झीसं मयाःसा सुना याइ ?

रा मानन्धर

थ्व स्वनिगः विश्वया हे ल्याः खायेबहगु छुं अज्याःगु शहरतय् धलखय् लाः. गन थितुंथिइक प्राचीन सभ्यताया न्हाय्कं थें सांस्कृतिक सम्पदात झ्वःलाक दनाच्वंगु दु । थ्व हे कारणं स्वनिगःयात युनेस्काें विश्व सम्पदा क्षेत्रया धलखय् दुथ्याकूगु खः । थज्याःगु ध्यबां कायेमफुगु नीधिया रक्षा, संरक्षण झीसं मयाःसा सुनां याइ ?

बौद्ध व हिन्दू सभ्यताया मंकाः क्यब जुयाच्वंगु थ्व उपत्यकाया मौलिकता हे थनया बज्रयानी महाविहारत वा बहाःबहित खः धाःसां पाइमखु । हलिमय् गनं मदु कथं अनात्मवादी बौद्धतय्सं न तन्त्रया साधना यानाः बौद्ध धर्मयात बृहङ्गम स्वरुप बिइत थनया शाक्य व बज्राचार्यत थनिं द्वःछि दें न्ह्यः हे सफल जुइधुंकल । उकिया हे किचः कथं येँय् जक हे स्वीगू पीगू बहाःबहीत दु, यलय् व ख्वपय् नं ल्याः खाःसा सच्छिं मल्याक हे दु । थ्व थनया बौद्धमार्गीतय् निंतिं जक मखु, समस्त देय्या हे गर्वया खँ खः । पण्डित हेमराज शाक्यजुया धापूकथं येय् जक १२० गु बहाः बही दूगु खः, अले डा. जगदीशचन्द्र रेग्मीजुं थन लिच्छवीकालय् ४४गू व यक्ष मल्लया पालय् १२८ गु बहाःबही दुगु खँ ह्यथनादीगु नं थन लुमंकेबह जÞू ।

झीगु न्ह्यःने दनिगु व बहाःबहीया थःथःगु इतिहास दु । विद्वानतय् धापू कथं व बहाःबहीत थौ स्वयाः १००० निसें ३५० दें न्ह्यः निर्माण नूगु खनेदु । उलिमछि दें न्हापा थनया बासिन्दा झी नेवाःत उलि सभ्य, सुसंस्कृत जुइधुकल धकाः करपिंत कनेगु ÷ क्यनेगु तक न तःधंगु खं खः ।

झीसं खनाच्वना, हरेक बहाःया हरेक कोण छगू निश्चित वास्तु शास्त्रया लँय् दु । गुगु दिशायु लुखा दइ, लुखाय् छु दइ, लुखालिसे सु सु द्यःतय्गु मूर्ति दई, अनं दथुइ छु दइ, जवय् छु खवय् छु दइ, हानं क्वाःपाः द्यः गन दइ, व फुक्क इल क्वातुकातःगु नियमं चिनातःगु दु । व फुक्क दयेकेत सिँकमि, दकःमि व मेमेपिं कलाकारतय्सं थःगु जिउ ज्यान बिउगु दु । उकिं थौं हरेक बहाःबही थः हे छगू संग्रहालय खः धकाः विदेशी विद्वानतय्सं तारीफ यानाच्वंगु दु ।

उलि जक मखु, थज्याःगु बहाःबही धइगु छगू भौतिक संरचना जक मखसे आध्यात्मिक चिन्तनया लागि अध्ययन केन्द्र नं खः । तथागतया पालिइ श्रद्धाया स्वाँ छानाः सुखावति भुवनय बास लायेगु कामना यायेगु ला द हे दु, उकिया लिसें अन पाःलाःपिं गुरुजुपिनि न्हियान्हिथं पुजा यायेमाः, वसपोलया परिवार तक अप्रत्यक्ष रुपं थ्व ज्याय् संलग्न जुइमा । हान थ्व सम्बन्धित शाक्य व वज्राचार्यतय् बरे छुयेगु व आचाः लुयेगु तीर्थस्थल तकं खः । मेखे व स्मारकत छगू सम्प्रदायया जक यकःति मखु धयार्थे दँय्दसं बहिद्यः ब्वयेगु परम्परा नं न्ह्याकातल । थुकिं छखे थम्हं संरक्षण यानातयापिं समयुद्यःत, सपूm, तिसावसः इत्यादि ब्वयाः...............सर्वसाधारणं नं व निधि धइगु जिमिगु नं खः धयायें बालाक बिचाः यानातः मतः निरीक्षण यानाः थःगु सरोकार नं क्यने खन ।

धुलिमछि धायेधुंका थौ थ्व नं धायेत झी बाध्य कि पुलांगु बाखं कनाः किसिन्हाय् छुइ गुलि अःपु वर्तमानय् व गौरवमय इतिहासया निरन्तरता लुइके उलि हे थाकु । थौं झीगु पुर्खा त्वःताथकूगु बहाः बहीया अवस्था गथे च्वं छकः बिचाः यानास्वःसा झी ’गुलि लखय् दु’ धइगु सिइदइ ।

बहालय् बँ पुइमाः धइगु दक्वस्यां स्यू, तर यक्व धयाथें बहालय् नगरपालिकाया कन्टेनर थेंज्याःगु अवस्था दु । धू फिफि दयाः खापा हे तिइमजियाच्वनी,. तर सुनां नं तुफि छकः संकी मखु । द्यःया मूर्ति, लुखा, झयाः, त्वलं, त्वानासिँ, गं, सिंह इत्यादिइ फिफि खिति थानाच्वंगु दइ, माखापिखां भुनाच्वंगु दइ, बौद्ध गुथि, संरक्षण समिति, टोल सुधार समितिया मिखा वनीमखु ।

विहार वा महाविहार धइगु नामं हे क्यं, व द्यःछें खः, देगः खः अले व मनू च्वनेगु थाय् मखु । तर थौं शायद हे अज्याःगु बहाःबही ल्यं दनि गन मनूतय्गु बसोबास मदु, नयेगु निसें फायेगु तकया, ज्या जुयाच्वंगु मदु । स्यूगु हे खँ खः, बहाः बही नितँ जाः जक जुइ । नेवाःतय्गु छेंय् छ्यलि, मातं, च्वत व बइगः दयेमाः अले हरेक तल्लाया थःथःगु प्रयोजन दुसा शाक्य व बज्राचार्यत जक छाय् थथे छथाय् हे द्यनीपिं अले छथाय् हे नइपिं जुल ? स्वनिगःया बौद्ध विहारया विषयय् यक्व अध्ययन यानादीधुकूम्ह भाजु निल्स गुस्चोया बिचाः कथं, बहाः बहिली मनूत स्थायी रुपं च्वनेगु याःगु ५०–६० दें स्वयाः आपाः मदुनि ।

लिपा जूलिसे व धार्मिक स्थल जक दयां नं अन च्वनेगु यानाच्वंपिन्त मगात, अले उकिया लालपुर्जा दयेकेगु, बालं तयेगु, अंशबण्डा यायेगु जक मखु, मिया वनेगु तकं जुल । च्वनाच्वंपिंस नं गुलिस्यां कलात्मक व प्राचीन लुखा, झ्याः हिल, तिकिझ्यालय् खापा तल, गंझ्याः त्वपुनाः बरण्डा पिकाल, प्लाष्टर यानाः रंग पात । बौद्ध स्मारकय् ब्याट्री पसः निसें ममचा पसः तक तयेकाः धर्मया ख ल्हानाच्वना झी । वयां लिपा उलिं जक नं मगात, अले जगनिसें थुनाः थः यःथे न्यात, खुँत जाः यानाः ढलान बिल्डिङ्ग हे दयेकल । गौरव यायेगु संस्कृतिया भौतिक स्वरुप हे मदुर्सेलि झीगु परम्परा बाखनय् जक सीमित जुल, लेख व भाषणय् जक तक्यन । जुलं जुलं क्वापाःद्यः दुगु छेँयात हे नं ढलान यानाः....... धंकाः संस्कृति प्रति ममताया ध्वाँय् ब्वयेकल । थनथाय् थःगु संस्कृतिइ गौरव याइगु महानगरपालिका नं ल्वःमंके मफइगु ग्वाहालि याःगु दु (अज्याःगु सम्पदायात निजी छेँया रुपय् नक्सा पास यानाबियाः) । छु झी आजुपिस ध्यबा मदु धकाः नितंजाःगु जक दुगु बहाःबही दयेका थकल जुइला ?

थज्याःगु अवस्थायू झीगु मौलिक संस्कृति, धर्म व सामाजिक चालचलनया प्रतिनिधित्व याइगु बहाःबहीत अतिक्रमण व दुरुपयोगपाखें मुक्त जुयाः थःगु मौलिक स्वरूप व प्रयोगय् लित हयेमाःगु खँय् विवाद दइमखु । तर थज्याःगु बहुमुल्य सम्पदात स्यके न्हके गुलि अपु उलि ल्ह्वने अपु मजू । दय्या हे. इज्जत जुइधुंकूगु थज्याःगु स्मारक संरक्षण यायेगु जिम्मा राज्यया हे खः, तर नेवाःतय्गु सम्पदा व संस्कृति रक्षा यानातयेत सरकार आःतक गुलि सकारात्मक दु धकाः बिचाः याना स्वत धाःसा उलि आस कायेथाय् मदु । उकिं थुखेपाखे नेवाःतय्गु हे संघसंस्था व विशेष यानाः धार्मिक पुचःत सक्रिय जुइमाल । कमसे कम बौद्ध बहाःबहीया संरक्षण जुइमाल, अन धार्मिक वातावरण लित वयेमाल धइगु सः जक पित वःसां बांलाःगु भविष्यया कल्पना यायेफइ ।

संरक्षणया खँ वल कि ध्यबाया खँ लिसें वइ । तर बहाः बहिली च्वंपिं मनूत सम्पन्न जूगुलिं संरक्षण स्वयाः अप्वः विनाश जुयाच्वंगु दु । अथे जूगुलिं ध्यबा दुपिनिगु ल्हातिइ लानाच्वंगु बहाः बहि बिल्डिङया रुपय् विकास जुयावन, आधुनिकताया नामय् राज्यया जग्गा, बाज्या अजिपिनिगु सम्पदाय् अतिक्रमण जुयाच्वन धाःसा ध्यबा मदुपिनिगु बहाः बहि जक जीर्ण ल्यनाच्वंगु दनि, अथवा सिमेन्टया न्हय्तँ जाःगु छें जुयावंगु स्वयाः संरक्षित तिनि । ध्यबा झीके मदुगु मखु, उकियात थःगु ध्यबा धकाः गौरव यायेगु सम्पदाया संरक्षणय् छ्यले जक फयेके माल ।

लसताया ख खः कि बौद्धत तःता कथं संगठित जुयाच्वंगु दु । उकिइ नं तःगु मछि हे नां दंगु अले आर्थिक रूप सबल बौद्ध संघसंस्थात दु । उगु संस्थातय्गु पहलय् धर्मया प्रचार जुल, तार्किक बहस जुल, पिनें वयाच्वंगु चुनौतिया सामना यायेगु शक्ति मुन । आः थ्व हे शक्तियात सदुपयोग यात धाःसा स्वनिगलय् च्वंगु दक्व बहाःबहीत छगू धुका. मेगु संरक्षण व जिर्णोद्धार यायेत यक्व ई काइमखु । दकलय् न्हापा थ्व ई धइगु थम्हं जक दक्व स्यू थें शास्त्रार्थ यायेगु ई मखु, दुनाच्वंगु स्यनाच्वगु व तनावंगु बौद्ध विहारत व उकिया गौरव मुंकेगु व लित हयेगु ई. खः धकाः वा. चायेकेमाल । अनं लिपा थःथवय् सहलह यानाः पुलांगु तं, शत्रुता व असमझदारी ल्वः मंकाः छप्पँ जुइमाल ।

ख ला छुस्याबहाः, यतखाबहाः व इतुंबहाः थे ज्याःगु थाय् विदेशीतय्गु ग्वाहालिं ज्या जुल, जुयाच्वंगु दनि । तर ग्वाहालि धइगु थःगु छें निसें शुरु जुइ । पत्रपत्रिकाय् बुद्ध धर्म, बज्राचार्यया अर्थ व पुलांगु बाखंया बखान याये अःपु तर थःगु यानाकायेधुनागु बहाः बहीयात हानं धर्मया ज्याख्यलय् जक छ्यले दइ धकाः लित बी थाकु । थ्व ला शाक्य व बज्राचार्यया बौद्ध पण्डिततय् नितिं अग्नि परिक्षा...

सन्ध्या टाइम्स ११२३ पोहेलाथ्व ८ (२००३।१।१०) य् पिदंगु 

Remembering Lain Singh Bangdel

Razen Manandhar

 

God is mean. He seldom gives both a brush and a pen to one person. And he further gave the zeal, mission and craft to make a platform to present both brush and pen. The only person in our context with all these charecteristics is none other than Lain Singh Bangdel, a character of his own, who passed away last week on the very auspicious day of Vijaya Dashami.

 

Ramchandra might have conquered the invincible Rawana on this day, but time proved itself more powerful than Ramachandra himself and snatched away the Gift for Nepal and made such a void here that will be more than hard to fill up.

 

He was born in Darjeeling, India in 1924 in a middle class family. His parents never had dreamed of making him an internationally renowned artist scholar. After spending his school days at Government High School of Darjeeling and a  District Borad Scholarship took him to Government Collage of Arts and Crafts and from where he was graduated in 1945.

 

But instead of returning home to fulfil his father's dream, he stayed in Kolkota and tried his luck now and then. He worked for several advertising agencies, got sacked for being "incompetent". More than art teachers, he was trained by failures that also made him ambitious and provoked him to set his goal.

 

His firm ambition to become an artist made him one-month-long voyage to London and move to France, his ultimate destination in 1952. Since he was there without any concrete programme, mountains of difficulties were obvious. He lived in outskirts, in poorly heated rooms and he had to walk around the city to sell his early paintings. For almost two decades, he remained truly "an artist" in Paris and London, where he learned much more than the techniques of making strokes on empty canvass.

 

The dice was cast in 1961 when artist Bangdel got an opportunity to be introduced to His Late Majesty King Mahendra. Panchyati System was quite new and His Majesty was in search of personalities, who could show Modern Nepal to the world from different angles. The four-year old Royal Nepal Academy needed some artists to showcase Nepal's art. Though Nepal had been a treasure of art and architecture for millennia, and contemporary art has entered Nepal much earlier than Bangdel was born in an Indian town, he was granted membership of the Academy by the king himself. Thus, luck had it that his working place became Nepal, the country his ancestors had left generations ago.

 

The time was Panchayati, when the king's decision was considered all in all. Being a king-nominated member of the Academy was just different in those days. His well-maintained relation with his late majesty as well as his expertise made him vice-chancellor in 1974 and again the first non-royal chancellor in 1979 and worked as the head of the academy till 1989. He was fortunate to be remain in the highly powerful organisation of the scholars, backed by the state itself, for almost all of the Panchayati period. This was also the most productive days of his life—series of painting exhibitions and book publications he brought in this period, followed by dozens of decorations, were his achievement as well as Nepal's. Most of his books were published from the Academy where as some were published abroad.

 

Right after coming to Nepal, he exhibited his semi abstract paintings at Saraswati Sadan. It was the time when Jadadish Samsher and Genendra Bahadur Amatya had come up with abstract works so it will be exaggeration to call him pioneer of "modern art" but his ones were more sharpened with the addition of European outlook. Making a position in Nepal's art areana, where most of the aritists were submissive, shy and unexposed to Western world was not difficult for him.  He thus became an icon of modern art, with his characteristic of matching green with soothing blue and composing figures with cubic applications.

 

Establishment of Nepal Art Circle is Bandels another side of contribution. Founded to exhibit replicas of European art today stands as a government aided institutions, of which he was secretary till his last day. A group of artists, New Artists' Ciercle today are following his path.

 

Bangdel was born to be an artist but his contribution to literature of Nepali language was not less remarkable. He had published  'Bishwa Katha Sangraha' before he left for London. His life in London, France and Spain gave the literature of Nepali some remarkable volumes in different genres. Students of literature today remember him for his books, mainly Spain ko Samjhana, Muluk Bahira, Maitighar, Langadako Sathi, Bishwa ka Chha Mahan Kalakar and Rembrandt.

 

An unfogettable part of his contribution to Nepal is his deep study in Nepal's stone scupture, mosty of the early age. Bangdel might never had imagined that his small valley is rich with uncountable stone sculptures, some dating as early as the first century BC. His delegent study and interpretation opened a new age of studying Nepal's cultural heritage, or he at least open the window to Nepalis, who often boast of their legacy. His research produced Prachin Nepali Murtikalako Itihas (1982), Ancient Sculptures of Nepal (1982,India) Stolen Images of Nepal (1989) and Inventry of Stone Sulptures of the Kathmandu Valley (1995) are some of his books.

 

Despite all, he was constantly isolated form Nepali artists' circles, criticised of misusing his power and also as being undemocrtic to juniors. Still, his contributions to Nepal, Nepal's art, heritage and literature will be remembered and Nepalis will have to wait for long till some able person holds mission and power to replace his vacuity.

The Kathmandu Post

Shopping for helicopters

By RAZEN MANANDHAR 

How on earth can I convince the government that this peace-loving country is in dire need of helicopters, and more helicopters. I quote those intelligent geographers who now say that Nepal’s geography is complicated? In fact, it is true. If you don’t believe it, then take a round in a helicopter and look from above, you see hills and mountains only. OK. I have no Nepal-ko-graph.

You may say: if we need so many things in this world, why are we talking about helicopters only? You may add if we already have a dozen or so of such flying objects, then why do we ask for more? 

Everybody knows that the situation of this country is changing — day by day. In the past we used helicopters to carry foodstuff to remote areas, to take every successive prime minister on supersonic tours around the country during election campaigns, and we even used them to shower flowers during auspicious occasions. But such purposes do not get much attention these days as other pressing needs have come up. 

Now we need some more sophisticated helicopters to carry dead bodies of our security personnel to the capital. It is not unfamiliar that soldiers die in wars. It is so disappointing that we can’t bring the bodies back to Kathmandu in time to cremate them at Aryaghat. 

The bodies of our soldiers lie in remote areas for days. They deserve a better treatment. After all, they die during "search and destroy" operations. Just imagine how long they had searched for terrorist hideouts and how they put up against all odds before attaining Veergati. We the intelligent citizens — the political leaders, government staff and social workers -- must do something to pay tribute to the brave soldiers. 

Incidents take place so often and we have only a few helicopters. And you know, the ministers make it a point to visit the site after every terrorist attack. We can’t say "no" to them because most of the ministers are from those areas and it is an opportunity for them to meet their voters. All the helicopters are "house-full" these days. 

We swear, we won’t let anyone misuse the fund. We have a glorious record of successful aircraft purchasing. It’s amazing the people have become so pessimist that they smell fishy whenever we talk about buying any vehicle. 

While going for shopping, we should see that the helicopters must not be like those which do not fly even after making sacrifices, just like the recently purchased Indian helicopters or the much-hyped night vision chopper that is gathering dust inside a hanger because its "crucial parts" are not available in the local market. 

March 19, 2002

https://www.indybay.org/newsitems/2002/03/19/1189341.php

Bhaktapur Durbar Square

Heritage tour

By Razen Manandhar

Whenever one talks about the monument conservation in Nepal, he or she names Bhaktapur Durbar Square as a model — the way of protecting it and cashing benefit of conservation — all has set an example for the country itself.

When Henry Oldfield visited Nepal in 1880, Bhaktapur was "largest and most costly of any in Nipal." And Merry Slusser justly writes in her book —"For the moment, at least, Bhakpapur remains one of the remarkable treasures of the Kathmandu Valley — indeed, of the globe."

The indigenous settlements developed a city in Bhaktapur long before the Lichhivis came into power in the fifth century, the historians hypothesize, though, a few Lichhivi inscriptions and architectural remains have so far been frond from there. Still, we have names of ancients palaces like Tripura and Yuthunium, though we can’t locate where they might have stood in the mediaeval Bhaktapur.

Some historians believe that Bhaktapur is the oldest royal palace of the valley. Still, the oldest found inscription of 594 AD shows that it was a Drung (or big town) called Khopring (the city is still called Khwapa in the local Newar language).

Chronicle Gopalraj Banshavali states that King Ananda Dev established Bhaktapur state in 1146 AD. The predominantly Hindu state was developed in the 12th century and different kings, who came to Bhaktapur’s throne after it became a separate state of the valley in 1482 AD. By the 15th century, the state of Bhaktapur was surrounded by strong walls and moats to secure it from unfriendly neighbours (the wall and city boundary have disappeared). It is "traditionally" divided into two parts — upper and lower — that can be traced in the annual festival of Bisket Jatra even today.

The last three kings Jitamitra Malla, Bhupatindra Malla and Ranajita Malla (1673-1769 AD) were among the kings who contributed the most to decorate the royal square, which we see today.

Not only the palace area, but the whole of the city is full of midaeval temples and residential houses. The stone or brick-paved streets, brick-made houses and temples — all equally decorated with smooth bricks, tiled roofs, carved windows and doors, wooden struts or columns with designs of deities and animals and topped with gilded pinnacles.

Today, the fifty-five window palace is the centre of the protected monument zone. The main palace used to stand elegantly with 99 courtyards but now it has only half a dozen to possess. Mulchowk (supposedly the oldest remaining part of the palace), Bhairav Chowk, Ita Chowk, malati Chowk, Siddhi Chowk, Kumari Chowk are some of them.

After undergoing numerous stages of renovations, it still represents the complicated and miraculous Newari architecture and excellent wood carving, and extraordinary wall paintings. However, it has lost its original spectacle after it was restored following the collapse during the earthquake of 1934. The palace is waiting for renovation and the locals say dirty games among the contractors is the reason behind the delay.

The Yakhseshwor Temple, the Statue of King Bhupatindra Malla, Golden Gate, Taleju Temple, The Golden Spout, The Big Bell, Chyasilin Mandap, Siddhi Laxmi Temple, Vatsala Templeand Chaturbramha Mahavihar are the major monuments at the Bhaktapur Durbar Square.

Along with this we cannot neglect other landmark monuments which lie outside the Durbar Square. These include Nyatapola Temple, Bhairavnath Temple, Dattatraya Temple, Bhimsen Temple, Salan Ganesh Temple, Tekhacho Barahi Temple, Wakupati Narayan Temple, Chhuma Ganesh Temple, Nawadurga Temple, Rudrayani Temple, Mahalaxmi Temple, Hanuman Temple and Kamal Binayak Temple. Apart from that, the Peakock Window and Tucchimala Terracota Window and Talako Potter Square are other spectacles of the historic city.

Lokeshwor Mahavihar, Jyetvarna Mahavihar, Akandasheel Mahavihar, Lumbavarna Mahavihar, Mangal Dharma Mahavihar, Indravarna Mahavihar, Dhimottar Mahavihar, Adipadma Mahavihar, Bishow Mahavihar, Parasannashil Mahavihar, Dipankar Mahavihar, Manjuvarna Mahavihar, Yangalvarna Mahavihar, Chaurvarna Mahavihar, Jetvanr Mahavihar (Tekhacho), Jaya Kirti Mahavihar, Sukravarna Mahavihar, Sukravarna Mahavihar (Kwachukhusi) and Tom Baha are all indispensable parts of the cultural heritage of the city of Bhaktapur.

In the Durwar Square itself, three separate museums, for paintings (in the main palace wing), metal-craft (Chikamapa Math) and woodcraft (in Pujari Math) are allocated.

The efforts of the Bhaktapur Municipality in conservation of the cultural heritage is always appreciable. Kamal Binayak Pond, Bahare Pond, Bharwacho Gate, Jagannath Temple, Shiva Parvati Temple, Chhuma Ganesh Temple, Chaurabahi Monstery and other renovations are some major projects the municipality carried out last year. Of course, the much-criticised entrance fee is the bedrock of the renovations. The only demand the citizens have is that the renovation should not be only toursm promotion-centred, all the city should benefit from the money, not only the streets whey the tourists walk around.

TKP 011230

20001023 Ancient monument under army protection

2000 10 23 Ancient monument under army protection

20000806बुंगद्यवं छ्वयाहःगु पौ

- रा. मानन्धर

साप हे यःपिं स्वनिगःया किजाकेहेँपिं,

सकल प्राणीया उद्धार जुइमा । स्वस्वं स्वनिगः नं थौं गनं गन थ्यंने धुंकल – साप हे बांलाः । थ्व काय् मियाः च्यः न्यायेगु नीतिं हे स्वनिगः थपायकसं मसां थें झः झः धाःगु थें जिं तायेकाच्वना । तःदँ दयेधुंकल छिकपिनिगु नामय् पौ च्वयेगु इच्छा यानाच्वनागु तर छु याये किलं नःगु जाकि, नवःगु नीलः व बासि प्यारा ननं न्ह्याब्लें प्वाः स्याः । बिचाः याइपिनि द्यः तंगु रिपोर्ट जक बिउवँवं लिमलाः, अले झारे याइम्ह गुरुजुया नं न्हिं न्हिं बाः काःवनेमाः, उकिं म्ह सुख मदयाः पौ तकं च्वये मलानाच्वन ।

छिकपिन्सं सि हे सिउ, थुगुसीया जिगु जात्रा गज्याःगु जात्रा जुल धकाः । जिगु नुगलय् स्यात जुइ, जि तम्वल जुइ धकाः भ्याः भचा हे चिउताः तयादीम्वाः । छिकपिन्सं जितः व लुँ चुइकाहइगु खुसिइ वायेयंकामदिउ – थ्व हे लाख का ।

जिं सिउ, थौंकन्हय् न्हापा थें मखयेधुंकल । न्हापा द्यःतय् निंतिं मनूत म्वाइ, आः मनूतय् निंतिं द्यःत धस्वानाच्वनेमाः । थौंकन्हयया मनूत साप लिमलाः । गुलिस्यां छेँ बुँ मियाः जापानय् जा थूवनेमाः, गुलिस्यां कलाः काय् ख्वयेकाः भारतय् भारा सिउवनेमाः । थ्व सुकूगंगु स्वनिगलं सुयातं छुं नकेमफुत । उकिं थः जिउ थम्हं स्वये हे माल ।

थथे हे जुयाः थुगुसिइ जिं यक्व न्हून्हूगु खँत नं स्वये खन – जिगु न्ह्यःने गथांमुगःचित छ्वालि क्यंगु नं खन, गुलां भोटो क्यंगु नं खन । म्वाना जक च्वंसा छु छु स्वये दइतिनि धाइगु धात्थें खः खनी । आः ख्वपयतय्सं व यमितयसं जितः सालायंकूगु स्वयेत नं तःदँ पिइमालीमखुत जुइ ।

भुलचुक धइगु न्ह्याम्हेस्यां जुइ । जिगु नं जुल जुइ । सिइकं चायेकं ला अथे हेपाः मजुया थें च्वं । शिवपुरीयात सेनापुरी दयेकूगुलिं सिमा मन्त, वा वयेके मफुत । छेँय् छेँय् डीपबोरिङ्ग यायेवं बागमति नं बागःचा जुल । यानां जिक्व ला वा वयेकागु हे खः । वा हे वयेकूसां तुकुचा खुसिया सिथय् नगरपालिकां दयेकेबियातःगु ग्वाः पसः दुन धकाः छिकपिं हे रिपोर्ट याः झाइ । आः जिं छु यायेगु?

छु धाये, द्यःया सर्बय् नइम्ह गुथि संस्थानं नं याःगु हे खः । न्हिं न्हिं सुथय् ९ बजे जुलकि तःबहालय् हाजिर याः वनेमाः उमि । धर्म धलय् कर्म कपालय् जूगुलिं ज्या याइपिं बाराहीत व यँवाःतय् नं थौंकन्हय् खः दयेके धालकि छाःकिलं ल्हातिइ छाइगु । दोष ठेक्कापट्टायागु नं मखु – सारा देश हे ठेक्कां चले जू, जिगु खः दयेकेगु चले मजुइ धइगु खँ मखु । आः ला जिगु जात्रा वलकि जि म्हय् जिउ मदु – ग्वःकः ग्वःकः द्यवं हे फयाकाःथें च्वंक बचय् जुइ धुन – न्ह्याबलें जुइ ला ?

नुगलय् च्वंम्ह द्यः लुमंकाः धयादिसा – जि थम्हं वये धकाः वयागु मखु, छिकपिन्सं हे वा वयेकेमाल धकाः आसामंनिसें छक्का पंजा यानाः हयादिल । आः ट्यांकरं लः हयाबिल धायेवं जितः लिथु हःम्ह भाःतं थें हेबायचबाय् यानादी मजिउगु खः । जितः थौं तक नं जिमि मां आसामया जनता व अनया उग्रवादीत म्हगसय् वयाः सःताच्वनी । छिकपिन्त जि म्वाःल सा म्वाःल धयादिसँ, अन जितः वा धयाच्वंपिं दनि । लँ खर्च जक बियादिसँ, जि थः हे वने । तर छिकपिन्सं जितः छ्वयादीमखु धइगु जिं बांलाक सिउ । जिगु थ्व ख्वाःपाःचा ब्वयाः छिकपिन्सं दच्छिया गुलि कमाइ यानादी धइगु लेखा समितिं मस्वःसां जिं स्वयाच्वनागु दु । धन्दा कयादीमते, छिकपिनिगु फ्वनाः नयेगु धौभ्यगःचा जुयाः जि थन हे च्वनाच्वने ।

अथेसां जिके छगू उपाय दु । नगरपालिकायात धयाः दँयदसं जिगु जात्रा न्यायेकेत छगू टेण्डर पिकयादिसँ । द्यः हयेग्, खः दयेकेगु, देय् चाःहीकेगु , जावलाभ्वय् न्यायेकेगु, भोटो क्यनेगु व लित यंकेगु ब्याक्कं ज्या व कम्पनीयात बियादिसँ । अले जात्रा ज्वःछि जूगु कमाइ बुंगया पान्जुत, बाराहीत, यँवाःत, क्रेन, बुलडोजर थुवाःतयत व नगरपालिकायात भागं थछि इनादिसँ । बरु थ्व टेण्डर नेवाःतयत मलाकुसे खयत बाय् मस्र्यातयत लाकूसा बांलाइ – छाय् धाःसा उमिगु ज्या क्वातु, इलय् नं सिधः व सत्ते सत्ते, जितः छुं हे म्वाः । गंगु प्यारा व प्लाष्टिकया स्वां दुसा गाः । व स्वयाः ला नखुइ थ्यने न्ह्यः जिगु म्ह जक कुचा मजूसां गाः ।

थौंयात थुलि हे, मेगु लिपा ।

बुंग द्यः ।

Published in Sandhya Times on 2000 08 06. Later in www.newanolinenews.com

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A sketch of Lumbini development