A REPORT ON

PATAN DURBAR SQUARE

Report By:
Prasamsa Pokharel | Aditi Poudel | Anup Poudel | Bikalpa Poudel | Kritina Prajapati

Date of Submission: 17th January, 2018

INTRODUCTION
Patan, the oldest of all the three cities of Kathmandu valley. It is best known for its artistic
heritage. It is probably one of the oldest Buddhist City in the world. The city is situated on
plateau across Bagmati River . The city patan also known as lalitpur is surrounded by 4 stupas as
4 corners of Patan, one at each corner of its cardinal points. About the beauty of Patan, a
westernlady writer has to say this –“Patatn means eternity itself and Patan Durbar Square is the
spectacular sight of Asia indeed.”

It is full of Hindu temples and Buddhist monuments with bronze gateways, guardian deities
and wonderful carvings and many visitors come here to see these monuments. Patan Durbar
Square is the famous visiting place located in the heart of Patan City. The square is full of ancient
places, temples, and shrines noted for their exquisite carvings. The former royal palace complex
is the center of Patan’s religious and social life and houses a museum containing an array of
bronze statues and religious objects. There are three main courtyards or chowks;

1) Mul Chowk
2) Sundari chowk
3) Keshav Narayan Chowk

THE MAJOR ATTRACTION OF PATAN DURBAR SQUARE

1) Patan Museum
2) Hiranya Varna Mahavihar
3) Golden Window
4) Mahabouddha Temple
5) Golden Temple
6) Krishna Temple
HISTORY

The Durbar Square is a marvel of Newar architecture. The square floor is tiled with red
bricks.There are many temple and idols in the area. The main temples are aligned opposite of
the western face of the palace.The entrance of the temples faces east, towards the palace.
There is also a bell situated in the alignment beside the main temples.The Square also holds old
Newari residential houses. There are other temples and structures in and around Patan Durbar
Square built by the Newar people.

The history of the Durbar Square is not clear. Although the Malla Kings of Lalitpur are
credited with the establishment of the royal square, it is known that the site is an ancient
crossroad. The Pradhanas who settled around the site before the Mallas , have connections
with the Durbar Square. Some chronicles hint that the Thakuri Dynasty built a palace and made
reforms to the locality, but there is little evidence of this. Scholars are certain that Patan was a
prosperous city since ancient times.
The Malla Kings made important changes to the square. Most of the current architecture is
from the 1600s, constructed during the reign of King Siddhi Narsingh Malla and his son Srinivasa
Sukriti. Some of the notable Malla Kings who improved the square include
Purandarasimha, Sivasimha Malla and Yoganarendra Malla.

PALACE COMPLEX
The main attraction of Patan Durbar Square is its
Palace Complex. It was built during 17th Century by
Malla rulers. It is a typical replica of Traditional
Newari House, this is proved by its four storied
design, space division in each floor and elements
used in it.

The temple complex mainly comprises of three

courtyards; they are Mul chowk, Sundari Chowk
and Keshav Narayan Chowk along with temples, religious shrines, historical places, gardens and
water bodies.
KESHAV NARAYAN CHOWK
Keshav Narayan Chowk which now houses the Patan
Museum. It is the northmost part of Patan Palace
Complex.

MUL CHOWK
It is the largest and oldest of royal palace’s three main chowk.It is located at the southern part
of the palace. It was constructed in 1966 A. D. by Shreenivasa Malla. In the center of the square
is the small glided central temple named Bidyapith
where animal is sacrified during Dashain festival.
Upper Galleries now form part of Patan Museum of
architectural display. And the wooden struts
supporting thee upper floors are richly carved.
Degutalle temple is the most prominent structure
which can be seen from the daballi, in front of
palace. On the southeren side of Mul Chowk is the
Taleju Vawani temple.

SUNDARI CHOWK
It was constructed in 1647 A. D. It is the smallest chowk
arranged around superbly carved sunken water tank
known as Tushahiti. The water tank has 72 carved stone
plaques depicting Tantric Deities and was used by king
for ritual ablution. The traditional gateway to Sundari
Chowk features three magnificent statues of Hanuman,
Ganesh Bishnu.
ARCHITECTURAL FEATURES:
The main elements of building facade are typically
its windows and doors. The building is
symmetrically balance on both sides. Rhythmic
articulation of architectural feature on the
substituent floors is the most prominent feature of
this palace complex. The main entrance is on the
west with highly carved torana and line like
creature guarding on its doorway. Just above the
main entrance is a large window named as golden window which was by then king to watch
performances. The roof has teliya tile

#Note: The palace was damaged by the earthquake 1934 A.D. and 2015 A.D.

PATAN MUSEUM:
The palaces of Malla kings were converted into museums and
officially inaugurated by late king Birendra Bir Bikram Shah Dev
in 1997. Different architectural changes were necessary to
accommodate the function of the museum. For Example: The
mud floors were replaced by hand made terracotta tiles. The
Keshav Narayan Chowk holds as the Patan Museum Main
Office. Different elements of temple, sculptures, idols, ancient
tools etc. are placed inside the museum. The dramatic lightings
create the awesome ambiance within the rooms.

VHANDARKHAL GARDEN
It is located on the eastern side of Patan Museum
comprising historical well, Museum Café and a large water
body (tank). Currently the architectural elements of
Vhandarkhal Garden gives taste of modern architecture and
neoclassical architecture to some extent.
MANGAL HITI
The name “Magal” came from the old Newari term “Mangah”
meaning center. The Mangal hiti is one of the largest hiti built
during Lichchhavi Period. There are three Stone Carved Tapes
known as “Dhunge Dhara” much below the existing ground level.
The main source of this Dhunge Dhara is still unknown. In ancient
time this Dhunge Dhara was used as common water source for the
whole community. It has sufficient spaces and platform to
accommodate the large number of people. The various number of
staircase and plinths lead down to the Dhunge Dhara.

MANI MANDAPA
There are two number of Mani Mandapa just infront
of Bishownath Temple. In ancient time it was used as
tax collecting office and gathering place. But
currently serves as rest house for visitors.

BHIMSEN TEMPLE
Dedicated to Bhimsen, one of the five Pandvas, the
Bhimsen Temple at the end of Durbar Square is a
sacred religious place in the region. Bhimsen is
considered to be the god of trade and business. It is
also believed that he has superhuman strength.
That’s why the drawings and carvings in the temple
depict him as a red muscleman, someone who is
crushing and elephant with a knee or lifting a horse.
Highlights: The pagoda has three storey and what makes it different than other temples is
that it has an unusual rectangular plan. The temple was built centuries ago and rebuilt in 1682,
after which it has been restored thrice- in 1935, 1967 and most recently after the 2015
earthquake. Non-Hindus can climb to the upper level to view the wide eyed statue once the
repairs are complete. It is renowned for its three interconnected golden windows. Tourists are
not allowed inside the temple.

VISHWANATH TEMPLE
It was built in 1627 during the reign of
Siddhi Narsingh Malla. The roof supports
are decorated with erotic carvings similar
to imagery widespread in Shiva temples in
India. A stone linga is enshrined inside the
temple.

South of the Bhimsen Temple stands the

Vishwanath Temple, dedicated to Shiva.
This elaborately decorated two-tiered
pagoda and it features some particularly
ornate woodcarving, especially on the torana (lintel) above the colonnade. On the west side is a
statue of Shiva’s loyal mount, Nandi the bull, while the east side features two stone elephants
with mahouts, one elephant crushing a man beneath its foot. When the doors are open, you
can view the enormous lingam inside.

GOLDEN TEMPLE

Highlights: One of the major highlights of this place is the elaborate rituals and traditions that
the temple has for different ceremonies. That’s what makes it more exciting than you can
imagine. It is here that you will find the elegance of Buddhist architecture.
Here you can see elaborate carvings and walk among the worshippers. Don’t forget to look for
elephant structures at this place and see religious artworks, including impressive icons of
goddess Arya Tara at the courtyard. Take a five minute walk from the temple to visit Patan
Durbar Square. Shoes and leather is prohibited here.

Special Features:

 Courtyard system
 Gumba and office are situated at top floor,
whereas Diety is placed at ground floor.
 Priest known as “Thulo Baphacha” and “Sano
Baphacha” worships there.
 Raised in a small plinth.
 Monkies are placed in all four corners.
 Lion guardian is placed at the entrance.
 There are 4 strairs at the 4 corners.

KRISHNA MANDIR
There are two Krishna Mandirs in the Durbar Square,
both carved out of stone and one is more popular
Krishna Mandir that lies opposite the Patan Museum
where all religious rites and festivities take place.It is
considered as one of the finest stone monument in
Kathmandu, the Krishna Mandir in Patan Durbar Square
is made in Sikhara architectural style which is found
commonly in Indian subcontinent. The temple was
established in 1637 AD, as a copy of another Hindu
temple of Lord Krishna present in Mathura in India,
by SiddhiNarsimha Malla of Patan.
HIGHLIGHTS: The temple is an outcome of merger of two distinct styles, the solidly formed
southern Gupta Sikhara form and the open multi-storied style of Moghul. There are stone
carvings of various gods and goddesses on the passage of the temple. The first floor of the
temple consists of the stone images of Lord Krishna and his two
consorts Radha and Rukmani and it is also the main area of worship. The second floor contains
the image of Lord Shiva and it is said that the third floor which is empty now, used to contain a
statue of Avalokitesvara.

OCTAGONAL TEMPLE
Among the two Krishna Mandirs in the Durbar Square,
the one is known as Chyasim Deval, the unceremonious
one. King Yoganarendra Malla’s daughter, Yogamati,
built the other Krishna Mandir or Chyasim Deval in Patan
in 1723 AD. At the time of her father’s death, 32 women
committed sati at her father’s funeral pyre. Dismayed by
the plight of women and their unnecessary sacrifices,
Yogamati spent most of her wealth in constructing the
Chyasim Deval temple.

HIGHLIGHTS: It is the only octagonal temple in Patan

Durbar Square and is completely made of stone with
some very fine and intricate sculpting. The structure is
raised over three platforms. It has mini shikharas on all sides in symmetrical order and
two lions named Jaya and Bijaya guarding its stairway. The images of Rukmani, Krishna
and Satyabhma adorn the temple.

Religious ceremonies have ceased to take place in this temple, but visitors still remain
enthralled by its artistic stonework.

Teleju Bell:
Confronting the royal residence is gigantic, antiquated chime,
hanging between the heavy columns raised by King Vishnu
Malla in 1736. Applicants could ring the ringer to alarm the
ruler to their grievances. The ringer tolled inauspiciously
amid the current catastrophe; however the structure
remained in place. Behind the ringer the structure is a
wellspring crossed by a fancy extension.
Char Narayan Temple:
To the northwest of the Siddhi Narsingh
statue is the Jagat Narayan or Charnarayan
Temple, a tall construction in brick. Built in
1563, it is believed to be the oldest temple
in the square. It is dedicated to Narayan,
one if the manifestation of Vishnu. Char
Narayan, also called Jagat Narayan, is
perhaps the oldest temple in Patan Durbar
Square. Unlike other temples in the square,
it is constructed primarily of brick. Some
scholars believe it was built in 1565, while others suggest the early 17 th century as a more
reasonable date. In any case, It honors Narayan, one of the Vishnu’s manifestations.
The temple was completely leveled as a result of the April 2015 earthquake. It is currently
undergoing restoration by the Kathmandu Valley Preservation Trust (KVPT) and SAIHELPNEPAL
with the intention of restoring the site by 2019.

Highlights: Rich carvings on the temple which belongs to the classical period of Newar
architecture

Naka Bahil
It the type of bahil designed as a place for training, teaching, preaching epics and to give shelter
and food to visiting monks. With the growing popularity of Vajranarayan in marriage was
allowed, the monks desirous f marriage had to leave the bahi and had to found or join a baha
where family accommodates were possible and monks lived as grihastha bhiskhus. Because of
the family, bahas were located within cities.
Highlights: It was situated on a knoll and was raised on stepped plinth so that the entry was
gained through stairway. Another distinguishing feature was that there was often an imposing
balcony over the entrance so there was no space for setting up the toronas. The guardian lions
were not installed at the entrance. Another feature was the small square shrine with a narrow
circumambulatory, set in the wing facing the entrance. The shrine contained the image of
sakyamuni Buddha. It had a dark room on the first floor for the agama deity above the shrine
and had a temple structure protruding beyond the roof. It had a single flight of broad masonry
stairs. Façade was symmetrical and left plain and without any decorative brickwork or
projecting sections. The lattice windows were too small to provide adequate light and
ventilation. This was obtained from courtyard side which was banked with lattice windows.

Construction of Tiered Temples

Usually Vastupurush mandala is used for plan proportioning and Elevational Triangles for
elevation proportioning. For plan, Square principle with odd number of bays with three or four
divisions are considered. This shows that astronomical science is greatly used in ancient times.
Basic construction materials used are Brick,Mud,Tiles,Wood and metal.

Construction of Substructure
As researched and enquired with local people, brick mass / wall overstone boulder making
platform/plinth for foundation.
Construction of Plinth
Wall are raised on stone plinth beam (Continuous/Extended Sill under Doorways) placed all
around the core walls on a patterned brick string course (Nago). We can find in brickwork with
stone trimmings. Plinth are covered with stone band. Some plinths structures are built by
stone. The steps also have stones at the edges and corners. The side of the band always covers
the plinth area. The body of the temple rests on a plinth of brickwork often with edging stone
to take the wear and tear of its use; the plinths numbering one, three, five or more.

Construction of Superstructure
Plan consist of generally two forms at the sanctum level; the rectangle and the square form
with wall on one side, wall on three sides, one doorway, three doorways, four doorways The
temples are built with multiple roofs at multiple levels, with brick core walls, diminishing in size
at each change of level as it rises .The basic main wall is constructed in two types( Double leaf
construction) .The outer brick are used Telia and inner bricks are ordinary. The outer bricks are
just one layer having no structural joints between inner & outer bricks. Load Bearing Brick 70
cm or more in Thickness. Brick in mud-mortar with glazed facing bricks. Actually, there are
three layers of construction: outer layer with Telia, inner layer with ordinary and intermediate
with sun-dried bricks. Load bearing layer are tied together with horizontal (ties at nagpasa,
entablatures) and vertical timber elements (posts at door openings/corners). A string band
going all round above the head of the entrance and dividing the height of the entrance into two
level. The use of a structural floor of timber beams that span across to transfer the load of the
upper walls to the lower outer walls.

Post and Beam: Trabeated system is used that is combination of vertical columns
and horizontal beams. Use of Timber columns (Tham, normally square base with numerous
mouldings/ square/ cylindrical shafts), Brackets (Metha + bagahmetha), Beam (Ninah). For Base
stone Ilahon is used.

Construction of Roof:
The roof is supported by a set of fanning joists with
their upper ends supported on the upper core,
balanced over the lower core wall and projected
outwards in a slope.

In case of three tier temple, the third tier is

constructed differently. Roof rafters rest on single
post, which forms the finial. At the center post all
rafters meet. Only four corners rafters are joined
and others are rested freely as they used wedges.
The overhanging roof is supported by the inclined
struts (carving) which rising from cornice and rested
against the roof with eaves beam. Corners struts
having aquatic motif called Vyala. Sides struts are
different religious motif. It can be found in three
different levels of carvings. Top part is branches of
trees, Middle part is religious gods and lower part is
animals. In case of Shiva temple, erotic carvings and
human, vehicles of respective gods. Mud plaster is
used over the timber planks to lay jhingatee in
position. At the hip edges special tiles used, at end
of hip special tiles crow shaped used. Gilded roof
sheets are over lapped. For bending sheets timber beads are provided. Eaves boards are going
all around with artistic motif.

Thank You