Nepalese Culture最新文献

{"title":"नवपाषाण उपकरण ‘बैथर’ पूर्वी पहाडका किरातहरुको संस्कृति र प्राग्इतिहास","authors":"भोगीराज चाम्लिङ","doi":"10.3126/nc.v17i1.64414","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64414","url":null,"abstract":"हलेसी र समग्र पूर्वी पहाडमा नवपाषाण उपकरण बैथर थुप्रै संख्यामा फेला पार्न सकिन्छ तर लोप हुने क्रम पनि तीव्र छ । यो लेखमा पूर्वी पहाडका किरात राईहरुले वज्रढुंगाका रुपमा घरघरमा सुरक्षित राखिने नवपाषाण उपकरण ‘बैथर’ र त्यसको किरात राई समाजमा विद्यमान सांस्कृतिक स्थानका आधारमा प्राग्इतिहासबारे विमर्श गरिएको छ । तसर्थ, यो लेख प्राग्इतिहास अध्ययनमा नवीन प्राज्ञिक अन्वेषण गर्ने अग्रसरता हो । पुरातात्विक शिल्पकृतिसम्बन्धी व्याख्यामा सामाजिक आधार प्रदान गर्न तथा प्राग्ऐतिहासिक युगसम्बन्धी अध्ययन गर्न परम्परागत संस्कृति तथा मौखिक ज्ञानहरुको जो उपयोग गर्ने गरिएको छ, त्यससँगै नेपाली इतिहास अध्येताहरुको जनजातीय संस्कृतिले प्राग्इतिहास अध्ययनमा महत्वपूर्ण भूमिका खेल्न सक्ने मतलाई आधार बनाएर बैथरबारे विश्लेषण गरिएको छ । धामीको मुन्दुमी शक्तिसहितको हतियारका रुपमा लिइने, आदिम समयदेखि पुर्खाहरुले प्रयोग गरिल्याएको भनेर व्याख्या गरिने तथा सांस्कृतिक अभ्यासमा पनि प्रयोग गरिने हुनाले यी बैथरहरु किरात राई समुदायको प्राग्ऐतिहासिकताबारे अध्ययन गर्ने महत्वपूर्ण प्रमाण हुन सक्छन् । उत्खनन गरेर जमिनमुनि कुनै खास तहमा फेला नपरेसम्म बनोट र आकारप्रकारका आधारमा तुलना गर्नुपर्ने भएकोले आसामबाट प्राप्त नवपाषाण उपकरणको समयलाई आधार बनाएर पूर्वी पहाडका बैथरहरुलाई बढीमा ४००० वर्ष पहिलेको मानिएको छ । बैथर निर्माण तथा प्रयोग गर्नेहरुमा किराती र नवपाषाण युगको अन्तिमतिर आसामबाट काठमाडौंसम्म आइपुगेर गोरुले नजोती धान खेती सुरुवात गर्ने मुन्डाका पुर्खामध्ये एक अथवा दुवै हुन सक्छन् ।","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"79 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mahalaxmi Jatra: An Amazing Festival Tourism Product of Lubhu, Nepal","authors":"Lok Nath Dulal, Sapana Singh","doi":"10.3126/nc.v17i1.64400","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64400","url":null,"abstract":"Lubhu is one of the historical and cultural tourist destinations located on Mahalaxmi municipality 8, Lalitpur district of Kathmandu Valley in Nepal. There can observe and have a wonderful experience of tangible and intangible cultural tourism properties within core of Lubhu. The people of Lubhu annually celebrate different colourful festivals and Jatras such as Mahalaxmi Jatra, Nepal Sambat, Buddha Jayanti, Dashain, Tihar, Yomahri Punhi, Gobrateswor Mahadev jatra, Gaijatra, Krishna Janmasthami, Naag Panchami, Gathemangal, Ram Nawami, Chaite Dashain, Holi, Shivaratri, Shree Panchami, Pishach Chaturdashi, Byaja Chaturdashi on the special auspicious occasions. Among them, Mahalaxmi Jatra is an amazing cultural heritage and festival tourism product of Lubhu. It celebrates in the month of Baishakha especially from Baishakha Sukla Tritiya till to Ekadasi which takes more than a week for its completion.  It is considered a hallmark of indigenous cultural identity and a popular cultural tourism product of the destination. But, through the tourist and tourism perspectives this Jatra is still not adequately exposed. Hence it is necessary to recognize Mahalaxmi Jatra as a prominent tourism product of Lubhu. How it is celebrated? what its celebrating processes, processions, rites and rituals, customs and customary laws? how far it is considered as an important source for alluring tourists and what are the major problems and challenges that hindering over the promotion to it as a tourism product? are the major questions and research gaps which have been answered and addressed through this paper. Likewise, to explore the different aspects embedded with Mahalaxmi Jatra of Lubhu and to examine Mahalaxmi Jatra of Lubhu as an amazing cultural tourism product are the key objectives of the paper. In this paper both primary and secondary data and qualitative approach have been used and it is based on analytical and descriptive research design.  ","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"85 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Administrative Role of Malla Kings of Later Medieval Period","authors":"L. Kharel","doi":"10.3126/nc.v17i1.64392","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64392","url":null,"abstract":"In Nepali society, king used to be respected by people. Kings had role not only in political and administrative landscape but also in the cultural and social scenario. In Medieval Nepal, the king would enact law, enforce law and also impart justice. Justice was a well-established virtue in the polity of Nepal since the remote past. Nepal had been ruled by some royal dynasties, i.e., Gopalas, Mahispalas, Kirants, Lichhchavi, Malla and Shah. The medieval history of Nepal begins with the Malla dynasty. The first Malla king is Ari Malla (1207-1216). The later medieval period or the Malla dynasty of Kathmandu begins when King Jayasthiti Malla was in complete control in the valley. The study has aimed at to finding out how the kings of the later medieval period had played role in the administrative system of the then Nepal. So, this research article is designed to find out the role of king in the entire administrative system of Nepal under the later medieval period. It has been known about the administration system of Malla from the various sources, that are inscriptions, manuscripts, and other literary sources, beside the foreign accounts. On the basis of these sources, it has been described about the administrative system of Malla. Malla kings ruled under the monarchical system. Kings were all in all countries, and they had all the authority of supreme power and controlled their countries by being the commanders in -chief in justices and chiefs of the administration of the countries. The king himself handled the leadership of war and used to go in far places for it. Kings liked to possess different royal titles, such as 'Nepaleswor', 'Nepal Mandalesor ', Nepal Pundya Bhumesor', 'Rajrajendra, 'Sakala Sastra Sangitadi Vaidhya Parangat', 'Kabindra 'etc. Until arrival of the powerful Gurkhas from Gurkhas kingdom, the Malla kings ruled the valley which was cut into four kingdoms –Bhadgaon, Kathmandu ,Patan and Banepa. During the Malla period, the choice of who would be king rested with the tribes( Pradhans) who represented the nobility. Monarchy was limited and administration was decentralized. Public opinion played a vital in Malla administration. Nepal in that time remained politically disunited and weak because of the internal conflict between the Malla kings of the valley.","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"22 31","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141005837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"वसन्तपुर कुमारीघरका सांस्कृतिक सम्पदाहरु","authors":"श्याम मदन के.सी.","doi":"10.3126/nc.v17i1.64427","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64427","url":null,"abstract":"ऋषिमुनि, दार्शनिक, चिन्त्तक एवम् पूर्वजहरुले संस्कृतिलाई जीवनको मूल आधार मानेको देखिन्छ । उनीहरुले कुमारीलाई ‘प्रत्यक्ष वा जिवित देवी’ को रुपमा लिन्छन् । यस लेखमा गुणात्मक विधिमा आधारित ग्राउण्डेड  पद्धतीको उपयोग गरि बहु–श्रोतवाट सूचनाहरु सङ्कलन गरिएको छ । तत्कालिन ढाँचाको उपयोग गरि बहु–सूचनाको उपयोग भएको छ । स्नोवल नमूना छनोट विधिको अवलम्बन गरिएको छ । विभिन्न स्रोतबाट प्राप्त सूचनाहरु लिइसकेपछि त्यसलाई वहु–दृष्टिकोणमा आधारित भएर ब्याख्या गरिएको छ । नेपालको जीवित कुमारी परम्परालाई विश्वकै दुलर्भ मानिएको छ । राजा त्रैलोक्य मल्लको समयदेखि शाक्य कुलको कन्यालाई कुमारी बनाई तुलजा भवानीको प्रतिक मानी पूजा गर्ने चलनको शुरुवात भएको हो । जयप्रकाश मल्लले वि.स. १८१३ मा कुमारी घरसँगै तीन तले पगोडा शैलीको रथ निर्माण गरि भदौं शुक्ल चतुर्दशी र पूर्णिमा रथ यात्रा चलाए । श्री ३ जंगबहादुर रणाले आश्विन कृृष्ण चौथीमा नानिचा या भनी थप एक दिन रथ सुरु गरे । यसरी कुमारीको रथ तीन दिन यात्रा गर्ने परम्परा बसेको हो । कुमारीलाई बौद्ध तथा हिन्दुहरुले दुवैको धार्मिक सहिष्णुताका प्रतिक मानिन्छन् । देवी भगवती जगदम्वा भवानी कुमारीको पूजा उपासना गर्ने पहिलो देव अवतारी महापुरुष भगवान् श्रीकृष्ण रहेको ग्रन्थहरुको अध्ययनबाट देखिन्छ । रातो मत्स्येन्द्रनाथको बुंगमतीमा प्रवेशसंगै सद्य कुमारी स्थापना गरेकोले यसलाई नै सर्वप्राचिन मानिन्छ । मल्ल राजाहरुले तुलजा भवानीलाई आफ्ना इष्टदेवीको रुपमा लिन्थे । कुमारी घरको ढोका, झयाल, तोरण, थाम आदि सवै सुन्दर कलाकृतिले भरिएका छन् । उत्तराभिमुख भएको झिंगटी छाना छाएको यस घरको मूलद्वारबाट प्रवेश गर्ने वित्तिकै देखिने सानो र चिटिक्क परेको ढुंगा छापिएको चारकुने चोक रहेको छ । कुमारी घरको चारैतिर विभिन्न देवदेवीका सा–साना मन्दिर र चैत्यहरु अवस्थित छन् । कुमारी घरको बाँयातिर श्री त्रैलोक्य मोहन नारायणको विशाल मन्दिर अवस्थित रहेको छ ।","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"36 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141002230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Symbolism of Sacred Art in Water Conduits","authors":"Sandhya Khanal","doi":"10.3126/nc.v17i1.64397","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64397","url":null,"abstract":"Nepal is a country with abundance of traditional art, architecture and culture. Almost every monument comprises faith, belief, devotion and sacredness which are initiated to be expressed through symbolic representation. Historicity of water conduit of Kathmandu valley can be traced back to early Cristian Era. They were installed to fulfill basic need of water. Flowing water is compared to goddess Ganga. Thus, every water conduit is equated to goddess Ganga with depiction of a crocodile, her vehicle. Cent percent water conduits of the valley consists of sculptural art associated to Hindu or Buddhist deities and a few with architectural monuments. It also comprises sculptural art of several creatures as; serpent, fish, frog, chameleon, mongoose. These deities, monuments and creatures are found to be a symbolic expression of theme associated with religious belief and faith. In this context, finding out the theme of an art expressed in a water conduit, chief feature of sacred sculptural art of water conduits and symbolic representation of sculptural art of water conduits of Kathmandu valley have been focused as an objective of this research. This qualitative research is based upon historical fact. Thus, the facts are collected from historical monuments through survey, interview, collection of photographs and are analyzed in a descriptive way. Related literary sources have been consulted as a secondary source. From several references, it is to be considered that water conduits of the valley have been basically set up for social and religious utility with installation of several deities according to their faith. Art of each conduit as well as image portrays specific features belong to related historical age. Besides this, each sculptural art depicted on the conduit conveys symbolism of goddess Ganga and several pilgrimages composed within a precise pious abode.","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"131 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141002939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"केपिलासगढीको ऐतिहासिक अध्ययन","authors":"शालिकराम राई","doi":"10.3126/nc.v17i1.64422","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64422","url":null,"abstract":"खोटाङ जिल्लाको केपिलासगढी ३ मा अवस्थित केपिलासगढी ऐतिहासिक तथा पुरातात्विक महत्वको स्थल हो । यो गढी सप्तेश्वर र बाक्सिलाको सिमानामा ६ हजार ८६ फिट उचाईमा अबस्थित छ । नेपालको इतिहासमा प्राचीन तथा मध्यकाल कालमा राज्य संचालन गर्दा तत्कालीन राजा, शासक, प्रशासक बस्ने आवासगृहलाई  कोटघर, गढी, किल्ला, राजगृह  भनिन्थ्यो । यी गढीहरुको संरचना भौगोलिक क्षेत्र अनुसार तराई र पहाडमा अलगअलग प्रकारका हुन्थे । सुरक्षाका दृष्टिले शत्रुहरुले हतपती आक्रमण गर्न नसकोस भनेर विशेषगरी पहाडी क्षेत्रमा पहाडको डाँडाहरुमा गढी, कोटघर, किल्ला बनाउने चलन थियो । आधुनिक काल नेपाल एकीकरणको अभियान बि.सं. १८३१ सम्म पनि यो गढी अस्तित्वमा थियो भन्ने प्रामाण पाउन सकिन्छ । यो गढीको ऐतिहासिकता कस्तो थियो ? गढीको प्राचीन स्मारक तथा भग्नावशेष, राजदरबारको भौतिक संरचनाको अबस्था कस्तो रहेको छ ? यस गढि़को सांस्कृतिक महत्व कस्तो छ ? भन्ने सोधप्रश्नको उत्तर खोज्ने क्रममा यो अध्ययन गरिएको हो । यस आलेखमा केपिलास गढीको ऐतिहासिकता पक्ष पहिचान गर्न मुख्य उद्देश्य बनाइएको छ । यस ऐतिहासिक गढीको अध्ययन अन्वेषणात्मक तथा गुणात्मक विधिबाट गरिएको छ । अध्ययनका क्रममा प्राथमिक तथ्यांक स्थलगत अबलोकन र स्थानीय जानकारसँगको अन्तरबार्ताबाट तथा द्वितीयक तथ्यांक किरात राई समुदायको मौलिक दर्शन मुन्दुम, ऐतिहासिक दस्ताबेजहरु र लालमोहर, रुक्का प्रकाशित पुस्तकहरु आदिको अध्ययनबाट संकलन गरिएका छन् । यस गढीको प्राचीनता, ऐतिहासिकता र पुरातात्विक अवशेषहरुको अध्ययनलाई यसमा समेटिएको छ ।  ","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"51 S258","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"लिम्बू समुदायमा प्रचलित लोकनृत्य धाननाच","authors":"भूपालकुमार सेन्दाङ","doi":"10.3126/nc.v17i1.64415","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64415","url":null,"abstract":"नेपालको सुदुर पूर्वी भागमा बसोबास गर्ने लिम्बू (याक्थुङ) समुदायमा प्रचलित विभिन्न संस्कृतिहरु मध्ये लोकनृत्य धाननाच (यालाङ) एक महत्वपूर्ण संस्कृति हो । संस्कृति मानव जातिको पहिचानको आधार हो । यसको विकास मानव जीवन यापनलाई सहज र सरल तरिकाले अगाडि बढाउन भएको देखिन्छ । लिम्बू भाषामा धाननाचलाई ‘यालाङ’ भनिन्छ । यहाँ ‘या’ भनेको धान र ‘लाङ’ भनेको नाच्नु हो । यसबाट धाननाचको उत्पत्ति र विकास धानखेतीसंग सम्बन्धित रहेको देखिन्छ । धाननाचमा वाद्यवादनको खासै प्रयोग हुँदैन । यस नाचमा गाईने गीतलाई ‘पालाम’ भनिन्छ । धाननाचमा गीत गाउने छुट्टै गायक हुँदैन । नृत्यकारहरुले नै पालाम गीत पनि गाउनु पर्दछ । ‘पालाम’ शब्द ‘पानलाम’ बाट बनेको हो जसको अर्थ ‘पान’ भनेको कुरा र र ‘लाम’ भनेको वाटो हो । तसर्थ पालामको अर्थ मनमा लागेको कुरा वा हृदयमा उठेको भाव वा विचारलाई काव्यात्मक रुपमा कथेर भन्ने बाटो (लाम) हो । याक्थुङ लिम्बू जातिको महत्वपूर्ण सांस्कृतिक सम्पदाको रुपमा रहेको  धाननाच (यालाङ) को उत्पत्ति कसरी भयो ? यो नाच किन र कसरी नाचिन्छ ? धाननाचमा गाइने पालाम गीतलाई भाव र प्रसङ्गको आधारमा के कति प्रकारमा वर्गीकरण गर्न सकिन्छ ? भन्ने मुख्य शोध प्रश्नहरुको जवाफ प्राप्त गर्ने उद्देश्यले यो अध्ययन गरिएको छ । यो एक गुणात्मक प्रकृतिको अन्वेषणात्म तथा ऐतिहासिक अध्ययन हो । यस अध्यायनमा संकलित प्रारम्भिक तत्थ्याङ्कहरु धाननाचको प्रत्यक्ष अवलोकन र धाननाचसम्बन्धी ज्ञाता तथा अभ्यासकर्तासंगको अन्तर्वार्ताको माध्यमद्वारा संकलन गरिएका छन् । धाननाच मौखिक परम्परा अनुरुप पुस्तान्तरण हुदै आएकोले कतिपय तत्थ्याङ्कहरु लिम्बू समुदायमा प्रचलित आख्यान तथा किंवदन्तीहरुबाट पनि संकलन गरिएका छन् । प्राप्त तत्थ्याङ्कहरुलाई ब्याख्या विश्लेषण गर्दा धाननाचको उत्पत्ति र विकास मानिसले कृषिकर्म शुरु गरे पश्चात धानखेतीको विकास भएसँगै क्रमशः भएको पाइन्छ । यस्तै सुरुमा यस नाचका व्यावस्थित नियमहरु नभएकोमा मानव विकृति बढेपछि दार्शनिक येहाङको पालादेखि साईनो–सम्बन्ध लाग्ने महिला पुरुषबीच धाननाच्न नहुने र शिष्ट, मर्यादित तथा अनुसाशित ढंगले यो नाँच नाच्नुपर्ने नियमहरु तर्जुमा भएको पाइएको छ । प्रारम्भमा धानको परालबाट अन्नको दाना झार्नको लागि नाचिने यो नाच पछिल्लो समयमा युवा–युवतीबीच आपसमा दुःखसुखका अनुभूतिहरु साँटासाँट गर्ने, प्रेम र मायाप्रिति भावनाहरु अभिव्यक्त गर्ने, विरह र बेदनाहरु पोख्ने, सामाजिक यथार्थता प्रकट गर्ने र मनोरञ्जन तथा आनन्द प्राप्त गर्ने प्रयोजनको लागि नचिएको देखिन्छ । साथै धाननाचमा गाइने पालाम गीतलाई यसको विशेषताको आधारमा मुख्यतः तुम्मुइ पालाम, मिम्मुइ पालाम र सेम्मुइ पालाम गरी तीन प्रकारमा वर्गीकरण गर्न सकिने तत्थ्य यस अध्यायनबाट प्रकाशमा आएको छ ।","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"67 3‐4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141002366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on Myths and History of Indrathan, Dahachowk","authors":"Sabita Thapa","doi":"10.3126/nc.v17i1.64398","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64398","url":null,"abstract":"Indradaha has its own cultural importance. There is a myth that \"Indra\", King of heaven during Satya Yuga came here and took bath. On every Bhadra Shukla Purnima Day, a day after Indra Jatra celebration in Basantapur, thousands of people visit this place for taking bath in this pond. Archaeology, the scientific study of the material remains of past human life and activities. Archaeological investigations are a principal source of knowledge of prehistoric, ancient, and extinct culture. In the Satyayuga, it is believed that King Indra of the heavens came and tied an elephant in a gold necklace and bathed in Indradaha. On the occasion of Indradaha bathing fair on the hill, it is considered to be a wonderful feature to fill Indradaha completely. This place has its own value including different myths and settled pattern of local people from the ancient era. To explore more about the Indrathan, the most famous deities were stablished i.e. Indra, Indrayani, Basuki, and other idols next to the Indra place are privileged to worship Ganesha, Surya, Durga, Bhairav, Garuda, and Saligram etc. another important aspect of explore this place is mythological significance is found in the Nepal Mahatma of chapter 185 under the snowy section of the skanda purana Most of the local people says about indrathan is related with indrajatra which is held in Kathmandu valley and another myth about kalu panday.","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Classical Tale from the Markandeya Purana (Ritudwaj and Madalasha)","authors":"Poonam RL Rana","doi":"10.3126/nc.v17i1.64393","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64393","url":null,"abstract":"This paper sheds light on the intriguing ancient love story of Ritudwaj and Maladsha that is recounted in the Markandeya Purana, this paper investigates the classical account of the Purana. The Eastern world today is more familiar with Western classical love stories like Romeo and Juliet, Pride and Prejudice, Sense and Sensibility, Wuthering Heights, and Gone with the Wind, But Eastern readers have forgotten their classical legends. Ritudwaj and Madalasha's profound love is depicted in this undersea fantasy tale that delves into the classic love tale. This Pauranic tale is lovelier than Snow White or Cinderella. The researcher wishes to draw attention to the fact that our Puranas and other religious texts contain such beautiful love stories lost within the pages of such texts. This research aims to a) Highlight the ancient classical tale from Markandeya Purana. b) To open a venue for further research on such tales. The methodology used is exploratory based on the qualitative approach. This research is based on content study.","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"83 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"प्राचीन नेपालको चिनतिब्बत सांस्कृतिक तथा आर्थिक सम्बन्ध","authors":"श्रीलोचन राजोपाध्याय","doi":"10.3126/nc.v17i1.64424","DOIUrl":"https://doi.org/10.3126/nc.v17i1.64424","url":null,"abstract":"भौगोलिक अवस्था अनुसार नेपाल भूपरिवेष्ठित राष्ट्र हो । उत्तर बाहेक अन्य तीन वटै दिशामा विशाल भारत छिमेकीको रुपमा रहेको छ । विश्वमान चित्रमा नेपाल दुई ठूला देशबीचमा अवस्थित छ । नेपालले यी दुवै छिमेकी राष्ट्रसँ पौराणिक कालदेखि नै सुमधुर सम्बन्ध राखेको देखिन्छ । तर यस अनुसन्धात्मक आलेखमा भने नेपालको चीनसँगको सम्वन्ध मात्र विश्लेषण भएको छ । स्वयम्भु पुराण नेपालको सुमधुर सम्बन्ध चिन तिब्बतसँग पौराणिक कालदेखि नै थियो । बुद्ध धर्म बारे थप ज्ञान हासिल गर्न चिनियाँ भिक्षु तथा तीर्थ यात्रीहरु गौतम बुद्ध जन्मेको नेपालको लुम्बिनी र कपिलबस्तु आउने क्रम सुरु भएको थियो । लिच्छवि कालका राजा अंशुवर्मा, उदय देव र नरेन्द्र देवको समयमा उत्तरी छिमेकीसँगको सम्वन्ध अझ बलियो रहेको देखिन्छ । प्राचीन कालमा नै राजा उदयदेव गुप्तहरुको दबाव झेल्न नसकि चीनको सरणमा गए । उनका छोरा नरेन्द्र देवले चीनकै सहयोगमा आफ्नो राज्य फिर्ता लिन सफल भए । यसरी आवश्यक परेको बेलामा छिमेकी देशले एक आपसमा सहयोगको भावना राखेको देखिन्छ । नेपालकी छोरी भृकुटी र तिब्बती बादशाहबीचको वैवाहिक सम्वन्धले पनि दुई देशबीचको आपसी सम्वन्ध कस्तो रहेको थियो भन्ने थाहा हुन्छ । त्यस समयमको अवस्थालाई विषय वस्तुको रुपमा लिइ यो सोध अध्ययन गरिएको हो । यो अध्ययन अन्वेषणत्मक प्रकृतिको गुणात्मक छ । यसमा यसमा द्वितीयक स्रोतलाई महत्व दिइएको छ ।","PeriodicalId":500624,"journal":{"name":"Nepalese Culture","volume":"112 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141003836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}