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Ambivalence in modern Nepali art : Nepali artists found the modernist technique a useful way of shifting their focus to the self, by Abhi Subedi (kp 08/11/2020)

What determines the value of art? To an outsider, how the price of any artwork is determined is a mystery, but here is how you can begin to understand it, by Srizu Bajracharya (kp 07/11/2020)

A celebration of diversity : Although not perfect, the exhibition, Allegory, is filled with diverse works from artists from different cultural and social backgrounds, whose varied experiences and perspectives make the artworks more impactful, by Ankit Khadgi (kp 30/10/2020)

Classic Gallery’s latest exhibition fails to leave an impression: ‘The Intersection of Ten Thoughts Part II’ is a big miss not because the artworks are dull, but because the gallery relies on a short, four-minute video to depict 20 artworks of 10 contemporary artists, by Ankit Khadgi (kp 07/08/2020)

Gateway to Nepali art: Newars create artwork in almost everything and everywhere, and the doors to their homes are no exception, by Sanyukta Shrestha (kp 21/06/2020)

Practising and discussing art in the time of Covid: With galleries shut and events cancelled, here’s how some art collectives are keeping art alive and thriving in the country, by Srizu Bajracharya (kp 02/06/2020)

In the current pandemic, there is much at stake for the Nepali art scene: The uncertainty of these times will have a lasting impact on the art ecosystem of the country—one that it might take years to recover from, by Srizu Bajracharya (kp 20/05/2020)

Every month, an opportunity to learn about Nepal’s contemporary art movements: If we care about raising individuals who are concerned about Nepal’s civil society, the Nepal Art History Discussion Series could prove to be a good starting point, by Niranjan Kunwar (kp 22/02/2020)

Kathmandu's metal sculptors have a new enemy—technology: The traditional art form is facing competition from Chinese market and technology, by Shashwat Pant (kp 22/01/2020)

Nepali art lacks serious study: The academic interest in Nepali art today calls for a need to theorise art criticism and art history, by Abhi Subedi (kp 19/01/2020)

The fate of completed artworks: Artists put a lot of effort into conceptualising and bringing life to their artworks. But what happens to them after they’re exhibited?, by Srizu Bajracharya (kp 14/01/2020)

Art uncensored: A gift from ancient sculptors: The erotic art carved on the struts of the temples around Kathmandu Valley is fascinating, but its purpose still remains elusive, by Ankit Khadgi (kp 11/01/2020)

Journeying towards the redolent silence: Sanjeet Maharjan’s ‘Silence is beautiful’ reveals nothing but the ordinary, yet it is alluring and delightful, by Srizu Bajracharya (kp 02/01/2020)

Art that speaks of an indigenous community’s historical subservience: Artist Lavkant Chaudhary’s latest exhibition ‘Masinya Dastoor’ brings forward the silenced narratives of Tharu community, by Srizu Bajracharya (kp 16/12/2019)

Crafting a heritage: For the famed Shilpakar family of Bhaktapur, wood carving requires more than a deft hand, by Shriluna Shrestha (nt 13/12/2019)

‘Bodhicitta Compassion’ is more than self-expression, it’s self-reflection: In his latest exhibition, artist Tulku Jamyang deploys contemporary cultural motifs to delve into Buddhism and spirituality, by Ankit Khadgi (kp 05/12/2019)

A statue stolen 35 years ago from Patan exhibited at Dallas Museum of Art: The statue is among one of the artefacts mentioned in Lain Singh Bangdel’s book ‘Stolen Images of Nepal’ (kp 21/11/2019)

An intriguing, confusing art festival: There's much to make meaning out of at the Kathmandu International Performance Art Festival 2019, yet the festival falls short of making the art powerful, by Srizu Bajracharya (kp 06/11/2019)

Loud artistic juxtapositions steal Krama exhibition’s charm: ‘Krama—The rise of the female artists in the 21st Century’ celebrates the work of female artists, but disappoints as spectators get no lasting impression, by Srizu Bajracharya (kp 22/10/2019)

The colours and narratives waiting to be spilled: The third iteration of Himalayan Art Festival brings together the works of 150 artists and is a magnificent display of the evolving art scene in Nepal, by Srizu Bajracharya (kp 01/10/2019)

Witnessing history unfold, in colour and on canvas: Hari Prasad Sharma’s detailed documentation of history through his artworks is heritage in itself, by Asmita Manandhar (kp 17/09/2019)

Why the study of Nepali art history is important: Sound knowledge of art history can help promote Nepal’s ancient and medieval heritage internationally, by Suyog Prajapati (kp 08/09/2019)

Structures without a soul: Bidhata KC’s abstract renditions of Mustang homes appear fascinating from afar, but on a closer view, there is little that is interesting, by Abani Malla (kp 21/08/2019)

Musings on museums: The government of Nepal has not given much priority to museum development and its protection. Existing museums in Nepal date back to the days of monarchy, by Prem Singh Basnyat (rep 06/07/2019)

Drawing inspiration from memory: In his latest exhibition, Umesh Shah gets as personal as one can get with his/her  art—combining his childhood, admiration for women, and his thoughts on humanity, by Abani Malla (kp 26/05/2019)

Winds of change: Mann Gurung’s paintings explore the juxtaposition between  a rapidly modernising world and the culture and traditions of the past, by Rose Singh (kp 22/05/2019)

Nepali Art going places: Largest ever international exhibition of contemporary Nepali art opens at Weltmuseum Wien, by Kunda Dixit (nt 19/04/2019)

The artist who uses Mithila painting to challenge social norms: Ranju Yadav’s paintings mock and satire what are considered society’s norms: gender inequality and the caste system, by Tsering Ngodup Lama (kp 13/04/2019)

Petition filed to repatriate ancient Nepali paubha painting from US museum, by Timothy Aryal (kp 04/01/2019)

Breaking my art: An exhibition shows the injustice and violence of the Maoist insurgency (kp 09/10/2018)

Art and Nepali times: The second edition of the Himalayan Art Festival showcases the creative prowess of today’s youth, by Abhi Subedi (kp 16/09/2018)

Venus of Dhobikhola: A discarded sculpture resting by the banks of the Dhobikhola might just be one of the most important archaeological finds of recent years, by Rahul Dhakal (kp 25/08/2018)

Rajman Singh: A Lost Nepal found in London, by Sanyukta Shrestha (kp 28/07/2018)

Sacred vs Sold: The fact that traditional art forms are surviving, and experiencing an influx of artists to boot, means that these art forms are negotiating our globalised world’s economic structures and rules, by Kurchi Dasgupta (kp 20/05/2018)

Sacred survival: Exhibition showcases contemporary Nepali Thangka and Paubha painters, by Michael Gordon (nt 11/05/2018)

Sangeeta Thapa’s art recovery: Nepali artwork must be classified, catalogued and preserved so our icons can be saved before it is too late, by Abhi Subedi (kp 29/04/2018)

That time I met Lok Chitrakar, by Rahul Dhakal (kp 07/04/2018)

Two stolen idols returned to Kathmandu after 30 years (kp 05/04/2018), Stolen idols returned to Nepal, by Ujjwal Satyal (ht 05/04/2018), Bringing our Gods home: Two 1,000-year-old stone deities return to Nepal, but hundreds of other stolen objects are still out there, by Sahina Shrestha (nt 06/04/2018)

Visual engagement: Nepal's nature and culture connect in a month-long art exhibit (nt 02/03/2018)

Nepal and the globalised art world: Remittance can be channelled towards the creation of programmes for the economic empowerment of women, by Kurchi Dasgupta (kp 25/02/2018)

Nepali art and imitationIdentifying the difference between authentic derivation and reproduction is  necessary and urgent in Nepal’s expanding art sphere because it helps one  understand how the art culture is growing and being shaped, by Sandesh Ghimire (kp 27/01/0218)

Home isn’t where the art is: Stumbling upon Nepali art antiques in London, by Sanyukta Shrestha (kp 16/12/2017)

Art and the Rohingya of Kathmandu: In Sujan Dangol’s Displaced are images of moments stolen from the lives of people trying to lead fruitful, ordinary lives in sync  with the culture of a foreign land, by Kurchi Dasgupta (kp 17/09/2017)

Murals making way to city walls, then to financial success, by Ujjwal Satyal (kp 10/09/2017)

Learning the art of showing: A new wave of young Nepali artists is emerging and graduation shows are ensuring they find a platform, by Nhooja Tuladhar (kp 05/08/2017)

Art against trafficking and exploitation (kp 12/07/2017)

Art in a virtual world: Self-taught digital artist Ashim Shakya received a lot of attention on social media after the earthquake and blockade for his surrealistic digital images, by Sahina Shrestha (nt 07/07/2017)

Incubating art: Collective memory on the lived experience of being in Kathmandu city, by Kurchi Dasgupta (kp 02/07/2017)

Rebuilding Recaptured: A community art project involving 18 artists from four different countries seeks to break through time worn barriers, and heal an earthquake ravaged community through art, by Kurchi Dasgupta (kp 18/06/2017)

In choked Capital, artists perform against pollution: Students wrapped in plastic sheets take to streets, by Samikshya Bhattarai (kp 14/04/2017)

Chitrakars at triennale: Joint endeavour of artists, art historians and art curators can be instrumental in producing important works, by Abhi Subedi (kp 02/04/2017)

Traditional woodcarvings on display at Newa Chen (kp 26/03/2017)

Nature art fest kicks off in Nawalparasi (kp 21/03/2017)

Art and liberal education: Those organising big art events and those struggling to pursue art education deserve kudos, by Abhi Subedi (kp 19/03/2017)

The Man Who Cares About Detail, by Sophia L. Pande (kp 19/03/2017)

Kathmandu Triennale starts with artist presentations (kp 12/03/2017), Kathmandu triennale to celebrate the city (kp 21/03/2017), Artavaganza: The Kathmandu Triennale puts Nepal and Nepali artists on the world map with a two-week festival of creativity, by Smriti Basnet (nt 24/03/2017), Kathmandu Triennale 2017: The person in a woman; Reflections on Aamaa—an experience of womanhood across generations—slated to be performed at Kathmandu’s biggest art jamboree, by Irina Giri (kp 25/03/2017), Nepal’s largest art fest kicks off: Spread over eight venues in the Capital, Kathmandu Triennale will include works by 70 artists from 26 different countries (kp 26/03/2017), Kathmandu Triennale: Artists in the City: The art festival is an exploration of the city, spread over historical spaces dense with memory and history, as well as new commercial spaces palpitating with the possible birth of still newer urban mythologies, by Sanjeev Upretyn (kp 01/04/2017)

Grief on canvas: Rabindra Shrestha’s solo  exhibition of fingerprint-art and paintings draw on anguish of people in disaster-hit and war-torn areas (kp 12/03/2017)

Nepal’s bird family: Hira Dangol has got his whole clan to blend art with ornithology, by Smriti Basnet (ht 03/02/2017)

Feminism through art: Artist Meena Kayastha’s Divine Debris draws on her personal experience as a woman growing up in Nepal watching other female figures around her struggle with the limits imposed upon them, by Sophia L. Pande (kp 08/01/2017)

Joint painting exhibit at Newa Chen, by Samikshya Bhattarai (kp 30/12/2016)

Artists and their cities: On creating and dying, departing and returning, leaving and arriving, by Niranjan Kunwar (kp 24/12/2016)

Cultural Memory Transformed: Divine Debris is significant that not only because the artist has taken an esoteric, oral tradition and made it public; she has also made visible a form that has almost always remained invisible, by Kurchi Dasgupta (kp 04/12/2016)

Anxiety and originality in art: In Nepal, it is difficult to theorise the question of patronage and legacy in arts, by Abhi Subedi (kp 27/11/2016)

High on art: Gokyo Village, perched on a pristine, enchanting lake, now has another surprise for travellers: The world’s highestart gallery , by Anuj Adhikari (kp 29/10/2016)

The root of things: Sculptor Narendra Prasad Shrestha’s solo exhibition, Dristikon, is a manifesto of a life devoted to arts, by Timothy Aryal (kp 21/09/2016)

The persistence of memory: Five contemporary artists from Kathmandu explore memory and loss in Dolakha’s Gairimudi, by Pranaya SJB Rana (kp 03/09/2016)

Taking art out in the open: The shift in setting of Kathmandu’s arts from private to public spaces could be a catalyst for change, by Smriti Basnet (nt 02/09/2016)

When Words Fail: Using art as a catalyst for healing in a society that continues to stigmatise mental health issues, by Sujan G. Amatya (kp 06/08/2016)

Women in Thangka painting, by Priyanka Gurung (rep 29/07/2016)

Sharada Chitrakar’s odyssey: I was simply struck by the Chitrakar tradition of not giving their daughters the family art education, by Abhi Subedi (kp 24/07/2016)

A world through paubha: Samundra Man Shrestha’s collection of paintings is currently on display at Nepal Art Council, by Rea S. Mishra (kp 31/05/2016)

Time travel through portraits: At the Patan Museum, with images from a bygone era, Nepal Picture Library is creating a portal to a time when a photographic revolution was taking seed, by Sujan G Amatya (kp 14/05/2016)

Art in the open: The Book Bus revisits Gorkha with tales, memories and art in tow, by Pranab Man Singh (kp 07/05/2016)

Pasa Pi: Artists for the people; Art in its highest ideal can reflect society back on itself, and artists, then, act as public servants, by Mark Harris (kp 07/05/2016)

Anthropomorphism and mythology: Artworks that compel the audience to contemplate human attributes from a fresh new transgenic perspective, by Smriti Basnet (nt 06/05/2016)

Art of friendship: The Mithila painting not only evoked a sense of acceptance of police, but also conveyed a message of goodwill, by Ayush Joshi and Bijay Jha (rep 04/05/2016)

From the streets, into the gallery: At the low-brow mix-media exhibition, currently on at the Siddartha Art Gallery, you see two very young artists trying to find a voice that they can stick with, by Nhooja Tuladhar (kp 30/04/2016)

Art and the earthquake: Where does art come in during a natural disaster when there are so many other needs to meet?, by Sophia L. Pandé (kp 23/04/2016)

The solace of art: The current exhibition at Siddhartha Art Gallery depicts a wide range of emotional responses to the April earthquakes, by Sophia L. Pandé (kp 27/03/2016)

Reclaiming possibilities: Introducing arts education to a marginalised school community in Rasuwa, by Niranjan Kunwar (kp 19/03/2016)

Building an art movement: For contemporary art in Kathmandu to truly become exciting, artists must not expect formal institutions to lead the way, by Mark Harris (kp 19/03/2016)

The Giving Tree: The Kalpavriksha in the Mithila Cosmos, by Sophia L. Pandé (kp 20/02/2016)

The Mithila avatar: In 'Kalpavriksha', S C Suman implores us to imagine a more harmonious future for Nepal, by Michael Nishimura (nt 12/02/2016)

Artists transforming Taltalaiya into a sculpture museum, by Amar Khadka (rep 06/02/2016)

Subedi’s solo sculpture exhibition kicks off (kp 24/01/2016)

The Gods are still leaving: Despite their theft finding national and international limelight, antiques from Nepal remain vulnerable as ever, by Sewa Bhattarai (kp 09/01/2016)

Power of paintingsZhao Jianqui’s works are brilliant examples of the Chinese ink wash technique, by Abhi Subedi (kp 18/10/2015)

Nepal in ink and brush: A Chinese artist’s creative journey across the Himalaya, by Justin Zhao (nt 02/10/2015)

History on canvas: If you have time to see very few art exhibitions in Kathmandu this week then this selection of paintings by Hari Prasad Sharma should be it, by Nischhal Pradhan (nt 02/10/2015)

Rebuilding through art: The efforts of an artist collective in the aftermath of the Great Quake have left a lasting
mark on the affected people of Thulo Byasi
, by Nhooja Tuladhar (kp 18/07/2015)

Writing about art, by Sophia Pande (kp 12/07/2015)

Art for therapy, by Niranjan Kunwar (kp 11/07/2015)

NAFA-Sumeru exhibition focuses on local artisans’ skill at traditional work  (ht 05/07/2015)

Rising from the ruins, by Nhooja Tuladhar (kp 04/07/2015)

Bridging the gap: The number of people who write about art in Nepal has increased—there is so much more than art-critic rant to read now. But has art writing actually seen development in quality?, by Nhooja Tuladhar (kp 20/06/2015)

Murals of hope: After the earthquake, street artists coloured Kathmandu’s walls with messages of hope, by Stéphane Huët (nt 19/06/2015)

A natural performance: After the quake, the tedious repetition of the same old things will not work anymore in art, by Abhi Subedi (kp 14/06/2015)

Getting art out there, by Sophia Pandey (kp 14/06/2015)

Of tragedy, experience and the arts: In addition to relief funds, the wide domain of art can help significantly in restoring normalcy, by Deepesh Paudel (kp 17/05/2015)

Remembering the stolen gods, by Rachana Chettri (kp 25/04/2015)

Hair strands and dark voids: Saurganga Darshandhari and Surendra Maharjan, two printmakers who were handed The Australian Himalayan Foundation Art Award last year, are currently exhibiting their works at the Siddhartha Art Gallery in Babermahal, by Nhooja Tuladhar (kp 18/04/2015)

Enabling art: Artists best express themselves through their work and then it is the curator’s job to take their art to the public, by Nhooja Tuladhar (kp 28/02/2015)

Welcome to the machine: Performances by the Nepali artists are what the Nepali public is most used to viewing, and
because they deal with issues that are close to home, they are much easier to access
, by Rachana Chettri (kp 28/02/2015)

Outing evil: Artworks such as Rape Me are meant to shock us out of our slumber and they force us to take a deep look at our social evils, by Kashish Das Shrestha (kp 31/01/2015)

Between heaven and earth, by Rachana Chettri (kp 17/01/2015)

How printmaking in Nepal could change, by Nhooja Tuladhar (kp 10/01/2015)

Journeying for art: Gurung’s approach reflects a sensibility that should be welcomed in contemporary Nepali visual culture (nt 09/01/2015)

Paving the way of diplomacy through art (kp 08/01/2015)

An Artist’s Journey, by Sophia Pande (kp 07/12/2014)

Blending art and technology (ht 16/11/2014)

Traditional thangka schools create healthy jobs for women, by Anup Ojha (kp 07/11/2014)

Artist as contemporary: In Nepal, we insist on defining contemporary art as mere reinstatements of existing values or reiteration of global idioms, by Kurchi Dasgupta (kp 24/10/2014)

Accessible art and the importance of looking, by Sophia Pande (kp 19/10/2014)

Nepal and Nepalis through paint, by Bivek Thapa (kp 24/09/2014)

A master of the old ways: Lok Chitrakar still prepares his own paint through natural pigments and uses locally available cotton as canvas, by Nhooja Tuladhar (kp 06/09/2014)

Art exhibition on Mustang (kp 20/08/2014)

Written in stone: Padam Bahadur Tamang has started on a clean slate by reviving an age-old art form, by Sarthak Karki (kp 15/08/2014)

Through the lens again, by Nhooja Tuladhar (kp 05/07/2014)

Representing the real: Art events like the KIAF can do more to support artists who work on current themesthat are relevant to their places of provenance, by Kurchi Dashupta (kp 05/07/2014)

Speaking stones: Nepali sculptures are arresting, powerful spatial manifestations of art that evoke time and emotion, by Abhi Subedi (kp 01/06/2014)

Art and this man, by Sangita Shrestha (kp 02/02/2014) [on Narottam Das Shrestha]

Journeys in art and life (kp 19/01/2014)

Her many facets: Artist Promina Shrestha ably captures life and movement in her quirky, whimsical and often surreal works, by Rachana Chettri (kp 04/01/2014)

Fine Art Nepal (FAN)

Asian Art: The Tharu of the Tarai

Art of Newar Buddhism

Patan Museum
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