A report on Architectural Conservation of Dyalko Vagawan, The Golden Temple of Patan and Nag Baha Hiti.

Location: Nag: Baha:, Patan.
Sect: Buddhist.
Renovated: 8 years ago.
Construction Date: about
120 years ago.
Style: Dyocche/ Sattal Type.
Deity: Shakya Muni Buddha.
Authority: Nag: Baha
Community (Dyo: Pala:).

 The origin of the temple began by a small stone monument of
Buddha placed on a stone pedestal.
 Later on, a family clan of Nagbahal invested in building the
building to house the monument.Then after generations the
monument inside was stolen and replaced by new stone statue.
 About 8 years ago the building was renovated by using new
building materials of same kind replacing the old non- usable
ones.
 Back in the days, the building was used as pathsala (school). It
was used to teach the Buddhist preachings to children.
 Now the building is used for feasting on upper floor and also
for the storage of the old building materials used during the
renovation.

 Located almost centrally in Nag baha:.
 It is a typical newari styled building with pitched roof with
jhingati tiles and brick façade with wooden struts & beams as
structural members.
 It has a Shakya muni Buddha sculpture in ground floor located
centrally as the main deity and mahankal as secondary deity on
left side of the main entrance.
 On upper floor, feasting space occasionally and storage space.
 The building structure is looked after by dyo: palas (members
of guthi) .

1. Statue of main deity Shakya muni Buddha.
2. Interior Worshipping Space.
3. Entrance of the Building.
4. Statue of Secondary Deity Mahankal.
5. Staircase leading to the upper floor.

1. Storage space in First Floor.
2. Stupa.
3. Dharmadhatu Vajra.

Fig: Kwa: Baha:
(Source: Carl Pruscha, Kathmandu Valley,Vol. 2, 1st ed.,Wien 1975)

 Devotees of Buddha gather occasionally for vajan.
 Feasting is done on upper floor during festivals.
 People worship the deity every day in the mornings and
evening.
 On the day of purnima regular vajan’s take place.

 It is a typical newari styled building with pitched roof with
jhingati tiles and brick façade with wooden struts & beams as
structural members.

Preservation of existing condition:
• The existing structures should be well maintained and cleaned
from time to time.
• The temple was reconstructed recently but the materials used
are new, while the old materials are kept in first floor.
• This original materials should be used as far as practicable.
Reconstruction:
• The temple should been recently reconstructed, while
replacing older materials. Proper approach should be done in
order to restore the temple in original form, considering original
materials and technology used, as far as practicable.

 The well-organized Nag Bahal community has been actively
participating in preservation of the cultural heritages nearby.
The traditions and practises must be continued so that both the
tangible and intangible heritages are conserved.

Location: Kwalakhu, Patan.
Sect: Buddhist.
Renovated: 1637, 1955, and
about 3 years ago.
Construction Date: 12th
Century.
Style: Bahal Courtyard.
Deity: Shakya Muni Buddha.
Authority: Hiranyavarna
Mahavihar Sudhar Sangh.

 This Buddhist temple complex is believed to have been
constructed in the twelfth century by a ruler called Bhaskara
Dev Varma.
 He was born a Hindu but became a great devotee of Lord
Shakyamuni Buddha.
 This is one of the 18 main Bahals of Patan.The Sanskrit name of
the Bahal is given as “Bhaskerdev Samskarit Hiranyabarna
Mahavihar”.
 The name of the Bahal was given according to the saying that
there was a mouse named Hiranyak with eyes sparkling like
diamond.

 Built outside the boundary of the palace of Kirat King Patuk this
was called Kwathalakhu Bihar. Later it was called Kwatha Bihar
then Kwa Bahal.
 Nowadays the Bahal is popular by the name of the Golden
Temple.
 This Bahal is famous for the Golden Temple inside the Bahal
and has been identified as one of the religious centers of the
valley.
 There is always a huge gathering of devotees in the month of
Shrawan for various Puja. People come here to fast as well as
request for the reading of the Pragyaparmita.

 This monastic complex is based on an ancient traditional
Buddhist model: a principal deity, a chaitya in the middle and a
tantric deity within a courtyard enclosed by a two storied
quadrangular structure.
 The lower storey contains the images of Vajrasattva,
Namasangiti, Aryatara at different sanctums whereas the upper
storey contains the image of Amoghapasa Lokeshwara,
Amitabha,Tantric deity and living quarter of Chakreswara,
most senior Aju of the Bhikshu Sangha.
 Beside that, the baha is full of nicely carved stone, bronze, arts
and sculptures such as the image of Avalokoteshvara,
Manjushri, twelve Lokeshwaras around the Swayambhu Chaitya
and other art objects like ghanta,Vajra, monkeys with jackfruits,
etc.

 Entry is via an ornate narrow stone doorway to the east, or a
wooden doorway to the west from one of the interlinked
courtyards on the north side of Elanani.
 Over the entrance doorway there are two wooden struts carved
with the two most important Hindu gods, Shiva and Vishnu, who
guard this Buddhist temple.
 It is one of the distinctive features of Hiranya Varna Mahavihar
that many strict and elaborate rituals are maintained here
which have been abandoned or were never performed in other
such monastery temples.

1. East Entrance.
2. Ticket Counter.
3. Second Entrance
4. Hall.
5. Courtyard.
6. Swayambhu Stupa.
7. Main Temple/Shrine.
8. Aryatara.
9. Stairs.
10. Hall.
11. Bodhisattva Vajrasatta.
12. Manjushree.
13. Lokeshwaras.
14. Way to Ilanani.

 The temple itself is a magnificent example of courtyard temple
architecture.
 The main temple in the courtyard is a three-tiered rectangular
pagoda structure dominating the entire complex.
 Its roofs and screened windows, including cornices and struts,
are all gilded with gold, hence, commonly known as the Golden
Temple.
 The temple banners that hang down from the roof to the level of
the doorway are remarkable. A legend links them with the
Buddha, who used them as a ladder to come down from heaven
to earth.

 Two elephant statues guard the
doorway and the facade is covered
by a host of gleaming Buddhist
figures. Inside the main shrine is a
beautiful statue of Sakyamuni
Buddha.
 To the left of the courtyard is a statue
of Green Tara and in the right corner
is a statue of the Bodhisattva
Vajrasattva wearing an impressive
silver-and-gold cape. Both are inside
inner shrines.
 Facing the main temple is a smaller
shrine containing a ‘self-arisen’
(swayambhu) chaitya (small stupa).

Fig:Three-tiered Golden temple as seen from East entrance.

 The four corners of the courtyard have statues of four
Lokeshvaras (incarnations of Avalokiteshvara) and four
monkeys, which hold out jackfruits as an offering.
 A stairway leads to an upper-floor chapel dedicated to a white
eight-armed Avalokiteshvara, lined with Tibetan-style frescoes
including a wheel of life.
 At the eastern exit, an embossed mandala is mounted on the
ceiling.

 Ratna Chaitya temple is set perfectly in
the middle of the courtyard surrounded
by the monastic buildings on all sides.
 The chaitya inside the temple is
identified with the famous Swayambhu
Chaitya in Kathmandu.
 Four Nagas (snake gods) hang down
from the top of the temple with their
heads raised and their eyes watchful;
they guard the temple.
 According to local tradition this shrine
is the oldest part of the complex, older
even than the shrine of the principal
Buddha.

 Shree Guru Vajrasattva is regarded as
the supreme celestial Buddha by
Nepalese Buddhists, and as the priest of
other Buddhas.
 Unlike them he is not represented on
one side of a caitya but has
independent shrines.
 In Hiranya Varna Mahavihar he is to be
found in the north-west corner of the
ground floor, along with other
divinities.

 The holy scripture, Pragya Paramita or
The Perfection of Wisdom in Eight
Thousand Lines, has been preserved
here since ancient times and is
frequently recited by Vajracharya
priests.
 It is a common practice of local people
to commission such a recitation, either
when a member of the family is ill or on
an auspicious occasion, such as a
wedding.

 On the first floor in the northern wing of
the monastery there is a life-size statue
of Amoghapasha Lokeshwara.
 This deity is brilliant in appearance,
with a pure white body and eight
arms. The statue is said to date from the
early 14th century.
 This hall is decorated with murals in the
Tibetan style.

 Namasangiti, whose shrine is in the
north-east corner on the ground floor, is
an emanation of the celestial Buddha,
Vairochana.
 Just as the goddess Pragya Paramita is
an embodiment of the scripture of the
same name, so this god is a deification
of the important Mahayana and Tantric
scripture called the Namasangiti, which
is recited every morning as part of the
daily liturgy.
 Namasangiti is white in colour, has one
face with eyes half-closed in meditation,
and six arms.

 Mahakala is a Hindu deity of the
Brahma group.
 He is also one of the eight terrible
deities of the Buddhist pantheon, with
snake ornaments, sharp teeth,
protruding belly, and wearing a tiger
skin. He is dark blue in colour.
 As he is the defender of land and order,
he is placed at the entrance of Buddhist
temples.
 In four corners of the verandah around
the courtyard are four outstanding
medieval cast bronze statues of
different forms of Lokeshwara.

1. Kalachakra Mandala carved into the ceiling of Entrance.
2. Second Entrance to the Golden Temple.
3. Main Entrance guided by Male and Female Lion Sculptures.

1. Details on the main Golden Temple.
2. Main Golden Temple.
3. Door to the inner sanctum.

1. Swayambhu Temple.
2. Roof Decoration of Swayambhu Temple.

1. Entry to the inner Courtyard.
2. Statue in the inner courtyard.
3. Prayer Drums and a monkey statue in the inner courtyard.

1. Close-up of the monkey statue.
2. The Vajra, thunderbolt symbol of the male power.
3. The large Bell, symbol of female power.
4. Bronze Buddha statue inside Golden temple.

1. Padmanritya.
2. HariHari Haribahana.
3. Trailokya.
4. Rakta.
5. NilaKantha.
6. Mayajala.
7. Karandabyuha.
8. Khadchheri.
9. Mal.
10. Halahala.
11. Khasparna.
12. Shimhanada.

 The principal priest of this monastery is a young boy who must
on no account be over twelve years old. With the assistance of
an older boy or young man, he carries out the regular liturgical
service in the shrine of the main Buddha.
 Both priests must be members of the monastery and they serve
for a period of one month, during which time they must stay
inside the courtyard.
 The only exception to this is that twice a day the younger priest
circulates the area where most of the monastery members live
ringing a bell, at the end of the morning service and before the
evening service.

 Sangha of kwa:baha is one of the largest among bahas in
Kathmandu. Due this fact many festivals are strictly followed by
the members of the sangha.
 Dyo: pala system is still active strictly; it involves
fortnight/monthly changing of caretaker of the deities present
inside the kwa:baha.
 There are some fasting such as Vasundhara Dhalan, Sinka
dhalan, Astamivrata which one are observed by the newars of
the Nagabaha believing that fasting gets his/her desired
fulfilled and attain perfect happiness.
 The tradition of the recitation of Prajanaparamita in Kwabaha is
very popular among the Buddhist newars of Nagabaha.They
regard it as a source of protection from evils and help people to
generate and increase the religious feeling and sense of
devotion.

 Two tantric rites (Sinhah Puja) for the anniversaries of the Grand
father Chakra Singh and his brother. Chakra Singh died childless
and he donated land to Kwabaha for the annual performance of a
tantric rite to Yogambara in Kwabaha.This type of rite is called
Dau-puja.
 Displaying the two Dipankara Budhhas in Kwabaha during
Bahidyabwayegu and at five year Samyak Nagabaha.
 The distribution of beaten rice and yoghurt to all the members of
Kwabaha at the annual Kwabaha feast called Sangha-bhojan.
 Lineage deity worship. On this occasion every member of the
Dhakhwa clan male and female is invited to the linage deity feast
at Kwabaha.The main turn-holder of the Dakhwas’ guthi organize
the feast and on this day they worship Swayambhu Chaitya as
Digu-dya and Yogambara as a classical tantric deity of Wotala.

 Constructed mainly with the usage of
brick and timber.
 Cantilever beams can be seen in the side
of building towards the courtyard
supported by joists.
 Timber posts and Brick walls act as
structural elements.
 The roof are metallic which is further
gilded with gold resulting in the shiny
apperence.
 Various images of gods and goddesses
are sculpted in the metal and stone statues
of lokeshwaras.

Location: Nag-Baha:, Patan.
Sect: Buddhist.
Renovated: Every 4-4 year
for Samyak Mahadan.
Construction Date: 4th
Century.
Style: Stone Water Sprout.
Deity: Maitri Buddha.
Authority: Tol Sudhar Samiti.

Fig: Hiti network across Patan and surrounding areas.
(Source: http://waterarchitecturenepal.com/lalitpurhiti.php)

 Till date, out of the total original 38 hitis in Lalitpur, about 30 are
still partially functioning while the rest have either dried up or
been buried. (Source: Preserving the Hitis; Joshi, J. )
 The construction date of this hiti is unknown but, in the
northeast corner of the area around the hiti, a stele about three
feet in height with four figures of different Buddhas carved on it
dates to the eighth century. (Locke, John K., 1985)
 Nagbahal Hiti is Located at Nagbahal and the source of the
water is Khwayebahi aquifer southeast of the hiti and is linked
to Raj Kulo from Lele/Chapagaun.
 Nagbahal hiti consists of three individual stone taps with a
large stone image of the Buddha.

Fig: Nag Baha:
(Source: Carl Pruscha, Kathmandu Valley,Vol. 2, 1st ed.,Wien 1975)

 The hiti had been dry for a decade and its renovation was
contemplated.
 The community tried to revive the spout but the source could be
traced only as far as 500-600 meters and became impractical as
it passed through dense housing area.
 Although the renovation could not be completed, the supply of
water in the hiti has improved after the restoration work and
clearance of the blockage.
 The water is available only during the monsoon season.
 The inlet channel of this hiti, 9 to12 feet from the ground level, is
made of brick.The conduit is 6 to 7 inches deep and about 4
inches wide.The channel has stone and brick collection bowls
filled with pebbles to facilitate filtration (KII, 2014).

1. Main Access.
2. Intermediate Platform.
3. Makara Water Sprout.
4. Jaaru (water Overflow)
5. Ashok Chaitya.
1
2
35
4

 There are three individual makara stone taps at the Nag Bahal
hiti attached to the western wall.
 Nagbahal hiti is rectangular in plan, splitted down in 2 levels by
almost 4ft. depth.
 The hiti space has main access from a staircase on the south-
east corner leading down a straight flight stone paved
staircase.
 About halfway down the steps leading to the hiti, there is a
large standing stone image of the Maitri Buddha of a later date
inside a small temple and a sitting space.
 The upper levels of hiti are paved with telia tiles with stone
cornices while lower level is paved with stone tiles.
 Ashok chaitya ( chaturyuga chaitya) is located above the spout.

1. Access to Hiti Complex.
2. Staircase leading to the Hiti.
3. Stone Sculpture of Maitri Buddba,
4. Stone statue of Lokeshwaras and Ganesha.
5. Nag Baha Hiti complex.

1. Three Makara water spouts.
2. Ashoka Chaitya.
3. Close-up Makara Spout.

 Nagbahal is one of the biggest residential courtyards in
Lalitpur that was originally a Buddhist monastery. Although the
original structure no longer exists, this bahal still retains its
religious and cultural significance.
 Hiti used daily by community people for water use. Every
morning used by users for nii lah: (pure water).
 During evening people come to collect water and kid’s play
around vicinity of Hiti.
 Provides water to more than 250 households in the area.
 The hiti has a important role in DipankhaYatra held every 18
years and Samyak Mahadan held every 5 year interval.
 Hiti premises is cleaned every year during the day of Sithi
nakha (last festival held in annual of newari culture).

 The Hiti lies about 8ft. Below the ground level, divided into two
steps.
 The hiti space can be reached through straight flight stone
paved staircase.
 The upper levels of hiti are paved with telia tiles with stone
cornices while lower level is paved with stone tiles.
 The water spout is made up of Highly carved stone.

1. Preservation from further deterioration:
 The regular inspection of the cultural property should be done.
 If any physical damages seen should be treated properly
according to its nature immediately.
 The electrical pumps, the exposed pipe-works are to be
hidden.The cubicle in Pati can be used as pump house.

2. Restoration:
 Attainment of the original state in totality is called restoration.
The objective of restoration is to revive the original concept or
legibility of the object.
 In every renovation stages, whatever is missing (like the
serpent carvings, the stone expression of the Hiti, etc) should
be worked out to restore.

 Of course Nag Bahal Hiti is preserved, but conservation needs
a lot to work out.
 The restoration works at different period of times basically put
forward its eyes on sustainability of water supply.
 But regarding the architectural conservation a lot more has to
be done.
 The real expression of the ancient Hiti is to be incorporated for
rebirth of Hiti as a whole. Even the technology is changed.
 This does not explain the ancient technology of stone water
spout.

A report on Architectural Conservation of Dyalko Vagawan, The Golden Temple of Patan and Nag Baha Hiti.

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A report on Architectural Conservation of Dyalko Vagawan, The Golden Temple of Patan and Nag Baha Hiti.