all cause of late of

Mahakali. So they fight each other. So from this a jatra as cultural value started.

This structure is a good example of an Agam house. An agam house is a religious building

connected with one or more divinities. It is used not only exclusively for worship but also or

other purpose connected with the divinities. It is usually a large structure built in three storeys,

similar to a residential house. This particular example has a verandah in the ground floor with

well carved pillars supporting it. There are some excellent examples of wood carvings on the

wooden frames, lattices, torans and the struts depict the Asthamatrikas. There are temples of

Ganesh, Ram Laxman on the vicinity of the house.

General remarks:

Ground floor: flooring tiles Courtyard Pati infront of building

First floor: Wooden Veranda with Mutta Main shrine Window with torana Wall painting

Second floor: Sanjha wndow Provided the space for feast

Case Inspection:

Present Condition:

Foundation:

The stucture does not display any signs of unequal settlement. So it can be assumed

that the foundation is still in very good condition since its construction date.


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Plinth:

The temple structure stands on single plinth. Threestep is provided before the entrance of the dyochhen.

Entrance of dyochhen is provided in southern side

with two lions and torana on main entrance door.

Connection of timber, used for plinth base on the pati

side is in weak condition and some of bricks are

getting deteriorated.

Superstructure:

Walls:

The brick wall as a load bearing

structure takes the load of the

whole structure.

Material: Brick work of

traditional Dacchiapa and special

mortar with the mixture of Brick

powder, Black treacle, Resinous

oil (saldhup), Jute fiber and Blackgram.

Condition: The walls of the dyochhen are in pretty good shape, with few worn out bricks

here and there. No bulging and cracking can be seen on side of walls. There is something

drawn on the wall. Plinth steps are almost dismantled. Generally this pati is used for the

Bhajan and store of local people during harvesting.

Doors:

A single door with carvings. There is a torana above the

door.

Material: The doors and struts are made up of wood.

Condition: Wood works that act as lintel are still in good

condition

Windows:

There is two different type of windows i.e. Sanjhaya on Second floor and Window with

torana in first floor.


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Material: The window and struts are made up of wood.

Condition: Wood works that act as lintel are still in good condition

Cornice band:

Wooden cornice bands with carvings are present.

Condition: The cornices of the dyochhen are in pretty good condition.

Main roof:

The facia band of the roof displays the

banners all around. The struts which support

the roofs are carved with various gods i.e.

Mahalaxmi, Mahakali, Baishnabi, Maheswori,

Barahi, Bhramayani, Ganesh, Kumari,

Indravani, Barahi.

Main roof has a fucha, the additional roof but

without a floor uner it.

Material: The roofs of the temple structure are done completely of jhingati roof tiles.

The wooden struts hold the roofs in their position.

Condition: Since the roofs are made of the hard wood like sal, there are no signs of

deterioration and decay.

Guthis:

Ek muri Dhan celebrated by four Guthi. Interest provided by Bhaktapur municipality

(70 thousand interest) to perform Jatra. Land was sold and deposited to bank to gain

interest so that it can be used to perform festivals and feasts.


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4.RECOMMENDATION:Based on the inspection, the following recommendations are made here so that theconcerned authorities can benefit .

o The value of the dyochhen can be maximized by maximizing the use of spaces i.e pati.The concerned authority should focus more on cultural value rather than increasing

expenditure over Jatra.

o It is found that some parts of plinth level on verandha has some weakenss in timberconnection and vegetation over Fucha. Since this dyochhen is one of the important

monuments culturally and physically, so we highly recommend to apply different degree

of intervention.

o Guthi should focus on the chemical application over struts and oiling over the bricks.o Bhaktapur municipality should focus on the participants of the locality over the different

cultural activities related to Mahakali dyochhen like Bhajan over Verandha.

o It is highly recommended to mainatain the faade of residential building surrounding ofit and the Bholachhen pond

o Waste management near these monuments should be managedo It is recommended that physical and cultural should be analyzed before using the

techniques of conservation.

o Conservation of such monuments maintain the sociability and cultural symbolizationremain intact with the Newar community helps in economic uplift.

o The concerned authorities should give continuity in providing both conceptual andpractical training to the locality to enhance their knowledge, skill and competency about

the monuments of Bhaktapur and Nepal.


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5.CONCLUSIONS:In Bhaktapur, Nepal, the organisation of urban space has always been defined by uses

clearly defined, primarily religious, public and residential. Such functional specialisation of

space results in and is at the same time reinforced by, specific urban and architectural

features. The restoration of the serious damages suffered by the urban fabric following the

1934 earthquake started only with the 1979-1985 BDP (Bhaktapur Development Project).

The inclusion of the historic core of the town in the Unesco World Heritage List fostered the

restoration policy, but produced also rapid changes in land use and tourist and commercial

transformation of traditional buildings. As a consequence of massive subdivision of

traditional buildings and of the illegal new building, coupled with the lack of infrastructure,the Unesco World Heritage Centre has now included Bakhtapur in the List in Danger.

Bhaktapur is called as living Museum. There are various monuments of utmost

architectural and historical importance which need public attention. Special preservation

orders are required which assure that no alterations are carried out affecting the character

of the objects. This includes buildings like temples, stupas, maths, bahals, houses and inns,

as well as hitis, pokharies, wells and religious symbols and images.

In this way conservation of monuments of Bhaktapur is going on for the sole purpose of

preserving the Malla period architecture, traditional construction technology and also

preserved world's valuable fresco painting art .

So, it believes, such conservation work will be the example and reference for future

conservation work of Nepal and It will helps to promote our own technology, labor, skills

and craftsmanship in conservation of Heritages of Nepal.

After the inspection and analysis of the current state of the temple we came through the

conclusion that, the decay is starting in the temple. The color of brick and wood had faded

out. There are appearing on the joints of beams and columns. So the action to prevention of

this decay is immediately necessary to be taken in present time. Otherwise the pride of our

country will be in problem.

inspect report on conservation

Documents