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ACKNOWLEDGEMENT
I would like to express my gratitude to the municipality of Bhaktapur and architectural department for the data and information provided about present status and conservation of the monuments of the Bhaktapur. Writing this paper has been a unique experience altogether. Many helpful hands are involved to support me for preparing this report. Firstly I would like convey my most grateful thanks to both my teachers Prof. Dr. Jib Raj Pokhrel and Ar.Prajwol Hada of Pulchwok Campus who has immensely contributed their time and labor to guide me for the preparation of this report. Without their guidance and valuable suggestions, it would have been extremely difficult to bring it to fruition. I would like to pay my sincere thanks to my parents and friends for their kind cooperation and encouragement. I also owe an indebt to all reputed authors whose writings have invaluable material for the enrichment of my research paper in all possible ways.

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1. CONSERVATION:
Monuments can be architectural works, works of monumental sculpture and painting, elements or structures of an archaeological nature, inscriptions, cave dwellings and combinations of features, which are of outstanding universal value from the point of view of history, art or science. To conserve (conservare) means to keep, to preserve. Thus the basic attitude of preservation corns most purely to expression in conservation: to conserve is the supreme preservation principle. Together with stabilization and safeguarding measures, conservation work that protects the fabric of a monument and prevents its further loss should therefore have absolute priority over all other measures. Conservation of monuments can be defined as the physical remains of human activity of the past, cultural heritage, tangible or intangible, movable or immovable, have played important roles in the formation of social memory and cultural identity. The primary objective of conservation is to protect monuments from loss and damage. Conservators accomplish this through both preventive and remedial types of intervention. In so doing, conservation embraces the technical means by which heritage may be studied, displayed, and made accessible to the public. In this way, the conservation of archaeological sites or monument is like other heritage conservation. Implicit in conservations objectives is the basic requirement to remove or mitigate the causes of deterioration. For archaeological sites, this has a direct and immediate effect on visual legibility and indirectly conditions our perceptions and notions of authenticity. Among the repertoire of conservation techniques applied to archaeological sites are structural stabilization, reconstruction, reburial, protective shelters, and a myriad of fabric-based conservation methods. In the conservation of monuments, we are consistently faced with challenges on three fronts: Physical condition: Behavior of materials and structural systems, deterioration causes and mechanisms, possible interventions, long-term efficacy of treatments, etc. Management context: Availability and use of resources, including funds, trained personnel and technology; political and legislatives mandates and conditions; land use issues, etc. Cultural significance and social values: Why an object or place is meaningful, to whom, for whom it is conserved, the impact of interventions on how it is understood or perceived, etc Places of cultural significances enrich peoples lives, often providing a deep and inspirationa l sense of connection to community and landscape, to the past and to lived experiences, they are historical records that are important as tangible expressions of Nepalese identity. Places of cultural significances reflect the diversity of our communities, telling us about whom we are and the past that has formed us and Nepalese landscapes. They are irreplaceable and precious. These places of cultural and religious significance must be conserved for present and future generation. Literally conservation can be defined as the prevention against the loss, damage or destruction of important structures or masterpieces. It can significantly be categorized as of Historic,

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Architectural and Socio-Cultural importance. The causes of possible damages may be natural or human action. Thus, conservation is the action taken against the decay of the object retaining its original state. The phenomenon through which the material, historical, and design integrity of mankind's built heritage are prolonged through carefully planned interventions can be termed as architectural conservation. Conservation carries a wider meaning and embraces the various kinds of treatment that are given to any monument to lengthen its life. The spinal concept of conservation is to retain the originality of the monument to the greatest possible extent. Architecture conservation is important because it helps to preserve the emotional values, functional values and cultural values of an area while preserving the structure that emanates those vibes. Architecture always has to give out an aura of originality and authenticity. To prevent it from getting too lost conservation is needed, so that, authenticity, originality and truth of an architecture gets to remain intact. Conservation thus helps to retain the existing state of buildings and prevent decay. This ultimately freezes the expertise of the craftsmen of the previous years in terms of the visible marvels and in the process passes on the informations to the future generations. Architecture conservation helps to identify the importance of buildings and conserve them. a. Conservation principles - Conservation and management. Places of cultural should be conserved. The aim of conservation is to retain the cultural significance of a place. Conservation is an integral part of good management of places of cultural significance. Places of cultural significance should be safeguarded and not put at risk or left in a vulnerable state. - Cautious approach. Conservation is based on respect for the existing fabric, use, association and meanings. It requires a cautious approach of changing as much as necessary but as little possible. Changes to a place should not distort the physical or other evidence it provides, not be based on conjecture. - Knowledge, skill and techniques. Conservation should make use of all the knowledge, skills and disciplines which can contribute to the study and care if the place. Traditional techniques and materials are preferred for the conservation of significant fabric. In some circumstances modern techniques and materials which offer substantial conservation benefits may be appropriate. - Values. Conservation of a place should identify and take into consideration all aspect of culture and natural significance without unwarranted emphasis on any one value at the expense of other. - Use.

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Where the use of a place is of cultural significance it should be retain. A place should have compatible use. Location. The physical location of a place is part of its cultural significance. A building, work or other component of a place should remain in its historical location. Relocation is generally unacceptable unless this is the sole practical means of ensuring its survival.

b. The different level of interventions. For any conservation work, some degree of intervention is should be done. With intervention, some value of cultural property is lost. But for the sake of preservation of the object, intervention can not be avoided, thus the degree of intervention should be the minimum. The condition of the building after intervention should be documented. It should not prejudice future intervention and should be in harmony with the aesthetic, historical and physical integrity of the cultural property. The techniques used are dependent upon the condition of the climate which the cultural property is likely to be subjected and amount of decay caused by this at the existing state. The degrees of intervention are as follows: - Prevention It entails the protecting the cultural property from further decay by controlling the internal environment, thus preventing the agents of decay and damage from becoming active. - Preservation It is act of applying majors necessary to sustain the existing form, integrity and material of historic property. - Consolidation It is physical addition or application of adhesive or supportive materials into the actual fabric of the monument to ensure its continued durability and structural integrity. - Restoration It is the act or process of accurately depiciting the form, features and character of the property through repair, alteration and addition while preserving those portions which conveys its historical, cultural or architectural values. - Reproduction Reproduction entrails copying an extant artifacts, often in order to replace some missing or decayed parts, generally decorative, to maintain its aesthetic harmony. - Reconstruction It is the act of process of depicting by means of new construction, the form, features and detailing of non surviving building for replicating its appearance at a specific time period.

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2. CONSERVATION IN CONTEXT OF NEPAL

Kathmandu valley was one of the early nominations to the World Heritage List. At the time the nomination files were substantial than today and there were no formal evaluations of the properties by the Advisory Bodies. However, the outstanding universal value was justified in the nomination file and has been assessed by ICOMOS in its numerous reports. The outstanding universal value of the property is related to the artistic and aesthetic achievements in the religious monuments and royal cities, and to the traditional Nepalese architecture, which has become vulnerable due to irreversible change. Since the property was inscribed on the World Heritage List in 1979, various sites have been subject to change, resulting from demolition of existing traditional-type buildings and the construction of new in reinforced concrete. Many of those new buildings are not finished as some taxes are only paid after the completion of building. Such changes have occurred particularly in the surroundings of the listed monuments, while the principles of monuments have not been directly affected. T he state of conservation of Kathmandu Valley has been regularly an item in the agenda of the World Heritage Committee meetings ever since 1992 and the property was inscribed on the List of World Heritage in Danger in 2003. States of conservation reports have been prepared, of which the latest from 15 19 March 2005 by ICOMOS and World Heritage Centre. The state party provided a State of Conservation Report in December 2005. Generally speaking, the state of conservation of the main monuments has not deteriorated. Nevertheless, in several cases their surroundings have been altered loosing much of their integrity. The conservation and restoration movement Main text from: Neils Gutchow, Conservation in Nepal A review of practice. The Sublima Pagoda, 2003, Page 11-25. Titles are as follows: a. Early conservation practice by Department of Archeology, (1956 1970) b. The first bilateral project: Restoration of the Pujari Math in Bhaktapur, (1971 1972) c. The Bhaktapur Development Project, (1971 1986) d. Department of Archeology projects in the 1970s. e. Reconstruction of the Cyasilin Mandap in Bhaktapur, (1987 1990) f. New foreign initiatives in the 1990s.

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3. INSPECTION:
An organized examination or formal evaluation or formal evaluation exercise that determines the quality and correctness with procedure of measurements, tests and detailed study in realtes to an object or activity. It is one of the important tools that requires for the conservation of monuments or architecture in order to provide or collect the information of extent of deterioration of a monuments so as to identify the kind of intervention to be done for conservation. It includes the minute details that are looked into and recorded. Thats why inspection is an important stage in conservation and should be carried out technically and with precision. An inspection is always done from north and proceeding in clockwise fashion paying due attention to all elements, even the minute areas.

3.1. OBJECTIVES OF THE INSPECTION REPORT:

The character of architectural monuments as a historical record should be preserved. Buildings and areas of architectural and historical interests should be protected. Old buildings are recognized as an important asset-both in cultural and economic sense. Conservation should be means to preserve traditional local skills and create new employment. Cultural activities should be kept alive. The interaction between tourism and conservation should be made beneficial, avoiding both negative impacts from tourism as well as a mere conservation of the prevailing backwardness. Ancient buildings should be given an active role in contemporary society. Aware of the present condition of the temples by studying its historic records, religious and cultural value of the monuments. The traditional buildings and structures handed down to us through history with all modification for functional and aesthetic reasons are source of knowledge for us. Such structures give information about our ancestors their religious, their achievement, their technological knowledge and their knowledge of materials. Focuses and identify the architectural elements of historic monuments for their conservation stating its importance. To chose different degree of intervention of architectural monuments. The conservation of the traditional architectural element here will require revival of traditional materials. Traditional skills and traditional techniques. These are nearly in the state of the loss due to the stoppage of the construction of such elements. To revitalize architectural elements conservation is needed.

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Aware of the importance of historic monuments to the local or public people of surrounding and town and local authority. Accumulation of explanatory data, research data and current condition about monuments and local people The program formulation for the conservation of each possible intervention.

3.2. METHODOLOGY
Data collection procedures depend upon ones study and data will collect fro m different sources. Here I have used both primary and secondary data. Primary data Data observed & collected directly from first hand experience is called primary data. These data are collected by the method of interviews, observation, case studies, visual inspection, and inscription. Secondary data: The secondary sources of data collections are those that have been used from published on used by someone previously. These data are collected with the help of publication or magazines, newspaper, governmental, non-governmental agencies, etc.

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MAHALAXMI (B/B-18)
Name of monument and chief deity: Mahalaxmi Other objects of architectural value: Bells, sattal, torana, guilted copper roof. Types and style: Two storey temple, pagoda Location: Khalacchen Tole Earlier date of conservation: 2065 B.S. Materials used: Iron called collapsible door Portion of monuments needing to be repaired: none but pati of north side General remarks: Daily puja is done by priest called Achaju. According to locality, initially it was a forest where the death body is burnt out which has still marks of stone in front of this temple. Again they state that they have own festivals called lingo, however this was not done at present context. Double roof structure dedicated to Vishnus spouse, who is widely worshipped in this locality. The temple is located in an open open courtyard and is surrounded by patis, sattal, single-floored structures, sunken hitis. Sattal on east side is being restored by the aid of Bhaktapur Municipality. The temple is supported by four pillars at the corners. The carved doorway with a torana leads to the sanctum. Both roofs are supported by figure struts which depict Astamatrikas. There are number of sculptures and an old votive Chaitya in the neighborhood. New two images was kept in 2014 B.S. and 2045 B.S.The main festival of this temple is done in Baisakh. This festival is also related to Mahakali. Notifications: It is kept under the eye of people appointed by locality. Misused of land owned by this god for the provisions of celebrating festivals. Less attention by Mahalxmi dyochhen.

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MAHAKALI (C/B-17)
Name of monument and chief deity: Mahakali Other objects of architectural value: Bells, torana, guilted copper ganesh Types and style: open shrine Location: Byasi Tole Records of monument: inscriptions of 1661,1623 Materials used: Iron called collapsible door Portion of monuments needing to be repaired: none General remarks: According to Swasthani, after the death of Satidevi, Mahadev was in very unconscious and dilemma because she was his most lovely wife. Mahadev carried her death body and he went around different places keeping his wife on his shoulder. On such situation, different god and goddess went to Bishnu solving those problems and he decided to allow her body to decay out by falling down her different body parts. In this way mahakali pith is formed from the body parts of Satidevi. This is an open shrine constructed beneath some trees on the small island hills. There are stone torona and a row of lamps arched over a group of stones. The goddess is worshiped on these stones without icons, fallowing the Tantric tradition. Behind them is a stone pillar with a double edged Khadga held vertically. This became popular in the late medieval period as a symbol of Kali. There are different goddess around this main shrine.The inscription reads, PratapaMalla, 1661. The priest is an Achaju. Different spaces are artificially created such as pati and terraces to accommodate the visitors. This temple is very famous and popular in this locality where it is one of the places to visit in Navarat in vijaya dashami. Bhajan is done in everyday. Notifications: Retaining wall is very weak

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BALAKHU(C/B-13)
Name of monument and chief deity: Balakhu Ganesh, Ganesh

Other objects of architectural value: Bells, torana, guilted copper roof, jharu, pati, sattal Types and style: two storied temple, pagoda Location: Balakhu, Bhaktapur Earlier date of conservation: 2068 B.S. Materials used: Iron called collapsible door Portion of monuments needing to be repaired: none but jahru, pati and its dyochhen General remarks: The priest is an Achaju and the temple observes its main festival during Bisket. This small, plain, double- storey shrine is located at the open corner of a narrow lane. The sanctum is open but covered by a roof supported by two pillars. There is a narrow torana between the first and second roofs. The figure of the struts depicts the Asthamatrikas. There is a belief that if any materials or personal goods are lost, if one comes here and worships, the goods are found back. Hence a large number of people come and pay their homage here. It is already in the state of conservation, so no conservation works are to be done here and it is in good position. It has its DyoChhen on the North side of the temple. Ganesh, the elephant headed god of wisdom and success is the defender and remover of obstacles and has to be propitiated first before offering worship to other gods. He is the son of Shiva and Parvati. He is extremely popular in the Kathmandu valley and his image is found everywhere. This Balakhu Ganesh temple is next to the Jana JyotiPustakalaya. Legend

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says that if somebody lost anything then he or she can get it back by worshipping the Balakhu Ganesh. Jahru is a water reservoir or spigot fountain consisting by a substructure of a stone masonary and covered by a head structure sometimes resembling a massive shrine roof. The stone trough is externally carved and filled with, one or more stoppers, a small breast-like bump to fit the spigot tap and is fitted a little lower than a mans height to make easy to drink from. The substructure has a stone idol of Bhagiratha directly below the tap. Notifications:

No attention on preservation of Jharu Restoration of pati on north, east and west side is necessary.

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CHUMA GANESH(C/B15)
Name of monument and chief deity: Chuma Ganesh, Ganesh Other objects of architectural value: Bells, torana, guilted copper roof, pati Types and style: two storied temple, pagoda Location: Chochhen Tole records: 1649, 1696 and 1740 Materials used: Iron called collapsible door Portion of monuments needing to be repaired: none General remarks: The temple is related to mouse as its name suggests. In Newari, Chu means mouse. Different people have different conception on how this temple was constructed. There is a legend that one day a rat and a mouse was having a fight and during that time lord Ganesh came to help the mouse and to thank him this temple was constructed. Another belief is that during the fight, the soil o the place was taken out and during that time the idol of the temple was found in there. And hence the temple was constructed. The place where the soil was taken out in now a pond which is actually some distance away from the temple at present. It is also said that Chuma ganesh is related to events about origin of Bhaktapur. At that time Bhaktapur was a forest where a poisonous nakes lived. So people were very scared to live and cultivate there. So Chuma Ganesh acts about activities of mouse and cat fighting with each other. On seeing by king Suryabansi, he followed them and disappeared. Then he found Chuma ganesh and pleaded him to keep the habitat in this forest. King decided

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and killed the snakes and put it into the top of trees which is termed as Lingo. According to local belief, worshipping at this temple spares a person trouble with rats in the house. It may also help in recovering lost property. Its main festival is during Bisket and Indrajatra. The priest is a Jyapu. Surrounding the temple is, Dhyo Chen in the East, BhajanSattal in the West, ByasiTole on North and residence on South. This temple have also an own festival organized in the Bisket Jatra of Bhaktapur. Also there is a set of lamps around the temples called cakahmata where people wish their desire through lighting the lamps all around the temple. There is a pati near the temple where different activities can be seen till today used as shop in morning, discussion within aged group in evening and gathering of aged group for Bhajan in night.

Kumari depicts in Chuma ganesh Dyochhen

Cornices with 18 and 19 layers of moulded and decorated bricks(baapa)

Pasukajhya with three openings

Notifications: Buildings surrounding is changing Proper waste management

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TRIPURASUNDARI PITH (C/B-14)

Name of monument and chief deity: Tripurasundari Other objects of architectural value: Bells, torana, pati Types and style: open shrine Location: Tulachhen Tole Materials used: Iron railing Portion of monuments needing to be repaired: pati infront of this pith General remarks: It is the seat of a Tripurasundari deity in a non-iconic representation with iconic representation of the same deity called Dyochhen. It consists of nothing but a simple stone or a row of stones in the open shrine which is a large, semicircular niche in a wall. The thick stone torans shows the Kalamakara head chewing snakes which forms the arch. Below the torans are a number of rounded stones. These stones are the object of worship for they embody the spirit of Tripura Sundari. There is also a large stone trident. An agam house is attached to the shrine. It has a curved doorway, windows and figure struts. There is a small pagoda style temple in the roof. The house is built in a spacious courtyard. In the vicinity are several medieval sculptures of the Hindu gods. The priest is an Achaju. The shrines festival takes place on the 4th day of BisketJatra. Surrounding the pith are TripurSundariDyo Chen in the East, water conduit and stone temple constructed by BhupatindraMalla in the west, BhajanSattal in the North and Jagannath temple in the South.

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Some features of Tripurasundari Dyochhen

RECTANGULAR in shape NO CIRCUMAMBULATION Modeled after residential building (similar to basic Newar houses now) Ground floor: entrance Dalan (for parking of Khat), store and stairs First floor: Hall and Agam (Bed room) Second floor: Feast Hall (Living room) Attic floor: Kitchen and Daily worship room (similar use in residences)

Notifications: Restoration of pati just infront of this pith is required Surrounding environments covered with waste and vegetation

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DURGAMANDIR (A/B-7)
Name of monument and chief deity: Durga Other objects of architectural value: inscriptions, carved columns, pinnacle Types and style: Shikhara Location: Durbar Square Portion of monuments needing to be repaired: Pinnacle
General remarks:

Durga temple which was built by king Prakash Malla. It is said that this is Bhaktapurs answer to the Krishna Mandir in Patan, and it follows similar Indian Architrectural rules. Note the smythical beasts bursting out from the sides of the shikhara and the detailed carvings of multi-armed deities in the false windows on the second level. The temple is made almost entirely of brick and terracotta. There is a small amount of stone used in its portico pillars and wood in the horizontal beams. The sikhara style is tall and curvilinear. There are four doorways leading to the pillars. These porches are unusual. Each has a shrine niche above. The temple belongs to Durga, Shiva spouse.

Notifications:

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Growth of vegetation on surface of temple Maintainance of plinth structure

RAMMANDIR(C/B-52)
Name of monument Tripurasundari and chief deity:

Other objects of architectural value: Bells, torana, pati Types and style: open shrine Location: Tulachhen Tole Materials used: Iron railing Portion of monuments needing to be repaired: pati infront of this pith General remarks: This temple is located in a courtyard containing many other subsidiary shrines. On the south is a building used by the priest to live in. The temple is still in use. It is in a good state of conservation. It is generally square in shape tapering pyramid roof which has resemblances to the South Indian Architecture. The roof is topped with a row of three Kalashas placed under an ornamental arch. At the entrance to the shrine is a portico which has a gilt copper roof in the storey style. There is a porch with a separate rof around the shrine. The enshrined deities are twentieth century marble sculptures of Ram, Sita and Lakshman. There are many images of other Hindu divinities in the courtyard. An inscription tells of the donation of a guthi in 1919 by Krishnaman Prajapati of Bolachhen Tol. The priest is a Mahanta.

Notifications: Restoration of surrounding shrines Redevelopment of sattal Less attention through concerned authority

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KALIGHAT(C/B-62)
Name of monument and chief deity: Kalighat Other objects of architectural value: Bells, torana, pati, sattal, hiti, Shiva linga Types and style: Ghat with shrine Location: Khasakhusung Khola Construction at: 20th century Portion of monuments needing to be repaired: Overall components of shrine complex General remarks: It is located alongside the Khasakhusung khola at outside the Bhaktapur core town. To the north of ghat there is a small shrine which contains the images of Lakshmi, Narayan, Hanuman and shivalingas. Its guthi was established for the reading of Purana in 1925, and for worshipping Mahadev and Mahakali in 1942. The chief priest is a Brahman. There is no exact festival actually however a festival is performed in Phulpati, Dashain in which many worshippers gather together. However many people go to this ghat for futher activities after the death of family members like 16 saradha. There is establishment of other shiva lingas which were done after the death of the priest. Priest are buried in that places. Recently this ghat is in bad condition in which half part of sattal is demolished where plinth is still remaining. A bell hung in this ghat is now stolen and inscription is not placed in respective position. Shivalingas and other items are not in good condition. Also remaining half part of sattal is no long last to remain if proper interventions are not done.

Notifications: Less attention of local authorities. No activities from Guthis No proper waste management

Brahmana:death stone

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Less management of Khasakhusung river

CHANGUNARAYAN
Name of monument and chief deity: Changunarayan Other objects of architectural value: Bells, torana, pati, sculptures, inscriptions, ponds Types and style: Tiered roof style Location: Changunarayan Portion of monuments needing to be repaired: Pati infront of this pith and its surrounding environment General remarks:

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Legend: A legend says that once Vishnu in his act of destroying evil killed a Brahmin priest who had turned to evil. Such an act was considered one of the five most heinous crimes. Vishnu contemplated his deed and wandered here and there on Garuda, the mythical half man, half bird form. When he reached Changu, a hermit by the name of Sudarsana, not recognizing Lord Vishnu, beheaded him. Once beheaded, Vishnu felt regretful of his sin. He said that from then onwards he will live on the hill at Changu, where he was redeemed for his sin, and that everyone who comes to worship him at Changu on the day of the full moon or on Wednesdays will also be exonerated. The nitya puja, ritual worshipping, at Changu Narayan relates to this legend. The Vishnu image here is built of two parts, one of the head and the other of the body so that the beheading rite of Vishnu can be remembered during the puja. Origin of the temple: Changu Narayan is believed to be built by Haridatta Varma, who was a Licchavi king who ruled around 325 AD several generations before Manadev I. Chronicles say that at that time Haridutta had ordered the building of four hilltop Narayan temples around the Valley. The other temples are Ichangu Narayan, at the West, Sikhara Narayan, and Lowar Roof Strut Cangu Narayan Lokapalasvamin. The inscription on Garuda Dhwaja, a pillar that tells of of Temple (Ananta the victorious Manadev I, erected at the temple in 464 is the oldest Vishnu) South Side inscription to have been discovered in Nepal. The inscription on the pillar is the first solid evidence to prove the establishment of the temple, though it indicates that the temple stood before that time. As it was the costume of the royal families to offer gifts to the temple, Changu Narayan also drew many regal worshippers. However, most of the gifts were in the form of reconstructions of the temple, which was destroyed many times by fires and earthquakes. In 607, King Amsuvarma, who highly regarded Changu Narayan, replaced the old sheath that covered the holy image and gave a large sum of money to the temple. The temple began to crumble into pieces due neglect and was left unrestored until Visva Malla (1548-1560) of Bhaktapur took up the task. Then Gangarani of Kathmandu, grandmother of Pratap Malla, repaired the temple when it was devastated by a fire. In 1694, the temple again needed reconstruction which was offered by Queen Mother Radhiklaksmi of Kathmandu. She also offered other richly gifts like a golden torana for the temple, an amount of gold and silver equal to her own weight, as well as a statue of herself and her son kneeling in front of the temple behind the Garuda Dhwaja of Manadev I. About that time the head of the image of Vishnu was offered by Bhupalendra Malla of Kathmandu when the previous one broke during a puja. Twenty years after the construction by the Queen Mother Radhiklaksmi,

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the temple again caught fire. This time it was Bhaskar Malla (1700-1722) of Kathmandu who rebuilt the temple and marked its completion by refinishing the roof of the temple. In Buddhism, Changu Narayan is revered as Boddhisattva Avalokiteswara. They believe that Garuda, the mount of Lord Vishnu, and Takshaka, the king of serpents of the Kathmandu Valley, were engaged in a ferocious battle. When Garuda called upon Lord Vishnu for help, Takshaka was certain of his peril and prayed for Boddhisattva Avalokiteswara. The compassionate Avalokiteswara stopped the battle and brought peace to the adversaries. Vishnu, ashamed of his behavior in the battle offered to be Boddhisattva Avalokiteswara's steed and carried him to Changu and thus created the peculiar icon of Hari hari hari Vahan Lokeswora. At Changu Narayan, Boddhisattva Avalokiteswara is shown separately as a stone sculpture behind the temple while Garudasana Narayan, Vishnu on Garuda, is been the revered image of the temple. There are two other copies of the Garudasana Narayan image in the temple courtyard. One was made in tenth century and other in thirteenth century, which were eventually copied in many Narayan images found around Kathmandu. The temple now covers at least seventeen hundred years of Nepalese art history. The temple, built around the third century, is decorated by some of the best samples of stone, wood, and metal craft in the Valley. In the words of one tourist guide, "When you look upon Changu Narayan, you observe the complete cultural development of the Valley." On the struts of the two-tiered Changu Narayan Temple are the ten incarnations in which Narayan destroyed evildoers. A sixth century stone statue shows the cosmic form of Vishnu, while another statue recalls his incarnation as a dwarf when he crushed King Bali. A statue of Vishnu disemboweling Narsingha, a man-lion, is particularly interesting. The Eastern doors are made of bronze, dragons decorate the bells, and devas and griffins look out from the walls and steps. A life-sized statue of Garuda kneels before the temple. The favorite sight of many visitors is the statue of Vishnu sitting astride his steed. Cultural value: There are different festivals celebrated by locality of this temple are Baisakh Krishna Trayodashi, Baisakh sukla Dwadashi, Aashad sukla Trayodashi, Bhakra Krishna Astami, Shrawan Sukla Swadashi, Yugodi Parva, Dashain Parva, Kartid sukla Ekadashi, Marga sukla Dwadashi, Poush sukla purnima The Guthi regulates the functions of the temple and only the Pujaharis with their helpers, the Bhadels, are
Lower Roof Strut of Changu Narayan Temple (Bhairava)

corner strut

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permitted to enter the inner core. The main festival is Rathyatra, in Baishak, during which time the Gwalas perform the puja. Another important function, Narayan Puja is on Kartik Shukla Ekadashi.

Notifications:

Restoration of sattal and others around the courtyard of Changunarayan Maintenances of surrounding aspects like deforestation, extraction of sand on river, restoration of artificial pond around the hill of Changu Narayan, etc.

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MAHAKALI DYOCHHEN (B/P-16)

Name of monument and chief deity: Mahakali Dyochhen, Mahakali Other objects of architectural value: Torana, pati, sanjhya, Fucha, struts Types and style: Three storey, pagoda Location: Bholachhen Tole Materials used: Iron railing Portion of monuments needing to be repaired: Plinth base, some parts of roof Earlier date of conservation: Development Project [BDP] Size of monuments: a. b. c. d. e. f. Length: 17.48 m Breadth: 7.5 m Height: 3 storey with Fucha Thickness of walls: 0.7 m Brick size and colour: Old Nepali Brick reddish Size of tiles: typical Jhingati tiles 2036 B.S. by Bhaktapur

Definition: It may be incorrect to describe building of this type as temple, because they are called , even in Newari, Dyochhen, which means gods house. Neverthless, there are considerable numbers of Dyochhens and many of them are attributed with the same importance by the worshippers ordinary temples. The dyochhen outwardly resemble dwelling and are very often part of terraced group of dwelling. They are dedicated to tantric goddesses, such as Mahakali,etc. Their shrine is always situated in the upper storey, where the main god is brought for several weeks a year from the main shrines(Pith). The Piths are located normally at the fringes of the settlement, outside the old settlement boundary.

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Surroundings: The temple of Mahakali Dyochhen is situated on the east of the main Durbar Square complex of Bhaktapur just next to the Chuma Ganesh temple, on the left hand side of the road leading to the complex, i.e. the road joining Byasi tole and Sukuldhoka. North: There is the pond called Bholachhen pukhu on the northern side of the Mahakali Dyochhen. Further on northern side after that pond there is a pith of same deity. At the north east corner is the way to Changu Narayan, Nagarkot and Kamalvinayak. At the south side is the temple of Yacchen Ganesh. Also on same side on the way there is pati, dabali along the junction and well just near to it. Apart from this there is residential building as well. The most Tantric god called Navadurga and Kwathandou square lies on the East. At the north east corner there is Mahalaxmi temple. Also apart from this temple, there are residential buildings on the east side just opposite to this dyochhen with majority of old typical residence. Along the western side there is Chumma Ganesh. This side is fully covered by residential buildings.

South:

East:

West:

Legends: According to Swasthani, after the death of Satidevi, Mahadev was in very unconscious and dilemma because she was his most lovely wife. Mahadev carried her death body and he went around different places keeping his wife on his shoulder. On such situation, different god and goddess went to Bishnu solving those problems and he decided to allow her body to decay out by falling down her different body parts. In this way mahakali pith is formed from the body parts of Satidevi. After that people establishes the Dyochhen for Mahakali. Physical Value: These goddess(Mahakali) enjoy a two fold representative, the non iconic(pith) which is always present and accessible, iconic which comes down once a year to seek union with their place of origin, outside the respective non-iconic representation(pith). So such union is made possible by the people during the festival. Cultural Value:

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Daily puja is done in every evening and morning by priest Achaju. An communty called Guthis named Biskaguthi are responsible for performance of cultural activities like festivals. Dapha bhajan is performed on everyday of the year on the pati at the ground floor of Mahaklai Dyochhen. It is also said there is legend behind the festival of Mahakali i.e. fighting Mahakali and Mahalaxmi. According to legend, Yachhen Ganesh was brother of sisters Mahakali and Mahahalaxmi. He called her sisters for the feast on occasion of Bisket Jatra. Mahalaxmi went to Mahakali to call but she was not ready for going to feast. She was late and they went to their brother but door was closed. Mahalaxmi claimed that closing of door was all cause of late of Mahakali. So they fight each other. So from this a jatra as cultural value started. This structure is a good example of an Agam house. An agam house is a religious building connected with one or more divinities. It is used not only exclusively for worship but also or other purpose connected with the divinities. It is usually a large structure built in three storeys, similar to a residential house. This particular example has a verandah in the ground floor with well carved pillars supporting it. There are some excellent examples of wood carvings on the wooden frames, lattices, torans and the struts depict the Asthamatrikas. There are temples of Ganesh, Ram Laxman on the vicinity of the house.

General remarks: Ground floor: First floor: Second floor:

flooring tiles Courtyard Pati infront of building Wooden Veranda with Mutta Main shrine Window with torana Wall painting Sanjha wndow Provided the space for feast

Case Inspection: Present Condition: Foundation: The stucture does not display any signs of unequal settlement. So it can be assumed that the foundation is still in very good condition since its construction date.

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Plinth: The temple structure stands on single plinth. Three step is provided before the entrance of the dyochhen. Entrance of dyochhen is provided in southern side with two lions and torana on main entrance door. Connection of timber, used for plinth base on the pati side is in weak condition and some of bricks are getting deteriorated.

Superstructure: Walls: The brick wall as a load bearing structure takes the load of the whole structure. Material: Brick work of traditional Dacchiapa and special mortar with the mixture of Brick powder, Black treacle, Resinous oil (saldhup), Jute fiber and Black gram. Condition: The walls of the dyochhen are in pretty good shape, with few worn out bricks here and there. No bulging and cracking can be seen on side of walls. There is something drawn on the wall. Plinth steps are almost dismantled. Generally this pati is used for the Bhajan and store of local people during harvesting. Doors: A single door with carvings. There is a torana above the door. Material: The doors and struts are made up of wood. Condition: Wood works that act as lintel are still in good condition Windows: There is two different type of windows i.e. Sanjhaya on Second floor and Window with torana in first floor.

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Material: The window and struts are made up of wood. Condition: Wood works that act as lintel are still in good condition Cornice band: Wooden cornice bands with carvings are present. Condition: The cornices of the dyochhen are in pretty good condition. Main roof: The facia band of the roof displays the banners all around. The struts which support the roofs are carved with various gods i.e. Mahalaxmi, Mahakali, Baishnabi, Maheswori, Barahi, Bhramayani, Ganesh, Kumari, Indravani, Barahi. Main roof has a fucha, the additional roof but without a floor uner it.

Material: The roofs of the temple structure are done completely of jhingati roof tiles. The wooden struts hold the roofs in their position. Condition: Since the roofs are made of the hard wood like sal, there are no signs of deterioration and decay. Guthis: Ek muri Dhan celebrated by four Guthi. Interest provided by Bhaktapur municipality (70 thousand interest) to perform Jatra. Land was sold and deposited to bank to gain interest so that it can be used to perform festivals and feasts.

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4. RECOMMENDATION:
Based on the inspection, the following recommendations are made here so that the concerned authorities can benefit . o The value of the dyochhen can be maximized by maximizing the use of spaces i.e pati. The concerned authority should focus more on cultural value rather than increasing expenditure over Jatra. o It is found that some parts of plinth level on verandha has some weakenss in timber connection and vegetation over Fucha. Since this dyochhen is one of the important monuments culturally and physically, so we highly recommend to apply different degree of intervention. o Guthi should focus on the chemical application over struts and oiling over the bricks. o Bhaktapur municipality should focus on the participants of the locality over the different cultural activities related to Mahakali dyochhen like Bhajan over Verandha. o It is highly recommended to mainatain the faade of residential building surrounding of it and the Bholachhen pond o Waste management near these monuments should be managed o It is recommended that physical and cultural should be analyzed before using the techniques of conservation. o Conservation of such monuments maintain the sociability and cultural symbolization remain intact with the Newar community helps in economic uplift. o The concerned authorities should give continuity in providing both conceptual and practical training to the locality to enhance their knowledge, skill and competency about the monuments of Bhaktapur and Nepal.

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5. CONCLUSIONS:
In Bhaktapur, Nepal, the organisation of urban space has always been defined by uses clearly defined, primarily religious, public and residential. Such functional specialisation of space results in and is at the same time reinforced by, specific urban and architectural features. The restoration of the serious damages suffered by the urban fabric following the 1934 earthquake started only with the 1979-1985 BDP (Bhaktapur Development Project). The inclusion of the historic core of the town in the Unesco World Heritage List fostered the restoration policy, but produced also rapid changes in land use and tourist and commercial transformation of traditional buildings. As a consequence of massive subdivision of traditional buildings and of the illegal new building, coupled with the lack of infrastructure, the Unesco World Heritage Centre has now included Bakhtapur in the List in Danger. Bhaktapur is called as living Museum. There are various monuments of utmost architectural and historical importance which need public attention. Special preservation orders are required which assure that no alterations are carried out affecting the character of the objects. This includes buildings like temples, stupas, maths, bahals, houses and inns, as well as hitis, pokharies, wells and religious symbols and images. In this way conservation of monuments of Bhaktapur is going on for the sole purpose of preserving the Malla period architecture, traditional construction technology and also preserved world's valuable fresco painting art . So, it believes, such conservation work will be the example and reference for future conservation work of Nepal and It will helps to promote our own technology, labor, skills and craftsmanship in conservation of Heritages of Nepal. After the inspection and analysis of the current state of the temple we came through the conclusion that, the decay is starting in the temple. The color of brick and wood had faded out. There are appearing on the joints of beams and columns. So the action to prevention of this decay is immediately necessary to be taken in present time. Otherwise the pride of our country will be in problem.

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