Nepal Engineering College

Changunarayan, Bhaktapur_________________________________________________

A REPORT ON THE MONUMENTS FROM

LAGANKHEL TO I-BAHI

ACKNOWLEDGEMENT
We acknowledge with sincere thanks the kind help and
information provided by many individuals during the
preparation of this report.
We are truly grateful to our teacher Mr. Bijaya Budhathoki
for giving us such an opportunity to know the importance of
even small sized monuments. We are also thankful to him for
waiting patiently for us to submit our report which got delayed
due to various reasons.
We are indebted to all the local people who gave us their
time to tell us the facts about the monuments and provided us
with the legends regarding the shrines. We would like to thank
Mr. Rajkumar, Mr. Prem Bahadur Pandey, Mr. Trap Khand of
Lagankhel, Mr. Namekrshna Tamarakar and Mr. Siddhiratna
Tamarakar of Hauga Tole, Mr. Prajwol Joshi of KVPT, Mr. Tonyl
Maharjan.

Thanking you all,

The report group

December 2001.
Nepal Engineering College
Changunarayan, Bhaktapur_________________________________________________

TABLE OF CONTENTS
1. MAP OF PATAN 1
2. LOCATION MAP 2
3. INTRODUCTION 3
4. NEPALESE STYLE TEMPLES 3
5. STUPAS 14
6. VIHARAS 21
7. SHIKARAS AND DOMES 38
8. DHARMASHALAS 42
9. WATER CONDUITS 49
10. MISCELLENEOUS 54
11. CONCLUSION 67
BIBLIOGRAPHY
Nepal Engineering College
Changunarayan, Bhaktapur_________________________________________________

LOCATION PLAN (FROM LAGANKHEL TO I Bahi)

A. Lagankhel
1. Ashokan stupa
2. Batuk Bhairab
3. Charkune Chowk
4. Dhungedhara
5. Dolanmai
6. Laganeshwor Mahadeva
7. Pati
8. Lagan Bahal/ Shree Ratna Chaitya Bihar
B. Thati
9. Sattal
10. Ganesha shrine
C. Tangal
11. Pati
12. Dhungedhara
13. Minnath/ Jesthabarna Mahabihar
14. Bhairab Temple
15. Doubaly
D. Haugal
16. Jaddhuhiti
17. Ibahabahi
18. Narayan (brick and stucco)
19. Pith
20. Pati
21. Narayan
22. Pati
23. Haugal Bahal/ Hastinga Bihar
24. Narayan (brick and stucco)
25. Narayan (Nepalese style)
E. Durbar Square
26. Uma Maheshwor
F. Soantha
27. Pith
28. Radha Krishna
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Changunarayan, Bhaktapur_________________________________________________

29. Chaitya
30. Jaddhuhiti
31. Krishna
32. Pati
33. Narayan
G. Kulimha
34. Hanuman
35. Ghyabo Narayan
36. Uma Maheshwor
H. Ko Baha
37. Ko Baha
38. Krishna
39. Pati
40. Shiva Temple
41. Jaddhuhiti
I. Gahiti
42. Chamundamai
43. Lokeshwar
44. Pati
45. Shivalinga
J. I Bahi
46. Yampi Karunachuka
47. I Bahi/ Sunaya Shreemishra Samskarti Yampi
Mahabihar
48. Yampi Yanta Bihar
49. Ashokan stupa

INTRODUCTION
We, the third year architecture students of Nepal Engineering
College, were asked to submit a report on monuments. The main
objective of the report was to make us realize the importance of even
small scale monuments. It was of our own choice to take any location for
this purpose. The condition was that the area we cover should not exceed
one and a half kilometer nor should it be less than a kilometer.
Our group chose Patan for this project. The area was from
Lagankhel to I Bahi, starting and ending the route by an Ashokan stupa.
The distance covered was approximately one and a half kilometer. The
popular Patan Durbar Square was also present in this route. But since the
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Changunarayan, Bhaktapur_________________________________________________

monuments at that area have been written many a times we decided to

leave them in our report.
Patan is locally known as Lalitpur, the city of beauty. It is located
on lovely little plateau across the river Bagamati and is only seven
kilometers south-east of Kathmandu. The city is circular in shape. This
city is oldest of all three cities of Kathmandu Valley. Patan is most widely
accepted candidate for the Licchhavi capital. It’s identification as a capital
rest primarily on three factors:(1) The late chronicles’ assertion that one
Veerdeva, an undocumented successor to Narendradeva, moved the
capital there at around 299 A.D., 2) that the name Patan, since it is
derived from pattana, likely signifies a royal city, and 3) that Manigvala,
one of Patan’s alternate names, derives from the presence of Managriha
in that city. This city is full of Buddhist monuments, Shiva temples with
fine bronze gateways, deities and endless carvings. Here are craftsmen,
carpenters, stone and metal workers.
The monuments that we came across during this project can be
divided into various groups. So, for the purpose of simplifying our report
we have grouped them into different categories like tiered temples,
shikhara temples, dome temples, water conduits, dharmashalas, viharas,
etc.

The Nepalese style

Kirkpatrick has remarked that the Kathmandu Valley consists of as
many temples as there are houses and of as many as idols as there are
men. So, Patan one of the important cities of the Valley can be similarly
quoted. On our study we came across numerous Nepalese styled
temples. In few places the Nepalese styled temples have been referred to
as multi-storeyed temples. But this is a misnomer. The numbers of actual
habitable floors and the tiered roofs are not the same. So nowadays they
are popularly known as multi-tiered. In past, they even have been
described as derivatives of pagoda style which can be found in different
parts of the world. But many historians and architects are against this
description. For them, temples of the style existed in Nepal earlier than
elsewhere. It is, therefore, not proper to consider the temples as
derivatives and to call them pagodas. They should enjoy in all justice a
name which is attached to the place of their birth, and the style should
be named as the Nepalese style.
The body of the temple is a square entablature of bricks rising in
diminishing proportions to a great height, sometimes to the fifth storey.
The roofs are attached on four sides of the wall at each storey. They are
sloping and conforming in regularly diminishing proportions to the size of
the entablature. The roofs, tiled or copper gilt, are quadrangle. The
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Changunarayan, Bhaktapur_________________________________________________

entablature may stand on a terraced platform of the stone and might be

of as many stages as there are storeys. The roofs are connected with the
entablature by struts which are set up in a projection at an angle of 45
degree. The struts form in many cases symbolic images of the deities of
the main shrine. The cornices in the windows and above the door and the
outer beams are finely decorated with the entablature carvings, rich
pictographs of deities or foliage or the designs in arabesque. The
windows are nearly square and screened by a trellis ornamented by
carvings. The windows in most of the cases are blind windows which are
kept only to add beauty to the temple. The doorway or window is
supported by architraves with a gilt copper or wood tympanum at the
middle point and containing carved images of deities in bold relief on the
surface, where the principal figure that of a mythological Garuda or
Saravan, holds two serpent in the hands to bite them off. Round edges of
the roofs hangs a series of small and thin bells with slender clappers
which a mild rush of wind sets tinkling. The interior of the temple is as
magnificent. Elaborate and beautiful carvings are as common element of
the decoration. The chapel occupies the hall, and there are no ante
rooms except in cases. The space above the cella is a wastage space. The
space above the roofs has been deliberately left open so as to keep open
the vertical axis for the easy movement of the gods to heaven. The
summit of the temple has a piece which is known as gajura. It is a very
important part of the temple and can be found of various styles.
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Changunarayan, Bhaktapur_________________________________________________

1. BATUK BHAIRAV
Location: LAGANKHEL
Style: ONE TIERED TEMPLE
Const. material: BRICK, TIMBER
Constructed: -
Renovated: AFTER 1934
Deity: BHAIRAV
Sect: SHAIVA

It is located in Lagankhel and the main deity is of Bhairab. This

temple is considered to be the degudega (kuldevata) of another famous
god Minnatha. It is one storey shaded by trees. The sanctum is covered
with a single metal roof with a finial. There is no image of Bhairab inside
according to tantric tradition. Legend says that king Amsuvarma (606-
621) of the Licchhavi period founded the temple after a pilgrimage to
Prayag, India. Instead of a statue a stone is kept at the main sanctum
and is worshipped. Similarly, stones that signify gods and goddesses
(Ganesha, Kumar and Kumari) are also present at the garbhagriha. Even
on the toranas, the images of Ganesha and Kumar are present on the
sides of the Bhairab image.
This temple has been renovated time and again. According to the
records that we collected, on 1991 B.S., the reigning time of King
Tribhuvan, the then prime minister Juddha Shamsher Rana contributed
the metal roof to the temple. Most of the parts have been gifted by
various people at different times. Like the decorative leaves of the temple
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Changunarayan, Bhaktapur_________________________________________________

were given by one Surjalal. Similarly, the gajur of the temple have been
contributed by one Ganesha of Tangal. One of the two bells in front of the
temple have been offered by Dhirjamann Shrestha of Lalitpur on 1986
B.S. Previously the other bell was contributed by Jitgovinda on 1982 but
as it was broken and Badrigovinda, his son offered a replacement for that
on 2048 B.S.
On the vicinity of the temple two patis are present. One is used for
singing bhajans and the other one is used as a living quarter. The temple
even has a garden and office of its guthi. In this temple, the main day of
worship is on Thursday.

2. LAGANESHWOR MAHADEV
Location: LAGANKHEL
Style: ONE TIERED TEMPLE (sanctum underground)
Const. Materials: CONCRETE, METAL, BRICKS, MARBLE
Constructed:
Renovated:
Deity: SHIVA
Sect: SHAIVITE

This temple is situated at Lagankhel. The main sanctum of the

temple is situated below the ground level. The idol of Lord Shiva can be
worshipped after descending six steps. Though there is a statue of Lord
Shiva, one cannot find his vehicle, Nandi’s, idol. Instead a stone has been
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Changunarayan, Bhaktapur_________________________________________________

worshipped in its place. The entrance of the temple is from east direction.
On the sides of the gate images of Lord Ganesha and Lord Kumar,
Shiva’s sons, can be found and on the left side a bell is placed. The facing
of the temple is made up of marble and the roof is made up of concrete.
The concrete roof is detailed in such a way that it gives the visual
impression of the old tiled roofs. So, we think that the temple must have
been renovated in recent times but we neither were unable to obtain any
dates regarding its renovation time period nor could determine the actual
date of its construction.
On the backside of the temple two trees (bar and papal) are
situated. The temple even has a small garden which is fenced by iron
bars. The area around the fenced garden is popularly used by the people
as a resting area. This temple has been lost in the crowd of the
Lagankhel bus park. While looking for the monuments for our project on
the first day we completely missed this temple. Only after going back to
the site we were able to see it. This really shows how much this temple
needs to regain its rightful space.

3. NARAYAN TEMPLE
Location: HAUGAL
Style: TWO TIERED TEMPLE
Const. Materials: TIMBER, BRICK, STONE
Constructed:
Renovated:
Deity: NARAYAN
Sect: VAISHNAV
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Changunarayan, Bhaktapur_________________________________________________

This temple is located at Haugal and has been renovated at recent

times by the Nagarpalika. We were not able to get much information on
this temple. From the information given to us by one of the locals, Mr.
Krishna Tamarakar, we came to know that the temple was three tiered
before its renovation. It is now just two storeys tall. The upper roof is
made up of metal while the lower one has tiles. Bells are hung on the
corners of the roof as well as at the edges of the upper one. The temple
stands on a single plinth. During the renovation due to some conflict the
gajur of the temple was not kept. So, now just a piece of concrete is
present instead of the usual metal gajur.
The temple has the company of two patis on its sides. One of the
patis has been converted into a tea stall. Like in most cases the area
around the temple has been converted into a parking space. This has
completely degraded the value and sanctity of this lovely temple.
4. NARAYAN TEMPLE
Location: HAUGAL
Style: ONE TIERED TEMPLE
Const. Materials: BRICK, STONE, TIMBER
Constructed:
Renovated:
Deity: NARAYAN
Sect: VAISHNAVA
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Changunarayan, Bhaktapur_________________________________________________

Viewing this temple we could make out that the temple had been
renovated in the recent times but plants have started to grow at its roof.
It was sad to see that the facings of such a lovely temple have been
ruined by the posters pasted on them. The area it is located on is bustling
with a market. Though it is situated in a busy street it seems as if the
temple has been completely forgotten.
The temple which is resting on two plinths has a unique kind of
gajur. The gajur is so big that it seems like a different tier altogether. We
came to know that this is a Narayan temple by the help of the locals. The
temple being closed the idol of Narayan could not be seen.
5. KRISHNA
Location: SOANTHA
Style: THREE TIRRED TEMPLE
Const. Materials: TIMBER, BRICK, STONE
Constructed:
Renovated: 1968
Deity: KRISHNA AND RADHA
Sect: VAISHNAVA

This well proportioned temple is built in three step base. The

woodwork of this three tiered temple has been greatly appreciated. The
temple has columns going all around it on the fourth plinth creating an
ambulatory space. The struts and the columns of the temple have been
beautifully carved. The struts depict the incarnation and other related
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Changunarayan, Bhaktapur_________________________________________________

divinities. In recent times this temple has been renovated and RCC has
been used to give it more structural strength.
The neighbourhood of this area is full of historic and artistic
artifacts. The temple is situated in the neighbourhood courtyard of the
famous Patan Durbar Square and lies on the junction of two main roads.
The area opposite of the temple is full of shops selling Nepalese artifacts
and jwelleries.
6. NARAYAN
Location: SOANTHA
Style: TWO TIRRED TEMPLE
Const. Materials: BRICK, STONE, TIMBER
Constructed:
Renovated: 1968
Deity: VISHNU
Sect: VAISHNAVA

It is located on Soantha and is a two storey temple. The main deity

here is of Vishnu. This small two-storey temple is located at the
beginning of a narrow road. The lower part of the figure struts illustrate
scenes of Vishnu’s incarnations. It has a stone four-armed Vishnu. The
stone garuda was donated in 1706. It was renovated on 1968.
In front of the temple a statue of Garuda, lord Vishnu’s vehicle, is
raised on a three stepped plinth is situated. The Garuda has a metal
umbrella and two metal flags on its sides. It was donated on 27N.S. on
Jestha mahina (May-June). On the right side of the temple two small
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Changunarayan, Bhaktapur_________________________________________________

shrines of Lord Ganesha and Lord Krishna are placed. They were added
here on 1110N.S. on kartik mahina. A Vishnu Madhav Sharma of Soantha
Tole donated the Ganesha idol praying for world peace and the statue of
Lord Krishna asking for the peace of the soul of late brother Ratnananda
Rajyopadhya. A bell is also kept at the left side of the temple’s entrance.
At the left side of the temple a pati is constructed. The temple faces
the street and lies opposite to the Neighbourhood Square of the Patan
Durbar Square.
7. HANUMAN
Location: KULIMHA
Style: THREE TIRRED TEMPLE
Const. Materials: BRICK, TIMBER, STONE
Constructed:
Renovated:
Deity: HANUMAN
Sect: HINDU

This three tiered temple is located at Kulimha and is placed in a

courtyard. The temple is in dilapidated condition. The roof that is
remaining is covered by plants. The back of the temple is resting on a
building. It is an open shrine and columns support the temple. This
temple is not easily visible from the street. Only the gajur, which is at the
verge of falling, can be seen from the street. The temple is made from
bricks and wood. The struts of the temple are plain and even the blind
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Changunarayan, Bhaktapur_________________________________________________

windows lack any carvings. Only the columns of the temple have been
carved. Small bells of wood are hung around the temple.
This temple is an interesting Hindu temple. In Hindu religion God
Hanuman is considered to be a pure vegetarian and none of the girls are
allowed to touch a Hanuman statue. But this temple is quite different
from other Hanuman mandir. Sacrifices of animals are accepted over
here and even girls are allowed to worship him and touch the main idol.
This temple has been greatly influenced by tantrism.

8. GHYANBO NARAYAN
Location: KULIMHA
Style: TWO TIRRED TEMPLE
Const. Material: TIMBER, BRICK, STONE
Constructed: 17TH CENTURY
Renovated: 1997A.D.
Deity: NARAYAN
Sect: VAISHNAVA

It is located in Kulimha Tole and the main deity here is of Narayan.

It was constructed in 17th century and is of two-storey temple. This two-
storey, brick temple is built on a single stage base. The holy area of the
temple can be reached after climbing three steps. The carved door way
on the ground floor opens in to the sanctum. Both roofs are supported by
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Changunarayan, Bhaktapur_________________________________________________

struts which represent the incarnations of Vishnu. There is a gajura on

the top roof. The chief priest is a Brahman.
In the front of the temple a statue of a Devi is embossed in a brick
work. The temple has been renovated on October 24, 1997A.D. in the
joint venture of Studiosus Reisen
(Germany), HMG of Archeology, Patan Sub Municipality, Kulimha
Residence, and Kathmandu Valley Preservation Trust. An interesting thing
about this temple is the presence of greenery in front of the temple. It is
very rare to find greenery in the temple surrounding. But two trees and a
climber are present in this temple area. This temple shares its place with
an Uma Maheshwor temple.

9. UMA MAHESHWARA
Location: KULIMHA
Style: TWO TIRRED TEMPLE
Const. Material: TIMBER, BRICK, STONE
Constructed: 18TH CENTURY
Renovated: 1875 AND 1933
Deity: KAILASH FAMILY
Sect: SHAIVAITE

It is also located in Kulimha Tole and the main deity here is of

Kailasha family. It was constructed in 18th century and is of two-storey
temple. This two-storey, brick temple is built on a low square, stone
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Changunarayan, Bhaktapur_________________________________________________

base. Both roofs are supported by carved struts representing the various
divinities, and there is a gajura on the top roof. Inside the temple are
images of Surya, Narayan and Harihara. Although an idol of the principal
deity has an inscription dated 986, the present temple was built in the
18th century. It was renovated in 1875 by Pannavanisha Harshababu,
and again in 1933. The chief priest is a Brahman.
In recent times the risk of robberies of statues has been increased.
So the main statue of this temple is locked by a concrete column. The
beam presses the statue vertically downwards and hence locks it.
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Changunarayan, Bhaktapur_________________________________________________

STUPAS
Stupas were probably derivatives of the practice of raising a
circular tumulus over skeletal remains. The earliest specimen of the stupa
is found in Patan. They are one of the oldest monuments of architectural
importance. These are five in number, four in cardinal squares of the
citadel and one at its centre known as Pimbahal. Two of them were on
the route that the group had chosen. These are attributed to King
Ashoka. It is believed that King Ashoka broke up the original eight stupas
over the remains of Buddha and divided them into 84,000 parts and
constructed stupas over them.
Nepali stupas are categorized as 1) dhatu stupa 2) paribhog stupa
3) dharma stupa 4) udeshya stupa. The original mound of the stupas is
of the shape of hemisphere, constructed out of bricks on a plinth of the
same. They are devoid of any architectural decorations and are simple.
At the top there is a small chapel and on four sides at the base of the
garbha there are similar chapels. The top chapel is dedicated to
Vairochana and is represented by the eyes of the harmika. The other four
chapels at the cardinal points were dedicated to Dhyani Buddhas-
Akshobhya on the east, Amitabha on the west and Amogsiddhi and
Ratnasambhawa on north and south respectively. They represent the
different aspects of activities of Buddha. The painting of the eyes is a
unique Nepali practice and began during the Malla period after 15th
century. At the diagonal points chapels of four Taras are also present.
The tapering thirteen layers of finial at the top of harmika represent the
thirteen stages of perfection and are capped by a parasol (gajur). The
layers are made up of circular metal disc.
Besides these, miniature stupas are also common in Kathmandu
Valley. These are called Chaitya and the site they occupy Chi-baha (small
monastery). They are comparatively of recent times. They too have
images of four Dhyani Buddha at the cardinal point.
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1. ASHOKAN STUPA

Location: LAGANKHEL
Style: STUPA
Const. Material: BRICK,
Constructed: 3RD CENTURY B.C.
Renovated: AFTER 1934
Deity: PANCHA BUDDHA
Sect: BUDDHIST

According to legend, this is one of the stupas built by Ashoka, the

man, King of India, while he was visiting Patan on a pilgrimage. At that
time Nepal was ruled by the Kirati kings. The stupa is located in the open
at Lagankhel. This is made up of a mound of earth covered with grass
and built on a low, circular base. There is a small, stucco stupa which
acts as a finial on the mound. It is complete with niches containing the
cardinal Buddhas which were constructed in 1978 with a religious feast
attended by King Surendra Bir Bikram. The shakyas worship the stupa on
the first day of dark Srawan and the full moon of Aswin.
In front of the main stupa lots of small stupas or chaityas can be
found. They have been added to the area over a period of time. Many of
them in the memory of their deceased loved ones. The area where the
stupa is located is quite big. The Lalitpur Mahanagarpalika and Ashoka
Stupa Sudhar Samiti together have put forward a project to beautify the
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area. They are going to add water pools on the sides of the stupa and a
garden. Trees will be added along the boundary.
Though climbing the stupa is prohibited the area on top of the
stupa is a popular place for the young kite flyers. In recent times in the
name of renovation the main stone statues of the temple have been
painted with enamel, making the statues look frightening. Some of the
statues body has been painted dark blue with yellow face and also the
eyes have being marked by enamel paint.
Shown in the plans are:
1. Chaitya donated by Jogkumari on Magh17, 2052B.S.
2. Chaitya installed in the memory of Bijeshwori Chomha and
Buddharatna Manandhar on Aswin 9, 2053B.S.
3. Chaitya in the name of Babukaji Maharjan and his family and in the
memory of his late parents- Dasmann Maharjan and Siddimaya Maharjan
on Aswin 6, 2053B.S.
4. The area to perform religious prayers (hom area).
5. Donated on 1111N.S.
6. Chaitya made in the memory of late Singhlal Maharjan on 2053-6-9.
7. Chaitya donated by Yamha Herakaji Shakya and Dhanamaya Shakya
in the memory of their parents Late Bajraraj Shakya and Ganeshmaya
Shakya.
8. A bajra
9. Chaitya donated on 2052B.S.
10 Chaitya donated on 2054B.S.
11. The main stupa.
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2. CHAITYA
Location: SOANTHA
Style: CHAITYA
Const. Materials: STONE, BRICK
Constructed:
Renovated:
Deity: PANCHA BUDDHA
Sect: BUDDHIST

This chaitya is located at the Neighbourhood Square at Soantha. It

is situated in between two Krishna temples- one Nepalese style and the
other one dome style. A jadhhuhitti is also present on its side. The
chaitya has images of Dhyani Buddha on its cardinal points.
3. ASHOKAN STUPA
Location: I BAHI
Style: STUPA
Const. Material: STONE, BRICK
Constructed: 3RD CENTURY B.C
Renovated: 1616, 1841, 1846
Deity: PANCHA BUDDHA
Sect: BUDDHIST
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This is one of the five stupas believed to have been built by Ashoka, the
Mauryan king of India, while he was visiting Nepal on a pilgrimage. At the
time, Nepal was under the rule of the Kirati kings. Only by scientific
excavation of the stupas could there controversial origins be resolved.
This stupa is similar to the ones at Pulchowk and Lagankhel, only it is not
made of an earthen mound but has a plastered surface. The finial is
similar to that Swoyambhu’s. The reason why this stupa has a plastered
surface while the other three are of dirt is unknown. There are a number
of good Buddhist sculptures in the area.
Iron bars guards the stupa and keeps away the people from
climbing on top of the stupa. The area where the stupa is located other
small chaityas and shrines can be found.
As shown in the plan:
1. A pati
2. Group of chaityas rose on a platform and guarded by iron fences.
3. Lotus petal
4. A bajra
5. A bell
6. the main stupa
7. small chaityas on the corners of the stupa
8. An chaitya
9. A shine of Goddess Saraswati
This stupa was the last monument on our route.
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BIHARAS
A Bihara is a Buddhist monastery, a place where Buddhist
(presumably cell bate) monks (bhikshus) or nuns (bhikshunis) live. The
community of monks and nuns were known as Sangha. The term Bihara
or baha- bahi in Newari refers first to a building
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1. LAGAN BAHAL/ SHREE RATNA CHAITYA BIHAR

Location: LAGANKHEL
Style: BAHAL
Const. Materials: STONE, BRICK
Constructed: 1940 B.S.
Renovated: 2056 B.S.
Deity: GAUTAM BUDDHA
Sect: BUDDHIST

This baha is situated at Lagankhel and was established during 1940

during the period of King Tribhuvan. The main deity of this baha is
Gautam Buddha. This baha is not surrounded by residential houses but
enclosed within a walled compound. The brick sanctum, the stone
chaitya, and the mandala are all modern. Legend says that a copper
smith named Chakabahil saw the glow of many gems while digging here,
covered them quickly with a stone and asked no one to lift it. The chaitya
was later built over the stone.
According to the information given to us by one local Trap Khand
this bahal is the property of one Babulal Dhanmaya Tuladhar. A case has
been filed regarding the ownership of the place. Some want it to be
accessible to the public while Mr. Tuladhar wants it to remain as his
property.
A small shrine of Lokeshwar and Saraswati is situated in the bahal’s
area. A shrine of Lord Ganesha is also present near to it. On 2052B.S.
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with the permission of Lalitpur Nagarpalika stone was paved on the bahal
area.
Shown on the plan:
1. Lord Ganesha temple
2. Guthi ghar
3. Shrine of Goddess Saraswati
4. Shrine of Lokeshwar
5. Lotus petal
6. A chaitya
7. The main temple
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2. MINANATH/ JESTHABARNA MAHABIHAR

Location: TANGAL
Style: TWO TIERED TEMPLE
Const. Materials: BRICK, TIMBER, STONE
Constructed: 16TH CENTURY
Renovated:
Deity: JATADHARI LOKESHWOR
Sect: BUDDHIST

It is located in Tangal Tole and the deity established here is of

Jatadhari Lokeshwar. It is a bahal courtyard style and the deity is
worshipped by Buddhist. This shrine is located in the courtyard of the
Minanath temple. The facade has a carved doorway, a torana which
depicts Padmanriteshvar Lokeshwar, and a carved window-frame with
five openings. The shrine’s festival is connected with the Minanatha and
Matsyendranatha.
The main temple is two-storey temple and the god is worshipped
by Buddhist and was constructed in 16th century. This two-storey
Buddhist temple is also known as Tangabahal and Jesthavarna
Mahavihar. The elaborate entrance on the ground floor has latticed doors,
bells and a brass tympanum. The carved window-frame on the first
storey also has a tympanum. The lower roof is made of tile and the upper
of metal. The struts which support both roofs are carved with different
deities, including Padmanriteshvar Lokeshwar. In the courtyard there are
seven small stupas, two Dharmadhatus, and a large prayer-wheel. The
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temple was built by Balarchan Dev. The priest is a Shakya. It is

connected with the procession of the Matsyendranath temple.
Shown on the plan are:
1. Chaitya
2. Inscription dated N.S.826
3. Stone images of Yamaduta, dated N.S.1044
4. Large Temple ball, dated N.S.999
5. Inscription erected in time of Yaksya Malla,N.S.589
6. Guardian lions and images of Simhanada Lokeshwar, N.S. 1024
7. Chaitya and Dharmadhatu mandala, N.S.1068
8. Chaitya with two inscription
9. N.S. 793in time of Srinivas Malla
10. N.S.993 commemorating repairs of Chaitya
11. Bathing platform
12. Inscription of N.S.1022 recording repairs to platform
13. Ksetra pal
14. Chaitya
15. Stone mandala
16. Chaitya
17. Octagonal chaitya, B.S. 1981
18. Large tibetian prayer wheel erected by Patan merchant
19. Recess of homa
20. Lamp erected in 2016B.S.
21. Rest house with inscription of N.S.833
22. Rest house with inscription of 1965 B.S.
23. Large stone figures of Yama-duta, N.S.1033
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3. I BAHABAHI /RAJASHRI MAHAVIHARA

Location: HAUGAL
Style: BAHAL COURTYARD
Const. Materials: TIMBER, BRICK, STONE
Constructed: 1427
Renovated: 1990-1995 A.D.
Deity: GAUTAM BUDDHA
Sect: BUDDHIST

This is one of the oldest bahis in Patan and after renovation on

1995 A.D. retains its old architectural form of two storied quadrangle with
the upper and lower stories composed of open verandas.The shrine is
situates along the western arm of the quadrangle and is simple
unadorned cella which could be circumbulated in olden times but access
to it has been blocked. Two small lions mark the entrance of the shrine.
Over the roof above the shrine is a pagoda style tower. The Kwapa- dya
was an image of Aksobhya facing east, but this was stolen. In the center
of the courtyard is a mandala. Despite the absence of Kwapa- dya the
usual rituals are performed morning and evening. Service is for one
month and passes through the households of the Sanga in turn.
According to the inscription nailed to the front wall of te shrine this
bahi was consecrated in the bright half of the month of Jyestha in
N.S.547. On the third day of the fortnight the laksahuti was begun and
on the tenth day golden images of the Buddha was consecrated. On the
following day three golden finial and a banner were offered. At this
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ceremony King Jaya Jyotir Mala was present. The foundation of the
bihara was laid on Phalgun of N.S. 538 and in Baishaks the doors were
set up. The donors were five of the Pradhan Mahapatras of Patan.
The restoration project 1990-1995 was dedicated to Late Pro.
Michio Fujioka, who dedicated himself to the research and restoration of
the traditional Nepalese architecture. Nippo Institute of Tech. in Japan
along with HMG Department of Archeology took upon the task of its
renovation on 1990. Every effort was made to imply local craftsman and
locally made techniques and to maintain essential architectural character.
Shown on the plan are:
1. Guardian lions
2. Plinth
3. Chaitya
4. Stone mandala
5. The main shrine
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. HAUGAL BAHAL/ HASTINAGA BIHAR

Location: HAUGAL
Style: BAHAL COURTYARD
Const. Materials: BRICK, TIMBER, STONE
Constructed: -
Renovated: 926N.S., AFTER 1934
Deity: AKSOBHYA BUDDHA
Sect: BUDDHIST

This baha is just off the main road leading south from the Patan
Durbar square. The lion guard can be seen at the entrance. The carved
doorway is surmounted by a metal repose torana depicting the Buddha
(Aksobhya) flanked by the Dharma (Pragyaparmita) on his right and the
Sangha (Avalokiteshwara) on his left. On the either side of the door way
are stone images of Sari Putra and Maudgalyayana.
The first storey has a triple window flanked by two smaller windows
and the top storey one opening in the center flanked by two large lattice
windows. The entire façade has been kept in an excellent state of repair
and the windows have been decorated with bands of white plaster. The
metal roof is surmounted by a bahi-style tower. The communities
associated with this baha are all Rajkarnikars.
Unfortunately there are no early inscriptions at this site to
authenticate the story of the origin of this community. The baha has been
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regularly repaired. One inscription of N.S 926 speaks of repairs made by

the Rajkarnikars in that year; it was last renovated after the earthquake
of A.D 1934.
Shown on th plan are:
1. Stone Mandala
2. Chaitya
3. guardian lions
4. Prayer wheel
5. A bell
6. Main shrine
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5. KO BAHAL
Location: KO BAHA
Style: BAHAL COURTYARD
Const. Material: BRICK, STONE, TIMBER
Constructed: 17TH CENTURY
Renovated: 1924, AFTER 1934
Deity: BHUMISPARSHA SHAKYAMUNI
Sect: BUDDHIST

This baha is situated in an enclosed courtyard in north of Patan in

the Ko Baha area. The shrine as it stands now is a modern renovation
dating from the time of the 1934 earthquake. The entrance to the shrine
is marked by two small stone lions, and the carved doorway is
surmounted by a torana showing the Buddha (Aksobhya) flanked by the
sangha on the right and the dharma on the left. The façade of the entire
structure is a plain, unadorned brick. Above the ground floor is a triple
window flanked by two small windows. The top storey has three large,
ordinary windows and is used as living quarters. The tile roof is
surmounted by a single, plastered finial in the form of a chaitya and the
roof is supported by four carved struts. In the courtyard are one large,
plastered chaitya and two small stones chaityas, plus an image of
Mahakal and one of Tara.
According to sangha this was a branch of another baha (perhaps
Kwa baha) until about 70 years age when they aquired the rights to the
place. Since that time they have regularly performed the usual rituals
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each morning. None of them live here and the people living in the
complex are all non- bare. The annual festival of this branch is observed
on any convenient day during the month of Kartik.
Nothing is known about the foundation or history of this baha.
There are numerous references to Ko baha situated in this area dating
back to the 14th century Nepal Sambat. It is cleared that this was a lager
and ancient foundation. This baha was renovated in 1924 and again after
the earthquake of 1934.
Shown in plan are:
1. Chaitya
2. Guardian lion
3. The main shrine
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6. YAMPI KARUNACHUKA
Location: I BAHI
Style: BAHIL COURTYARD
Const. Material: STONE, BRICK, TIMBER
Constructed:
Renovated:
Deity: AKSHOBHAY
Sect: BUDDHIST

This Bahi is situated in an enclosed courtyard directly south of

Yampi Bihara. Now about two thirds of the original building remains. The
bahi is in dilapidated condition. The shrine is simply a room on the
ground floor along the eastern wing. The plain lattice doorway is
unmarked and the roof is unadorned. The shrine contains a small image
of Akshobya facing west. In the grass courtyard is a single votive chaitya.
Though the list of fifteen bahis contains two bahis at I Bahi, this is
in fact a branch of I Bahi at the present time. It has no separate Sangha
and all the rituals are performed by the current dyapala of I Bahi.
According to the legend, this is the place where the image of
Avalokiteshwora-Matsyendranath was made and this explains the name
Karuna Choka
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7. I BAHI/ SUNAYA SHREE MISHRA SAMSKARIT YAMPI

MAHABIHAR
Location: I BAHI
Style: BAHIL COURTYARD
Const. Material: STONE, BRICK, TIMBER
Constructed: 2000 YEARS OLD
Renovated: AFTER 1934
Deity: AKSHOBHAY
Sect: BUDDHIST

Bahi is at the northern limit of city of Patan just above

Shankhamul. At the present time the complex consists of the main bahi
shrine with a large enclosed area to the north, about the size of a football
field, containing three free standing shrines and to the south a subsidiary
bahi complex. Across the street to the west is the Northern Stupa, one of
the Ashokan Stupa of the city of Patan. At the main shrine only the
eastern and western arms of the original building is left and show the
typical bahi architecture with the bahi tower above the shrine of
kwapadya, which is an image of Akshobya, facing west. The upper
balcony has a wooden railing running along its entire length. The
unadorned entrance to the shrine is marked with two stone lions with a
temple bell to the north. In the courtyard are a votive chaitya and a small
stone temple. Over the street entrance is a wooden toranas depicting
Padamanrtevara, the tantric, dancing form of Avalokitesvar.
Though there are legends whichtell of the Bahi’s foundation, it is
impossible to get any definite dates for te foundation of te vihara. At the
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present time the north part of bahi contains R.C.C buildings of two
storeys. In ground floor there is a hall with image of Buddha at east wall
and first floor contains two rooms and a kitchens.
This bahi is established 2000 years ago. At present gajur is missing
there.
Shown in the plan are:
1. Stone guardian lions
2. Temple of Arya Avalokiteshwor
3. Amodhpass
4. Chaitya
5. A bell
6.The main shrine
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8. YAMPI YANTA BIHAR

Location: I BAHI
Style: BAHIL COURTYARD
Const. Material: BRICK, STONE, TIMBER
Constructed: 792 N.S.
Renovated:
Deity: ASKSHOBHAY
Sect: BUDDHIST

To the north of I-Bahi is a large, enclosed grassy area containing

three, free standing shrines with a chaitya in front of each of the shrines.
According to the informants these were originally three separate, branch
bahis. In fact they say there were originally seven bahis here. Te
northern most shrine contains an image of Aksobhya flanked by an image
of Prajaparamita on his right and one of te Avalokiteshwor on his left. Te
central shrine has an image of Akshobya flanked by Padampani Lokeshor
on his right and Prajapati on his left. The southern shrine has a headless
image of Akshobay. These three shrines were erected in N.S.792.
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SHIKHARAS AND DOMES

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1. UMA MAHESHWOR
Location: DUBAR SQUARE
Style: SHIKHARA
Const. Materials: BRICK, STONE, TIMBER
Constructed: 17TH CENTURY
Renovated: AFTER 1934
Deity: HARAGAURI
Sect: SHAIVITE

It is located on Durbar Square and is of shikhara style temple

constructed on 17th century and again renovated on 1934. The main
deity established on here is of Haragauri. This temple is built on the first
floor above some shops. The toranas over the door ways represents
various deities. The square sanctum has a bell-shaped dome with a
gajura.
This area is a famous spot for taking photographs of the popular
Patan Durbar Square.
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2. KRISHNA
Location: SOANTHA
Style: DOME
Const. Materials: STONE,
Constructed:
Renovated: AFTER 1934
Deity: KRISHNA AND RADHA
Sect: VAISHNAVA

This temple must have had a curvilinear tower at one time, but it
probably fel and was replaced by a dome. The sanctum is surrounded by
a columned porch. There is an inscription which tells of the builder,
Kirtilaxmi Singh, but the date is illegible.
The temple has two entrances. One is accessible from the main
road and the other one is from the square.
It lies opposite to a Narayan temple. This temple stands on four plinths.
And the whole structure is made of stone.
3. KRISHNA
Location: KO BAHA
Style: DOME
Const. Material: STONE, BRICK
Constructed: 1680
Renovated: 2001B.S.
Deity: KRISHNA
Sect: VAISHNAVA
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This temple is build entirely of stone except for the brick and stucco
dome, which was added during a repair. The temple before this
renovation was a shikhara temple. The square a structure is built on a
stepped base. There is columned corridor surrounding the ground floor
and a balcony around the first floor. The pillars on both floors are
octagonal and have a bracket capital. The stone image of Krishna is
located in the sanctum. Many of the architectural features of this shrine
are taken from the Krishna temple of Mangal Bazaar, but the modern
dome spoils the style.
It is said that Shree Harisimhadeva Malla built this temple as a
dowry for his daughter. At 2001 Juddha Shamsher renovated it after the
damage due to earthquake.
4. SHIVA
Location: KO BAHA
Style: DOME
Const. Material: CONCRETE, BRICK
Constructed:
Renovated:
Deity: SHIVA
Sect: SHAIVAITE
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This temple lies in the opposite side of the Krishna Temple at Ko

Baha. It has a mandapa plan and the Shivalinga is placed at the centre of
the shrine. The shivalinga is very old but we were unable to find te actual
date of its foundation. The temple lies at the junction of the main road
and a subsidiary road. The shivalinga lies slightly below the ground level.
It is placed in a single plinth. The dome of this temple and the Krishna
temple resembles each other. The entrance of the temple does not faces
the main road but one has to go around it for entering it.
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DHARMASHALAS (the public rest house)

The traditional Nepali rest houses are known as dharmashalas. Their
principle function was to provide shelter. A place where the travellers can
take rest, work or socialize. It is provided to them free of cost. The
dharmashalas were usually contributed by rich businessmen, religious
groups. The literal meaning of the Sanskrit word dharmashala is
“charitable asylum”. Dharmashalas are the important architectural
structures. Different types of dharmashallas can be found. They are:
1. Mandapa: They are considered to be the oldest form of dharmashalas.
An open pavilion raised on a square or rectangular plan with 16 columns
supporting the roof makes up the mandapa. It was designed for
gathering of the people. It was always found within the settlement.
2. Pati: Patis are the most basic form of dharmashala. Patis are raised on
a wooden platform. They are single storey and either is free standing or
are supported at the back. It is found in abundant and usually has water
sources and temples nearby. They are built for the purpose of providing
temporary resting area.
3. Sattal: Sattals are multistoried patis. They are designed for longer
stays for gurus and sadhus besides transient travellers. The upper floors
are screened for privacy. They are half shelter half shrines.
1. PATI
Location: LAGANKHEL
Style: DHARMASHALA
Const. Materials: TIMBER, BRICKS, STONE
Constructed:
Renovated:
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This pati has been transformed into shops. It is situated outside

lagan bahal. Six steps lead to the main platform of the pati. The back
wall of this pati is shared with the office of some Guthi sansthan.

2.SATTAL
Location: LAGANKHEL-THATI
Style: DHARMASHALLA
Const. Materials: BRICK, TIMBER, STONE
Constructed: 951
Renovated:

This is a large pati and in recent days has been used as shops.
Temporary wooden panels have been used as dividers for different shops.
It lies opposite to Narayan temple. This is a free standing pati.

3. PATI
Location: THATI
Style: DHARMASHALLA
Const. Materials: TIMBER, BRI CK, STONE
Constructed:
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Renovated:
Deity:
Sect:

Partial portion of the ground floor of the sattal has been used as
shops. The sattal is looked after by some guthi. The sattal has a door on
the ground floor itself. it has a pentagonal plan and lies at the junction of
main roads. Three faces are exposed to the roads and each has different
types of windows.

5. PATI
Location: HAUGAL
Style: DHARMASHALLA
Const. Materials: TIMBER, STONE, BRICK
Constructed:
Renovated:
Deity:
Sect:
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This pati has been covered on all four sides in recent times and has
been converted into a tea stall. This is not structurally in good condition
and slants backwards. It lies next to Narayan temple.

5. PATI
Location: HAUGAL
Style: DHARMASHALLA
Const. Materials: TIMBER, BRICK, STONE
Constructed:
Renovated:
Deity: GANESHA
Sect: HINDU

This pati has rectangular plan. This pati houses the statue of Lord
Ganesha. A gajur is present on its roof. A torana falls from the gajur to
the edge of the roof. It has six columns on its front façade and is
supported by a building at the backside.
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6.PATI
Location: KO BAHA
Style: DHARMASHALLA
Const. Material: TIMBER, STONE, BRICK
Constructed:

The pati lies next to Narayan temple at Ko Baha. Four columns are
present on the front façade.
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7. PATI
Location: GAHITI
Style: DHARMASHALLA
Const. Material: BRICK
Constructed:

This used to be a pati but now after recent construction first floor
has been added. The first floor houses different clubs, and other samitis.
It is now completely made up of concrete. The pati has four columns and
each column has a strut. These struts have the images of Lord Ganesha,
Shiva, Vishnu and a Devi. This lies opposite to a square. According to the
locals there used to be a water conduit in front of the pati which is
missing now. The area got the name Gahiti due to it.

Water conduits
Many structures related to storage, distribution and access to water
are important part of landscape of Kathmandu Valley. Providing water is
considered to be merito0rious. It is supposed to help accruing religious
merit. So people in earlier days used to donate hittis. There are different
types of water related structure. Some of them are:
1. Ghats- Ghats are build near river edges for the purpose of ritual
bathing cremation. They are stepped circular platforms
2. Pokharis: The purpose of pokhari is to provide water for household
purposes. They are also used for commercial purposes like dyeing and
washing.
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3. Ghaidharas: They are deep sunken pits used by large communities.

4. Jaddhuhithi: They are also known as Tutedharas. A tank is filled with
water. The water can be drawnout through stoppered spigots.
5. Inars: They are the deep wells. They are lined by bricks and are
primarily used for household purposes.
6. Dhungedharas: They are the taps made up of stone. They are usually
situated below ground level and are placed in a courtyard. They are for
the use of whole community.

1.DHUNGE DHARA
Location: LAGANKHEL
Style: WATER CONDUIT
Const. Materials: STONE, BRICK
Constructed:
Renovated: AFTER 1934, 2058
Deity: SHIVA- PARVATI
Sect: HINDU

This octagonal water conduit is about fifteen feet deep. The single
spout is styled in the image of Shiva-Paravati. Unfortunately the drainage
system for the water is not working and this could ruin the whole
structure. The dhungedhara has been recently renovated on 2058 B.S. by
Shree Dipawali Pustakalaya. Now after renovation thde dhngedhara has
been decorated by numbers of flower pots. The entrance of the
dhungedhara is from Lagankhel bus park.
2. DHUNGE DHARA
Location: TANGAL
Style: WATER CONDUIT
Const. Materials: STONE, BRICK
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Constructed:
Renovated:
Deity: SCORES OF DIVINITES
Sect: MIXED

This water conduit has three spouts. As is typical of water conduits,

there are a number of icons representing all faiths: images; chaityas; and
Shivalingas. The water conduit is regarded as a scared spot and treated
like a pilgrimage centre. The two inscriptions are of the time of
Vijayadeba, the king who ruled the Valley in the middle of the eleventh
century. The 1964 renovations have helped its appearance considerably.
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3. JADHHUHITI
Location: HAUGAL
Style: WATER CONDUIT
Const. Materials: STONE, BRICK
Constructed:
Renovated:
Deity: SARASWATI AND LAXMI
Sect: HINDU

The jadduhiti is located at Haugal Tole. The tap of this hiti is

missing. On its back side a well is situated. Images of Goddess Laxmi
and Goddess Saraswati is painted on te front façade of the hiti. Paintings
of snakes and other water creatures are also present on the front face.
Gajur is missing on this hiti
4. JADHHUHITI
Location: SOANTHA
Style: WATER CONDUIT
Const. Materials: BRICK, STONE
Constructed: 17TH CENTURY
Renovated:
Deity: UMAMAHESHWOR
Sect: SHAIVITE
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This jaddhuhiti is placed at the Neighbourhood Square at Soantha.

It shares the square with two Krishna mandirs, a well and a chaitya.
unlike the previous one it does not have any decorative paintings on its
faces. This hiti has a gajur. Here also the tap is missing. This is a free
standing jadduhiti.
5.JADHHUHITI
Location: KO BAHA
Style: WATER CONDUIT
Const. Material: BRICK, STONE
Constructed:
Renovated:
Deity:
Sect:
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This is a very simple jaddhuhiti and its back is supported on a

building. This lies near to dome styled Krishna temple. Here also the tap
is missing.
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Nepal Engineering College
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MISCELLANEOUS
In Nepal different types of shrines can be found. Other than tiered
temples, shikhara, dome temples, stupas, different styles of shrines can
be found. They are open shrines, piths, brick and stucco shrine, and
some concrete temples. Here are few of the examples of these different
types of temples.

1. CHAR KUNE CHOWK

Location: LAGANKHEL
Style: GROUP OF TEMPLES ( RECENTLY MADE CONCRETE TEMPLES AND
OPEN SHRINES)
Const. Materials: CEMENT, BRICK
Constructed: VARIES
Renovated:-
Deity: DEVIS, SHIVA, GANESHA,SURYANARAYAN, PANCHAKANYA AND
HANUMAN
Sect: HINDU

The Charkune Chowk located at Lagankhel is an amalgamation of

many small shrines. The construction time of these shrines vary to a
great extent. As per the locals this chowk has been in scene for more
than hundred years. Most of the open shrines of the Matrikas can be
found in the area. These Matrikas are the kuldevata of different groups
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Maharjan community. The construction of these Matrikas’ open shrine

could not be established. Most of the locals reaction when asked about its
existence was that the shrines had been there when they were born.
A Ganesha temple is also present in the area. It dates back to
2041B.S. It is also a open shrine. On second of Chaitra it was donated by
one Govardana Thapa.
On the south entrance concrete temple of Palanchowk Bhagawati is
present. This is also a newly added temple. On tenth of Baishak 2043B.S.
it was contributed by Mr. Kamal Krishna Karmacharya.
An open shrine of Lord Shiva fenced by iron bars is present in the
compound. It was constructed on 2042B.S. The shrine is a mandapa.
This Chowk is now commonly referred to as Hanuman thaan. The
Hanuman temple was constructed only on 2041B.S. A building of
Hanuman Sewa Kendra is also present in the area. This temple is of brick
and cement construction. Statue of Hanuman is present with images of
Lord Rama and Laxman in the posture of giving blessings, on its sides.
On the front facing of the temple Hanuman images are placed on the
sides of the entrance. A bell is placed on the left side. The gajur of the
temple is like an umbrella. Its roof is pyramidal.
Shown on the plan:
1. Palanchowk Bhagawati temple
2. A papal tree
3. House of Hanuman Sewa Kendra
4. Hanuman Temple
5. Shiva Temple
6. Ganesha Shrine
7. Small shrine of Suryanarayan
8. Panchakanya
9. Kuldevata of Maharjan
10. Matrikas
11. Matrikas
12. Matrikas
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2. DOLAN MAI
Location: LAGANKHEL
Style: OPEN SHRINE
Const. Materials: METAL, BRICK, CONCRETE
Constructed: -
Renovated: -
Deity: TANTRIC GODDESS
Sect: HINDU/ BUDDHIST

This is also situated at Lagankhel and the main deity is Tantric

Goddess and is worshipped by both Hindus and Buddhist. It is AN open
shrine type. This open shrine is not important for its architecture but for
its religious significance. During the pulling of the red Matsyandranath’s
chariot, the chariot is taken around the shrine three times. The goddess
here is regarded as his mother. The shrine consists of an image of
Padmapam, a large mandala on a lotus base, several toranas and a
platform where the god is bathed. There is no image of the goddess in
the temple.
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3. GANESHA
Location: LAGANKHEL-THATI
Const. Materials: STONE
Constructed:
Renovated:
Deity: GANESHA
Sect:HINDU

This shrine of Ganesha is located at Thati of Lagankhel. The walls of

this shrine are made up of stones while the roof is constructed of
concrete. It is a very old shrine but the actual date of its foundation could
not be found. The gajur of the temple is big comparatively to the shrine’s
dimension.
The temple lies at the intersection of four roads. On its opposite
side a sattal and a pati are present.
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4. BHAIRAV TEMPLE
Location: TANGAL
Style: OPEN SHRINE
Const. Materials: BRICK, CEMENT, STONE
Constructed:
Renovated:
Deity: BHAIRAV
Sect: HINDU

This open shrine of Bhairav has no statues of gods. Only the stones
are worshipped. The stone placed in for Bhairav is situated at the centre.
On the periphery of the temple, stones depicting Astamatrikas and pith
are placed. There is altogether 17 such stones. The shrine has brick walls
and is open to the sky. Only the decorative stone door is the original part
of the temple whereas the rest of the walls are of recent construction.
Four niches on the right and left side of the temple walls are found. A
nagpasa runs throughout the temple in the inner side. Place for lighting
oil lamps go around the temple on the outside.
A doublee and a well are present near the temple.
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5. LAXMI NARAYAN
Location: HAUGAL
Style: BRICK AND STUCCO SHRINE
Const. Materials:
Constructed:
Renovated:
Deity: NARAYAN
Sect: VAISHNAVA

It is located in Chak Baha and the main deity here is of Narayan.

The style of this shrine is brick and stucco. This brick sanctum conforms
to the usual style and has a bell-shaped roof. Between the sanctum and
the roof is a panel of figures depicting various forms of Vishnu. There is
an inscription dated 1689 which lists the genealogy of a man named
Sibanarayana Daivajna.
The temple has been recently renovated and seems to be
freshly painted. The main entrance is from east. On other sides of the
temple real doors are absent but the walls are decorated with falls doors.
The temple is raised on two plinths. On the roof of the temple niches
containing images of gods runs throughout the temple.
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6. PITH
Location: HAUGAL
Style: OPEN SHRINE
Const. Materials: STONE
Constructed:
Renovated:
Deity: VARIOUS ( SHIVA, GANESHA, MATRIKAS)
Sect: MIXED

This pith is located at Hauga Tole and is said to be built on the very
spot where the naval of Satyadevi had fallen.
This pith has stones depicting Lord Shiva, Lord Ganesha and many more
gods. This pith is the passage for water of Tanga Hiti. Two stone slabs
are placed on either side of the pith which signifies well.
According to two locals Mr. Namekrishna Tamarakar and Mr.
Siddhiratna Tamrakar this pith was worshipped during the month of
Baishak. But as the road is too narrow this ritual is not followed
nowadays. Only few people worship on that time. Faces of children are
washed at this pith in the hope that they would not cry too much.
According to legends an invisible staircase is situated at the back of the
pith. This staircase can be seen by only those who have all the 32
laksyans( the good qualities of human being).
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7. NARAYAN TEMPLE
Location: HAUGAL
Style: BRICK AND STUCCO SHRINE
Const. Materials: BRICK, STONE, TIMBER
Constructed:
Renovated:
Deity: NARAYAN
Sect: VAISHNAVA

The temple is located at the busy market area of Patan.

The main deity is Lord Vishnu. The roof is like inverted flower. The
temple needs to be cleaned. Plants have started to grow on its roof and
walls. Another Narayan temple gives it company. It is placed on a high
platform and steps have to be climbed to reach its sanctum.
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8. SHREE MATANGI
Location: SOANTHA
Style: OPEN SHRINE
Const. Materials: BRICK
Constructed:
Renovated: 2003
Deity:
Sect:

This pith is located at a short distance from the Patan Durbar

Square. The stone images are very old but the structure of the pith has
been constructed in recent times. The inner walls of it are decorated by
tiles and the walls are constructed by concrete. A small bell is placed on
the left side. The area it is situated consists of many shops selling
paintings.
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9. CHAMUNDAMAI
Location: GAHITI
Style: ONE TIRRED TEMPLE
Const. Material: CONCRETE, BRICK
Constructed:
Renovated:
Deity: CHAMUNDA BHAGWATI
Sect: HINDU

The statue of the temple is very old but the temple is of recent
construction. The temple is made up of concrete and the concrete roof is
painted to give it metallic look. A bell is hung on top of the entrance to
the temple. This temple has a gajur with two other religious elements on
its sides. One of them signifies the mirror which symbolizes the good the
reflection of the good things we do and the other one is shinamitha which
signifies an utensil where sindhur is kept. This symbolizes the labours
that we perform.
The temple is situated on a Square and shares the area with a
lokeshwor temple, a well and a Shivalinga and Nandi. At the back of the
square concrete buildings which house the shops on their ground floor is
situated.
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10. LOKESHWOR
Location: GAHITI
Style: OPEN SHRINE
Const. Material: STONE
Constructed:
Renovated:
Deity: LOKESHWOR
Sect: BUDDHIST

Statue of lokeshwor is embossed in a stone structure. At the top of

the structure a small stupa is situated as its finial. Metal umbrella is hung
on top of the shrine and is supported by metal rods situated at the sides
of the shrine.two statues in the posture of praying are standing on the
sides of the Lokeshwor. A bell is placed on the right side of the shrine and
places for burning oil lamps run on the three sides of the shrine.
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11. SHIVA
Location: GAHITI
Style: only statue
Const. Material: STONE
Constructed:
Renovated:
Deity: SHIVA
Sect: SHAIVAITE

A Shiva Linga is situated at Gahiti. It is placed on top of plastered

floor and the area is cut of from the street by brick wall. A cement bench
can be found in front the Shiva linga and statue of his vehicle Nandi is
also present infront of it.

CONCLUSION
After working on this report we truly believed the saying
of Kirkpatrick that the Kathmandu Valley consist of as many
temples as there are houses and as many idols as there are
men. Just within the radius of one kilometer we came across
more than fifty monuments. Not only are there many
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monuments these are of different styles, each style having

their own merits.
Though we were fascinated to discover many new
temples that had been completely overlooked by us before the
state of some of the temples were in made us very sad.
Temples like Hanuman temple at Ko Baha are at the verge of
falling. Little has been taken notice about the temples which
are not exposed to the main streets. Some of the temples
which underwent recent renovation of some of the temples
have been done without considering the old structure. Like in
the case of two tiered Narayan temple at Haugal, previous to
its renovation the temple was three storeys tall but now is
reduced to only two storeys. In some cases like the Ashokan
Stupa at Lagankhel enamel has been applied to the stone
statues. This has completely ruined the true beauty of them.
The state the Bihara are in is also pretty sad for example I
Bahi. It is one of the oldest Bahis but little care has been taken
to preserve it. Only one third of the original form remains.
Remaining of the Bahi has concrete construction which does
not fit with the whole form.
Electric poles of the city have just spoiled the beauty of
the monuments. Jumbled up wires and the poles ruins the
whole environment. The dharmashalas are no of exception.
People are using them as shops, small time restaurants
destroying the actual purpose of its construction.
Thus we feel that more care has to be taken in order to
preserve our much valued monuments. Renovation just for the
name sake should be stopped but rebuilding it after thoroughly
studying its old structure should be done. And definitely
something has to be done about the electric wires.
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BIBLIOGRAPHY

1. MEDIVAL NEPAL (Part II)

-D.R.REGMI
2. THE TRADITIONAL ARCHITECTURE OF THE KATHMANDU
VALLEY
-WOLFGANG KORN
3. BUDDHIST MONUMENTS OF NEPAL
-JOHN K. LOCKE, S.J.
4. A REPORT MADE BY KATHMANDU VALLEY PRESERVATION
TRUST
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