itumbahal., Author at Itumbaha

Video Gallery

An Interview with Pragya Ratna Shakya

An Interview with Pragya Ratna Shakya, President of the Keshchandra Mahavihar Conservation Society with Rubin Museum Executive Director Jorrit Britschgi Rubin Museum Executive Director Jorrit Britschgi interviews Pragya Ratna Shakya, president of the Keshchandra Mahavihar Conservation Society, about the first year of the Itumbaha Museum. This interview was conducted in early July, 2024. The answers have been translated from Newari. Jorrit Britschgi: It has been almost a year since the inauguration of the museum galleries in the Itumbaha. What have you experienced during the first year? Pragya Ratna Shakya: The first year has been quite satisfactory, we saw nearly 3,500 visitors, which includes 25% foreign nationals and 75% local visitors. As word spreads, we expect more visitors in the coming years. The visitors are happy with the display of artifacts at the museum, and the community has plans to slightly expand the gallery spaces and number of artifacts on display. We are proud to have welcomed many students, scholars, intellectuals, and research fellows, as well as notable religious and political leaders in the first year of operating the museum. There are many similar religious sites in the Kathmandu Valley. How did your colleagues from other Newar Buddhist monasteries respond to the museum project? We’ve had quite a number of inquiries from representatives of other monasteries in the Kathmandu Valley who visited the Itumbaha museum and expressed interest in opening small museums on their own premises. They often inquired about the fundraising, management, and security necessary for opening and operating a museum. The success of Itumbaha museum will be an encouraging model for other Newar Buddhist monasteries in the Kathmandu Valley. Traditionally, once a year during the Gunla festival, the Itumbaha community presents objects from the monastery in its courtyard. Have you continued this tradition now that you have a museum? The month-long Gunla festival is soon happening and will be celebrated with the usual deep cultural and religious devotion. It includes rituals like a daily hike to Swayambhu, the chanting of hymns and prayers, taking vows, and visits to different monasteries with traditional music. The Itumbaha community will actively participate in all the cultural and religious events. As part of the festival, religious objects such as stupas, statues, sacred texts, and scroll paintings, as well as nonreligious artifacts that have been gifted to the monastery over the course of time, are presented in the courtyard for a duration of 15 days, from the seventh to the twenty-first day of the festival. This tradition will continue as it has for many generations, and it is practiced in other Buddhist monasteries as well. The display of objects in the courtyard has two specific purposes: to affirm trust in the preservation committee for keeping objects safe, and to encourage further donations to the monastery. The display itself is an ancient version of a “museum” in a traditional way. We expect many visitors during this time of year to witness old religious artifacts and sacred images. A year ago, when the museum opened, there was some opposition to the project, including criticism of the Western influence and “museumification” of an active sacred space. A year later are you still receiving this feedback, and what is your response to it? Establishing a museum has been a dream project for the Itumbaha community for a long time. But there are still some people outside our community who are quite unhappy with the museum having opened. I’d like to point out that none of the objects on display are used in daily rituals or are still being venerated. They all came from various storages, and making them part of the display allows people to see them and makes them accessible for research. The dissatisfaction that was initially expressed has now subsided. Some of the initial critics and protesters have paid a visit to the museum and have realized that they have been misguided and misinformed. Others still oppose the museum but have unfortunately not been in touch with our community. In terms of sacred images presented in a museum context, some talk about a fear of the object losing its religious function. What is little discussed is that some objects may actually have been ritually decommissioned and replaced, and looking at an artifact as only a religious icon strips them of important other meanings. How do you think about this topic? In terms of consecrated objects, once they are damaged or broken, they lose their function as an object of veneration; damaged objects are no longer worshiped. Immediate replacement or repairing (jirnoddhara) is carried out to make it worthy for religious purposes. However, there are also non-consecrated artifacts or utensils that are used for religious rituals, and they therefore also hold religious meaning. The museum project that the Itumbaha community envisioned many years ago has been realized, and it aims to address pressing issues of financial sustainability and engaging the community to keep sites protected and vibrant. What is the next step of the Itumbaha? What do you hope to accomplish in the next five years? Operating a museum is the best option for the conservation of objects and preservation of our heritage. But there are some challenges with the financial sustainability of the museum. Sometimes we see five visitors a day, sometimes one hundred; it is very hard to predict and plan. We depend on ticket sales and hope more people will visit the museum in the future to generate income. What we do see is that some visitors support our work with donations on top of the admission fee, which is very helpful to also support the four staff who work in the museum. Additionally, the conservation society sets aside a percentage of its fund to support the museum. Another concern is security, and we have asked for a police post in Itumbaha to protect the site. In the next five years, the Itumbaha community has plans to expand the galleries a bit and make the museum even more attractive for visitors. We hope the

Postal Stamp, Late Moti Kaji Shakya

Post stamp Handicraft man sector sculptural artist of Itumbaha, Sthabir late Mr Moti Kaji Shakya was issued by government of Nepal on 23rd of Ashwin 2070. He was the famous artist of Nepalese Handicraft sector. Moti KaJi Shakya ( Sculpturist )( 1970 B.S. – 1953 B.S. ) Moti Kaji Shakya was born in Nara Devi Tole, Kathmandu Metropolitan City Ward Number 26 in the month of Kartik, 1970 B.S. His right hand was broken at the age of 12 or 13 when two fighting bulls trodden him down. And he became so much frustrated, as he could not do any heavy work with his broken hand. He started painting to pass the time. Later his uncle, who was well –known for carving on silver pots, encouraged him and taught him carving on metals. This is how he learnt sculpturing on the very age of fifteen. Later he started carving on silver, gold and other valuable metals as well. His artistic creations carved on silver, gold were so famous in Nepal, Darjeeling and Sikkim of India, Tibet, China and other countries too. The model of Rs. 1 and 50 Paisa coin having the face of King Tribhuvan was the creation of his skillful hand. On the different occasions, he carved very artistic Pashupatinath temple, Swayambhunath temple, Kasthamandap and other artistic idols of silver and gold on the honour of King, the Royal family, and the Royal Guests from the neighbouring countries. Though Moti Kaji Shakya had very simple and mostly informal schooling, he had very keen interest in self-study. He studied Buddhist literature and philosophy and he composed a few Buddhist vajan ( hymns) as well. He organized many Exhibitions for his own creations at National and International level. He received great honor and many medals for his carvings at different exhibitions and competitions. He died in 2053 B.S. at the age of 83.

SLC honor program, 2071 B.S

शनिबार, साउन २४, २०७१ Dated: SLC honor program for the itumbaha serva sangha was held on 2071 Shrawan 24 at itumbaha premises. There were 13 students who passed the SLC Examination held by government of Nepal. The highest scorer for the year 2071 is Master Bajramani Shakya (88.75%) and Miss Anisha Shakya (88.50%). The program was held under the chairmanship of Itumbaha Sthavir Mr. Sanuman Shakya in the presense of other Sthavirs of Itumbaha Sangha. The program was organized by Committee headed by Mr. Suresh Shakya. In this ocassion, former living goddess kumari, Ms. Preeti Shakya was also honored for passing the SLC Examination.

Recitation of Holy text Pragyaparmita

SLC honor program, 2071 B.S 10th Anniversary of Itumbaha Free Clinic → The recitation of holy text Pragyaparmita was held on Itumbaha premises for four days from 10th to 13th day of Gunla Dharma. This recitation was held after a long gap of 30 years with the efforts of Sangha members. The sacred text Pragyaparmita composed of 32 Chapters. Sangha members recited whole chapters for 4 days. Pragyaparmita is considered to be a sacred text of Mahayana Buddhism. It emphasizes about universal truth and knowledge of voidness (Sunyata Gyan). The objective of this recitation is the universal peace and harmony as well as as avoidance of unfortunate events.

10th Anniversary of Itumbaha Free Clinic

शनिबार, पुस १९, २०७१ Dated: 10th Anniversary of Itumbaha Free Clinic organized on Saturday, 19th Poush 2071 (3rd January, 2015) in Itumbaha premises honoring Senior citizens of Itumbaha Sangha crossing 80 years of age. The anniversary function started with Buddha puja. The names of honored Senior citizens of Itumbahaare as:1. Cakreswori Mr. HempurnanandaBajracharya, Male, 85, DalluAwas2. Sthavir Mr. MimlalBajracharya, Male, 83, Dambochuka3. Sthavir Mr. SurendraShakya, Male, 82, Bhuikhel4. Sthavir Mr. SanumanShakya, Male, Ga: Jyasa:5. Ms. Chinikumari Shakya, Female, 96, Bahacho6. Ms. Shantamaya Shakya, Female, 80, Tamuga:7. Mr. Sanuman Shakya, Male, 85, Tamuga:8. Ms. Gunas Hera Shakya, Female, 80, Tamuga:9. Mr. Sanuman Shakya, Male, 83, Pakanajol10. Ms. Mithai Devi Shakya, Female, 83, Chaga:11. Mr. Sanu Shakya, Male, Bahako12. Ms. Purna Maya Bajracharya, Female, 82, Kilagal13. Mr. Buddhi Man Shakya, Male, 84, Chabahil14. Mr. Dhana kaji Shakya, Male, 80, Nyatapacho15. Mr. Mr. Prithvi Man Shakya, Male. 80, Pakanajol16. Ms. Kanchhi Shakya, Female, 83, Itumbaha17. Mr. Man Bahadur Shakya, Male, 80, Tamuga18. Ms. Ratna Devi Shakya, Female, 86, Lakanani19. Ms. Laxmi Nani Shakya, Female, 82, Itumbaha20. Ms. Ratna Kumari Shakya, Female, 85, Kupondole21. Mr. Dharmabir Shakya, Male, 84, Jamal On that occasion. Mr. Pragyna Ratna Shakya, Secretary of Itumbaha Preservation Society appreciated the role of Doctors, Assistants, volunteers and the members of the Itumbaha Free Clinic for a decade of their dedicated service. The doctors serving from the date of establishment of Free Clinic till date are as under:a) Dr. Yogendra Man Shakyab) Dr. Tara Maiya Shakyac) Dr. Urmila Shakyad) Dr. Ananda Kaji Shakyae) Staff Nurse Ms. UttaraShakyaf) Staff Nurse Ms. LaxmiShakya Dr. Pranav Karmacharya, Physiotherapist is also serving the Free Clinic at present. Mr. Uttam Shakya, Co-ordinator of the Free Clinic Management highlighted the activities of the free clinic. Mr. Suresh Shakya, Treasure of the Free Clinic presented the financial report before the anniversary gathering. Mr. C. B. Shakya, Chairman of Itumbaha Preservation Society and Head Sthavir Mr. Triratna Shakya jointly honored the Sr. citizens of Itumbaha offering themsaguns, holy clothing (khada), certificates and Buddha images.Mr. Rup Kumar Shakya, member of Itumbaha Preservation Society and Itumbaha Free Clinic, delivered welcome speech in the program.The program was followed by the KhirBhojan (lunch with Rice pudding).

10th Anniversary of Itumbaha Free Clinic

Legend of Itumbaha

There are many interesting legends prevalent in Itumbahal. The foundation of Itumbahal and consequent events, happened in Itumbahal during the medieval period, which has been heard through generation to generation, came down as superb legends of the monastery. The verbal recitation of legends from one generation to another generation and the gossips about Keshchandra, Gurumapa at the gatherings in Itumbahal are the sources of those legends. The Bilanpau or scroll painting, which is displayed proudly at the premises of Itumbahal, vividly pasteurizes the events following foundation of Itumbahal. The legends overwhelming with supernatural events are quite enough to generate faith and devotion towards society, religion and the monastery as a whole. Late Thayapa, Moti Kaji Shakya, used to tell the legendary story of Keshchandra , Gurumapa, which runs as follows – During the time of Bhaskardeva, Keshchandra was living around the present Itumbahal. He was a prince, the youngest son of Bhaskardeva. He had a bad habit of gambling. He used to play pasa (a game of throwing twin dice like casino), and lost everything, became penniless, then he went to his sister, who was married to a rich gentleman and living at Bhagwanbahal, Thamel. His sister pleased to see him served him dinner in a golden dish. After dinner, he stole the golden dish from his sister’s house and went on to gamble, betting the golden dishes, he lost. The thirst of gambling seems to be never ending with Keshchandra. He again went to his sister’s house, begged innocence, and his sister out of compassion, served him again in a silver dishes. His passions for gambling make him steal that silver dish too, and tried his luck at gambling. The fate never seems to be in his favor, he lost again. He has no option but to visit his sister again, sister abused him about his habit of gambling, and complained about the lost dishes. This time she served him in a bronze dish, Keshchandra stole that bronze dish too and made bidding at gambling table, he lost, Keshchandra was highly depressed man. He had no where to go, absolutely nothing to do, nobody to help him, finally he decided to go to his sister’s house again, and asked for her help. His sister angrily reacted and abused him. This time his sister did not serve him in any dishes, but placed all the meals on floor; Keshchandra felt highly disgraced and dishonored by his sister. Disheartened Keshchandra did not eat that meal, but patiently collected that meal in a piece of cloth and went toward jungle. He went on and on! , until, he felt tired and take a rest under a shade of a tree. He had not eaten anything for days, feeling hungry he opened the food packed in a cloth. The food is already rotten, smelling. He thought about it spreading under warm ray’s sun, and takes a short nap. When he awoke, he found that the dried food is already being served by pigeons. Feeling hungry poor Keshchandra cried a lot, he had nothing to eat in the middle of the Jungle, he will die without any food, much worried he became unconscious, meanwhile, the pigeons who had eaten those foods felt sorry about plight of stranger, and out of compassion they thought about helping poor Keshchandra, by excreting gold. When Keshchandra gain consciousness, he saw that all the pigeon’s droppings turned into gold. He thanked god and pigeons for their benevolence and thought about constructing a monastery and never ever play gambling. He wished to dedicate his entire life in the name of god. The gold is so heavy that he cannot carry it alone. Meanwhile, a demon (?) Gurumapa came out of nowhere, in the middle of the Jungle, and threatened his life, poor Keshchandra fearlessly tried to negotiate with Gurumapa by calling him as his maternal uncle and a friend, a good friend, never kill a friend, Keshchandra was successful in persuading Gurumapa to carry sack full of gold upto Itumbahal and in exchange he vowed to serve him a good meal and accommodation and stay there as a honored guest as long as he wishes. With all this gold Keshchandra constructed Vihara and established the guthi tradition. The new Vihara is named as ‘Bhaskardeva Sanskarita Keshchandra krita Parawarta Mahavihara.’ While the life is running peacefully, the Gurumapa became a headache for the Keshchandra. Gurumapa -even though he was served fully satisfied he developed the habit of cannibalism. He stole small kids in the neighbourhood and eat them. The habit of Gurumapa to eat small kids alarmed Keshchandra and the neighbors. Gurumapa is so much feared that mother’s use to threaten their unrelenting, crying small kids, ‘do stop crying or else Gurumapa will take you away!’ The kids remain ‘pin drop’ silence with just the mentioning of the name of Gurumapa. As time passed Gurumapa became so much aggressive that even, a small only son of Keshchandra became victim of Gurumapa’s cannibalism. Then disheartened Keshchandra, decided to dump him in the open field of Tudikhel and serve a mun of rice and meat onece in a year, with this, brought a peace of mind in Itumbahal neighbourhood. The tradition of serving Gurumapa once in a year is still observed during the end of Holi festivals. This legend tells us about how does the Itumbahal came into existence. Itumbahal is believed to be construct by Keshchandra, with all his gold brought into Vihara, with the help of Gurumapa. There is no written evidence like inscription, to commemorate the date of establishment.

Itumbaha Shrine

The main shrine of Itumbahal is square shape with 24.95 meter× 24.85 meter. The main entrance into the shrine is from the open courtyard of Itumbahal (from east). The main entrance is guarded by two stone lions and decorated with a wooden Torana. Just behind the entrance there is a resting place or a Phalincha on both sides. A small temple like structure of one storey with enclosed votive stupa is located at the centre of the courtyard; right in front of main entrance is Kwapadya – a Santum Santorium, with Akshobhya Buddha statue facing east as usual. The shrine is decorated with gold polished repousee door panels and wooden Torana with Vajrasatwoo. There are two stone carved pillared frame with hanging bells. Two pairs of stone and metal lions guard the entrance of Kwapadyas. The ‘arc’ shaped wooden oil lamp holder is placed above the pair of lions. There are two figures of Buddha’s devout disciples Sariputra and Maugadlayani on both sides of entrance, and a big lotus shaped mandala in front of entrance. The upper storey of kwapadya is empty with finely carved wooden window. The finely carved strut wood supports the sloping roof of upper storey. The gods are believed to be of Pancharakshya Gods and a pair of Maha Akshobhya . The roof top of the Kwapadya shrine is decorated with gold polished five pinnacles. The most part of ground floor is empty and utilized during the social and religious functions. The ground floor of northern wing is open hall, known as Sanghasala or Salinsala. In the middle of Salinsala there is a special alter where the Aaju Dya or Keshchandra is displayed during the festivals of Gun-la. This place is utilized as an exhibition hall during the festivals of Gun-la. The upper floor of northern wing is the Agam Ghar where secret tantric deities are resided; only initiated persons are allowed to enter. This place is also known as Taha-Matan-Agam Ghar. Guthi members gather here to celebrate guthis like Tuta-gu, Swancha gu etc. Behind the northern wing there is Bhutukeba or kitchen complex, where a mun of rice and meat is cooked for legendry demi-god Gurumapa, during the annual festivals and guthi celebrations, all the necessary cookings are done at this place. The entrance of bhutukeba is located at the north east corner of bahal. Just above the entrance there was a giant figure of Gurumapa Bhairab (Kirti mukh Bhairab), which has been stolen now. The ground floor of southern wing is utilized as a store house during the annual guthi celebration, and upper floor is a place for secret Agam deities where no body is allowed to entre except those with higher initiations like Dekha. All kinds of legal and official jobs, documentation and meetings are held at the 2nd floor of eastern wing, the office of Itumbahal. There are three votive stupas at the courtyard including a stupa with four standing Buddha’s, facing four directions and about four ft tall. Just below the chatrumukh stupa, there are sunken carved stone where the pinda rice is offered in the name of deceased one, during the srad. Similarly, the young kids of sangha members are bathed at the base of another votive stupa, infront of main entrance, during the process of initiations. The place is marked by 3 sunken stones place together. A big stone mandapa at North West corner of courtyard is the bathing place for Thayapa’s during the moment of auspicious initiation. A small rectangular sunken tank below the courtyard level is located at the south west corner, also known as Ikun – ga, here all kinds of puja offerings are thrown into, and after conclusion of puja held inside courtyard. A swastika marked stone is located at north-east corner. It’s remarkable for the launching pad of cooked rice and meat offerings to Gurumapa. From this swastika marked stone the rice is carried non-stop- upto Tudikhel for feeding Gurumapa.

Itumbaha Infrastructure

Itumbahal Courtyard The big rectangular shaped courtyard of Itumbahal is connected by kilagul in the north and chokachen gulli in the south. The entrance to proper Itumbahal shrine, Baku nani, Taranani, Sasunani is in the western part of this courtyard. There are about 15 big and small stupas dotted around courtyard including a big white Ashoka Chaitya at the center. The courtyard is so big that locals divide in into two halves and called, Baha-cho the northern half and Baha-ko the southern half. Baku nani Baku nani is the distorted version of Baha-ko nani. If a person enters Itumbahal courtyard from south (chokachen gulli), it is the first courtyard, in the left, from Baku-nani one can exit towards Tahanani. It is a small compound with an enshrined stupa at the center. This was renovated in 1853 AD. Once there was a separate Agam Ghar of this Vihara, but now, it became a private propertly. Baku nani is also locally known as Kutum Vihara. Viswakarma Just on the left side of main entrance of Itumbahal shrine there is a small shrine of Viswakarma (the lord of workman ship) with Toranas and carved wooden door frame. The shrine does not exists now, however, it can be identified with a small lions carved on stone base of entrance into Viswakarma shrine. Taranani The small compound located at Northern border of proper Itumbahal shrine is known as Taranani. This nani is named after Lord Tara. A single roofed one-story shrine of Tara is located at the center of this nani. According to the inscriptions located just out side the shrine, the white Tara and shrine itself has been constructed and donated by Mrs. Jayatra Laxmi Sakya. (Wife of Madan Ram Vardan), in N.S 502(1382 AD), she belongs to Kirtipunya Mahavihar (Lagan Bahal), Kathmandu. The structure was completely collapsed in 1990 earthquake. It was repaired in 2006 B.S. In 2046 B.S. the corrugated metal sheet roof was replaced with copper sheet roof and iron grill put around the Tara shrine. Inside, there are three statues of White Tara, Pragyaparamita and Green Tara. Beside, White Tara the other two statues in the shrine are of later additions. The Sanskrit name of this vihar is Dharmachakra Vihar. Earlier, daily rituals of this Tara shrine is performed by elder of sakya lineage, who automatically, becomes a member of samyek guthi, and bear the responsibility of organizing 12 years samyek festivals, but now, daily ritual performance has become a hereditary job. The Sanskrit name of this vihar is Dharmachakra Vihar. There are 3 stupas in this courtyard, and during the festivals of Gun-la, gods like Dipankars,Gudochandra, and ritual texts are displayed at the basement of northern rows of houses of this compound. A narrow gully in the back side of Taranani exits towards Tahanani. La- ka nani In the south east corner of Taranani there is a Well, where it is believed that powerful Jwala nag resides. The Jwala nag is so powerful that it can bite any body any where in the valley. Once bitten a severe itching starts around body and have had to pacify the Jwala nag by offering pujas and cow’s milk in the Well, and draw a small figure of Dragon on the affected areas of body. The Well is very deep one local’s call it ‘I-Tum’, or deepest one, and the very name of Itumbahal is believed to be derived from the name of this well. It existed even before the foundation of Itumbahal. During the Leechavi period (7th century AD) the sacred water of this well was brought in for bathing Bungadya, before the start of festivals of Bungadya in Patan. The tradition must have been initiated by ‘Bandhu Datta Acharya’ and king ‘Narendradeva’ of 7th century when they first brought in the lord Karunamaya from ‘Kam rup kama khya. The water from this well is offered daily to the kwapadya and in any sacred puja celebration the water is brought in for offering. Because of so many people came to fetch water from this well, this small area near Taranani has been named as La-ka nani (source of ‘water’ compound). The puja offering of this well is done by the Guthi pala of kwapadya. While offering puja the bell must be ringing for, the Naga residing in the well is believed to be a deaf one. It hears only while ringing bell. Once in a year during the festivals of sin-nakha. Which fall during the 6th day of Jestha, the well is thoroughly cleaned by drawing water from inside. Sasunani The compound of sasunani is located at the north of the Taranani. As name suggests this compound has a shrine in the middle of the courtyard with the figure of Manjushree, the god of learning. Sometimes Manjushree has been confused with goddess Sarawati, also a god of learning. Therefore, this area is named after goddess Saraswati. One can exit towards Tahanani from behind this sasunani compound. Locals are ignorant about the foundation period of the shrine. Latest reparing was done in NS. 1099. This nani is also known as Manjushree Vihar. K-gu-nani From the northwest corner of Tahanani, the gulli exits towards small bahal compound known as k-gu-nani. Here a votive chaitya enclosed within a small roofed structure also known as Dhananju chaitya can be found. Another chaitya, located nearby is recently established one. Some of the residents of this compound are jyapus, called as ‘Duin’ from Halchok. They came here to see the festivals of Indra Jatra. Locals nick named this baha as Duin baha. During the festivals of Indrajatra the dance of Sawabhaku is prepared and performed at this compound before moving around the city. The small gulli below a private house at North East corner exit towards Naradevi-kilagal road. Pa-sa nani In the west of k-gu-nani, a small compound with main entrance from Naradevi kilagul road is known as Pa-sa nani. Here a big black votive chaitya enclosed within a grilled frame work can be seen. The residents of this compound are Sakyas, Udyas and Jyapus. At the basement of a house facing west, annually displays, the Dipankaras and other ritual objects during the festivals of Gunla, by Uday samaj. Main Entrance The main entrance into Itumbahal complex is the narrow passage below the Depuja Agam Ghar from the southern corner of Itumbahal courtyard. The passage exits towards Choka-chen Gulli. The entrance is decorated with stone figures of Ganesh, Mahankal, Bhairabas, Narasingh and some inscriptions pasted against the wall of a

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